Déry Attila: Budapest eklektikus épületszobrászata (Művészettörténet - műemlékvédelem 1 Országos Műemlékvédelmi Hivatal, 1991)

Angol nyelvű összefoglaló

survived the architectural-artistic classicism; and dominated in the education until the beginning of the 20th century. The rising eclecticism was the political apotheosis of the triumphant citizens. The age wished to see his own succès in the frame of renaissance architecture. The architecture of that period accomodated itself to the method of Italian Renaissance in composition and form. The average architectural sculptor of the age had served this demand both in sculpture and fresco-painting. The sculptures on the buildings were generally figures standing on console or in ninche and spandrel. The primitive symbolic sculptures were frequently applied at the end of the 19th century; Gods of the antique world were followed by the allegories of industry, trade, agriculture etc. Vilmos Marhenke and the Szandház broüiers worked as architectural sculptors beside the great architects of the age. The minor architects and contractors were served by the Lack, Kászonyi, Schrödl, Verán, and Vögerl workshops. Those sculptors who couldn't work as independent artists, after a training obtained mostly in Vienna or Munich, generally got to the periphery of the sculptural decoration and the independent artists' circle. There were some of them who joined to classicism - Béla Brestyánszky - oüiers wiüi Italian Renaissance - Leó Feszler, Ede Mayer - but younger artists worked under the influence of Viennese Baroque school of sculpture; Gyula Bezerédi, Gyula Szász, Antal Szécsi. At tiie beginning of the 20th century monumental, allegorical sculptures appeared on the buildings as a reaction to baroque school. We can't rank anywhere Gyula Donath who was an important necropolis-sculptor, and in his art classicist, baroque and modern elements mixed. Ignác Oppenheimer was an average artist with classicistic qualification who served all styles, and made secessionist ornaments in his workshop at the beginning of the 20th century. We neither can rank into any category the neutral works of Antal Szabó's workshop. BEZERÉDI (BROZORAD, BROZOVA), GYULA (Mogyorós, 9. 4. 1858 - Budapest, 31. 8. 1925) He was a qualified sculptor, having a good technical skill. Neo-baroque taste mixed with naturalism in his conservative style. He rose from among all edectical architectural sculptors of Pest with his ability to characterdraw which was based on his knowledge of people and naturalistic mentality of art. Although he might have fought with success for more serious assignments, owing to his excellent social-connections, he was satisfied with less important tasks, knowing the limits of his abilities. He worked as a portrait-maker, architectural-sculptor and genresculptor. BRESTYÁNSZKY, BÉLA (15. 9. 1834 - 1895) Brestyánszky learnt in the workshop of Marco Casagrande. As a young man he was an enthusiast of late classicism melted into neo-renaissance, later his self-demand and independence reached anatomically perfect, neutral solutions. The neo-baroque spirit and extremity of the end of the 19th century were strange for his classic qualification. He was led home, to Hungary by