Lumini si culori/Lights and Colours [antikvár]

Colonia artisticá de la Baia Mare - un model The Nagybánya Artists' Colony - a modelGyörgy SzűcsConceptul semnificatie aproximareîn cercetarea fenomenului artistic $i a Coloniei de artâ de la Baia Mare/Nagybánya istoriografia de artâ poate adopta doua modalitati interprétative. într-un sens res-trâns - având la bazâ conceptiile estetice redactate eu câteva decenii mai târziu de István Réti, unul dintre fon-datorii coloniei $i a çcolii de artâ - Baia Mare desemnea-zâ arta çcolii libere condusa de Simon Hollósy, respectiv a primei perioade bâimârene, pornind de la 1896, în esentâ varianta maghiarâ a unui naturalism pleinairistic cu elemente de impresionism. în volumul intitulât Colonia artística de la Baia Mare (A nagybányai művésztelep), elaborat dupâ 1935, când Réti a fost îndepârtat de la postul de rector al Academiei de Arte Plastice, $i apâ-rut postum în 1954, autorul realizeazâ un çir de biografii artistice în care include si pictorii generatiilor succesive, §i anume Jenő Maticska, Sándor Galimberti, András Mi-kola, Sándor Ziffer, Csaba Vilmos Perlrott din a doua generare, respectiv István Boldizsár, János Pirk din a treia, cu o mentiune plinâ de regret privind îndepârtarea aces-tor tineri talentati de la conceptul initial Baia Mare.Interpretarea în sens larg, fára margini"a fenomenului se leagâ de faptul câ la începutul anilor 1990 s-a manifestât un sporit interes pentru activitatea coloniei artistice, $i mai ales a pictorilor din generadle tinere de la începutul secolului 20. Expozitia retrospectiva de la Galería Natfonala din Budapesta, organizatâ in 1996 a corespuns acestei exigente, etalând arta de la Baia Mare de la premisele ei din anii 1890 pânâ la des-fiintarea Societâtii Pictorilor Bâimareni în 1937, respectiv punând un accent deoasebit asupra lucrârilor de graficâ neglijate anterior. Numarul relativ mare al exponatelor, prezenta unor lucrâri aparent fara importantâ sau scoaterea la ivealâ a unor pictori mi-nori, a caror opera a construit tema cercetârilor din ultimii ani (Dávid Ján-di> Oszkár Nagy, Tibor Boromisza, Hugó Mund, Gizella Dömötör), ca $i ex-The concept meaning and approachArt historical research on Nagybánya art and the artists' colony follows two trends. " Nagybánya" in the narrower sense - primarily based on the aesthetic worked out decades later by one of its founders István Réti - denotes the type of free school run by Simon Hollósy in Munich and the art of the first period beginning in 1896, that is to say essentially the Hungarian version of plein-air Naturalism with impressionist elements. In his book The Nagybánya Artists'Colony, which was only published after his death (1954), he discusses biographically the art of the second (Jenő Maticska, Sándor Galimberti, András Mikola, Sándor Ziffer, Vilmos Perlrott Csaba) and the third generations (István Boldizsár, János Pirk) which began after the First World War. But, apart from recognising their talent, he regretfully observes that they departed from the original Nagybánya principles. At the end of the thirties, when the book was being written, Réti had just left the professor's chair of the Academy of Fine Arts in Budapest (he was rector until 1935), and his manuscript, which had been maturing for years and was increasingly added to up until his death, became a summary of the original "spirit" of Nagybánya; at once a memoir, a professional art history, and the justification of a personal crusade.In the 1990s a great deal of interest was shown in the art of the Nagybánya artists' colony, primarily that of its second and third generation. The 1996 retrospective exhibition (The Art of Nagybánya) represented a wide, and for many "dispassionate", interpretation of the Nagybánya concept. The show held in the Hungarian National Gallery, discussed the history of the artists' colony from its precedents in the 1890s until approximately the break up of the Nagybánya Painters' Society (1937). The last exhibited Pirk picture was dated 1944. It put greater emphasis on the autonomous graphic genres which until thenSimon Hollósy cu elevii sâi, cca 1896 Simon Hollósy with his pupils, ca 18967