Gosztonyi Ferenc - Király Erzsébet - Szücs György szerk.: A Magyar Nemzeti Galéria Évkönyve 2002-2004. 24/9 (MNG Budapest, 2005)
NEW ATTRIBUTIONS - Margit Pogány: Still Life, first half of the 1910s (Péter Nemes)
MARGIT POGÁNY: STILL LIFE, FIRST HALF OF THE 1910s BY PÉTER NEMES In the course of a revision at the Department of Painting in 2004, a still life by an unknown artist was found in the repository of the museum. In relatively good condition, the unsigned painting has a dark blue background with a polished, round table in the foreground. On the table to the right is a green-blue patterned, glazed plate containing two quinces and an orange, in the front is an ornate pitcher with a bunch of wild flowers, and on the left lying on the table is a quince and an orange, reflected in the table's shining surface. The use of powerful colours, the grasp of materiality in these objects of peasant art, and the painterly style of the composition are suggestive of the art of Cézanne and the group of Hungarian painters called The Eight. Probably painted in the first half of the 1910s, the work provides few clues as to its identity: an inscription stuck to the stretcher, reading '182, Sáros Committee, 1915' and a sticker with the serial number 250 in the lower right-hand corner of the front. What was the Sáros Committee? This refers to an important event in the First World War, when Russian forces invaded Hungarian territory in Sáros County, through the Uzsok Pass. The forces of the Austro-Hungarian Monarchy in co-operation with the German command started a counteroffensive in January 1915, and recaptured the occupied territories and liberated most of Galitsia within a few months' time. In order to aid restoration after the great destruction that had taken place in the villages of Sáros, a relief action was initiated. Notable figures with roots in Sáros County, such as Baron Albert Berzeviczy, the chairman of the Hungarian Academy of Sciences and educational minister at the time, and Pál Szinyei Merse, the rector of the Academy of Fine Arts, were the first to respond to a call to Hungarian artists in June that year.' In simple and concise terms, the call directed the attention of the Hungarian art community to the catastrophe in Sáros, and, trusting in the power of social solidarity, asked them to contribute to restoring the war-devastated Hungarian territory through the donation of paintings, sculptures or any other works of art. The organisers' idea was to use the donated artworks as prizes in a lottery, and the proceeds would help hundreds of people recover their homes, schools and churches. The Sáros Art Lottery Committee was soon established, with Elemér Horváth Margit Pogány: Still Life, first half of the 1910s Oil on canvas, 42x53 cm Unsigned Inv.: FK 9482 chairing. 2 The three associate chairmen were Gyula Benczúr, István Csók and Pál Szinyei Merse. The detailed financial plan was compiled by the executive chairman Miklós Szmrecsányi, a ministerial chancellor, and it was implemented by the Hermes Hungarian General Bill of Exchange Corporation, which renounced all profits. 1 The charity action proved successful. Over 850 artworks worth 300,000 crowns were donated by 350 artists including the best-known figures of the day, such as Gyula Benczúr, István Csók, Károly Ferenczy, Baron László Mednyászky, József Rippl-Rónai, and Pál Szinyei Merse. The paintings, drawings and sculptures presented were publicly exhibited in the halls of the Museum of Fine Arts for several months. 4 The nationally organized lottery was open to anyone willing to buy the ticket for 5 crowns. While it was the readiness to donate that mattered, the organizers nevertheless provided for a professional jury to ensure critical standards, and several artistically objectionable works were indeed rejected. Not only artists, but artists' widows and art collectors also contributed to the noble cause. 5 An illustrated index of the works contributed was published. The item numbers were placed conspicuously on the front of artworks to help the public identify them/'
