Gärtner Petra (szerk.): Csók István (1865 - 1961) festészete - Szent István Király Múzeum közleményei. A. sorozat 45. (Székesfehérvár, 2013)
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RESUME 455 IX. KATALIN GELLÉR In the crossfire of influences Orientalism and japonism in Csók's painting Various ideologies and stylistic influences appeared in a concentrated, barely separable manner in Csók's paintings, a tendency similar to that of his contemporaries studying in Parisand Munich. One of these, the role of Oriental art, which was mostly interweaved with various versions of en plein air, symbolism and secessionism, has yet to be examined thoroughly. Besides, the artist had other motivations for being interested in Oriental art, namely the Hungarian "Eastern cult,"the tradition concerned with the Eastern origin of the Hungarian people, and the ensuing collections offolk artand attire. The influence of japonism, Far Eastern sculpture, and buddhism can be recognized in much of Csók's work. He integrated Japanese wood carvings and motifs, similar to-or actually following - impressionist and secessionist masters, in the canvas of The Awakening of Spring (cat. 36), in which one detail of the en plein air landscape is a nice example of the secessionist japonism. He used a much-liked motif of japonism in his paintings Merrymaking Company with a Peacock (cat. 94), Women with a Peacock (1917) and Peacock. Apparently he was quite familiar with the French japonism, and additionally, he had encountered one of Araki Kampo's peacock paintings from a collection in Budapest. Pieces of Csók's Oriental collection often appear in his still-lifes. In Corner of a Parisian Atelier, for example, Japanese sculptures, flower vases, vivid tablecloths and plates offolk art color the composition. Their proximity is almost shocking, reminding us of Henri Matisse's or Kees van Dongen’s orientalism. His work Nirvana (1907), whose central figure is a Buddha sculpture which was perpetuated in several versions, can be seen as a summary of his career. (cat. 38) The composition and colors of the picture are clearly indebted to Oriental art. The depiction of Buddha, although not entirely, follows an Eastern pattern whereas his nude figures are painted according to the European tradition, a contraposition which can be considered the topos of 19th century painting. Not only is the ancient world revived in the subject matter triggered by Jean Auguste Dominique Ingres'and Gustave Moreau's works that depict the dialogue of Oedipus and the Sphinx or in other pieces that oppose religions to other religions and depict dialogues of gods, but it is the conversation of the East and the West. In Csók's works some female figures appear as characters obsessed with lust in contrast to the infinite tranquility inspired by the sculpture. The role of the nudes is the same as in his pieces with underlying philosophical content: the woman, representing sensuality, is in opposition to a deity. Csók was concerned with one of the most well-known subjects at turn of the century art, the depiction of confrontation in the dialogue between human and sculpture, mortal and god, real and ideal. Nirvana can fit in the series of depictions of "earthly paradise". For Csók the East, just as for many of his contemporaries, represents the Paradise of ancient or Christian myths. The perpetuation of Buddha does not represent the faithful following of an Indian role model but the demonstration that the sacred was essential. The artist uses as many divine characteristics as he needs to compose his ars poetica, since Csók identifies Paradise with the realm of dreams, creation and inspiration. According to his writing, My Memoirs, Nirvana represents the condition of the highest transfiguration; it is a notion of inspiration and creative ecstasy. X. GYÖRGYI FAJCSÁK Oriental articles and Oriental themes in István Csók's works It is a rarely cited fact that István Csók - just like his contemporaries - was fond of objects from the Orient. His studio and flat were both decorated with Chinese, Japanese,Tibetan, Indian and Persian articles, ranging from furniture and ceramics to bronze, wood engravings, and paintings. He preserved these relics on canvas with great relish, and the theme of the Orient appears throughout his life.The Oriental collection was inherited by the Ferenc Hopp Museum of Eastern Asiatic Arts after Csók'sdeath in two phases, first in 1964 and then in 1968. This study attempts to answer three questions: to begin with, it introduces the Oriental Collection, which contains 33 pieces. Additionally, it enumerates Csók's pieces that are related to the collection in order to demonstrate the motives of the purchases of the articles and the art historical connections of their preservation. Finally, it aims to track the Oriental theme in Csók's works by uncovering the connections between a form of appearance of the Oriental theme in the Hungarian history of painting and István Csók's Oriental picture with a thorough examination of his Nirvana works and drafts, (cat. 37-39) Csók's first encounter with the Oriental object-culture might have been during his formative years in Munich and Paris. Later as a young artist - having already achieved some success - he spent some years in both cities where the collecting and trading of Oriental articles had a long-established tradition. His approach to purchasing Oriental pieces may have been influenced by the expos and exhibitions of private collections (e.g. Enrico Cernushi's private collection of Japanese and Chinese bronze objects, or Emile Guimert's museum with collections from Japan, China and India). The first hints of Oriental influence appeared in his paintings around 1900 and became a constant presence in his works from then on. His Chinese furniture, which he incorporated into his studio and later his flat, was often utilized in his work. Their exoticism (exquisite use of material, shapes and ornaments) was particularly interesting and unique. Csók's still-lifes of Oriental articles form a separate group: in
