Katonas Imre: Mai magyar kerámia. (A Janus Pannonius Múzeum Füzetei 14. Pécs, 1968)

racterized essentially by these three artists, living even today, as well as by the art of late Hajnalka Zilzer. They have developed and given the shape of today to this folk art. After the liberation these three excellent artists in their full creative power and artistic ambition created their works in succession. After 1956, in a free creative atmosphere, the second, moreover, the third generation of the modern Hungarian art of ceramics were represented at the exhibitions both in Hungary and abroad. István Gádor, as the teacher of the High School of Applied Arts, brought up many talented artists of ceramics of whom Árpád Csekovszky, the married couple: Garányi and Majoros, János Németh, János Papp, Gyula Végvári, ^va Kumposzt, Edit Balczó are to be mentioned first of all. Géza Gorka carried on the different inspirations of the Hungarian traditions of ceramics, realized them in his art; and his daughter, Livia Gorka inherited them from him. The art of Margit Kovács is more closed and not so differentiated as that of, for example, Gádor. This can be attributed, on one hand, to the fact that, at that time, Gorka and Gábor was i-'haracterized by seeking the proper way of expression, and Margit Kovács had found her way of expression and style used nowadays, at the beginning of the 30's. In the art of Gádor, írom the 30's until the liberation, there were more turns and changes of style. However, this did not mean a radical break with his previous work, at least, with its main tendencies, such as, for example, his folk art and neoprimitive endeavours, his straight development was influenced and turned in different directions. During the same period, Géza Gorka, too, underwent more than one crises of style. Then he began to deal with giving shape of pots suggesting Haban and habanoid ceramics, and at the same" time he found the solution so characteristic of his works: it is the enamel technique. Margit Kovács is a more reticent artist who has not responded to the changes in style in the meanwhile. If her art has been influenced by different effects, it has manifested itself rather in the programme of her art. On the other hand the art of Margit Kovács has not been continued by any other artists, and, in this way, her style brought about by the artist has not become the source of inspiration in the recent Hungarian ceramics. Géza Gorka taught neither at the High School of Applied Arts nor at the Secondary School of Applied Arts. In spite of this fact his influence manifests itself in the formation and development the Hungarian ceramics today. Gorka is characte-