Fraternity-Testvériség, 1963 (40. évfolyam, 1-12. szám)
1963-05-01 / 5. szám
FRATERNITY 9 Chapter III EARLY YEARS AS AN ARTIST Life in the merchant marine could not satisfy Finta, however, and he soon returned home. Visits to Budapest exhibits kindled his interest in art. He soon became engrossed in a systematic study of it. He began to carve, paint, and to model statues from clay. He recalled his early childhood when his father taught him to carve the letters of the alphabet with his first penknife. He learned ironwork and goldsmithing. A fine engraving which he sent anonymously to an exhibit was a great success.1 Finta was authorized by the Greek Orthodox diocese of Karansebes to make iconostases for its churches, work v'hich calls for an artist who is both sculptor and painter.1 2 An iconostasis consists of 50 to 80 icons, all of which must conform to Greek Orthodox tradition and must be arranged in a sequence prescribed by liturgical regulations. The icons, in richly carved frames, are painted reliefs. The face, hands and every portion of the body not covered by costume are carved and gilded low reliefs. Their composition is always symbolic. The shepherds of the Transylvanian mountains were too poor to pay for the iconostases of their churches in cash. By the time Finta completed them, he was surrounded by a small fa rm of poultry, sheep, pigs and other livestock given him by the devout peasants.3 Under these primitive conditions, a studio was entirely out of the question. The artist considered himself fortunate if some landowner would permit him to use an apiary as a workshop. 1 Ibid. 2 Alexander Finta, unpublished miscellaneous notes, (read at his widow’s home, Los Angeles, California, Dec. 26, 1958). 3 Ibid.
