Gyergyádesz László, ifj.: Kecskemét és a magyar zsidó képzőművészet a 20. század első felében (Kecskemét, 2014)

Jegyzetek

the wood-carvers of Ulm. [...] His graphic sheets have demonic power: they can accumulate blocks of stones and spirituality as well as material and spirit." His lithographs (pages 37 and 54) made in Berlin in 1921 and 1922 are especially significant, and are characterized by (cubo)expressionist features, and elaborate upon the life of Christ, particularly his Passion.

Although the Detail of Kecskemét by Perlrott was bought on the occasion of the annual purchase of art works required by Marcell Nemes, the committee of the municipal museum and library at the session of November 1913 decided that some other parts of the town that were about to disappear or to be altered should be painted as well: ”1. the market square; 2. the gate of Szolnok;

3. the site of the would-be-built post palace; 4. the Greek Catholic cemetery; 5, the site of the deaf- mute.” Three painters were selected for the task, more precisely for the painting of the first three topics: János Kmetty, Andor Erős (1889-1915) and Antal Szabó. Among them, Erős - who died in the First World War - eventually depicted the cemetery (at that time) of the "Greek-speaking local residents following the religion of the Eastern Orthodox Church (Plate 22), and as a matter of fact, it was painted in a short period of time after the commission, and it might be the reason for indicating the date on the right bottom corner (1913. XI. 29.)

Hungarian Jewish painting in the collection of

Kecskemét II.:

The István Farkas - Ferenc Glücks bequest

Another greatly noteworthy part of the collection of the museum of Kecskemét is the István Farkas-Ferenc Glücks bequest. The main section of the collection was gathered by the painter, István Farkas (1887-1944) and above all, by his father József Wolfner (1856-1932). The latter, as the president and general manager of Singer and Wolfner publishing house and business undertaking (from 1923 public limited company) founded in 1885, launched the notably popular newspaper called the Új Idők in 1894 (editor in chief: Ferenc Herczeg) and later in 1902 the magazine, Művészet whose editor in chief was the already mentioned Károly Lyka. József Wolfner was a

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Farkas István: Önarckép (Fej profilból) / István Farkas: Self Portrait (Head in Profile) (1928-1929)

founding member of the National Saloon, furthermore, he was a patron and had an exquisite taste of art collecting from artists such as Adolf Fényes, István Csók or János Vaszary or Baron László Mednyánszky. "Malonyay and Pékár asked me to look after Mednyánszky financially, because I would do the Hungarian art a service. I have undertaken this mission as a private individual without any consideration.” In the April 1932 after the death of his father, Farkas being the sole inheritor by necessity had to take over the company and become the general manager, therefore, he unwillingly had to push his painting activity into the background. Nevertheless, he put all his energy into his work so he enormously contributed to the development of the progressive Hungarian culture with many great deeds as an art collector (e.g. Jenő Bare say, Miklós Borsos, József Egry, Jenő Gadányi, Gyula Hincz, Lajos Szalay Tibor Vilt) as well as a publisher (e.g Lajos Kassák, Sándor Márai, Mihail Solohoy John Steinbeck, Lőrinc Szabó, Józsi Jenő Tersánszky)

In 1948 after the tragical death of István Farkas the collection consisting of more than 1000 pieces was divided into five parts by his successors. In the same year the two sons of Farkas, Károly and Pál defected to Rome and their portions of the property remained with the art collector Ferenc

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