Csengeri Piroska - Tóth Arnold (szerk.): A Herman Ottó Múzeum évkönyve 54. (Miskolc, 2015)
Művészettörténet - Pirint Andrea: Vissza a barokkhoz. Barokk festménymásolatok a Herman Ottó Múzeum Képzőművészeti Gyűjteményében
Vissza a barokkhoz 511 RÉVÉSZ Emese (szerk.) 2004 „Eredeti másolat”. Halló Ede és XIX. századi magyar kortársainak művészi másolatai a reneszánsz és barokk festészet remekművei után. Magyar Képzőművészeti Egyetem, Budapest. RÓZSA György 1976 II. Rákóczi Ferenc ikonográfiájához. Irodalomtörténeti Közlemények 80/4. 479—484. SÁRAY Ákos (szerk.) 2005 Gyoroki (Gyurkó) Pál. Egy portréfestő életútja. Bíbor Kiadó, Miskolc. SZÉPHELYI F. György 2014 A barokkról. „A megvetettségtől a befogadtatásig. A barokk megítélésének változása a XIX. század második felétől az 1920-as évekig” című kiadatlan PhD értekezés (2009) I. és IV. fejezete. Budapesti Könyvszemle 2014. nyár 128-142. WÖLFFLIN, Heinrich 1888 Kenaissance und Barock. München. BACK TO THE BAROQUE Copies of Baroque paintings in the Fine Arts Collection of Herman Ottó Museum Keywords: Ede Balló, education of fine arts, history of reception The opinion on Baroque art was changing continuously during the centuries, according to the actual ideologies and artistic tendencies. It was not appreciated by the succeeding generations for a long time. Sporadic examples for its revelation can be found already from the beginning of the 19th century, but it aroused the interest within wider limits from the middle of the century, collaterally with the developing of the realistic tendencies. The effective revelation happened in the end of the century, when the heritage of the past came into fashion in the art. Although the revived Baroque can not be defined as the authentic style, it was not the same, but the intention of the transposition aroused interest in the original works of art. The profound studies of the Baroque heritage became the part of the education in the fine arts academies. Making artistic copies and the copies themselves could play various kinds of role in the time of making. According to the most characteristic function it was a method for the self-education as well as the academic education. Copies could be substitutions for the original masterpieces, articles of merchandise, objects in art collections and manifestations of the admiration for great masters or exceptional masterpieces. These roles give cause for estimating the copies not only as concrete things, but also as symptoms in the history of art-reception. The answers giving to the questions of who by, who after and when can tinge the history of the tastes’ changes, moreover perhaps can give surprises in respect of the newest artistic tendencies in the time of the copie’s making. This catalogue brings out the copies of Baroque paintings owning by the museum of Miskolc as sources to the history of art-reception, to assist the research dealing with the history of the Baroque art. The certain copies are presented in this approach. [Translated by the author] Pirint, Andrea
