Nagy Ildikó szerk.: Rippl-Rónai József gyűjteményes kiállítása (A Magyar Nemzeti Galéria kiadványai 1998/1)

TANULMÁNYOK / ESSAYS - CSORBA Csilla: Előhívás. Rippl-Rónai József és a fényképezés

CSILLA E. CSORBA Development JÓZSEF RIPPL-RÓNAI AND PHOTOGRAPHY This is probably the first time that both the public and the researchers can encounter Rippl-Rónai s collected photographs and the fact that he also indulged in the new visual technique inflaming the 19th century. He used the photos as antecedents, refreshers of his memory, for his painting and drawing. After Tivadar Csontváry Kosztka, Mihály Munkácsy and Pál Szinyei Merse, the use of the camera is even more striking with József Rippl-Rónai, although from the late 1960s international research has been publishing the photo albums and relevant documents of artists in the spiritual environment or friend circle of Rippl: Lenbach, Stuck, Bonnard, Vuillard, Cézanne, Munch, etc. Some of these artists regarded the photo as the accelerator of the creative process, covering it with historistic decoration in their paintings, others tried to handle it as equivalent to prints. Rippl-Rónai probably learnt photography in Munich or next to Munkácsy in Paris, and enjoyed its advantages and beauty just as his friends did. Since traces of taking or applying photographs were - deliberately or accidentally - erased from his bequest, only scattered data, indirect evidence, a few original photos, writings and analogies can help retrace the photo motifs that Rippl collected and possibly applied creatively.