Goda Gertrud: Tóth Imre (Officina Musei 11. Miskolc, 2002)

English summary Both in his art and in his behaviour Imre Tóth painter and graphic artist - was a sharp-featured personality. You stop in front of his paintings, because his message carries you away. He is a sincere person and maybe just that's the reason he became an important artist. He was born on 3

rd of December 1929 in Diósgyőr-Vasgyár, (vasgyár = ironworks) During this time this was the name of the housing estate between Ogyár (Old Works) and Új gyár (New Works), the today part of Miskolc. Now, with some nostalgia, we already can think back on the buildings in the model-estate, which were built during the time of the Hungarian-Austrian Monarchy. Here lived the workers. There were homes, social supplies, a hospital and school, denominational churches, literary and debating societies and sports clubs. In brief an organised milieu was around the families and the factory played an important role in the workers' lives, which good and bad effects on the whole colony's life. So the workers totally considered it as theirs. Based on the examples of their parents children growing up here quickly learnt the responsibility for each other, social responsiveness, which were characteristics of the whole community, but they also knew that they - in accordance to their capabilities - were to develop as best they could. The boy who is susceptible to everything will be attentive to connections related between people and with these memories he acquires impressions for his life as an artist. The occurrences in World War II, building of air-raid shelters, deportations into villages, unexpected bomb attacks and bloody fights in the streets for the possession of the arms-factories. These sharp-featured impressions will be later returning themes for his art. He graduated in the Lutheran teacher-trainings college of Miskolc and - according to his own telling - the young man left his place of birth and he entered for the entrance examination of the Academy of Fine Arts in Budapest. The people's democracy after 1945 didn't only explore ancestor talents, but because of their interest in the creation of a new aesthete an education of the new artist-