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

TANULMÁNYOK / ESSAYS - SZINYEI MERSE Anna: Rippl-Rónai Franciaországban és kapcsolata a Nabis csoporttal

adjusted to various contemporary trends synchronously and organically, yet he preserved his creative sovereignty all the time. In 1895, the Société Nationale de Beaux-Arts chose him as an associe in 1895 and a societair in 1899, together with Maillol and Ranson. However, the recognition came too late, and more importantly, did not bring financial security. For years, he had hardly been able to sell anything. He had to realize that despite all his efforts, he remained a curiosity in Paris: the enormous "over production" in art neglected foreigners in the first place. Thus he decided to settle at home. In the summer of 1900 he said farewell to his beloved Neuilly home, but he was never to foreget his experiences in Paris. Themes shared with the Nabis were often to crop up in his subsequent œuvre. He revived the synthesizing decorativeness of his Nabi period in an utterly novel way around 1907, and at the same time became a distant relative of the Fauves by preserving his individuality. Just as he never gave up his Hungarianness in Paris, "le Nabi hongrois" remained French-like in Hungary. That is how he became the link between the two cultural spheres.