Sz. Kürti Katalin: Vezető a Déri Múzeum kiállításaihoz I. Régi képtár és Új magyar képtár (Debrecen, 1978)

The Old Gallery also contains a still-life by Kálmán Déri, younger brother of Frigyes Déri, who lived in Munich, a small number of sculptures (Miklós Izsó: scaled down model of Csokonai's statue, a scene from common people's life at Vásárhely by János Pásztor, and a neobaroque equestrian sculpture by Károly Senyéi). The majority of coins on display in the glass cabinets were made by Austrian artists (Karl Radnitzky, Drentwett, Anton Scharff, Stephan Meyer), however, we can see here a coin (1823) by the first remarkable Hungarian sculptor István Ferenzy, too. The drawings are by Bertalan Székely and Mór Than. Károly Borcky, who lived in Britain, is represented by a pastel drawing, Mihály Zichy, who worked in the court of the Russian tsar, by a gouache (watercolour, tempera). The New Hungarian Gallery represents the work of the artists' colonies of Szolnok and Nagybánya and also of the group of the so-called Great Plain painters, from the first half of the 20th century. The artists' group of greatest influence at the turn of the century was the Nagybánya Colony. Simon Hollósy and his disciples came to this mountainsencircled town, Nagybánya, in the year of Hungary's millenium (18%) to study here, in the open, the forms dissolving and the colours invigorated in the air, in sunshine. In contrast to the studio-art of the Munich Academy they adopted the method of plein-air, painting in the open. Instead of the gallery tone, their canvases display forms saturated, colour schemes and tones reinforced by sunshine, as well as the ever-changing light effects. The colony led by Simon Hollósy gave home to such artists ar Károly Ferenczy, János Thorma, István Réti, Béla Iványi Grünwald, Oszkár Glatz, István Csók. Déri Museum has a representative work of each of these artists, although not definitely from their Nagybánya period. The New Hungarian Gallery has a representative and, at the same time, embarrassing war-time painting by the lonely giant of modern Hungarian painting, László Mednyánszky (1852-1919). As is known, Mednyánszky, in sympathetic response to human suffering, undertook the role of a war correspondent in 1914. One of his first war-time pictures is the Military Camp painted in 1914. Whereas the aim of the Nagybánya Colony was to rejuvenate Hungarian landscape painting, the most significant artists of the Szolnok colony endeavoured to the truthful portrayal and critical exposure of the life of common people, even if they could not achieve their aims as consistently as later the Great Plain painters. The most significant artist of the colony was Adolf Fényes (1869-1945), who is considered, on the basis of an about 6090