Imre Györgyi szerk.: A modell, Női akt a 19. századi magyar művészetben (A Magyar Nemzeti Galéria kiadványai 2004/2)

Tanulmányok / Studies - Imre Györgyi: A modell / The Model

avenues and boulevards. See Benevolo, Leonardo: La Città Nella Storia D'Europa. Roma. 1993 136 Quoted by Ipolyi 1885, 18 137 Ybl 1938, 215 1 Its elaborator is unknown. State intervention in culture increased in the second half of the century throughout Europe. This resulted in the structural shift of social publicity. Cf.: Habermas, Jürgen: Strukturwandel der Öffentlichkeit. Untersuchungen zu einer Kategorie der bürgerlichen Gesellschaft. Marburg 1961. In Paris p.e. in 1862 Napoleon Ill's measures transferred decisions in the affairs of art from the sphere of the academy to the ministry. Cf. Lacambre 1974. 8 139 Cf. Moravánszky, Ákos: Építészet az Osztrák-Magyar Monarchiában. (Architecture in Austro-Hungarian Monarchy). Bp. 1988. 29, 33. For the realisation of urban designs a new law on the expropriation of communal land had to be brought. This was enacted in London in 1848 and in Paris in 1850 within the framework of the public health law. In Budapest the Board of Public Works, referring to the unhealthy state of public affairs, passed its first building decree in 1870, modifying it later in 1873. In 1886 the Capital and the Board of Public Works issued a standard regulation. In 1894 building acts were ratified, thus enabling changes in urban design. A general work on the reconstruction of Budapest is Siklóssy, László: A Fővárosi Közmunkák Tanácsa története. (History of the of Public Works) Bp. 193 1. Cf. Vörös, Károly: A fővárostól a székesfővárosig. 1873-1986 (From Capital to Royal Seat); Idem: A világváros útja 1896-1916. Budapest története a márciusi forradalomtól az őszirózsás forradalomig. (The History of Budapest from the March Revolution to the Aster Revolution) In: Budapest története. Vol. 4. Bp. 1978. 321-524, 525-775 140 On the notion of 'communal', 'private' and 'privatised' within the proletarising of a tribal culture see Calbucura, Jorge: Legal process of abolition of collective property: The Mapuche case. The Steel Crown. 1996. Nr. 3, 7-22 141 Cf. Winkler, Gábor: Városépítészet a Historizmusban (Urban Design in Historicism). In: Historizmus 1993. 31-48. Podmaniczky had previoiusly been the intendant of the National Theatre; he describes the safety measures that gave rise to a new kind of order in the city divided in two following the burningdown of the court theatre on the Ring of Vienna. Cf. Báró Podmaniczky, Frigyes: Egy régi gavallér emlékei. Válogatás a Naplótöredékekből 1824-1887 (Memories of an Old Cavalier). Bp. 1984. 466 14- See Benevolo op. cit. (n. 135). 'The German middle class as an aftermath of the French Revolution looked towards education as the primary mechanism of social reforms and valued above all training in aesthetics which was regarded by revolutionary politics as a kind of alternative. This class from which the Bildungsbürgertum (the learned and well-educated middle class) was formed considered Classical Greece as the model of virtue, schooling, freedom and self-restraint.' Cf. Bendix, R.: Province and Metropolis: The Case of Eighteenth Century Germany. Ben-David, J. - Clark, T. N. (Ed.): Culture and its Creators. Essay in Honour of Edward Shils. Chicago-London 1977. 119-149. Quoted byTurner, Bryan S.: Recent Development in the Theory of the Body. (1991.) In: Featherstone, Mike - Hepworth, Mike - Turner, Bryan S.: The Body: Social Process and Cultural Theory. London, Thousand Oaks and New Delhi 1995 143 Lötz studied at Marastoni's academy and from 1852 learnt first sculpture and later painting in Vienna. He was a student of Carl Rahl, after Rahl's expulsion from the academy on account of his reforms. See Ybl 1938, 22 ff. On lngres's La Grande Odalisque the erotics of wealth and nudes intertwined in front of the eyes of the spectator, Fabienne Falluel gave details on the depicted scarf during the lecture that was arranged in connection with the BTM's exhibition entitled Accessoires in the French Institute of Budapest in 1999. 144 Cf. MTA Ms 5006/14. fol. 20 141 The proposal of the minister of the interior was adopted by the general assembly of Budapest on 13th June 1873. The sum offered by the city was 403 200 forints; the sum offered by the Municipal Credit Bank was 250 000 forints and the sum expendable on artistic purposes from the budget of court representation was 1 608 000 forints. In total: 2 261 200 forints. Cf. Az Operaház 1987, 8. 'The regal stairway and salon from where Franz Joseph could reach the regal box is situated on the left side of the building. This was more than just meaningless protocol

—the ruler had covered over half the construction costs from the money allocated to his royal household,' wrote József Sisa. Cf. Sisa 1998, 21 1 146 The medallion portraits of the royal couple, Franz Joseph I and Queen Elizabeth see also JohannNepomuk Geiger: Vorsehung und Vaterlandsliebe, 1858. On J. Axmann's print see Museum of Fine Arts inv.: 42.916 14

' Cf. Warnke, op. cit. (n. 64.) Introduction, with references n. 554. Cf.: Beraldi, Henri: Les Graveurs du XlXe Siècle. Guide de l'amateur d'estampes modernes. Paris (Conquer) 1885-1892. vol. V. I 148 The building of the Opera House was begun in 1873, on the anniversary of Michelangelo's death; the reference to the figure of Night on the Tomb of the Medicis may also be connected to this. On the celebrations of Michelangelo's anniversary see Rodin and Michelangelo. A Study in Artistic Inspiration. Catalogue. 11th June - 30th September 1996 Casa Buonarotti, Florence, 27th March - 22nd June 1997. Philadelphia Museum of Art. Philadelphia 1997 149 On the Bavarian Louis IPs place constructions see e.g. Neumann-Adrian, Michael: Schlösser, Burgen und Residenzen in Bayern. München 1986 150 For Arnold Ipolyi's negative criticism see: Ipolyi 1884; Ipolyi 1885, 20-21 151 Hess 1971, 6 1 Our notion of time encompasses at least two logically different experiences, distant from each other in time and to a certain extent contrary to one another: the notion of repetition, which is also the base for our measuring of time and the notion of non-repetition, i.e. that we are aware of everything living coming to life, aging and dying. This is an irreversible process. Cf.: Leach, E. R.: Rethinking Anthropology. Two Essays Concerning the Symbolic Meaning of Time. London 1961 133 See Stanley, Allen: The Condition of Music. Hess-Ashbery 1971. 4. See also Girke, Hartmut (Der Raum in der italienischen und niederländischen Malerei des 15 und 16. Jahrhunderts. Frankfurt/Main(Bern(New York(Nancy 1984. 41) 15 Cf. the motto from Nochlin. Lötz followed the iconographie subjects of Ingres often in an indirect manner with the 'transcriptions' of Paul Baudry, Alma-Tadema, Lord Leighton and. Connolly talks of the 'erotic intellect' of the paintings of Ingres, op. cit. (n. 38) 17-31 ' A subsequent account speaks of approximately one hundred Cornelia portraits, the explanation for which according to Lotz's words was that 'Cornelia's features are remarkably plastic and are therefore particularly suitable for painting. Features are rarely as plastic as the ends of her mouth turning slightly upwards.' Lotz's words were recalled by László Piri Balás's radio lecture Károly Lötz: Artist and Person. For the text of the programme on 24th July 1933 cf. MNG Adattár inv.: 14.222/ 61/ 25. According to Ybl from 1894 Lötz went on practically all his foreign trips with Cornelia. Cf. op. cit. 56. Articles on Cornelia MNG Adattár inv.: 14.222 156 This tendency also appeared as a concept of arrangement at the Lötz Károly Memorial Exhibition. Műcsarnok. Bp. 1905. See also Ybl 1938, 56f. 157 Károly Lotz's letters to Cornelia in: MNG Adattár inv.: 19.894/ 1977/ 5 and 19.894/ 1977/ 11. "

8 On the achronic ensemble of the Caritas Romana cf. Max Imdahl, op. cit. (n. 9) 123 f.; For the depiction of 'eternal time' in the tradition of Renaissance Cosmographies, cf.: Heninger, S. K. Jr.: The Cosmographical Glass. Renaissance Diagrams of the Universe. San Marino, California 1977. 159 The appointment on 29th June 1882, no. 16.11, yearly 1800 forints, plus 400 forints allowance for rent. Lötz was assigned as the teacher-director of the women's school of painting that was launched on 5th October 1885. Later in 1893 he was given a studio in Epreskert and entrusted with the direction of the newly-opened second master school of painting in 1897. Ybl reports that Lötz was popular among his female students and painted their portraits. 'The lady painters handed over to Lötz the photographs of his pupils bound in ornate Renaissance leather at his celebration on 27th February 1898.' Cf.: Ybl 1938. 50 160 Ybl 1938. 53. Cf.: Flusser, Vilém: The philosophy of Photography

. See also - on the model of the Bouguereau album - Lotz-Album, Bp. 1898. In 1914 Cornelia married Dénes Magassy state secretary of justice, who was the regular protagonist of social news. For the photos taken in the interior of the 1933 exhibition see the MNG Adattár inv.: 14.222 161 On the figures of the Opera House, radiating 'Olympian serenity', Bálás Piri, L. op. cit. (n. 156) About eternal youth conception see recently Heiko, Stoff: Eine Jugend konzepte der Verjüngung von späten 19. Jahrhundert bis ins III. Reich. Köln 2004. Thanks go to Margit Kreiter (Vienna) for her advice. U

'~ Cf. works gone missing from the Royal Hungarian Embassy in Berlin: Háborús veszteségek listája. (List of Second World War Losses). Bp. 1948, 41-43: e.g. Portrait of Cornelia Lötz (185 x 63.5 cm), Portrait of Ilona Lötz (187.5 x 65 cm) and Titania. 163 Cf. Henszlmann, Imre: Az Akadémia palotájának eddigi története. (The History So Far of the Building of the Academy). Kritikai Lapok I. (1862. March 1. No. 1) 10-23. As head of the construction works of the Hungarian Academy of Sciences, Henszlmann studied the building of the Institut Scientifique. Cf. Kemény 1992, 120. See also Marosi 1992, 85-1 17. On the loss of the cultural significance of the Hungarian National Museum cf. Henszlmann, Imre: A Magyar Nemzeti Múzeum. (The Hungarian National Museum) Uj Korszak II. (1866 January, issue 1-5) 3-6, 35-39, 67-71, 102-105. Republished: Henszlmann 1990, 226-240, 460-461. On Henszlmann Cf.: Széphelyi Franki, György; Felzárkózás vagy elzárkózás? - Henszlmann Párhuzamának eszmetörténeti összefüggéseihez (Catching Up or Isolation?). Sub Minerváé Nationis Praesidio, Tanulmányok a nemzeti kultúra kérdésköréből Németh Lajos 60. születésnapjára. Bp. 1989. 92-101 "

l4 'On one half of the whole plot [...] I have designed an apartment block, the larger part of which would directly serve the use of the Hungarian art association, the conservatoire and the doctors' union and in time be converted into a fine arts academy.' Cf. Henszlmann 1990, 211 lfo The intellectual and friendly relation between Bertalan Székely, Frigyes Schulek and Mór Kármán was owed partly to the universitas community that created the 'model school' (ELTE's Trefort Street Model School) and whose 'research' was linked on many levels to the educational programme of the Model Drawing School

—opening in 1871—the University of Technology and the Faculty of Humanities and Medicine. Cf. MTA Ms 5006/10, f. 85-95 6 'Eitelberger director of the Österreichisches Museum für Kunst und industrie set up an art teacher