Nagy Ildikó szerk.: Nagybánya művészete, Kiállítás a nagybányai művésztelep alapításának 100. évfordulója alkalmából (A Magyar Nemzeti Galéria kiadványai 1996/1)

Kisházi Zoltán: „Vidéken éltem, Nagybányán, a festők városában" (Tersánszky és a nagybányai festők)

ing a series of great novels and short stories. This is when the Marci Kakuk series was published, which later was translated into several foreign languages. The outward appearance of Marci Kakuk was modelled after the painter Jenő Maticska. At the beginning of the thirties Tersánszky had a one-man show entitled Képeskönyv Kabaré (Picture Book Cabaret); he composed the music, designed the sets, sang and hosted the show. His plays were also staged by several theatres. He won the highly prestigious Baumgarten Award four times between 1929 and 1934. In 1949 he received the Kossuth Prize. Tersánszky was silenced during the dogmatic period of the fifties; only his fairy tales and puppet plays were allowed to appear in literature and the theatre. His talent was once again applauded during the sixties, and his collected works began to be published. His memoirs, Nagy árnyakról bizalmasan (On Great Shadows in Confidence) were published at the beginning of the 1960s and caused a great uproar. His collected autobiographical writings, Eletem regényei (The Novels of my Life), were published by Magvető in 1968, providing an abundant source for his biographers. Despite the fact that Nyugat alone had published 26 important articles by him between 1911 and 1938, Tersánszky 's works on art were not published during this period; even Half-wit was only partially reprinted. Nevertheless, he did not forget his artist friends, nor did they forget him. The old friendships, complemented by new ones, remained unaltered. This study discusses the early and the latter period of Tersánszky's relationship with art, his first great impressions as a young man, the friends in the colourful world of Nagybánya who induced Tersánszky to become involved with fine art. Later, after having become a writer for a nationally acclaimed literary journal, Tersánszky considered it his task to take an active part in the ongoing debates within the artistic community to take sides with ideas or persons. The charm of his personality, a mixture of bohemianism and strict principles, made even his enemies easily forgiving.