Katalin Gellér: The art colony of Gödöllő 1901-1920 (Gödöllő, 2001)
István Medgyaszay: The Veszprém Theatre with Sándor Nagy's sgraffito/1907-1908 Sándor Nagy's mosaic on the side facade of the Palace of Culture in Marosvásárhely Sándor Nagy: Kata Kádár/ stained glass window triptych. 1912-13 in a wall carpet and stained glass (Attila's Feast. 1908-09) and a knotted carpet ( Attila Returning from the Hunt. 1908). They compared the Hungarian myth with familiar internaional themes. In an essay Sándor Nagy compared the Hungarian heroes created by János Arany and Sándor Petőfi to the characters in the Nibelung Saga and the Kalevala. Adopting an earlier tradition, he depicted the Hungarian folk hero Toldi as a Hercules in a tapestry (1917) as did Ödön Moiret in a plaque. In the stained glass for Marosvásárhely Sándor Nagy used female figures reminiscent of Ophelia as well. They showed the heroines of Hungarian prehistory with the solemnity usually accorded to Greek, Celtic and Indian myths and tales. Körösfői-Kriesch depicted Cassandra and Mrs Sándor Nagy Isolde in tapestries, Rezső Mihály showed Tristan and Isolde in graphics revealing the influence of Aubrey Beardsley (c.1910). Sándor Nagy devoted a tapestry, drawings and paintings to the story of Sakuntala, the figures of Gyöngyvér, Ildikó and dame Réka. The romance of Italian origin, Prince Árgirus and Tündér Ilona, was already included in the monumental historical paintings of the past as part of Hungarian history and mythology. Following in this tradition, Körösfői-Kriesch and István Zichy made wall carpets on the theme (whereabouts unknown). THE IDEA OF UNIFIED ARTS The increase in public building works after the Compromise of 1867, which «institutionalized the Austro-Hungarian Monarchy, resulted in several new buildings in Budapest and all the large towns of Hungary. The artists of Gödöllő received a comparatively large number of commissions through the intervention of Elek Koronghi Lippich, an adviser in the Ministry of Culture who shared their views on art. They were also patronized by Henrik Fieber, whose concern was to modernize ecclesiastic art. The Gödöllő artists followed the Hungarian tradition of romantic historical frescoes created by Mór Than and Károly Lötz, most closely identifying with Bertalan Székely's "coloured, linear speech" (Sándor Nagy). The historical works made for the Millennium and the frescoes in the House of Parliament (1902) earned Körösfői-Kriesch great renown, who involved his fellow artists in the ensuing commissions for murals. He made the frescoes and stained glass pictures for the National Salon (1907) with Sándor Nagy, in the Academy of Music he worked with István Zichy (1907), he designed the Hungarian House, the permanent Hungarian art exhibition in Venice, 1909, again with Sándor Nagy. Several artists of the colony and students of Körösfői-Kriesch took part in executing the frescoes, stained glass works and sculptures in the Palace of Culture in Marosvásárhely (1911-13). The
