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
42 Fülep op.cit. 398. 43 Kállai, Ernő: Új magyar piktúra [New Hungarian Painting] 1900-1925. Budapest 1925 44 Kállai op.cit. 35. 45 "Hollósy and our naturalists preserved the full corporeality of the form... even our greatest Impressionism insisted on it... The atmosphere of our Impressionist pictures is thus thicker, the corporeal frame has greater plasticity and materiality" (i.e. as compared with the products of French Impressionism fed by bourgeois individualism). Kállai op.cit. 31. 46 "In the development of more recent Hungarian painting, the central problem was for a long time to rearrange Naturalism in expressive and constructive terms and set it in a compositional frame." Kállai claims that "the Hungarian followers of Cézanne, with an exception or two" did not comprehend the true essence of French painting, its tectonics, that is "when aiming at painting the essence of nature, they subconsciously sought for links in the distant past by stressing the weight, intransparent mass, clear unequivocalness of their spatial location. They reached back to the Renaissance which applied this plastic representation as the typical artistic expression required by a new awareness of the world and a new consciousness". Kállai op.cit. 49-50. 47 Lehel, Ferenc: Nagybánya. In: Nemzeti Művészet 1934, 153-162. 48 "The most absurd statement of the Naturalist doctrine is that a natural representation has no style, that stylistic representation is unnatural... The form of representation of Nagybánya , just like that of Barbizon or Haarlem, has style similarly to that of Byzantium or Egypt, which is natural, or at least, exerts a persuasive effect." Cf. Lehel op.cit. 156. 49 Lehel op.cit. 154. 50 Lehel op.cit. 154. 51 Pogány, Gábor O.: A magyar festészet forradalmárai. [The Revolutionaries of Hungarian Painting.] Budapest n.d. [1946] 52 Pogány, Gábor O.: A nagybányai iskola. [The Nagybánya School.] In: Szabad Művészet 1948, 76-83. 53 Kassák, Lajos: Képzőművészetünk Nagybányától napjainking. [Our Fine Arts from Nagybánya to Our Days.] Budapest 1947. 54 Kassák op.cit. 7. 55 Németh, Lajos: Hollósy Simon és kora művészete [The Art of Simon Hollósy and His Age]. Budapest 1956. 56 "Hollósy ... left behind the bourgeois world view which made him break with the Nagybánya painters... having arrived at plebeian-democratic revolutionariness, Hollósy could no longer stay in Nagybánya, in an artists' colony withdrawn into noble isolation from the social struggle." Németh op.cit. 64. 57 Aradi, Nóra: Réti István. Budapest 1960. 58 The post-1945 bibliography of monographic works related to Nagybánya was compiled by György Szűcs. See Réti 1994 2 , 185. 59 Painters of Nagybánya. Hungarian National Gallery. Exhibition catalogue. Budapest 1962. (Correctly: 1963). Curated and prefaced by László Bényi. 60 Passuth op. cit. 61 Passuth op.cit. 67. 62 Szabó, Júlia: A magyar aktivizmus művészete. [The art of Hungarian activism.] Budapest 1981, 33. 63 Art Historical Research Group of the Hungarian Academy of Sciences. The conference of the Research Team of the Turn of the Century titled New Aspects Raised for the Evaluation of Nagybánya. November 28, 1972. Opening lecture by Nóra Aradi. Manuscript. Hungarian National Gallery, Department of Painting 64 Magyar Művészet [Hungarian Art] 1890-1919. Ed. Németh, Lajos. (The History of Hungarian Art. Ed. Aradi, Nóra) Budapest 1981. I— IL Authors of the chapters related to Nagybánya are: Nóra Aradi, Mária Bernáth, Lajos Németh, Krisztina Passuth, Katalin Telepy. 65 Mezei, Ottó: Nagybánya. A hazai szabadiskolák múltjából [Nagybánya. From the Past of Hungarian Free Schools.] Budapest n.d. [1983] 66 "It is obvious", Mezei writes in the introduction, "that we are faced with the arbitrary limitation of the circle and significance of the Nagybánya movement and Nagybánya painting, and although on a few occasions he proved tolerant towards the fertilizing effect of the younger ones, he actually regarded the painting of a narrow group as genuine Nagybánya art." Cf. Mezei op.cit. 6. 67 Mezei op.cit. 39-40. 68 "For the above reasons (i.e. Réti's attempts to cabin the painters' colony in terms of outlook) caused Hollósy's premature leave... Obviously, Réti was unable to agree with Hollósy's open-minded art pedagogy and attitude, with his tolerance deviating from the original Nagybánya interpretation of nature, or with his organizational efforts running counter to the official artists' organization." Cf. Mezei op.cit. 76. 69 Nagybánya 1992 70 The proceedings of the conference appeared in a volume titled Tanulmányok a nagybányai művészet köréből [Studies on Nagybánya Art]. (MissionArt Gallery) Miskolc 1994. 71 Op.cit. 27. 72 Kishonthy, Zsolt-Murádin, Jenő: Nagy Oszkár. Exhibition catalogue. (MissionArt Gallery) Miskolc 1993. 73 The latter, as indicated several times in the main text, was discussed by research literature earlier as well. The summarizing assessment of the theme can be found in Géza Perneczky's A Gresham és köre [The Gresham and its Circle], an appreciative review of the Székesfehérvár exhibition. In: Képzőművészeti Almanach. Budapest 1969, 18-24. Focussing more precisely on its relationship with the Nagybánya tradition, Rózsa Köpöczi looked into the question lately in her research study A "poszt-Nagybányaiság" kérdésköre, különös tekintettel Szó'nyi István művészetére [The Problem of "Post-Nagybányaism", with special regard to the art of István Szőnyi], made upon commission by the Hungarian National Gallery in 1993. Manuscript.
