Katalin Gellér: The art colony of Gödöllő 1901-1920 (Gödöllő, 2001)

Sándor Nagy: The Green Lahe/pastel on paper, prior to 1909 István Zichy's wife), but the girls and women usually wore light "reform clothes" of a simple cut, sometimes with a lace collar. The photos reveal a flair for dotted fabrics. The children went barefoot, wore loose garments, sometimes embroidered shirts from Kalotaszeg. Several artists also added pieces of the Kalotaszeg costumes to their gardróbé. According to recollections, the first reform clothes were worn by Laura Kriesch, and the theory of the movement for reformed dressing launched by Morris was propagated by Mariska Undi in articles and lectures held in the Society of Feminists. It was mainly the women who were involved in reforming fashion, with the exception of Sándor Nagy who sports embroidered shorts in some photos. His writings fighting against "heroes of smoke", "knights of the cigarette" echo the reformist ideas of Tivadar Csontváry Kosztka. All this was not merely to create a healthy way of life but to progress through self-knowledge to self-perfecting. Sándor Nagy's drawings of bathing families and women also confirm this. He also often represented himself naked, meditating in a landscape. His couples depicted walking immersed in mysthic rapture are akin to the figures of the German graphic artist Fidus (Hugo Hüppener). In his book On the Art of Life (1911) Sándor Nagy put on paper his belief that Art should be subordinated to Life and the Art of Living. He expressed the quasi-mythological beliefs of the Art Nouveau, where romantic love of Nature and a monistic Natural Theology were paramount. The closing scene of the book reveals much of the symbolic meaning of bathing: unlike the symbolist works that often describe the bathing of the family as an image of the golden age, he presents it as an anabaptism: "Here is the new Jordan in which these events are all baptisms - baptisms of the self..."