DOI Heft:
No. 57 (November, 1901)
DOI Artikel:Tahi, Anthony: A hungarian painter: Filip E. László
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.22772#0021
Filip E. Laszld
gradually to create a definite art of our own. In as an artist he was soon to show. His first work
his earliest years, while still fully impressionable, was painting porcelain, retouching and colouring
the artist should remain in his own country ; then photographs, and helping to paint theatrical scenery,
let him travel and broaden his views. This gave him a bare existence, and all his spare
Filip E. Laszlo is a notable exception among moments he spent in the industrial art school
the younger generation of Hungarian artists, of Budapest steadily striving to teach himself.
At an age when most artists are still under the Eventually an opportunity came for the lad to
guidance of a master/and have yet shown no signs obtain admittance into the National Drawing
School, where, under the
direction of B. Szekely
and J. Greguss and, after-
wards, of K. Lotz Akt,
he soon outstripped his
fellow - students, and was
rewarded with a scholar-
ship from the State, which
enabled him to pursue his
studies with more leisure
at his disposal. Soon after
this he went to Munich,
and entered A. Liezen-
mayer’s composition class.
His visit to Munich was
twice interrupted by a
half-year’s stay at Julian’s
in Paris, where he studied
under Lefebre and Ben-
jamin Constant. Every
summer he went home and
painted numerous portraits
to provide the wherewithal
for further stay abroad.
During his sojourn in
Munich he produced his
picture Im Hofbrduhaus, a
happy combination of in-
teresting Munich types.
In this he was clearly under
the direct influence of his
master, Liezenmayer; and
the same may be said of
his succeeding works, little
by f. e. laszlo genre pictures mostly of
Hungarian peasant life,
very charming in their
colouring, but a little weak perhaps in drawing and
in modelling, and somewhat sentimental in treat-
ment. In 1891 his A lie Marchenerzahlerin earned
for him a “stipendium” from the “Verein der
Budapester Kunstfreunde.” A somewhat theatrical
Incroyable followed; then came several old Honveds,
which, both in colouring and in general handling,
showed a distinct advance on his previous work.
His first portrait appeared in 1892—that of his
“BARONESS D’ERLANGER ”
of independence or individuality, he can already
look back on a series of successes which have
brought him fame. For popularity and admiration
had fallen to his lot ere he had well passed his
thirtieth year. His early days were not particularly
happy. Born of quite humble parents in 1869 at
Budapest, he was compelled while still a child to
earn his daily bread, his circumstances offering no
suggestion of the rapid and brilliant development
6
gradually to create a definite art of our own. In as an artist he was soon to show. His first work
his earliest years, while still fully impressionable, was painting porcelain, retouching and colouring
the artist should remain in his own country ; then photographs, and helping to paint theatrical scenery,
let him travel and broaden his views. This gave him a bare existence, and all his spare
Filip E. Laszlo is a notable exception among moments he spent in the industrial art school
the younger generation of Hungarian artists, of Budapest steadily striving to teach himself.
At an age when most artists are still under the Eventually an opportunity came for the lad to
guidance of a master/and have yet shown no signs obtain admittance into the National Drawing
School, where, under the
direction of B. Szekely
and J. Greguss and, after-
wards, of K. Lotz Akt,
he soon outstripped his
fellow - students, and was
rewarded with a scholar-
ship from the State, which
enabled him to pursue his
studies with more leisure
at his disposal. Soon after
this he went to Munich,
and entered A. Liezen-
mayer’s composition class.
His visit to Munich was
twice interrupted by a
half-year’s stay at Julian’s
in Paris, where he studied
under Lefebre and Ben-
jamin Constant. Every
summer he went home and
painted numerous portraits
to provide the wherewithal
for further stay abroad.
During his sojourn in
Munich he produced his
picture Im Hofbrduhaus, a
happy combination of in-
teresting Munich types.
In this he was clearly under
the direct influence of his
master, Liezenmayer; and
the same may be said of
his succeeding works, little
by f. e. laszlo genre pictures mostly of
Hungarian peasant life,
very charming in their
colouring, but a little weak perhaps in drawing and
in modelling, and somewhat sentimental in treat-
ment. In 1891 his A lie Marchenerzahlerin earned
for him a “stipendium” from the “Verein der
Budapester Kunstfreunde.” A somewhat theatrical
Incroyable followed; then came several old Honveds,
which, both in colouring and in general handling,
showed a distinct advance on his previous work.
His first portrait appeared in 1892—that of his
“BARONESS D’ERLANGER ”
of independence or individuality, he can already
look back on a series of successes which have
brought him fame. For popularity and admiration
had fallen to his lot ere he had well passed his
thirtieth year. His early days were not particularly
happy. Born of quite humble parents in 1869 at
Budapest, he was compelled while still a child to
earn his daily bread, his circumstances offering no
suggestion of the rapid and brilliant development
6