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

training-school connected to the institute, dispersing it a few years later, as a pupil and acquaintance of his told him that the education of those starting on the career of art teacher was so poor that it had to expanded. Thus the number of subjects grew by such an extent that neither artistic nor scientific training was available, everything being only half accessible and remaining at a low standard. For this reason he made arrangements that the scientific branches and the knowledge of geometry should be learnt at the polytechnic, while artistic training at the academy of fine arts. The examination in teaching had to be passed in front of a committee consisting of teachers from both the polytechnic and the academy. / The original copied by Keleti was in part this institute. / I recorded the incidences experienced by Eitelberger and handed my government report to Keleti, but nevertheless I cannot stay that I have been able to discern any trace of corrections...' MNG Adattár inv.: 20.701/1980 167 Székely noted the following on Eitelberger: 'From 1853 to 1855 Eitelberger gave lectures at the Academy of Vienna in history of art

—combining it with the history of culture and literature. Though these lectures were greatly edifying, we were not made to pass an exam.' MNG Adattár inv.: 20.701/ 1980 168 Cf. Semper, Gottfried: Tudomány, iparés művészet valamint egyéb írások az építészetről, az iparművészeiről és a művészeti oktatásról. (Science, Industry, Art and Other Writings on Architecture, Applied Arts and Art Education). Bp. 1980, 73. The South Kensington Museum was given a place in the pavilion designed by Gottfried Semper following the opening of the 1851 world exhibition in London. In 1857 it was succeed by the Museum of Ornamental Art and the Art Library, and in 1907 it was reorganised and today forms The Victoria and Albert Museum. József Eötvös, Székely's first patron, Károly Pulszky, Imre Henszlmann and Rudolf Eitelberger v. E. were also present at the opening of the world exhibition. 169 Székely noted the following: 'South Kensington Museum plus school - Lord Ellesmere'. [Sic!] See: MTA Ms 5006/11. See also his writing beginning 'Does art need be taught by the state...': 'Their main institute is Kensington, which is more of a promoter of industry and exerts influence more with the example set by its wealthy collection than its teaching." MNG Adattár inv.: 20.701/1980. XIII 170 According to Székely's note from 1873 it was situated at number 4. Cf. MTA Ms 5005/ 7. fol 1 17 1/1 Science and various rarities were interwoven right from the beginning in the visual aids of universities. Cf. as a precedent Schlosser, Julius von: Die Kunstund Wunderkammern in der Spaetrenaissance. Ein Beitrag zur Geschichte des Sammelwesens. Leipzig 1908. (Monographien des Kunstgewerbes. Hrsg. von Jean Louis Sponsel XI.) From 1834 the Theatrum Anatomicum (anatomy collection) was in the same building as the museum of anatomy and psychology, the museum of natural history, the chemical laboratory and among others the collection of the surgical sciences

—i.e. physics, chemistry and botany as part of the University of Medicine of Budapest. This was also where the wax works donated by Joseph II were exhibited. In 1849/50 the various departments were separated, zoology and mineralogy detached, and in 1858 surgery, the maternity department, physiology and zoology were moved to the so-called Kunewalder house (40 Országút, today Múzeum Bld., ELTE BTK) in place of the University of Technology. In 1878/79 the Institute of Anatomy moved to Üllői Road. Cf. Dr. Hőgyes, Endre: Emlékkönyv a Budapesti Királyi Magyar Tudomány Egyetem Orvosi Karának Múltjáról és Jelenéről, Magyarország Ezredéves Fennállásának Alkalmából. (Memorial Publication on the Past and Present of the Faculty of Medicine of the Royal Hungarian University of Science of Budapest, in honour of Hungary's Millenial Establishment). Bp. 1896. 356-363, 582. On the medieval tradition of the making of wax sculptures see Warburg, Aby M.: Portréművészet és firenzei polgárság. {Bildniskunst und florentinisches Bürgertum. 1. Domenico Ghirlandaio in Santa Trink. Die Bildnisse des Lorenzo de' Medici und seiner angebörigen. Leipzig 1902.) MNHMOSYNH. Aby M. Warburg válogatott tanulmányai. (Selected Studies) Ed. by Széphelyi F., György. Bp. 1995. 100-120 172 Cf. id Pesti Hírlap (Budapest Journal) issue 828 November 28 1881; Pesti Hírlap issue 5, January 5 1882: 'A narrow circle of Budapest painters, sculptors and architects formed recently, convening and making drawings after live models everyday in the school of applied arts. So far a sack-heaver, a stone mason, a tight-rope walker and yesterday two soldiers have posed.' Among the painters the article mentions Károly Lötz, Gyula Aggházy, Artúr Tölgyessy, József Molnár and Tivadar Feledi; among the sculptors Gyula Szász, Alajos Stróbl and Lajos Muderlak; from the architects [Béla] Benczúr, Albert Schikedanz and Kálmán Györgyi. I would like to thank Zsuzsa Farkas for calling my attention to this item of news. 173 After Szent Rókus Hospital Dr. Pál Plósz became a professor's assistant and later a private teacher at the clinic of János Wagner and the Demonstration Hospital (2 Újvilág Street, today in the area of Puskin cinema), and from 1872 was appointed teacher of physiology and pathological chemistry at the university of Kolozsvár. Ede Szilágyi worked a doctor at the Surgical Operation Institute (40 Országút, see above). Cf. op. cit (n. 171) by Hőgyes and Győri, Tibor: Az Orvostudományi Kar Története 1770-193.S. (History of the Faculty of Medicine 1770-1935). Bp. 1936. 166 174 Cf. Keleti 1879.; MTA Ms 5006/ 18. fol 62., 64., 79. From the semester of 1897/98 art students attended the lectures of Dr. Kálmán Tellyesniczky at the Institute of Anatomy. Cf. Dr. Tellyesniczky, Kálmán: Művészeti boncolástan. (Artistic Anatomy). Az emberi test formáinak ismertetése művészek és a művészet iránt érdeklődők számára. Bp. 1900. 16. Cf.:A Budapesti Magyar Királyi Tudományegyetem Almanachja. (Almanach of the Royal Hungarian University of Science in Budapest). Budán 1873. Dr. Plósz's later titles in Kolozsvár feauture in Székely's notes. See also: MTA Ms 5006/14. f. 1, 36, 8 1b-82a 17 Székely noted the names of the gynecologists Dr Mezei, Weiss and Réth. He wrote on Ludwig Hevesi who in 1875 was living in Vienna, engaging himself with optics.; On Dr. Kármán cf. MTA Ms 5006/6; In 1878 he gives an account of Marey's La méthode graphique... (MTA Ms 5006/1 1). Around 1880 on Dr Hirt [Hyrt], Dr. Langenauer, the iconography of Ripa, the anatomical plaster-casts exhibited in the Albertina of Vienna, on Chauvillard's book on perspectives, the structure of the eye and Schmidt Rimpler's book: Der Ausdruck im Auge und Blick cf.: MTA Ms 5006/14.

ff. 1, 36, 8

lb-82a. A larger part of the books mentioned in the notes can be found among the oldest acquisitions of today's library of University of Fine Arts. Dr. Mór Kármán held pedagogic and didactic lectures 2-3 lessons a week for the art teacher students. Cf.: M.D.K. C.-I.-l./ 14. f. 3 Székely made notes from Kármán's study entitled A pedagógia alapvetése (The Fundaments of Pedagogy) published in the gazette Magyar Tanügy (Hungarian Public Education) cf. MTA Ms 5006/ 10. fol. 63-64.: 'Article no. I January 1877 I article no. 11. 1878 first n book' Székely outlines in a table Kármán's pedagogic strategy. Mór Kármán supplied Székely regularly with philosophical, pedagogic and psychological literature and subjects like physiology, phychology or even the Talmud. Cf. MTA Ms 5006/6 (1875). Around 1878 he was engaged with the expression of emotions (MTA Ms 5006/ 12. fol. 171) and was probably familiar with the article published in the M. Természettudományi Társulat Közlönye (Journal of the Hungarian Society of Natural Science). 1873. (V. vol. 179-192) by Darwin, entitled On Laughter. Excerpt from Darwin's book: The Expression of the Emotions in Man and Animals. London, Murray 1872. MTA Ms 5006/6. Among his notes on books (MTA Ms 5006/6) on the female sex we can find Eduard Reich's book entitled Studien über die Frauen (Jena 1875) (f. 59b); several other books on anatomy, for instance: 'Cuvier: Leçons d'anatomie comparé' is also featured, (f.77) 17é Jenő Gyárfás completed Summons to the Corps after his studies in Munich in 1881. Previously he too attended the Model Drawing School, where he was taught among others by Bertalan Székely, a graduate of the Munich school. Csók studied here between 1880 and 1883, for his sketch see MNG inv.: 1922-927 177 Cf. n. 31 on Éva Bicskei's study. Subsequently several pupils noted down his lecture on anatomy: p.e. Kiss, Lajos (see Cat. IV-19), Végh, Endre (1887) or Miroszláv, Ruby: Festészeti Boncztan. (Anatomy in Painting) (See Székely 1877) 178 He met Hans Makart (Salzburg 1840 - 1884 Vienna) in Munich at Piloty's. Makart lived from 1866 in Vinna and became professor of the Academy of Vienna in 1879. Székely paid him a visit on his 1878 study trip. (MTA Ms 5006/11. f. 20.) It was following this that Makart asked Székely to take on the teaching of life drawing and painting, which eventually failed due to Makart's death. Cf. A mintarajztanodánál használt szabadrajz tanítási mód. (Teaching method for free-style drawing at the Model School of Drawing) /lecture/ MNG Adattár inv.:20.

701/1980. 179 Cf. Székely XIII. VK. 180 Aristotle Poetics on the genre of tragedy n. 21 181 'If [...] we apply to a model in the open air the procedure we would use in the case of a picture of a lit model in dark environment and quickly paint it as a colour sketch

—it may be correct, but painting the picture out in the open is unnecessary, for the suggestive, direct impressions render all kinds of immersion and artistic quality impossible.' He later adds: 'The tranquillity of the studio is required and should not be disturbed by hurrying or any other troublesome condition characteristic of the outer world.' Cf. Székely XIII. VK. 95 182 Székely XIII. VK. 96 183 Cf. Aristotle op. cit. 10. Székely launches into the theme in a similar fashion. 'If we raise the question: what do we prefer to see painted the subject or its handling? / People are happy to see the painting of reality if they are connected by pleasant associations to the subject of the picture. [...] However, people would be even more interested in chosen objects if they are to be found in interesting situations and presented artistically in an interesting way. The focal point here lies in the person of the artist choosing the subject.' Cf.: Székely XIII. VK. op. cit. 92 184 Székely XIII. VK. 91 185 Székely XIII. VK. 95 186 Székely did not scorn saleability: 'Without art dealers artists cannot succeed. Without an art dealer even a celebrated artist cannot support himself (if he were to go on strike against them, wanting to be free, the league of art dealers would drop him)'. MTA Ms 50006/18. f. 81 187 Székely XIII. VK. 95. See also n. 19 1 188 Székely XIII. VK. 97 189 Later on he further clarifies it: '...genre painting is like a ladder on which historical painting can be reached...'. MTA Ms 5006/2. f. 23