Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 105. (Budapest, 2006)

ANNUAL REPORT - A 2006. ÉV - MARTON OROSZ: Sea Battles: The Painter's View in the Art of Veronese, Turner and Kandinsky

SEA BATTLES: THE PAINTER'S VIEW IN THE ART OF VERONESE, TURNER AND KANDINSKY 1 February, 2006 - 15 March, 2006 Curator: Ferenc Tóth ERZSÉBET TATAI. SEA BATTLES: THE VIEW OF PAINTING IN THE ART OF VERONESE, TURNER AND KANDINSKY. BUDAPEST 2006, HUNGARIAN AND ENGLISH TEXT 58 PP., 24 COL. ILLS., ISBN 963 7063 18 8 The second chamber exhibition of the series "Geniuses and Masterpieces" introduced a special genre: that of sea battles. The curator of the exhibition, Ferenc Tóth, had at his disposal three outstanding works in the history of painting from three different museums, which are regarded as the finest of their kind. These three pictures w

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ere placed next to one another and stood at the centre of the exhibition, both physically and intellectually creating a dialogue-space: Paolo Caliari Veronese: Allegory of the Battle of Lepanto (Venice, Accademia), Joseph Mallord William Turner: The Battle of Trafalgar, second sketch (London, Tate Britain), and Vasily Kandinsky's Improvisation 31— Sea Battle (Washington, National Gallery). These three, chronologically consecutive works of art are stages of a process that attested to how these painters had detached themselves from those traditions which evoke the work of the great masters, and to the way they started to represent natural phenomena relying solely on their observation of nature. At the end of this process, told by the three works as a historical tale on painting, it can be seen how the painters reached the stage when their artistic tools became independent characteristics. The typical features of the sea battle theme (the sea, the sky, the dynamism of the picture) perfectly illustrated this development. PAOLO VERONESE: ALLEGORY OF THE BATTLE OE LEPANTO. VENICE. ACCADEMIA