Őriné Nagy Cecília (szerk.): A népművészet a 19-20. század fordulójának művészetében és a gödöllői művésztelepen (Gödöllői Múzeumi Füzetek 8. Gödöllői Városi Múzeum, 2006)

Folk Art as Reflected in the Art at the Turn of the 19,h and 20th Centuries and in the Art Colony of Gödöllő. Abstracts in English / Angol nyelvű összefoglalók

226 Abstracts in English 226 of scientific classification do not always imply artistic value. The material held in the Collection of Impressions (9062 items) is diverse also regarding the different techniques applied. These serialized graphics include lithography pictures, oleographs, woodcuts, line engravings and steel engravings. There are also a lot of illustrations made for ethnographic publications. Among the post cards constituting more than 70% of the collection, we can find a complete series created by Mariska Undi, the original aquarelles of which are kept in the museum. Collecting objects was a characteristic feature of the artists' working methods greatly enriching the different special collections of the museum (such as the collection of Animal Husbandry, that of Furniture and Means of Lighting, Pottery, Craftsmanship, Customs and Toys, Nutrition as well as Textile and Wear), not to mention their valuable contribution to the monumental undertaking in the beginning of the twentieth century: the publishing of the Malonyay volumes. Two different periods may be distinguished in the activities of the Gödöllő artists. 1.) The beginning of the twentieth century, the "discovery" of folk art, collection work and making drawings for the Malonyay volumes. The "notes" made in the form of drawings are more suitable for the increase of ethnographic knowledge than carefully written studies. That is an explanation among others why so many works made by Árpád Juhász are found in the collection and from a slightly different aspect, why there are so many items made by Mariska Undi. The article of Árpád Juhász on the popular costumes of Mezőkövesd and the writings of Mariska Undi about the glazed stove tiles and the main doors of Kalotaszeg and their drawings prepared thereto mean and mark their ethnographical interest. Some of the mixed technique drawings of Rezső Mihály (1889-1972) may be associated with this first period marked by collection work round Kalotaszeg. The studies painted with tempera of popular costumes created by István Zichy (1879-1951) and the objects collected by him are also chiefly from Kalotaszeg. The ethnographical interest of Mariska Undi and her endeavour to go beyond mere recording and representation could be observed early on. The facts that she has made drawings of object series, that she has set up types, that she has classified the motifs according to the place of their occurrence and that she has written articles point to this. Otherwise, she has also worked in the ethnographic department of the Hungarian National Museum. Her widespread ethnographic collecting trips led among others to Kalotaszeg to the region of Sárköz and to that of Matyóföld. There were two periods in which the drawings and collected objects offered by Árpád Juhász were stored in: in 1913 and in 1917—18. These items were by the way, entered into one single registry book. His more impressive works, the paintings with Matyó subjects were made mainly between 1910 and 1914. The artist collected the objects roughly at the same time when he prepared his drawings and paintings and he applied the motifs he gathered this way mainly in his creations of applied art. The artist's tint-drawing graphical series has been prepared for his theoretical study. 2.) The later period between the two World Wars: in the case of Mariska Undi