Telepy Katalin: Tenkács Tibor (Borsodi Kismonográfiák 27. Miskolc, 1987)

Resümee One of the most beautiful regions of Hungary is where at the foot of Tokay hill, the rivers Tisza and Bodrog join together. On the gently slooping hillside of this enchantingly nice area, that grape is vintaged from which the famous Tokay Aszu is made. The hill has been famous for its grape for centuries. After the second World War such cultural activity joined up to the famous wines that has recently grown nation wide. In result of the enthusiastic work of Tibor Tenkács who moved here from Budapest in 1948, the Tokay Colony of Artists came into existence. In the summer months many celebrities of the Hungarian painting have come here ever since. Tenkács spent his young years in Budapest and graduated at the Art School there; then, in 1938, he got his teacher's degree in drawing. He first came to Tokay in 1941 to practise his profession and here he arranged his first exhibition in winter, 1941^2. After marrying the daughter of an old Tokay family Márta Csutkái, in 1944 he went to Budapest to teach drawing and spent there four years. They managed to return to Tokay in 1948 which has ever since been providing an inspiring home for his creative work. In the past four decades, he stated example how one could meet all requirements of three professions at the same time. As a teacher he educated the youth for long years developing their knowledge of drawing and aesthetic sense and increasing their interest in Art with his life showing them example. As a painter his carreer is indicated by sensible and expressive pieces made up with dynamic pictorial certainty. He is the interpreter of home regions, mostly of Tokay's natural beauty. The picturesque environment serves the subject to his landscapes many times. (Hilly lands, 1967; Up to the vineyard, 1962; Bodrog in autumn, 1971; On the waterside, 1974; Evening on the lake-shore, 1982.). He often deals with the description of the moments of viniculture. (Vine-planting on the hill, 1967; Late October vintage, 1984; Bottom grape vintage, 1984; Aszu-picking on the hill, 1981.). His interest often focuses on other jobs going on in the region, and the life of the town and its characteristic details. (Plank-layers, 1958; Cart with lime, 1961; Winter hillside with yellow house, 1963; Winter silence, 1981; Tokay market, 1983.). His portraits are made with quick creative method. Every time he endeavours to reflect the mentality and character of the person portrayed. (The hair-doer, 1974; Blue selfportrait, 1962; Muser, 1959; Vira, 1977; Zsuzsa, 1982.). His sensible flower pieces foster to love Nature and give aesthetic pleasure (Red tulip bunch, 1962; Still-life with mushroom and sour cherry, 1982.). 51