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

Plesznivy Edit: A nagybányai szellem továbbélése: a Gundel család művésztagjai

dere Aufmerksamkeit der beiden ehemaligen Schüler von bekräftigt, mit der sie die Tätigkeit der Gesellschaft Hollósy Károly Lyka und Dezső Rózsaffy bestätigt und Kéve in ihren Schriften verfolgten und bewerteten. Continuing the Nagybánya Tradition: The Artists of the Gundel Family EDIT PLESZNIVY The Bavarian forefather of the Gundels, a family recognized for maintaining and developing the traditions of Hungarian cuisine, arrived in Hungary in 1857 and founded the first Gundel restaurant in 1869. His son, Károly Gundel, took over the management of the internationally acclaimed Gundel Restaurant in 1910; this establishment, situated in Városliget, still bears the name of Gundel. However, the descendants of the family also distinguished themselves in areas other than the art of gastronomy. Some members of the Gundel dynasty became prominent figures in Hungarian art, as well as in the other walks of the country's cultural life. Through their work, the artists of the Gundel family were organically linked to the spirit of the artists' colony of Nagybánya, and of its immediate predecessor, the Hollósy school in Munich. The artistic conception they developed there came to bear fruit in their respective œuvres. With their diverging yet intricately interwoven activities, the members of the family - artists and art lovers, patrons and organizers of art - joined the progressive movements in art, promoting the process of bourgeois development in Hungary by keeping in touch with progressive art circles in Western Europe. Of all the artists of the family, Ferenc Szablya Frischauf had the strongest personality. It was in Nagybánya in the summer of 1898 that he first encountered plein-air painting, the method that came to determine his work for the rest of his life. He followed his teacher, Simon Hollósy, to Munich, where he became the first helper of the master. He continued the pedagogical and artistic heritage of Hollósy, handing down the artistic conception of naturalistic plein-air painting to his pupils in the painting school he ran in Budapest between 1902 and 1912. Szablya made use of his organizing and leadership qualities within the framework of the art society Kéve founded in 1907. The society, which patterned itself on foreign - primarily German and Austrian - models (Salon des Indépendants, Secession of Munich, Schola, Wiener Werkstätte, Ver Sacrum, Pan, fugend) in its structure, as well as in its goals and its publications, was the first to hold the so-called "intérieur exhibitions" in Hungary. The interior of the exhibitions was designed by Szablya and two prominent architects, Béla Málnai and Lajos Kozma. In line with the principles of Gesamtkunstwerk, the paintings were accompanied by sculptures, furniture, decorative objects, masterpieces of folk art and photographs of buildings. This Gesamtkunstwerk approach was also manifested in the variety of art forms practised: there were painters and sculptors, architects and designer artists among the members of the society. Szablya Frischauf

's wife Ernesztin Lohwag, his sister-in-law Frida Konstantin (Lohwag), his cousin János Göröncsér Gundel, as well as the tragic love of the latter, Ilona Máté, all developed the Nagybánya-inspired plein-air concept in Szablya's painting school, and this concept had a decisive influence on their art. János Szablya - Frischauf

's younger brother - was active as an art critic and the managing secretary of Kéve, while his cousin, Antal Gundel, made a name for himself in Hungarian cultural history by working as the editor of the progressive magazine Szerda - the direct predecessor of Nyugat - and by giving generous donations. Pál Szinyei Merse visited the first exhibition of the Szablya school three times. The marked interest of the old master confirmed the claim that the school was continuing the world view and the plein-air conception characteristic of the Nagybánya school. It was the same conception that characterized the paintings of the group centred around Szablya within Kéve. The gesture of nominating Pál Szinyei Merse, Simon Hollósy, István Réti and Károly Lyka as honorary members of the society can be seen as an acknowledgement of Kéve's Nagybánya roots. This bond was confirmed and reinforced later by the distinguished attention of the art critics Károly Lyka and Dezső Rózsaffy, who followed and praised the work of Kéve in their writings.