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Oszkár Glatz
(Pest, October 13, 1872 - Budapest, February 23, 1958) is a Hungarian naturalist painter in the post-impressionist style of Nagybánya. Its strengths are the depiction of figure, movement, plein air painting, the depiction of the intimate unity of the landscape and man, the capture of folk costumes.
Career
Your career beginning
Born as a child of Henrik Glatz and Karolina Fuchs (1844–1905). He first studied in his hometown, then in Munich and Paris. With great enthusiasm, he helped his masters to organize and establish the artists' colony in Nagybánya. Even before or after school, he grabbed his painting equipment and watched it until dark, drawing the motifs of his choice from the landscape. It was corrected by excellent masters, Hollósy, Thorma, Réti, this summer Károly Ferenczy and Béla Iványi-Grünwald were also here.
Glatz has come a long way with small landscapes, but he has also stretched a larger canvas, capturing a group of red-water miners in a multi-faceted composition, a period when they pray before landing in the barn at dawn. Ten or eleven figures stand or kneel in prayer, the rising sun casts its first ray upon them, and draws the blue shadows of the trees on the white wall of the house. The title of the picture is: Praying Miners (1896). Glatz is the first notable result of his vivid observation and pictorial skills.
At the top of his career
In the summer of 1897, in Baia Mare, Glatz discovered a treasury forest on the steep, sloping slopes of Rozsály. The 25-year-old went up more than 1,000 meters in early May, when even snow covered the peaks and didn’t come down there for five months. He created in complete solitude, he could not meet anyone other than the shepherds, forest guards and forest workers who lived there, and sometimes an artist could go up to him or ride on an official tour of a forest treasurer. He painted a lot of pictures, more than twenty, and painted Est on the snow on a large 180.5 x 281.5 cm canvas. image of a huge plein airt.
The scene of the evening in the snow is the top of the Roach. The horizontal line of the roof bends steeply on one side, making the height and mass of the mountain felt. The figure of the Oláh shepherd boy is drawn halfway into the air as he herds his sheep. The last rays of the sun are setting, covering the mountainside of the forecourt, the flock, and the shepherd with fire. At the back, far away, the dark blue mountain giants, the brothers of the Rosary, melt up into a dark violet color with the misty bottom of the eastern sky, which above is painted purple by the farewell Sun.
In 1897 he had a huge success at the exhibition of the people of Nagybánya in Pest, he was praised by the older masters, even the critics, he was rewarded by the audience, he received many portrait orders. Originally Est in the snow c. The picture was taken by the museum in Miskolc, today it is preserved by the Hungarian National Gallery. In the summer of 1898 he visited Baia Mare again, but not among the great mountains, but towards Szilágyság, the gentler, hilly, wooded landscapes. He almost went from village to village, he didn't stay in one place for long, this landscape didn't give him as much experience as the izvor went. Its image yield has also become smaller, the most notable of which is the Wooden Barrels. Work painted on 197x144 cm canvas. Mihály Munkácsy reminds of her theme. to his image, but his picturesque conception is different, the landscape and man appear in harmonious unity. On a hilltop, in front of a gray cloudy sky background, is a silhouette of a peasant woman with a bouquet of roses on her back, a child behind her, with a similar load, in a similar movement.
The audience also received his pictures with great love at the 1898 exhibition, and he also had great success with his writing portraits (Pál Gyulai, Kálmán Mikszáth, Károly Eötvös, Géza Gárdonyi, Zoltán Ambrus, etc.). The grave of Oszkár Glatz in Budapest. Farkasréti Cemetery: 22-1-59
Decades of Workers
After 1898 he did not go to Baia Mare, he painted in Buják, Nógrád County, and became a great painter in Transdanubia and Lake Balaton. 1901 Wrestling Boys. His picture was taken at Lake Balaton. On January 23, 1901, he married Reichenberg, the daughter of Mary Wildner of Wildner, the daughter of Ede Wildner and Mary Löffler. His wife was also a trained painter, painting still lifes, and the couple's first collective exhibition in 1910 was on display at the National Salon. Between 1912 and 1938, he taught at the College of Fine Arts, and in the summer he painted many pictures of Hungarian peasant society. His artistic writings are also significant, he wrote many articles in order to preserve the traditions of Hungarian folk art. After the Second World War, he also tried the trend of socialist realism, and his painting The Distinguished Street Sweeper (1952) became an iconic work of “social realism.”
Death <b
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András Mikola
( Nagypeleske , March 17, 1884 - Baia Mare , July 4, 1970) > Hungarian painter, a prominent landscape painter and master of the second generation of the Baia Mare artists' colony.
At the beginning of his career, he studied law in Debrecen, but it soon became clear that he was “only” interested in drawing and painting. He studied drawing and painting at the Baia Mare Art Colony, then at the Ferenc Szablya-Frischauf Private School in Budapest, and later at the Budapest College of Fine Arts, and went to Paris, the Julian Academy and the Delécluse Academy with scholarships. In the early 1910s, he also traveled to Italy and Germany on scholarships. His masters were Károly Ferenczy, István Réti and Paul Laurens. Abroad, Paul Cézanne's painting had the greatest influence on him, but it was not even the determining factor in his painting, but the traditions of Baia Mare, the plein air, the love of nature and the painting of the landscape. He was an exhibiting artist from 1908, his first exhibition took place in Budapest at the Kálmán Könyves Salon, and then in 1910 at the Műcsarnok. His fresh vision soon appeared in the eyes of experts and the public. In his style, naturalism and impressionism were combined, reflecting the atmosphere of the hilly, wooded landscape of Baia Mare and the blue sky overlying it with color dots and spots of light. It had a special delicate and then increasingly intense color. In the early 1920s he was elected a member of the Pál Szinyei Merse Society, and in 1927 he was unanimously elected president of the Society of Painters of Baia Mare (NFT). Together with János Krizsán, Samu Börtsök and Sándor Ziffer, he corrected the works of the art students of Baia Mare until 1944. They had several excellent disciples, including Lithia Agricola. A II. he lived in retreat after World War II and then re-engaged in art life in the 1960s. The heyday of his creative period fell in the 1910s. His paintings are preserved in the Hungarian National Gallery in Budapest and the Rippl-Rónai Museum in Kaposvár, as well as in many public and private collections in Romania.
From his works
Early spring (oil on canvas, 100 x 111 cm; Hungarian National Gallery, Budapest)
Nagybánya landscape (oil on canvas, 66.5 x 58 , 5 cm; MNG)
Self-portrait (1906; oil on canvas, 100 x 66 cm; MNG)
Sitting Nude (1908)
Study (1910 Portrait) [1]
Zazarpart (1910s oil on canvas, 52.5 x 66 cm; MNG)
At the Creative Street Customs (MNG)
Landscape of Baia Mare (1) (oil on canvas, 64x49 cm)
Landscape of Baia Mare (2) (oil on canvas, 66.5x58.5 cm)
Houses in Baia Mare (MNG)
Summer in Baia Mare (oil on canvas, 65 × 95 cm; privately owned) < br /> Fair on the main square
Edge of the Village (privately owned)
Picture Book (1960)
Volume
András Mikola: Colors and Lights: a Memories of a painter from Baia Mare. With the foreword by Zoltán Banner. Cluj-Napoca, 1972.
Association
Baia Mare Painters' Association (NFT)
Szinyei Merse Pál Society
Awards, recognitions < br /> Meritorious Artist of Romania (1964)
Order of the Star of the Romanian Socialist Republic (1966)
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Béla Balla
(Until 1889 Büchler ?) (Arad, August 24, 1882 - Baia Mare , 1965. ) painter, graphic artist.
Your career You haven't been to school regularly. After the four elementary schools, he became a merchant, then a printer, a glassmaker, a baker, a bricklayer, and finally a tailor. However, leaving all his occupations soon, he devoted all his time to self-education. He started painting at the age of eighteen and a few years later, with the support of several art lovers in Arad, he went to Baia Mare, where he studied for months. He then visited Munich and trained for a longer period here as well. He went on study trips to Florence and Rome. He then worked in his hometown. In 1911 he organized a collection exhibition of his works in Budapest and Arad. From 1927 he stayed more and more in Baia Mare, where he also took part in the life of the artists' colony, and spent the last years of his life there. He painted figural and landscapes in the spirit of the school in Baia Mare.
His works are preserved in the Hungarian National Gallery and several public collections in Hungary and Transylvania.
Sources
László Éber (ed.): Lexicon of Art 1. A-K (Budapest, 1935)
János Szendrei - Gyula Szentiványi: Lexicon of Hungarian Artists 1. Abádi - Günther (Budapest, 1915)
Kieselbach
Data in the catalog of the Petőfi Literary Museum
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István Réti,
István Viser was born ( Baia Mare , December 16, 1872 - Budapest , January 17, 1945). ) Hungarian painter and graphic artist, one of the founding members of the Nagybánya art colony, master of drawing and painting, art historian and teacher of art history.
Life and work
in Baia Mare, Budapest (1913-1945)
His best-known paintings
Bohemian Christmas Eve Abroad (1893) oil on canvas, 145 x 122 cm (MNG)
Girl from Paris (1893) ) oil on canvas (MNG)
Lajos Kossuth at the funeral home (1894) oil on canvas, 54x74 cm (MNG)
Torture (1894) (in Győr)
Sándor Bródy: Silver Goat. illustrations of his work (1896)
Drawings and paintings illustrating the poems of József Kiss (1896-97)
Morning Mood (Version II) (1897) oil on canvas, 130.3x120.2 cm (MNG)
Self-portrait (1898) oil on canvas, 76.5 x 52 cm (Historical Picture Gallery)
Portrait of Sándor Bródy (1898-99)
Portrait of Ferenc Herczeg (1898-99)
Mór Jókai portrait (1898-99)
Army burial (1899) oil on canvas, 196 x 226 cm (MNG)
Sunny landscape with stacks (1900) oil on canvas, 78,5x68 cm (private)
Old Women (1900) oil on canvas, 79.5x65.3 cm (MNG)
Portrait of my mother (1900-1902) oil on canvas 100x87 cm (MNG)
Agitator (1905) oil on canvas 66x68 cm (King Stephen Museum, Székesfehérvár)
Breading (1906) oil on canvas, 54 x 65 cm (Janus Pannonius Museum, Pécs)
Landscape with figure (1906) oil on canvas, 60 x 75 cm (MNG) Afternoon sunshine (Without date)
Room interior (1908) oil on canvas 100x80 cm (Owned by the Museum of Târgu Mureș)
Gypsy Girl (1912) oil on canvas , 80.5 x 91 cm (MNG)
Baia Mare (also referred to as Trench) (1918) oil on wood, 54 x 68 cm (JPM)
Self-portrait (1920) oil on canvas, 45 x 61 , 5 cm (MNG)
Full-length image of Lajos Kossuth (1931) oil on canvas, 255 x 163 cm (MNG)
Self-portrait (1935) oil on canvas, 50.5x40.5 cm (MNG) (1935)
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János Thorma
(1870, Kiskunhalas - 1937, Baia Mare)
"He lived mainly in Berlin until 1918, then settled in Baia Mare, where he became a teacher at the free school. János Thorma famous Hungarian painter and graphic artist János Thorma was born in Kiskunhalas on April 24, 1870. Their family of noble origin - having lost their property - lived a decent way of life as a civil servant 1870, Kiskunhalas - 1937, Baia Mare >) Painter He began his studies at the School of Design as a student of Bertalan Székely at Simon Hollósy in Munich and then at the Julian Academy in Paris. In 1896, he completed one of his most significant works, one of the largest Hungarian historical paintings, The Martyrs of Arad. ába. After its presentation in a separate exhibition, it was finally moved to the Historical Picture Gallery in 1931, and then to the Kiskunhalas Museum. In 1899 he visited Spain and the Netherlands. Rembrandt's influence is reflected in Peace with You. The image of Christ. In 1898, Talpra magyar, dedicated to the main work of his life, was written for twenty years. to his composition (in the Kiskunhalas Museum). One of the best-known works of his subsequent paintings (Between Wagons, 1901; At the End of September, 1903; The Carditators, 1904; won a gold medal. The style of his art is quite complex. He started as a follower of French naturalism, then influenced by Munkácsy's romantic realism, trying to reconcile the principles of romance and naturalism. He has been a representative of the typical style of Nagybánya since the twenties. He was one of the founders of the artists' colony in Nagybánya (1896), and from 1902, as a teacher at the painting school, he also served in the field of art education. After 1919 he was the leader of the colony, and his enthusiastic work prevented the complete collapse of the artists' colony after the war. The museum in Kiskunhalas, named after him, preserves his oeuvre. The Hungarian National Gallery preserves several of his works (Kártyázók, Summer, March 15, Taking Back of Buda Castle) and self-portraits ".
Source: www.hung-art.hu