Szatmári Gizella (szerk.): Strobl Alajos (1856-1926) szobrászművész emlékkiállítása (Szeged, 2006)

Résumé Alajos Stróbl (1856-1926) L as been present in tbe Hungarian artistic life for more tban a century. He sent in bis work for tbe first time in 1881 to tbe exhibition of the Association of Fine Arts held in tbe Hall of Arts and in tbe same year for tbe application invited for tbe sculptural em bell isbment of tbe Opera House in Bud apest. Since then bis works of art have meant considerable part of tbe Hun garian bistoricism and neo-baroque styles. His statues of reminiscence, creating a special atmosphere, embellish a number of squares in Bud apest, Szeged and in several other cities of the country. His representative or intimate portrait statues, marking out from the exhibitions, are considere d to be the treasures of privat art collectors in and outside the country. Stróbl' s unique productivity — he handed down almost five hundred portraits and monuments — makes it impossible even to recite tbem. We mention only some of his works: the whole size portrait statues of Ferenc Liszt and Ferenc Erkel on the Opera House's street front; statues of reminiscence: of Ferenc Liszt at the Music Academy, o f Mór Jók ai at Jókai square in Bud apest, of Semmelweis next to Hospital Rókus, and of János Arany in tbe Museum gardens; St. Steph en of Hungary's equestrian statue next to Mathias Church in the B uda Castle district; Mathias's well on the building o fth e earlier royal palace; tbe statues of Széchenyi in Sopron and Szeged; and a number of portrait statues of tbe pantheon at Dom square in Szeged. The most bri lliant works of tbe Hungarian National Gallery's collections are Strobl's works of art: the statue Our Mother, which was awarded gold medal at the World Exhibition in Paris, a lot of portraits of bis family members, contemporary artists, and outstanding figures of tbe political and scientific life. He had a special artistry for completing these portraits. His portrayal and perceptibility are outstanding. He could express the attributes of the tractable substance, the marble's neatness as well as tbe warmness of the bronze's light. In the be ginning one of bis strengths is the usage of symbolic details - palette, paintbrush, oak leafage, merits — giving 'explanation' wi th their help. Oth er features o fhis early artistic works are his love for history and unconditional affection for the discovered truth. Lat er he discontinues using the 'tools'. His subtle naturalism' expressed most significantly on his most widely known work Our Mother lives on making his portrait statues more simple and direct. His monuments also go through a change : he b ui Ids tbem with moderate patterns: tbe portraits or the whole size statues are surrounded by smaller or larger groups illustrating the life's work or tbe events which are meant to be recorded. During bis more than four decade long art pedagogy work - be was the professor at the Sch ool of Drawing and later at its posterior College f F me Arts - generations of sculptors grew up following his instmctions. He governed and founded a school. His students cou ldl earn all the tricks o fth e profession, the love of substance an dth e profound knowledge of its attributes. They could also learn about the service embodied in the creation o f the work of art and about the demand to follow higher ideals. According to Ervin Ybl a critic and art writer, Alajos Stróbl 'was one of the greatest masters o f the school which equalized past and present and wanted to reconcile traditional beauty with the truth of life.' 25