Hírközlési Múzeumi Alapítvány, Évkönyv, 2006
Rövid tartalmi összefoglaló angol nyelven
was indelibly linked to the successful application or rotogravure printing. He was on the staff of the print shop from the date his was hired in 1928 until his retirement in 1977, and his last stamp design dated from 1980. During his career, he designed hundreds of beautiful stamps, many of which received international recognition. Károly Vagyóczky: Thoughts surrounding Sándor Légrády’s 100th birthday The author presented the third paper of the Sándor Légrády Memorial Year, on October 12, and called it A Stamp Designing Graphic Artist through the Eyes of a Stamp Designing Graphic Artist. The written version covers only a few of the most important thoughts of that presentation. It includes the author’s opinion of the artist, his work in stamp-graphics, and of course, of the era and opportunities in which his fellow artist lived and worked. Noting that he had had several opportunities to meet with Légrády at the start of his career, Vagyóczky remembers his friendly attitude and awe-inspiring appearance, which, he said, had a powerful influence on him as a beginning graphic artist. Vagyóczky believes that Légrády produced the most important and most valuable of his works prior to World War II., in the late 1930s and the 1940s. His personal style was well developed even in this early phase of his career, and it reached its peak in these earlier masterpieces, Vagyóczky writes. Légrády’s oeuvre is connected, monumental, and balanced, and the thematics and brilliant use of the printing technique, rotogravure, reinforces Vagyóczky’s opinion. Erzsébet Angyal: Personality and conformism in Sándor Légrády’s oeuvre as a stamp designer The author concluded the series of presentations marking Sándor Légrády Memorial Year, on November 16. Instead of the customary descriptions of his work one usually hears in commemorations, she chose to focus on the work that only Sándor Légrády produced. She emphasized that he was a graphic artist who did not simply design stamps, but an artist whose primary medium was stamps. His years of creativity in stamp design were unprecedented in length and during this time, his oeuvre was rich in number and outstanding in artistic value. After offering a selection of his published and unpublished stamp designs, Angyal considered it important to underline that Légrády was well aware that the only items in the genre that would be accepted were ones that did not violate the interests of the forces in power. One might even call him a conformist. He compromised for the opportunity to work creatively, for this was the only way he might work in his chosen genre, a genre that became his destiny. However, he knew no compromise when it cam to the quality of portrayal, of execution. He was a true artist. He was willing to be ignored when production of his designs required more expensive techniques than print shop productivity was willing to undertake. As posterity, we must be grateful to him for the many beautiful stamps he bequeathed on us, making Hungarian stamps popular and sought after the world over. Erzsébet Angyal: Children’s Wednesdays at the Stamp Museum The author notes that the Stamp Museum has always been devoted to attracting young people and enhancing the popularity of collecting stamps as a hobby, which clearly broadens 227
