DOI issue:
No. 240 (March 1913)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21160#0172
Studio- Talk
attention, and the artist was awarded a prize for
it. From the point of view of draughtsmanship it
has some claims to acknowledgment, but the colour
was coarse and glaring—a background of violet,
a bright green sofa bearing a nude woman holding
a many-hued parrot in her hand, while a loud red
curtain added to the glare. A flower-piece by the
same artist was on a far higher plane, for here the
coloration was much more refined.
Oskar Glatz contributed a number of portraits
and some sunny landscapes, his best effort perhaps
being the picture reproduced on p. 150, which has
a certain gracious simplicity, and is particularly
delightful in its atmospheric effect and the charm-
ing rendering of the children. Another artist who
figured well at the exhibition was Josef Manyai,
who was at his best in his landscapes. Cezar
Kunwald sent some clever portraits and other
pictures showing a nice feeling for colour and
arrangement. His treatment is reticent, and he
avoids all superfluous detail. J. Pentelei Molnar
was this tiime represented only by flower paintings,
chiefly roses whose fragrance he was successful in
transferring to his canvas. G. Magyar-Mannheimer,
Bertalan Karlovszky, Moric Goth, Gyula Stetka,
Lajos Szlanyi, A. Edvi Hies, Andor Dudits, Karoly
Palya, Hermine Bruch, Robert Nadler, and Jeno
Major Marothis were all well represented by charac-
teristic works. Tivadar Zemplenyi, who paints
coast scenes and landscapes with a strong and virile
touch, is an artist who understands the varying
moods of mother earth, and has a keen under-
standing for the picturesque.
Louis Mark's Toilette (p. 151) was the only picture
he sent; he has handled the subject very cleverly,
and has been particularly successful in the treat-
ment of the drapery. F. Ervin Kormendi's render-
ing of an old Italian city was very felicitous; L.
Gimes deserves mention for his interpretation
of old peasant women, Odon Szmrecsany for
his pictures of French scenery, Josef Palfy for
his Canal, broad and intimately painted. Other
CIRKVENICA ON THE ADRIATIC '
(Biidapst Academy)
BY TIVADAR ZEMPLENYI
149
attention, and the artist was awarded a prize for
it. From the point of view of draughtsmanship it
has some claims to acknowledgment, but the colour
was coarse and glaring—a background of violet,
a bright green sofa bearing a nude woman holding
a many-hued parrot in her hand, while a loud red
curtain added to the glare. A flower-piece by the
same artist was on a far higher plane, for here the
coloration was much more refined.
Oskar Glatz contributed a number of portraits
and some sunny landscapes, his best effort perhaps
being the picture reproduced on p. 150, which has
a certain gracious simplicity, and is particularly
delightful in its atmospheric effect and the charm-
ing rendering of the children. Another artist who
figured well at the exhibition was Josef Manyai,
who was at his best in his landscapes. Cezar
Kunwald sent some clever portraits and other
pictures showing a nice feeling for colour and
arrangement. His treatment is reticent, and he
avoids all superfluous detail. J. Pentelei Molnar
was this tiime represented only by flower paintings,
chiefly roses whose fragrance he was successful in
transferring to his canvas. G. Magyar-Mannheimer,
Bertalan Karlovszky, Moric Goth, Gyula Stetka,
Lajos Szlanyi, A. Edvi Hies, Andor Dudits, Karoly
Palya, Hermine Bruch, Robert Nadler, and Jeno
Major Marothis were all well represented by charac-
teristic works. Tivadar Zemplenyi, who paints
coast scenes and landscapes with a strong and virile
touch, is an artist who understands the varying
moods of mother earth, and has a keen under-
standing for the picturesque.
Louis Mark's Toilette (p. 151) was the only picture
he sent; he has handled the subject very cleverly,
and has been particularly successful in the treat-
ment of the drapery. F. Ervin Kormendi's render-
ing of an old Italian city was very felicitous; L.
Gimes deserves mention for his interpretation
of old peasant women, Odon Szmrecsany for
his pictures of French scenery, Josef Palfy for
his Canal, broad and intimately painted. Other
CIRKVENICA ON THE ADRIATIC '
(Biidapst Academy)
BY TIVADAR ZEMPLENYI
149