Bakos Katalin - Manicka Anna szerk.: Párbeszéd fekete-fehérben, Lengyel és magyar grafika 1918–1939 (MNG, Warszawa–Budapest, 2009)

III. KATALÓGUS - 2. HAGYOMÁNYKERESÉS - - Könyvillusztráció

which the Gate of Time (not preserved to our times), the gravestone on the Poplar Island and the Melancholy Corner were to be found. In Polish graphic art of the interwar period, there are not many typically Arcadian landscapes, and similarly to the case of the night-time entertainment in the city, there are numerous examples of it in painting. The Arcadian motifs appear mainly in Eugeniusz Zak's and Wacław Borowski's works. Perhaps this lack can be explained by the inexistence of colour in graphic art, and if colour was present, then it was contrasted with a strong contour, or it was used in the form of flat colour spots, without a trace of light and shade, whereas the Arcadian landscapes have mainly delicate, pastel, even dim colours. This is exactly the kind of effect that can be observed in one of Borowski's lithographs, printed on cream-coloured paper, which made up two small portfolios. As opposed to other representations of this type, in Polish art there are fewer depictions resembling La Baigneuse in the open air, and more images of melancholic young men wearing strange headgear. Paysages polonaises by Konstanty Brandel, a Polish artist working in France, are another example of idyllic landscapes. His landscapes, with cottages and storks, showing thatched cottages, soggy and damaged roads, and - most of all - tall trees, are by no means stylized, they rather remind us of drypoints from a past epoch, and maybe this is why they are full of perfect peace, their atmosphere is even drowsy. Almost a half of each composition is taken up by a clear sky, the few human silhouettes seem more of a Staffage, and - of course - they are not oddly dressed, and they are surely not baigneuses. Brandel's pastoral landscapes are the expression of the artist's longing for the quiet and peaceful Polish village.^

6 11/1. VILMOS ABA-NOVAK (1894-1941) Rest in the Open Air, 1922 Paper, etching; 41.4 x 56.5 cm Inv. No. 1955-4370 N/2. ISTVÁN SZŐNYI (1894-1960) Eliah's Translation, 1922 Paper, etching; 27.8 x 1 7.6 cm Inv. No. 1927-1876 II/3. KÁROLY PATKÓ (1895-1941) Resting Bathers, 1923 Paper, etching; 24.5 x 26.5 cm Inv. No. 1955-4292 M/4. KÁROLY PATKÓ (1895-1941) Picking Fruit, 1923 Paper, etching; 1 7 x 19.7 cm Inv. No. 1925-1622 II/5. ISTVÁN SZŐNYI (1894-1960) Bound to the Soil, 1924 Paper, etching; 33.9 x 24.7 cm Inv. No. 1948-3090