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

Csorba Géza: A Nagybánya-kép száz éve

Oszkár Nagy's collected works and published a volume on the painter's life-work.

72 This was followed in 1994 by a Dávid Jándi-monograph by György Szűcs and András Zwickl, also published by the Gallery, and their future plans include further works related to Nagybánya. This brief overview only allows mention of those interpretations which based and further motivated the Nagybánya concept surviving to this day. There is no room to touch on themes that should tightly be linked to the subject but need further research, such as the interdisciplinary examination of the phenomena of fine arts, or in part the correlations between the Nagybánya legacy and post-Nagybánya painting.

73 With two exceptions, not even the contemporaneous and subsequent views on the most outstanding of the colony's artists could be touched on. Hollósy had to be mentioned because the evaluation of his personality has been the most widely disputed and recurring complex question of outlook, while Károly Ferenczy is the Nagybánya painter whom each of the most diverse, conflicting and often polarly opposite Nagybánya interpretations assigns a distinguished place often as part of a changing conception and who has thus always stood out of any Nagybánya concept in a halo of unanimous approval. In preparing for the centennial exhibition in the Hungarian National Gallery, our research has aimed to summarize the conclusions accumulated so far. The works themselves, products of three generations, have been widely scattered by now, a considerable part being preserved in foreign collections, but the number of paintings recovered in recent years via the enlivened art trade is also far from negligible. The goal set by the curators of the exhibition was to present a contemporary and subtly shaded image of Nagybánya to the public via the irreplaceable and strongly persuasive force of the works, drawing on as wide a circle of proveniences as possible as well as the rich collection of the National Gallery within the necessary limitations of an art exhibition. Hopefully, the exhibition will also offer help to further refine our concept of Nagybánya. Ferenczy Valér: Tájkép (Nagybánya). 1923-24 Valér Ferenczy: Landschaft (Nagybánya) / Landscape (Nagybánya). 1923-24 (Kat. sz. I Kat. Nr. I Cat. No. 153.)