{"id":5811,"date":"2024-07-21T17:59:19","date_gmt":"2024-07-21T15:59:19","guid":{"rendered":"https:\/\/szonyimuzeum.hu\/?p=5811"},"modified":"2025-02-22T16:56:22","modified_gmt":"2025-02-22T15:56:22","slug":"uj-festmeny-a-muzeumban","status":"publish","type":"post","link":"https:\/\/szonyimuzeum.hu\/en\/uj-festmeny-a-muzeumban\/","title":{"rendered":"New paintings in the museum"},"content":{"rendered":"

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New Sz\u0151nyi paintings enrich the museum's permanent exhibition. Eight important works are on loan from the Museum of Fine Arts - Hungarian National Gallery.<\/strong><\/p>\n\n\n\n

The works on loan are all of great importance. Some of them have been on display in Zebeg\u00e9ny for years. These include the Friends, the Zebeg\u00e9ny Evening and the Evening panels. For decades, these works adorned the walls of Istv\u00e1n Sz\u0151nyi's former home, but when the maintenance of the gallery changed years ago, the Hungarian National Gallery had them returned to its storage. Now, Zebeg\u00e9ny and the museum have managed to recover these outstanding works. The latest of the eight panel paintings, the painting entitled Bar\u00e1tn\u0151k was painted by Sz\u0151nyi in 1943. It depicts Zsuzsa, his daughter, pondering over an open book, with her friend sitting opposite her, her figure only half visible at the far left. The peasant furniture of Highland origin, which is still on display in the museum, can be recognised in the painting's unique composition. It was bought here by Sz\u0151nyi's father-in-law, J\u00f3zsef Bart\u00f3ky, born in B\u00e9k\u00e9scsaba, after he bought the house in Zebeg\u00e9ny in 1905 as a holiday home. The painting was returned to its rightful place in the Hungarian Room, furnished with peasant furniture. The reader's wavering depiction of Zsuzsa also appears in several Sz\u0151nyi works in the current Father and daughter<\/em> temporary exhibition. The painter often portrayed his growing daughter in this way. He painted Girlfriends during the Second World War, the same year he painted his iconic Garden Bench.<\/p>\n\n\n\n

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Girlfriends, 1943, tempera on canvas<\/figcaption><\/figure>\n\n\n\n

The lyrical beauty of Evening, which is housed in the Great Studio, was also created using the egg tempera technique experimented with in Sz\u0151nyi's mature period and in Zebeg\u00e9ny.<\/p>\n\n\n\n

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Evening, tempera, canvas<\/figcaption><\/figure>\n\n\n\n

The next three paintings, Zebeg\u00e9ny Evening, Landscape on the Danube and Self-Portrait, were made in 1928, the same year as the most successful Zebeg\u00e9ny Funeral, which is on permanent display in the Hungarian National Gallery. In this year, Sz\u0151nyi produced many important works, and we look at these works as the end of his first period. He had been living in Zebeg\u00e9ny with his family for four years, and was committed to the local way of life and painterly themes. The inspiration for his art came from his life in Zebeg\u00e9ny and the things he saw and experienced here. The Danube landscape, village life, his home and family. Despite the honour of a scholarship to Rome in 1929, he could not really make use of it. His stay in Rome lasted only four months, he could not paint there, he had to return home to Zebeg\u00e9ny to reinvigorate his art. <\/p>\n\n\n\n

The self-portrait, painted in 1928, was exhibited in the small workshop that Sz\u0151nyi had used for decades. An interesting feature of the picture is the predominant presence of the colour blue. Sz\u0151nyi often portrayed himself in different ways, in different roles in his self-portraits or multi-figure paintings, here he portrayed himself as a painter, brush in hand, in keeping with his vocation. He began to use the many shades of blue in Zebeg\u00e9ny, experimenting with how best to reproduce the air, the water, the glowing space around him. The dark, ochre tones of the past gradually lightened, and his paintings became increasingly serene and suffused with light. After a while, blue becomes almost the most expressive, the most important colour in his palette, defining himself. Self-Portrait is an example of this self-definition with blue.<\/p>\n\n\n\n

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Self-portrait, 1928, oil on canvas<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Zebeg\u00e9nyi evening, 1928,

oil on canvas<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Danube landscape, 1928,

oil on canvas<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

Painted in 1927, Zsuzsa with the wooden horse depicts three-year-old Zsuzsika in bright pink against a light blue background with her toys. The composition was received with great enthusiasm by art critics of the time. M\u00e1riusz Rabinovszky wrote in the journal Nyugat: \"It unfolds so freely, delicately, freshly, colour by colour, as only happy, harmonious, loving eyes can see the incomprehensible beauty of the world.\" It was in Zebeg\u00e9ny that Sz\u0151nyi began to use lighter colours, as the new subjects of his painting demanded. His daughter Zsuzsa is a frequent subject in his paintings, and he documented her and her brother Peter's growth from infancy, leaving us with one of the most complete bodies of work on children.<\/p>\n\n\n\n

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Zsuzsa with the wooden horse, 1927, oil on canvas<\/figcaption><\/figure>\n\n\n\n

The bridge over the valley of Zebeg\u00e9ny, as an important motif of the place, was one of the subjects Sz\u0151nyi painted several times. In addition to the never tired view of the Danube bend, the Seven Bridges and the train passing through Zebeg\u00e9ny are also in many of his paintings. The expressive, dramatic Viaduct, painted in 1924, is from the point of view of the stream running alongside the bridge. This is one of his early paintings of Zebeg\u00e9ny, dated the year he moved here.<\/p>\n\n\n\n

Several of the paintings on display had to be restored before they could be transported, including the Viaduct. Conservator \u00c9va Berta gave museum staff a glimpse into the Museum of Fine Arts' super-modern conservator's workshop while working on the painting, for which we are very grateful.<\/p>\n\n\n\n

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Restorer \u00c9va Berta working on the painting Viaduct (Viaduct, 1924, oil on canvas)<\/figcaption><\/figure>\n\n\n\n

The last work I have left is the monumental work of 1925, with which Sz\u0151nyi won one of the first prizes at the Nude exhibition at the Kunsthalle in the same year.<\/p>\n\n\n\n

The painting \"On the Mountain Roof\" was painted the year after he settled in Zebeg\u00e9ny. It is an enormous full-length self-portrait in which the artist paints himself doubled over the Danube. One figure is a nude, the other a half-dressed man in trousers and a hat, a village man. The nude is the mythological, allegorical, idealised figure of neoclassical painting, the symbol of Sz\u0151nyi's painting up to that time, while the other, dressed, with the same posture, is in the background and represents the new era of Zebeg\u00e9nyi. According to Sz\u0151nyi himself, he found in Zebeg\u00e9ny everything he needed to develop his art: the landscape, nature and the people who lived with it. Sz\u0151nyi built an idealised world around himself, rooted in reality, and he wanted to capture not only the Danube Bend, but also the natural, rural life and the harmony that went with it, which he thought was pure and unspoilt. The Mountain Roof is an extraordinary work. The portrayal of his own alter-egos in pairs of opposites, the nude portrait of himself, is rare and unique among self-portraits. Sz\u0151nyi's painting could have been the culmination of a lifetime's work, a summary of his artistic credo.<\/p>\n\n\n\n

What is peculiar, however, is that the painting was painted less than a year after his arrival in Zebeg\u00e9ny, as if he knew exactly that this was his final destination, that this was where he imagined his life would end and where he saw this place as an endless source of inspiration for his art. The two figures stand in the landscape above the Danube, like two marker posts, stabbed pegs marking a boundary, signalling that Sz\u0151nyi has arrived and will remain here forever. Life proved him right, Zebeg\u00e9ny had an elemental influence on his art, and he became the painter of the Danube bend.<\/p>\n\n\n\n

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On a Mountain Roof, 1925, oil on canvas<\/figcaption><\/figure>\n\n\n\n

I recommend the renewed permanent exhibition and the temporary exhibition until the end of the year. The museum is free of charge for Zebeg\u00e9ny residents. Everyone is welcome.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Danube Bend in Spring - New painting in the museum!<\/strong><\/p>\n<\/div>\n<\/div>\n\n\n\n

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2024. <\/strong>
17 Jan.<\/strong><\/p>\n<\/div>\n\n\n\n

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On the 130th anniversary of Istv\u00e1n Sz\u0151nyi's birth, the museum's permanent exhibition was extended with a painting that, in terms of its subject matter, has been missing from the series of works presenting Sz\u0151nyi's art. A Spring Danube Bend<\/strong> was recently purchased by the Istv\u00e1n Sz\u0151nyi Foundation with the aim of enriching the permanent exhibition of the museum. The work, which is now in the public domain, fills a real gap, as the museum has not had a panel depicting the Danube Bend before. The painting was presented by Zsuzsa Klemmn\u00e9 N\u00e9meth, chairwoman of the foundation's board of trustees and retired director of the museum. She said that the foundation had long wanted to buy a Sz\u0151nyi painting, but previous attempts had failed. With its lush, bright colours, the new painting represents a mature period in Sz\u0151nyi's painting, radiating the harmony and serenity that gradually became dominant in his pictures from the beginning of his time in Zebeg\u00e9nyi.<\/p>\n\n\n\n

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New Sz\u0151nyi paintings enrich the museum's permanent exhibition. Eight important works are on loan from the Museum of Fine Arts - Hungarian National Gallery. All of the works on loan are of great importance. Some of them have been [...]<\/p>","protected":false},"author":3,"featured_media":7801,"comment_status":"open","ping_status":"open","sticky":true,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"_price":"","_stock":"","_tribe_ticket_header":"","_tribe_default_ticket_provider":"","_tribe_ticket_capacity":"0","_ticket_start_date":"","_ticket_end_date":"","_tribe_ticket_show_description":"","_tribe_ticket_show_not_going":false,"_tribe_ticket_use_global_stock":"","_tribe_ticket_global_stock_level":"","_global_stock_mode":"","_global_stock_cap":"","_tribe_rsvp_for_event":"","_tribe_ticket_going_count":"","_tribe_ticket_not_going_count":"","_tribe_tickets_list":"[]","_tribe_ticket_has_attendee_info_fields":false,"footnotes":""},"categories":[12],"tags":[],"class_list":["post-5811","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-hirek"],"_links":{"self":[{"href":"https:\/\/szonyimuzeum.hu\/en\/wp-json\/wp\/v2\/posts\/5811","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/szonyimuzeum.hu\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/szonyimuzeum.hu\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/szonyimuzeum.hu\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/szonyimuzeum.hu\/en\/wp-json\/wp\/v2\/comments?post=5811"}],"version-history":[{"count":6,"href":"https:\/\/szonyimuzeum.hu\/en\/wp-json\/wp\/v2\/posts\/5811\/revisions"}],"predecessor-version":[{"id":9549,"href":"https:\/\/szonyimuzeum.hu\/en\/wp-json\/wp\/v2\/posts\/5811\/revisions\/9549"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/szonyimuzeum.hu\/en\/wp-json\/wp\/v2\/media\/7801"}],"wp:attachment":[{"href":"https:\/\/szonyimuzeum.hu\/en\/wp-json\/wp\/v2\/media?parent=5811"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/szonyimuzeum.hu\/en\/wp-json\/wp\/v2\/categories?post=5811"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/szonyimuzeum.hu\/en\/wp-json\/wp\/v2\/tags?post=5811"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}