Lóska Lajos szerk.: Művészettörténeti tanulmányok Pest megyéből (Studia Comitatensia 20. Szentendre, 1990)

Művészeti központok Pest megyében - Bakonyvári M. Ágnes: Vác képzőművészete

nem nyert igazán polgárjogot Vác városában. Ezt jelzi legalábbis a csekély látogatottság, noha annál intenzívebb mértékű a tllncz-tisztelők, -rajongók zarándoklása, akik időről időre szertartásszerű látogatói a gyűjteménynek. Ugyanilyen családias, már-már az intézmény mindennapjaihoz tartozó események a kamarateremben rendezett kiállítások, melyeket e tanulmány szerzője gondozott. MizserPál, Gerzson Pál, Gyémánt László, Kárpáti Éva, Csik István, Fiádler István, Burkus József, Rátkai György, Misch Ádám mutatták be itt alkotásaikat, mint Hincz Gyula tanítványai, illetve művészi eszményeinek vállalói, folytatói. Az új kiállítási műfaj, az állandó gyűjtemény működtetésének gyakorlata még nem alakult ki a városban. A műfaj további képviselőjének megjelenése, a jövőben megnyíló Beck Gyűjtemény talán elfogadottabbá, jobban kihasználttá teszi a benne kínálkozó lehetőségeket. Ágnes M. Bakonyvári: THE ARTS Ili VÁC AFTER 1945 The townscape of Vác is defined by relics of different historical styles, mainly those of Baroque architecture. The rich artistic tradition has prevailed in our century as well. In the 1920s János Vaszary's class from the College of Fine Arts regularly held its summer courses here. Adolf Fényes even considered the possibility of a future permanent Artists' Colony. The first artsts who chose to settle down here were Géza Bornemissza, László Lipovniczky, Károly Peukert and Dezső Végh, all followers of Post-Impressionist traditions. After 1945 a style based on Post-Impressionism merged with geometrical stylization to a certain degree was the only approved form of art and restricted topics to natural motifs. Kornél Dániel, Imre Qaál, János Kristóf, Zsigmond Uhrig and József Monos were later settlers mainly for the scenic beauty of Vác and its environment. They have all preserved the traditional approach to nature. Zsigmond Uhrig's leitmotif is the Danube Bend with a sensibility towards both intimacy and monumentality. Kornél Dániel, rearranges the elements of landscapes into geometrical forms with a demand of decorativity and a playful attitude towards form and colour and form. Ferenc Hock's stylized landscape motifs promote a symbolic approach with the sun and trees as recurring motifs alluding to universal connections. At the first annual exhibitions after 1945 prominent artists like Barcsay, Kmetty, Czóbel and Szó'nyi were among the participants but as the arrangement lacked in conception and there were too many of the dilettanti later they decided to stay away. Local artists were likewise upset by the degradation and in 1967 organized a conscious art group named Danube Workshop, which, however, proved too heterogenous to be successful, a tendency strengthened by the political rather than aesthetic expectations of the town leaders. In 1976 the group joined the Pest County Organization of the Society of Fine and Applied Artists and the annual exhibitions became more and more formal until 1985 when even most of the local significant figures chose to stay away and so the show completely failed. A new initiative was the Art Festival of Vác lasting for ten days during which a central exhibition was housed by the Cultural Centre and several individual shows were staged in other cultural institutions. The present artists of vác reflect the diversity of Hungarian art. While Imre Qaál and József Monos follow Post-Impressionist traditions. András Cs. Iiagy. Valéria Hidvégi, Pál Mizser and Erzsébet Marko represent more stylized aspects with a philosophical overtone. Miklós Szüts tries to cast light on the reality behind the objects in his collages where geometrical and amorphous, natural and artificial forms are all used as signs. Another way to express such realities behind the phenomena is the faithful representation of the environment. István Iiagy B.'s forte is his critical approach in his visions where the elements are rendered with a maximum faithfulness while their arrangement produces a world of fantasy. András Orvos's leitmotif is the flower, the rose with a nostalgia for the values it stood for and an irony towards the banalization of the motif. András Miklós Sáros's art is characterized by Photorealism with special cuts and arrangement which sometimes disregards reality in order to support the manipulation of situations. 244