Imre Györgyi szerk.: A modell, Női akt a 19. századi magyar művészetben (A Magyar Nemzeti Galéria kiadványai 2004/2)

Tanulmányok / Studies - Imre Györgyi: A modell / The Model

Picture Gallery of the National Museum was to 'purchase outstanding paintings made exclusively by artists of the empire', cf. Mátray 1868, 47. The Art Association of Budapest joined the two other associations that supported the Academy in 1855, cf. MTA MKI, MDK A-I-189 / 1-2. The term 'artists' cult' may seem exaggerated owing to the lack of artists (in 1808 5 painters, in 1828 8 pictor academicus and 2 graphic artists worked in Budapest). What is more the artists living in Budapest were divided into 'foreigners' and 'Hungarians', on the subject cf. Fejős op. cit. (n. 99.) 37-47 101 The invitation to the exhibition was to 12 Nagyhíd Street (Bruckgasse). The Academy was at Nagyhid Street 67. MNG Adattár inv.: MMA 1903/1925, and Rados, Jenő op. cit. 226, n. 62, B. Weisz' house. Marastoni himself made suggestions on the judging of the works but asked other 'academicpainters' as well, such as August Canzi, the pupil of Ingres, Bálint Kiss who had received his academic training in Vienna and became the first custodian of the museum's picture gallery, and Friedrich Johann Gottlieb Lieder (Potsdam 1780 - Pest 1859) who had studied at the École des Beaux-Arts in Paris as David's pupil and worked from 1820 in Hungary. MTA MKI, MDK A-I-6 (13th September 1851). 79, 173 102 See also lmre 2002. The plan followed the model of the studio of Antonio Canova (Hoh-Slodczyk op. cit n. 97) at the Canale degli Ognissanti designed by Giannantonio Selva in 1809. Selva (1751-1819) was professor of architecture at the Accademia at Sta. Maria délia Carità. At the same time he made the designs for the reconstruction of the Academy (1807). See Valcanover, Francesco: Les Galleries de L'Accademia, Venise - The Accademy Picture Galleries, Venice. Novara 1959. 4. In Giovanni and Giacomo Marastoni's album in the Collection of the Hungarian National Gallery there are several architectural designs signed by professor Francesco Lazzari, architect of the reconstruction of the Gallery at the Academy of Venice (inv.: F 84.71/ 54-55) We may suppose Marastoni influenced the plans of the reconstruction of his own academy. 103 Péter 1936. 40. 1 Péter 1936, and on his academy see Szabó, László: A művészeti oktatás kérdése Magyarországon 1790-1846 között. (The Issue of Art Education in Hungary between 1790 and 1846). Ars Hungarica 1989/2. 133-145. On the models of Marastoni's academy cf. Imre 2002. Gábor Fejérváry's exhibition space for his art collection in Eperjes was an architectural precedent: opening the dark interiors upwards, he converted the house belonging to the Pulszky family on a Pompeian model, and placed there in 1835 the plaster casts of the frieze of the Parthenon. The copies were ordered by József Dániel Böhm from the negatives in Rome, made when the British Museum bought them in 1816 from Lord Elgin. See Szentesi, Edit: Joseph Daniel Böhm's Parthenon frieze. The Collection of Gábor Fejérváry. Pulszky Ferenc Emlékére, op. cit. (n. 94) 61. See also Pulszky Ferenc: Eletem és korom. (My Life and My Times) Bp. 1958. Vol. I 115 105 Museum in Pesth. Entworfen und Ausgeführt von Michael Polak. Kupfestichkabinett der Akademie der bildenden Künste, inv.: 14475-14485-19/1 10. Plate IV shows the fresco design of the entrance hall, the print on plate VIII features the gallery of busts in the rotunda and on print XI we can see the entrance of the library and the paleontological collection. Plate XI in the MNM's Historical Picture Gallery (TKcs) collection shows the exterior of the building, while plate X the decoration of the assembly hall. Scenes of Hungary's early history later ended up on Károly Lotz's frieze that adorned the corridor, as described by Zádor 1953, 15-16. See also Basics, Beatrix: Eitelberger és a Magyar Nemzeti Múzeum freskódíszítése. (Eitelberger and the Mural Decoration of the National Museum). Klimt, Schiele, Kokoschka - Bécs-Budapest Az áttörés kora 1867-1914. Exhibition Catalogue. BTM / OszK / MNG Bp. 2004. 152. n. 12 106 Kubinyi 1861, 20-21 107 See also György, Péter: Az eltörölt hely - a Múzeum. (The Eliminated Place - the Museum). Bp. 2003 108 On the realised decoration and its symbolical content see Sinkó, Katalin: A profán történeti festészet Bécsben és Pest-Budán 1830-1870 között. (Profane Historical Painting in Pest-Buda Between 1830-1870). M.É. XXXV. (1986) 95-132 109 Realised by the Milanese Rafael Monti on the base of the designs of Pollack and Schaller from Munich. Cf. Zádor 1953, 17 110 Frazer's (1854-1941) book entitled The Golden Bough in which the ethnographer accords psychology with ethnography was first published in Hungary in a separate volume in 1903. The idea is quoted by Cocchiara, Giuseppe: Storia nel folklore in Europa. Torino 1954. Chapter I. 11 ' See also the studies of La Sculpture ethnographique de la Vénus hottentote à la Tehura de Gauguin. Catalogue. Musée d'Orsay. Paris 1994. 112 At the moment of Soliman's death the Abbot Eberle, head of the Naturalienkabinett, notified a prosector and the sculptor Franz Thaller in order to prepare a plaster cast of the body stripped of its skin, carve an identical wooden statue and mount the skin on it. Due to moral pressure the bodies were later taken to the attic where they were displayed until 1848 when they were hit by a bomb and perished without a proper burial. Cf. Dr. Wilhelm A. Bauer: Angelo Soliman der hochfürstliche Mohr. Ein exotisches Kapitel Alt-Wien. Wien, Gerlach Sc Wiedling, 1922. 61-84 113 They published the selected and illustrated writings of travellers such as Bonaparte, Bougainville and Cook; e.g. in 1853-54 the periodicals of Bry Ainé in Paris, in the series of Voyages... (Illustrés par Ch. Mettais et Bocourt.) 114 Quoted by Toldy 1987. 402 See bibliography of Nóra Veszprémi cat. III. I 1 116 See reproduced in Ország Tükre 1865. Cf. Urs Bitterli op. cit. (n. 66.) 394. The ideas of Enlightenment fundamentally opposed this, see the engraving Allegory of the injustice on the differentiation of Races. Musée Carnavalet, Paris. 117 Cf. Winckelmann op. cit. (n. 61) 17 118 Cf. the present study of S. Renner 114 See n. 188. On the different applications of anthropometry in Polykleitus and the 19th century cf. also H. Beck (ed.): Polyklet. Der Bildhauer der griechischen Klassik. Ausstellungskatalog. Frankfurt am Main 1990. 135 ff., 156 ff. Quoted by Belting 2003. 107 f., notes 129 and 23. On Schadow besides his other anatomical readings a note from 1881, MTA Ms 5006/4, 176. In the same sketchbook we can find his notes from circa 1871 on Leda, the painting of flesh and also on the art of Piloty and historical and national painting. 120 On Geoffroy de Sainte-Hilaire cf.: MTA Ms 5006/6. fol. 76b 121 Ybl 1938. 43 1 12 Komárik, Dénes: Feszi Frigyes. (Frigyes Feszi). (Í821-Í884). Bp. 1993. Frigyes Feszi, Károly Lötz and Mór Than were all pupils of C. Rahl besides Alajos Györgyi-Giergl, Rezső Grimm and Mihály Munkácsy, on whose academic reform activity cf. Wagner, Walter: Die Geschichte der Akademie der bildenden Künste. Wien 1967. 153-155. Lötz and Than mastered the painting of murals as assistants to Carl Rahl, cf. Ybl 1938. 31-34, 36. On the murals of the Vigadó cf. also Cennerné Wilhelmb, Gizella: Than Mór. Bp. 1982, cat. 96. Károly Lotz's study entitled The marriage of Prince Argyrus and Fairy Helen made for the Vigadó (oil on canvas; 32,2 x 126,5 cm) perished in the Prime-minister's Office along with his Leda (oil on canvas; 78,6 x 128,8 cm). Reproductions of the surviving works of Ybl 1985 cat. 13. For his cartoons in the MNG inv.: 3544, 3545, 3554, 3555. See also n. 149 123 Cf. Ipolyi, Arnold: Magyar Mythologia. 1854. XXX-XVII. The Arabian Nights were published from 1829 onwards; and the Ossian in 1833. Cf. Toldy op. cit. 405-406. On Ipolyi we quote Kósa 2001, 57 124 See Róheim, Géza: Magyar néphit és népszokások (Hungarian Folklore and Folk Costumes). Bp. 1925. According to the study of Kincső Verebélyi Róheim encountered psychoanalysis 'as early as 1910-1916'. See Verebélyi, Kincső, op. cit. 11. See also her preface of Róheim, Géza: Primitív kultúrák pszichoanalitikus vizsgálata. (Psychoanalitic Study of Primitive Cultures). Bp. 1984. 1 If. 125 See n. 175 126 Csók studied between 1880-1883 here; for his studies see MNG inv.: 1922-927. See also n. 176 127 Cf. Ferenczi, Sándor: A pszichoanalízis felé. Fiatalkori írások 1897-1908 (Towards Psychoanalysis. Early Writings 1897-1908). Bp. 1999 12 For general literature on the subject cf. Kósa 2001. 1 Szilágyi, János György op. cit. (n. 64) 136 quotes Pulszky, Ferenc: On the Progress and Decay of Art; and on the Arragement of a National Museum. Museum of Classic Antiquities 1852 (5) 1-15. Treating the problem from different points of view: Sinkó, Katalin: Ékítményei rajz és festés. (Decorative Drawing and Painting) Mintarajztanoda 2002. 204 ff., and György, Péter op. cit. (n. 107.) On Xántus, see the present writing of Mária Ferenczy. 130 Somewhere at the beginning of it stands the work from 1785 of Pál Ányos, Pauline friar and author, in which he answers the statement of an unknown author in the French literary form of correspondence. Cf. [Ányos, Pál] B. Carberi Anna kisaszszonynak kedvesséhez Írott levele, mellyben megmutatja, hogy: az aszszonyi személyek emberek. Pest 1785. (Miss Anna B. Carberi's letter to her love, proving that women are human. (See OSZK) 131 Cf. Woolf, Virginia: A Room of One's Own. (Hogarth Press 1929, especially ch. 2) 132 B. Hinz discusses the depiction of physiological nudes as part of men's rooms and as the sanctioned portrayer of the power of men. Quoted by: Wolbert, Klaus: Die Nackten und die Toten des 'Dritten Reiches'. Wissenschaftliche Untersuchungen des Ulmer Vereins, Verband für Kunst und Kulturwissenschaften. Hrsg. von Brix, Michael, Herding, Klaus, Hinz, Berthold. Bd. XII. 1982, 42. 133 'Thank God for advanced civilisations! It is a wholly different matter with our European women who stand on a superior level of education and who have been singled out by nature for a noble intention. [...] And as women don't play roles in public domains, don't sit in Parliament and can't vote [...] they cannot be accounted fot publicly.' Herczeghy 1883, X, 33. See also Siklóssy, László: A régi Budapest erkölcse. (The Morals of Old Budapest). Bp. 19722, 133; Dávidházi, Péter: Egy testrész hűlt helye, avagy erotika és elfojtás az irodalomtörténetben. (The empty space of a body part, or erotics and suppression in history of literature). Élet és Irodalom 2004. március 19. 19, 24. A similar research would be interesting in Hungary as Steven Marcus's The Other Victorians. (London 1964) 1,4 Pipics, Zoltán: Az 'Olympus' ostroma. (Siege of the 'Olympus'). Ipolyi Arnold püspök szigorú bírálata 50 évvel ezelőtt Lötz Károly operaházi 'OlympusáróV. MNC Adattár inv.: 14220/61 ./1 6 1,3 Cf. Az Operaház 1987. 11, 19. ff.; see also Ybl 1938, 22 ff., and 205-231. Following the 1848 revolution Paris served worldwide as a model for the clear urban design of 'Haussmannizing' by means of