Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 105. (Budapest, 2006)
ANNUAL REPORT - A 2006. ÉV - VILMOS TÁTRAI: Titian and the Venetian Madonna
who studied in Venice even after the inevitable influence of Titian were able to create an independent and personal artistic language. The exhibition promoted the restoration of two works of art. This was the first time the public was given the chance to see a good quality copy of the London painting from the seventeenth century, cleaned for the occasion. Another painting also cleaned for the exhibition was The Virgin and Child with Mary Magdalene, from the Pyrker Collection, which is an eighteenth century copy of a late Titian painting in the Hermitage Museum. Its staging was all the more justified as the original Saint Petersburg painting is a version of the newly attributed Budapest Titian. However, the removal of the subsequent layers of paint from the Pyrker painting revealed such a state of deterioration that it was not worth retouching it, thus the public were only able to see the deteriorated copy. Another work was put on display but not included in the catalogue: a copy of his Deposition, painted in 1559, and probably made during Titian's lifetime. The chamber exhibition was completed with a photographic documentation accompanied by short explanatory notes of the restoration works on the newly discovered Budapest painting (which since then has been deposited in the Museum and displayed in the permanent exhibition). Zsuzsa Hudák, the curator's assistant as organizer, made a major contribution to the staging of the exhibition. The interior plan was the w r ork of NARMER Architectural Studio, under the supervision of Zsolt Vasáros. Vilmos Tátrai NOTE 1 Vilmos Tátrai, "Una novità tizianesea in Ungheria", Arte Cristiana XCIV, no. 832 (2006), 33-40.
