Király Erzsébet - Jávor Anna szerk.: A Magyar Nemzeti Galéria Évkönyve 1997-2001, Művészettörténeti tanulmányok Sinkó Katalin köszöntésére (MNG Budapest, 2002)

TANULMÁNYOK / STUDIES - SZŰCS György: „Pictura irredenta". Egy Csók István-kép értelmezése

50 Herczeg Ferenc: Művészet és politika. Az Országos Magyar Képzőművészeti Társulat Evkönyve, 1928. 7. 51 Gárdos Péter és Osváth András Filmhamisítvány című, részben fiktív filmnovellájukban Tarnay Loncit, az Andrássy úti Színház tagját nevezik meg. Mozgó Világ X. évf. 1984. 7. sz. 21-40. 52 Szombat este volt Csók István leányának, Züzünek esküvője Suchy Lajos építészmérnökkel. Fotó. Pesti Napló LXXXVI, évf. 24. sz. 1935. január 29. 19. 53 A nő a művészetben. A 75. jubiláris év harmadik kiállítása. Műcsarnok, 1936. október-november. 266. tétel: Hiszek Magyarország feltámadásában, magántulajdon. 54Zsákovics Ferenc: Litográfiák a műkereskedelemben az 1. világháború után, in: Modern magyar litográfia 1890-1930. Szerk. Bajkay Éva. Miskolci Galéria, 1998. 156-157. A Fővárosi Képtár példánya a Magyar Nemzeti Galériába került (ltsz.: G. 68.53). GYÖRGY SZŰCS "Pictura irredenta" TO THE INTERPRETATION OF AN ISTVÁN CSÓK PAINTING A separate group contains the painter István Csók's (1865- (1865-1940), who explicated in the June 21, 1927 issue of his 1961) portraits of his daughter Züzü painted from the 1910s. paper the Daily Mail that the precondition for the security of The coloured lithograph variants of the best known paintings Central Europe was the partial revision of the Trianon peace were collected by him in a separate album in 1932. A less pacts ("Hungary's Place in the Sun"). The article made a great known sheet of the series is Züzü at prayer, the painted prece- stir in the Hungarian press, the Lord inspired such a cult that dent of which is preserved in the Hungarian National Gallery. some political circles even considered offering the Hungarian The that-time title of the work of little significance in the life- throne to his son. Several painters depicted his portrait incwork - "I Believe in the Resurrection of Hungary" - unexpec- luding such fashionable artists of age as Fülöp László and tedly invites historical-political interpretations, as it alludes to Zsigmond Kisfaludi Strobl. That explains why Csók's painting the refrain of the prize-winning Credo by Mrs Elemér Papp- came into the focus of interest for a short time, becoming a Vary (1881-1923) which best expressed the general mood cultic icon, and the second version without the inscription was of the public after the Trianon peace treaty. Csók made two also put up for exhibitions with the original title in the '30s and copies of the picture. The first one with the quotation, already '40s. The names of Mrs Elemér Papp-Váry, who was given an put on display and disseminated in coloured reproducations honorary grave in Budapest, and Lord Rothermere, who was at the Winter Exhibition of the Palace of Art in Budapest in honoured with a street named after him, fell into oblivion later, 1926, were given by the Hungarian delegation visiting London the "active" connotations of the picture have faded by now, and as a gift to Lord Rothermere in the autumn of 1927. It was the it has changed back into the pleasant portrait of a teenage girl press baron Sir Harold Sidney Harmsworth, Lord Rothermere with blond hair.