Wicker Erika (szerk.): Cumania 27. - A Kecskeméti Katona József Múzeum évkönyve (Kecskemét, 2016)
A kötet szerzői
Summaries Kornél Mák pp. 261-268 CULTURAL INDUSTRY OF KECSKEMÉT After presenting the summary of cultural areas in space and time, the author draws the structure of the present day cultural institutions in Kecskemét, and describes the international significance beside their regional role. Those institutions, such as the Katona József Museum, whose maintenance had been recently taken over by Kecskemét City, will further support the vibrant cultural palette which is rooted in the traditions and history of the town. Simultaneously, all these extended duties mean new challenges to the town, devoted to the local culture, which means that the out of date structures must be deconstructed ('creative destruction') and new, efficient and supportive frameworks has to be developed oriented towards future prospects. This endeavor is best represented in the cultural conception entitled 'Our past-Presence-Future' compiled in 2010, which is presented by the author in detail. The discussion highlights the importance of harmonization in the fields of community and private sponsorship, beside tourism and preserving cultural traditions together with local, regional and international perspectives (theatre, pilgrim routes, museums, Csiperó Festival, festivals of animated films, etc.) The prospects that are offered by the rich cultural heritage, ready to act present and promising future of the town provide the best possible potentials for Kecskemét to become the successful Hungarian city of culture. ART HISTORY György Sümegi pp. 269-278 STATUE-MISERIES (From the history of the József Katona sculptures) From the 1850s, several figures and portraits had been sculpted about József Katona, 'the greatest son of Kecskemét', playwright, the author of the historical tragedy 'Bánk bán'. In the histories of all those statues presented in this paper have moments (numerous changes in the location of the artifacts, destruction, and deteriorating condition), which are unworthy to the otherwise devotedly preserved memory of the great writer. The first sculpture of Katona (Rudolf Czélku- ti-Züllich: József Katona, 1857) had been originally placed in the public space near the National Theater in Pest, then was relocated in the Műkert district of Kecskemét, and finally was transferred to the hallway of the Katona József Secondary Grammar School. The first statue of Katona in a public place in Kecskemét (László Dunaiszky: Katona József, 1861) had been stolen by thefts in June 2000, afterwards, it was replaced by a portrait carved of stone but, unfortunately, this replica did not reach the artistic values of the original interpretation. The sepulcher of Katona by Ferenc Márton and Lőrinc Siklódy (1930) got into a miserable near to dangerous state in the last decades. The present essay firstly introduces those original sketches by sculptor Lőrinc Siklódy that were part of his application for the monument-competition tender (The chased Tiborc, sketch for the sepulcher of József Katona), and his second plastic plan which was later realized. The statue by Richárd Török (József Katona, 1989) was originally meant to place in public space but in fact can be seen today in the courtyard of the József Katona Memorial House. 395
