Kiss Joakim Margit szerk.: Szentendrei művészet 1926–1935 között (Szentendrei Múzeumi Füzetek 2. Szentendre, 1997)

Kiss Joakim Margit: A tájkép a szentendrei festészetben 1926–1935 között

RÉSUMÉ MARGIT KISS JOAKIM On the basis of the artworks it seems that at the beginning of the examined period Szentendre received the painters that were not only seeking for the chance of painting in the open air but also made use of it. Their works painted in the open air suggest the fauvish-expressive endeavours coming from Nagybánya and Paris, as well as the construction of picture used by Cézanne. In this respect we have to mention that there was a style trend beside the genre of landscape which could be found both with the guest artists and the youths — even if it did not become characteristic in the oeuvres. Besides fauvish-expressive endeavours some of them tended to follow the latest achievements of Hungarian art; mainly the classicistic trend marked by Szőnyi, building in the results of their partly earlier, partly newer study tours in West-Europe. By the second half of the period in question — approximately from the beginning of the 1930s — saturation of the view, the dominance of inner experiences had become characteristic even beside the genre of landscape painting — either by saturating the view with suggestions or by producing the after-image on the canvas after reconstructing the original experience. Stylistically this change points to several directions: both to expressive and constructive endeavours. What became primary from these changes of view and style in landscape painting was intellectualisation, the aim to rule, that is, interpreting phenomena, which is sharply different from the optimism full of expectations in the mid-20s. 48