Ikvai Nándor szerk.: Tanulmányok Pest megye múzeumaiból (Studia Comitatensia 3. Szentendre, 1975)
Művészettörténet - Horváth Béla: Kernstok Károly „Hazafelé” c. képéről
50 Olaj. Ismeretlen helyen. Kiállítva az Országos Magyar Képzőművészeti Társulat Tavaszi Tárlatán, 1901-ben. A rá gyakorolt hatással részletesebben foglalkozom „Kernstok Károly »-Agitátor egy gyár kantinjában« című képéről" szóló tanulmányomban. (Kézirat.) 51 70x50 cm. (A Magyar Nemzeti Galéria tulajdona. Leltári száma: 10 117.) Színesen reprodukálva: Művészet V—1964. 6. (júniusi) sz. borítólapján. 52 Szénrajz. Magántulajdon. Reprodukálva: Magyar Művészet 1800—1945. Budapest. 1958. 328. 1. 53 Karton, tempera, ezüst porfesték. 1932. 72,2x101,2 cm. Jelezve lent balra: Derkovits Gy. (A Magyar Nemzeti Galéria tulajdona. Leltári száma: 6544.) Reprodukálva: Korner É., Derkovits Gyula. Budapest, 1968. 334. kép. 54 1930-as évek. Reprodukálva: Korner, i. m. 332. kép. Béla Horváth: ON KÁROLY KERNSTOK'S PAINTING: "HOMEWARDS" Károly Kernstok's large-sized picture: "Homewards", painted in 1899, offers a fortunate addition to our knowledge of the artist's early period. The painting of the picture —- accomplished in all probability at Kisoroszi — was preceded by a study trip of several months to Paris. In the course of this tour another ocassion arose for Kernstok to get in touch with the modern French artistic trends. A series of inspirations derived from modern French art are recognizable in the picture representing exhausted figures returning home from agricultural work, presumably from digging up potatoes. In the execution of the painting Renoir's impressionistic manner had its share. The type of the man's and the woman's heads shows the influence of Gauguin, while in the intensifying of effects for a better way of expression the inspiration of Gauguin, Cézanne and Van Gogh is recognized. In the application of the trelliswork pattern of the skirt worn by the woman of the leading couple the influence of Maurice Denis seems to show itself. In the subject itself and in its artistic rendering the lessons learned from the former generation of French painters, especially from Millet, are discernible. However Kernstok might have received inspiration from earlier masters as well, e. g. from Rubens as regards the subject and from Masaccio as to composition. Yet, it is quite clear that in addition to foreign influences the artist relied heavily on the Hungarian traditions of genre painting especially with the branch which had its roots partly in the French art. This branch was primarily represented by the art of Deák-Ébner and Sándor Bihari. At the same time, however, we feel that Kernstok was about to detach himself from the earlier Hungarian idea of genre painting as regards the message and monumentality of the composition. He used the subject and the whole sphere of the theme as a medium for expressing serious social messages in contrast to the earlier trends which merely added up to petty-bourgeois anecdote-telling, conveyance of idylls and sentimentality in a fashion becoming more and more conventional. Hungarian artists seem to have taken an early notice of Kernstok's work, since its influence and effect is clearly recognizable in several works of art. Its influence is perceivable concerning both form and content. The paintings of the same or of a similar subject of János Vaszary, József Koszta, István Nagy, Sándor Nyilassy and Gyula Derkovits convincingly demonstrate the profound influence exerted on the Hungarian painters by Kernstok's "Homewards".
