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

Paris 1900) in Munich, though he probably came across his name in Paris during his study trip for the Model Drawing School. Ravaisson was between 1839-46 and 1846-53 the chief inspector of French libraries, and from 1859-1888 the chief inspector of higher education institutes of France. In Munich he studied at the philosopher Schelling. His thesis written in 1838 appeared under the title De l'Habitude (republished: Revue de Métaphysique et de Morale, Vol. 2. 1894, 1-35). Though his philosophical views on the metaphysics of physiology were fundamentally determined by Schelling's metaphysics

—according to Jean Baruzi

—they were also infiltrated by the ideas of Maine de Biran, who made a radical distinction concerning l'Habitude (habitude, temperament, personality) between artistic sensitivity and objective perception. He distinguishes clearly between action and pathos, 'lucid perception' and 'uncertain impressions'. Among all of them gentle transitions, 'subtle nuances', can be identified. Cf. Jean Baruzi: Introduction. Félix Ravaisson: De l'Habitude. Paris 19571838, 1894 {Bibliothèque de Philosophie contemporaine fondée par Félix Alcan) V-XLII. Ravaisson's name was principally preserved by the fact that his philosophy signified for Henri Bergson the starring point for the formulation of his theory on time. Cf. Henri Bergson, Notice sur la vie et les oeuvres de M. hélix Ravaisson-Mollien, ap. Séances et travaux de l'Académie des Sciences morales et politiques, t. CLXI, Pans, 1904 2 De l'Habitude, op. cit. X. For Székely's declaration see: MNG Adattár inv.:20.701/ 1980. 1.67 See Ravaisson: Dessin, Dictionnaire de pédagogie. I

re Partie, t. 1. Paris 1882 Bergson On Ravaisson: 'toute sa vie, a médité la grâce ...qu'il s'agit de l'Amour qui se donne ou de la ligne flexible qui révèle ce que Léonard appelait la "manière de serpenter de chaque chose'".Ci.: Baruzi op. cit. (n. 220) ~~

4 The precept of Lamarckism 'attributes thought the force of producing a physical effect'. Its followers therefore searched for links between body and soul and declared the causality of psychophysics. Cf. Francé, R. H.: A növények érzéki és szerelmi élete. (The Sensual and Love Life of Plants). A darwinizmus mai állása. Bp. 1913. 167 et al. Lamarckism didn't accept the Darwinist principle of accidental and natural selection. Székely noted the following on Hartmann in his 1875 notebook: 'eine lesenswerte Schrift Hartmanns Philosophie der Unbewussten Verteidiger' [Sic!]. MTA Ms 5006/5 225 MTA MS 5006/10. f. 58b. Th. R. Malthus in his 1798 Essay on the Principles of the Population expressed his social anxiety according to which the cause of social conflicts, poverty and segregation is that people reproduce faster than they create the means of their existence. This thought appeared in the 19th-century Hungarian systematizing of schools as the source of danger of education ot 'over-qualification'. Menyhért Palágyi in his article Malthus szelleme (The Spirit of Malthus) (Magyar Figyelő, 19 12. 2. vol. 174-175) writes: 'Malthus's law of reproduction is no more than a mathematical chimera...' According to Lamarckists Thomas Huxley's (1825-1895) principle expounded in his work entitled The Struggle for Existence was false; Pjotr Kroporkin refutes this with the idea of mutual assistance. Cf. Francé op. cit. (n. 224) 197. Székely makes no mention of Kropotkin. Cf. Feszty, Árpádné: Akik elmentek... (Those Who Have Departed). Bp. é.n. (Athenaeum) 72-78 Clair, Jean: Cronos et Mnémosyné. Consideratios sur le'Etat des Beaux Arts. Paris 1983 228 Cf. Bätschmann, O. thought mentioned above, (n. 88) ' Quoted by Bakó, Zsuzsanna: Adatok Székely Bertalan életének kutatásához. (To the Biography of Bertalan Székely). Székely 1999, 43 ,0 Székely quoted Schopenhauer. A compositio tanítása. (Instruction of Composition.) op. cit. (n. 87) " Cf. Szőke, Annamária: Székely Bertalan írásos hagyatéka. (Written Legacy of Bertalan Székely). PhD Dissertation. (I—II.) Bp. 1998. I. vol. 39-43. 113. Szőke speakes on the exhibition cited in n. 85 2,2 Cf. Akt-kiállítás albuma I 925 Cf. István Petrás's documentary photographs in MNG Adattár ltsz: 9658-9662/1958 4 Oberhammer, Vizenz: Le Tableau de plafond dans l'escalier du Kunsthistorisches Museum de Vienne. MNG Évkönyve 1980, Bp. 198 1, 174. Cf. also liges, Walter: Michael von Munkácsy. Leipzig 1899, 64 "

,S Cf. Rippl-Rónai József Emlékezései. In: RipplRónai—

Beck 1957, 30. ff. On this Oberhammer op. cit. (n. 234) 170 6 Cf. Szomory, Dezső: Utazás egy kiállításban. [Travelling in an Exhibition]. Paris, 20 April 1892. MNG Itsz: 51 18/1950.16. I have adopted Marcel Duchamp's expression ('Taste is only a question of the sensory organs and is in no way that of aesthetical emotions'), quoted by Géza Perneczky: Kapituláció a szabadság előtt, avagy a világ átesztétizálása és a 'művészet vége' [Capitulisation before Freedom, or the Aesthetic Transforming of the world and 'an end to art']. Köln 1494, 70 Degas apró emlékeimben. [My Miniature Memories of Degas] Nyugat 1917. II. 631-634 258 On this Rippl-Rónai József 1998, Cat. 23, n. 21 259 MNG Adattár Itsz: 5134/15 "

4U His Oriental collection has been auctioned in the Ernst Museum's Auction Nr. XXXVIII. 1925. 241 Cf. Rippl-Rónai József 1998, Cat. 155 Passuth, Krisztina: Keleti kiállítás a Művészházban [Oriental Exhibition in the Artists' House]. M.E. See (2001) 85-102. Also id: A festő és modellje [Painter and Model]. Henri Rousseau: Joseph Brummer portréja (1909). M.É. See (200 l) 225-248. Miklós Szalay (Zurich) called my attention to both József Brummer, who as a connoisseur and art dealer guided Paul Guillaume the Parisian avant-garde art-dealer towards African art and the work of art connoisseur Ernst Ascher. Cf. also Történelem és művészet [History and Art]. Edina Földessy's interview with Miklós Szalay. Tabula VII. (2004) I. 17-30 ~

4Î The author dates it to 1912, in: Rippl-Rónai József Bp. 1982. 60 244 Cf. Rippl-Rónai József 1911 Cat. V, Room 16; sim: Nude with Back Tutned. Property of MNG, from Baron Lajos Hatvany's collection ~

4J Park with Nudes, Pécs JPM. Cf. also Rippl-Rónai József 1998. Cat 106, 91-111, ill. I, 94 ~

46 Cf. Rippl-Rónai Emlékezései [Rippl-Rónai's Memoirs]. Manuscript. MNG Adattár ltsz: 19.765/ 1977. f. 22 ^

4

' A szimbolizmustól a klasszicizmusig. Maurice Denis művészeti írásai [From Symbolism to Classicism. Maurice Denis's Writings on Art] Trans: Balabán, Péter, Bp. 1983. 25. Cf. Rippl-Rónai op.cit. (n. 235) 34-35 '

4S Cf. Jean Clair op. cit. (n. 6) 249 A Hét. 1902. 15. Cf. also Fülep, Lajos: Kövesházi Kalmár Elza. Művészet VIII (1909) 3. 162-170. Republished in Fülep, Lajos: Egybegyűjtött írások. II. Cikkek, tanulmányok. 1902-1916. Ed: Tímár, Árpád. Bp. 1995. 9-16 ,0 The motion-photographs by Olga Máté See n. 85 -1 ' Geskó, Judit: Paul Gauguin: Mann von den Marquesas Inseln. 1902. In: Zeichnen ist Sehen. Ausstellungskatalog. Hrsg. Geskó, Judit Helfenstein, Josef. Kunstmuseum Bern, Hamburger Kunsthalle. Bern 1996. Kat. 23. 268-269. *" ~ Cf. the letter to Béla Lázár beginning 'Dear Doctor...', from 1905. MNG Adattár: 3651/1939. 6. From 1894 it was the National Salon that otganised individual retrospective exhibitions in Budapest. ' Cf. Passuth, op.cit. (n. 242) 254 Clair's thoughts. See: n. 6