Gellér Katalin - G. Merva Mária - Őriné Nagy Cecília (szerk.): A gödöllői művésztelep 1901-1920 - The artist's colony of Gödöllő (Gödöllő, 2003)

SUMMARIES

apartments. The whole of the ideal City, however, is antimodernist, and it tried to incorporate in the city the archaic ideals of handicraft, family farming and rural living.The City of New Life is centrally planned around the Cathedral and Cathedral square, suggesting that there is a superior power that holds together and controls the space of human life. The City structure is geometrical, its overriding principle is symmetry which asserts itself in every detail. Cathedral square is surrounded concentrically by the belt of hotels, the residential area, the green zone, and finally the area of pastures and ploughfields. Moiret did not continue the Gödöllő artists' cult of the family hearth, which reflects, on the one hand, his own family problems, and on the other, a changed conception of life advocating collectivism instead of retreating into privacy. All this, in the final analyses, was meant to promote and serve a new life reform, a new ideal of man, and ultimately a new society. Moiret believed that the recipe of a happy life could be prescribed and people could be taught it. This basic principle was also advocated by the Gödöllő artists. The basis for Moiret's art was the interaction between Man and infinity, man as the creation of the forces of the Universe, the human community as the embodiment of the principles of a cosmic order. The City of New Life was devised to create and serve this ideal human community. EDIT PLESZNIVY THE RELATIONSHIP BETWEEN THE KÉVE GROUP AND THE GÖDÖLLŐ ART COLONY Fitting the row of artists' associations emerging all over Europe at the turn of the century, the Gödöllő art colony and the Kéve [Sheaf] group of artists had signal importance in Hungary. The stylistically homogeneous Gödöllő colony and Kéve representing a far wider spectrum of styles were connected at several points. The two groups emerged around the same time and their bloom also coincided (1907-1914). The tie was tightened by the dual commitment of a few artists and the similarities in their artistic aspirations. From among the Kéve members, Rezső Mihály, Ödön Moiret, Jenő and Zoltán Remsey and Viktor Erdei were related to the Gödöllő colony. The artists also committed to Gödöllő regularly participated in the showings of Kéve. Aladár KörösfőiKriesch and Sándor Nagy were invited to the Kéve exhibitions as honorary members in the 1920s. Similarly to the secessionist currents of the 1900s, Kéve disseminated its ideological programme in richly illustrated catalogues and periodicals. The studies and reproductions in A Ház [The house] and Kéve Könyve [Kéve's book] series covering both groups' ideas and works reflected the spiritual unity of Gödöllő and Kéve. Members of Kéve also active in Gödöllő were asked to design the Kéve publications and posters. In its early phase, Kéve staged so-far unprecedented interior exhibitions. Satisfying the concept of Gesamtkunstwerk aimed at eliminating the hierarchy of genres, it confronted the public with works in exciting spaces envisioned by interior decorators. It is well known that in designing their homes and exhibitions, the Gödöllő artists also ascribed great importance to the unified interior. To demolish the wall between grand art and folk art, a salient place was ensured folk art in the Kéve exhibitions. In addition to the members active in various branches of fine and applied arts, the Gödöllő and Kéve groups were also bound by a secessionist programme.While in Gödöllő "secession" meant separation from the capital and the emergence of an intellectual community of life, Kéve tried to create "secession" within the frames of an association in the capital. ZSUZSA FARKAS PHOTOGRAPHIES BY GÖDÖLLŐ ARTISTS The paper presents life at the Gödöllő art colony in 100 photoes. Portraits of artists (I), shots of art works (11), pictures of the daily life and lifestyle reforms of the colony (111) follow one another. Apart from amateur shots, photographer Aladár Székely's portraits are outstanding. He declared the new artistic programme of natural portraits. The periodical Művészet reproduced works by Gödöllő artists. Between 1902-1918, 174 works (primarily drawings) were published in it. In the 1900-1920 issues of Magyar Iparművészet some 200 good-quality shots can be found, of which a few went to the data collection of the Museum of Applied Arts. Of the photos of art works, most important are those showing the original frescos of interiors (Parliament, 1906). Destroyed or lost art works such as the centrally important gobelins only survive in tricolour autotypes. Out of the colony members the architect István Medgyaszay was an expert photographer, taking shots of his buildings with a professional camera. A little known "art photo" showing the Sidló—Undi couple among lilies in the garden, in the manner of photographer Rudolf Balogh was given a special attention in this paper. The most numerous shots survive about the way of life of the colony. Sándor Nagy's life is richly illustrated from his Paris period onward. The life-path of Körösfői-Kriesch can also be traced in the photos. The family photos taken at