Art and Hunting

A RT and H U N T I N G

Artworks from the Collections

the Museum of Fine Arts and the Hungarian National Gallery

A rt and H u n t i n g

Selected Artworks from the Collections of the Museum of Fine Arts and the Hungarian National Gallery

the publication was produced on the occasion of the exhibition

Art and Hunting Selected Artworks from the Collections of the Museum of Fine Arts Hungarian National Gallery, which is an art event accompanying One with Nature World of Hunting and Nature Exhibition

C

n: Zsuzsanna dobos, Adrienn prágai

desCription of tHe Artworks: ildikó bacsa, bianka boda, Zsuzsanna boda, Csaba bodnár, szilvia bodnár, georgina Csető, Zsuzsanna dobos, Adél domány, Ágnes ferenczi, péter József gaboda, Miklós gálos, Annamária gosztola, dorottya gulyás, Csaba Hertelendy, Zoltán kárpáti, nikoletta koruhely, Anna Zsófia kovács, szilvia lakatos, Adriána lantos, rebeka Mrázik, Adrienn prágai, orsolya radványi, Zoltán suba, Judit szeifert, Miriam szőcs, bernadett tóth, Márton tóth, Zsófia Vargyas

edited by orsolya radványi

Copy editors: Judit borus, noémi böröczki

trAnslAtion: steve kane grApHiC design: balázs Czeizel

reproduCtions: gellért Áment, Zsuzsa bokor, Mihály borsos, András dabasi, Áron Harasztos, Zoltán Hasznos, Mátyás Horváth, dénes Józsa, Judit kardos, péter Makrai, lászló Mátyus, tibor Mester, Vince soltész, Csanád szesztay

restorAtion of tHe Artworks: Éva berta, Mónika Czifra, ildikó Csala, András fáy, dóra fekete, Judit fiam, orsolya gácsi, Viktória gyöpös, Zoltán Hering, orsolya Annamária Hidasiné kohányi, Mátyás Horváth, sándor kispál, rebeka kolozsvári pap, krisztián kovács, Ágota kovácsné gőgös, lászló lehoczki, imre nemcsics, kinga tarcsai

reproduCtion rigHts: © the Authors © Hungarian national bank © Hungarian national Museum © kovács gábor Art foundation, budapest © Matra Museum of the Hungarian natural History Museum, gyöngyös © Museum of fine Arts Hungarian national gallery, budapest © Museum of kuny domokos, tata © petőfi literary Museum, budapest

we owe special thanks for their help in making this book possible: Judit tóth, noémi Varga, dr Annamária Vigh

special thanks for their help in obtaining illustrative photos: balázs bányai, regina bodonovits, krisztina Csizmadia, Ágnes Jónás, gábor Marosvölgyi, Ákos sánta, Anna sidó, Máté stegmayer, lászló szende, Anna szinyei Merse, krisztina szvoboda, frigyes tikovits

responsible publisHer: lászló baán, director general Museum of fine Arts, budapest, 2021

Co n t e n t s

foreword (László Baán) | 7

Zsuzsanna Dobos and Adrienn Prágai introduction | 9

Adrienn Prágai

the nature of Hunting the nature of social representation depictions of Hunting in nineteenth century Hungarian Art | 13

list of illustrations | 46 CAtAlogue s e C t i o n 1 | Hunting gods, goddesses and Heroes in greco roman Mythology | 49

s e C t i o n 2 | Hunters in Hungarian and Hun Mythology | 81

s e C t i o n 3 | saints with deer: saint giles and the patron saints of Hunting | 97

s e C t i o n 4 | the Hunting portrait as a status symbol | 109

s e C t i o n 5 | Chase to the death | 137 s e C t i o n 6 | Hunting still lifes | 203 s e C t i o n 7 | fishing | 223 selected bibliography | 253

1. f e J e Z e t f o r e w o r d

H

unting and art have been inextricably linked since prehistoric times, from cave drawings depicting hunting rituals, through images from the ancient near east, to millennia of european artworks on a plethora of hunting themes A conscious effort to present this link was made by the organisers of the very first international Hunting exhibition held in Vienna in 1910, which established a tradition that con tinues to this day Hunting, and the multifaceted relationship between hunting and art, was most recently the focus of the cultural historical spotlight at the world Hunt ing expo in 1971, which was likewise held in budapest

An extraordinarily rich and diverse array of hunting related depictions can be found in the collections of the Museum of fine Arts and the Hungarian national gallery, embracing a wide variety of themes and genres. the selection compiled for the world of Hunting and nature exhibition hosted in budapest in 2021 presents different as pects of this subject through ninety nine artworks representing every collection of the Museum of fine Arts and the Hungarian national gallery. the works can help us to understand the cultural history of hunting and fishing in europe, its social status, its spiritual content, and its role as entertainment. the album features pieces by such outstanding figures from Hungarian and international art as Albrecht dürer, barend van orley, rembrandt, Jan fijt, Alonso Cano, károly Markó the elder, pál szinyei Merse, János Vaszary, Mihály Zichy and Miklós ligeti, enriching the themati cally based selection with boundless aesthetic quality.

i dedicate this publication to everyone who is interested in some of the more rarely seen treasures of the Museum of fine Arts and the Hungarian national gallery, and who wishes to obtain a comprehensive and varied picture of the wide ranging con nections between hunting and art

Á s Z l ó b A Á n

Director General of the Museum of Fine Arts Hungarian National Gallery, Budapest

i n t r o d u C t i o n

launched in the second half of the nineteenth century and soon gained increasing popularity; while the initial focus was on presenting trophies, taxidermy preparations and weapons, an ever growing part of the exhibition programmes consisted of works of fine art that represented various aspects of hunting. similarly to the world Hunting expo held in budapest in 1971, the international hunting exhibition One with Nature held in 2021 is accompanied by numerous art events. An expanded version of the Art and Hunting exhibition hosted by the Museum of Agriculture, which comprised forty artworks, has been included in this publication. the compilation embraces a period stretching from ancient times until the twentieth century, and offers a wealth of in formation on the different chapters in the history of hunting and fishing and on their cultural significance Hunting is a universal theme found in all the genres of art: be sides mythological and religious depictions, there are aristocratic portraits created as symbols of status, group portraits derived directly from the social customs of hunt ing, genre scenes of hunters on the chase or fishers in pursuit of their catch, still lifes with bagged game, and even individualised, portrait like images of slain beasts or of the animals participating in hunts through the artworks we can trace the constant changes in the function of hunting, from catching prey as a means of survival and traditional methods of hunting to the thrill of the chase enjoyed by the nobility and the practice of hunting as a sport or pastime.

section 1 is entitled “Hunting gods, goddesses and Heroes in greco roman Mythol ogy ” the diverse selection of paintings, prints and sculptures date from the renais sance to the twentieth century, presenting hunting related stories from classical mythology either by following the traditional iconography or by allowing the artists’ imagination greater rein to run free. the main protagonist in the depictions is diana, goddess of hunting and of wild animals, the roman counterpart to the greek goddess Artemis, who appears both as the protector of game and as the hunter of prey. Her encounter with Actaeon, which culminated in the tragic death of the young huntsman, was related by ovid in his Metamorphoses, and the tale inspired countless renaissance and baroque artists the story was just as popular in nineteenth and twentieth cen tury painting and sculpture the widely educated károly Markó the elder was inti

mately familiar with classical literature, and he painted almost a dozen pictures focusing on different episodes from diana’s legend, two of which are included in this volume: in one, the goddess is seen hunting accompanied by her nymphs, while in the other she is together with her love, endymion (cat. nos. 9 10). other works in this section are related to Venus and Adonis (cat nos 2, 7 8) and to the story of the slaying of the Calydonian boar (cat. nos. 1, 4).

section 2 deals with nineteenth and twentieth century Hungarian art related to Hun and Hungarian mythology interest in the legend of the ancient hunters, Hunor and Magor increased further in the mid nineteenth century, when Hungarian history writings (for example, Arnold ipolyi’s Hungarian Mythology of 1854) emphasised the symbolic power of the stag in folk belief, leading to the formation of romantic ideas about the habits and appearance of the “ancient Hungarian” whereas the Hungarian Millennium celebrations of 1896 were based on the symbolism of king saint stephen, at the turn of the century Aladár körösfői kriesch, founder of the artists’ colony in gödöllő, directed attention once more towards pagan belief and ancient national history (cat nos 16 17), themes that remained popular in twentieth century Hungarian art (cat no 22)

section 3, entitled “saints with deer”, presents a selection of depictions of the patron saints of hunting, saints eustace and Hubert, and of one of the fourteen Holy Helpers, saint giles, who is also revered as the patron saint of wild animals. According to legend, placidus, a commander serving emperor trajan, was out hunting when a stag appeared before him with a radiant cross between its antlers (cat. nos. 24, 26). At the sight of the vision, placidus converted to Christianity and assumed the name eustace A similar iconographic tradition emerged around saint Hubert, who lived in the seventh and eighth centuries and became the first bishop of liège, whose vision likewise involved a stag bearing a cross saint giles, meanwhile, is most commonly portrayed with the hind that he saved from a hunter’s arrow (cat. nos. 23, 25). when the national Hungarian Hunters’ Association was founded in 1881, with strong social and political support and Archduke Joseph August as its honorary chairman, it chose as its symbol a stag with a cross between its antlers, in honour of saint Hubert (cat no 27) the theme of section 4 is the “ hunting portrait”, and here the focus is on the social status of hunting and of the hunters themselves Hunting, as we know it in modern european societies and in Hungarian culture, is fundamentally associated with its function as a symbol of status and prestige examples of this are hunting attire, with its distinctive meanings, the displays (catafalques) of prey laid out after a successful hunt, trophies taken from bagged game (such as antlers, horns or tusks), taxidermy preparations, as well as textual (literary) and visual (artistic, photographic) records of specific hunting events. while the accessibility of hunting among different segments of society has contin uously expanded over time, the majority of the artworks shown in this section, pro duced between the seventeenth and the twentieth centuries, are associated with those who, by virtue of their high social rank, could afford to devote their time to the passion of hunting Hunting portraits of royal and imperial rulers, which not only recorded their facial features but also emphasised their military prowess (cat nos 28, 29, 39 40),

and likenesses of members of the aristocracy portrayed as hunters (cat nos 31, 32), dressed in hunting attire and holding a rifle or other hunting equipment, sometimes with the bagged game lying on the ground before them, all demonstrate the excep tionally important role that the image of hunting played in official or social repre sentation one of the most essential attributes that featured in such portraits is the hunting hound. the selection in this section includes representative portraits as well as works depicting the hunter as a character in a genre scene the nineteenth century saw the emergence of paintings that focused on hunting not so much as a demonstration of wealth and power, but as a social event enjoyed by the nobility, thus reviving a type of painting with origins in sixteenth century netherlandish art, namely the group portrait. paintings of groups of people, each of whom was rendered with their own individual likeness, became immensely popular while their overall effect was similar to that found in genre pieces, they were char acterised by a desire to record the given event and its participants as accurately as possible. As such, group portraits of this kind (cat. nos. 35, 36) can be seen as direct forebears of photography

the most popular category of artworks connected to the theme of hunting com prises scenes that depict the pursuit of the game or the kill itself. section 5, entitled “Chase to the death”, offers a taste of the extraordinarily rich body of such works held in the collections of the Museum of fine Arts and the Hungarian national gallery. in renaissance and baroque art, depictions of the most diverse types of wild, often exotic animals (not only stags, wild boar, bears, foxes and wolves, but also lions and leopards, ostriches and crocodiles) were immensely popular, and were sometimes pro duced in series. whereas works of renaissance and mannerist art are characterised by their attention to depicting nature and the hunting culture of the time in metic ulous detail, artists in the seventeenth century partly inspired by the monumental hunting scenes of rubens, which became widely known in the form of engravings (cat no 48) placed their emphasis on capturing a balance between the aggressive and the sublime, on conveying an authentic impression of the life and death battle fought with the game, and on evoking in all its complexity the dynamism of humans and animals in motion. Although a large number of works were produced in which the main theme was hunting itself, from the second half of the seventeenth century onwards it became common for landscapes to be enlivened with almost incidental scenes of hunting, with staffage like figures (cat no 55) A separate group within this section focuses on paintings and sculptures of animals used for hunting dogs, horses and falcons that are at times akin to portraiture (cat. nos. 67, 68, 70, 71). the late eighteenth century, during the reign of king george iii, saw the emergence of a dis tinctly british type of painting, known as sporting art, depicting scenes of hunting or fishing (cat nos 72, 73), as well as the so called meet painting, with its origins in seven teenth century dutch art, that showed hunters and their pack of hounds gathering before the chase (cat nos 74, 75, 76)

section 6 offers a selection of still lifes from among the expansive collections at the Museum of fine Arts and the Hungarian national gallery, including a wealth of masterpieces from the Collection of old Master paintings and from the Collection

of 19th and 20th Century painting beginning in the 1620s, still lifes bearing witness to the success of the hunt, which served a function that was simultaneously decorative and a mark of status, became widespread throughout europe the bagged game, both large and small, was shown either on its own, in the company of hunting dogs, or as part of a kitchen still life the trophies, depicted in an interior or out in their natural environment, were often supplemented with hunting weapons, alluding to the manner in which they were killed the flemish artists frans snijders and Jan fijt and the dutch painter willem van Aelst played key roles in the development of this type of picture, which reached the height of popularity across europe from the mid 1600s and throughout the eighteenth century Contemporary viewers would have marvelled at the paintings for the accuracy with which the distinctive forms of the creatures were depicted, for their sophisticated compositions and their virtuoso execution, and for the painters’ skill at generating the illusion of softness in the animals’ fur and the colourful birds’ feathers At the same time, the sight of dead birds and animals served as a memento mori, a reminder of mortality. the nineteenth-century Hungarian paintings included in the volume (cat nos 85, 99) demonstrate the continuation of the tra dition inherited from seventeenth century dutch painting

i n s e c t i o n 7 w e d e l v e i n t o t h e w o r l d o f f i s h i n g , w h i c h , l i k e h u n t i n g , h a s b e e n recorded in art in a variety of forms from ancient times to the present day these in clude scenes showing the different methods of catching fish, as well as episodes taken from the bible or from roman mythology the selection of works from between the seventeenth and the nineteenth centuries includes landscapes that contain staffage scenes of fishing, genre pieces, and fish still lifes, the latter of which occupy a special place among paintings of prey. images of saltwater and freshwater fish, crabs, shellfish and the like appeared in depictions of the four elements in mid sixteenth century netherlandish art, and were also widespread in northern italian paintings of markets and kitchens. later, from the 1630s on, autonomous fish still lifes abounded, depicting the treasures of the water hauled onto the seashore or the riverbank, or laid out on a kitchen table (cat. nos 95, 96, 97). Although paintings of this kind were looked down upon by the academies of art, they were nevertheless in huge demand the examples shown from nineteenth century french, german and Hungarian art prove that by this time, artists were also concentrating on more striking and unusual subjects on the theme of fishing.

t H e n At u r e o f H u n t i n g t H e n At u r e o f s o C i A l r e p r e s e n tAt i o n

D epictions of H unting in Nineteenth century H ungarian A rt

n

ature is the habitat of wild animals, the place where hunters and game come face to face things have been this way since the start of human history. However, the three way relationship between nature, game and hunter has evolved continuously over the millennia. initially, catching prey was essential for human survival, but as animal husbandry and crop cultivation improved, this function of hunting became less important, and rather than a means of subsistence, hunting became an optional pastime, a passion, a sport, and more recently, a part of forestry management this process of development was accompanied by manifestations of status for example hunting attire, customs, specialist language, and the entire set of practices and also by representations in art what is the relationship between hunting and its visual representation? in early human history, in the lives of primitive peoples, the depiction of the act was part of a ceremony held to assist the hunt. the oldest currently known example of this is a cave drawing of people hunting wild pigs and buffalos discovered on the indonesian island of Celebes 1 significantly, the panel also depicts therianthropes, beings capable of shapeshifting into creatures that possess both human and animal characteristics this implies that the in donesian rock art is also the earliest relic of hunting magic, the mystical ritual associated with hunting As civilisation progressed, hunting became bound to such cultural factors as religion and art, which later evolved into increasingly sophisticated beliefs, mytholog ical ideologies, and eventually complex rituals and works of art.2 How did representations

1| Aubert, lebe, and oktaviana 2019, 442 45

2| An example of these rituals is the cult of the töret (a sprig broken from a tree), still practised by Hun garian hunters today as an emblem of respect both for the hunted game and among hunters themselves this involves breaking off twigs, ideally three pronged ones, from a tree growing at the site of the kill. Hunters use the sprigs in four ways: by placing one in the mouth of the game as a symbol of its last meal; by placing them on the animal’s wounds; by dipping one in the blood of the game and affixing it to the hat of the hunter who fired the fatal shot (the so called sikertöret, or ’sprig of success’); finally, when a fellow hunter is laid to rest, a gyásztöret (’sprig of mourning’) is worn in the hat of each mourner, which is then placed in the grave

of hunting develop under the influence of the religiosity that was present at the very beginning and of the later changes in society and artistic tastes? How was hunting portrayed in nineteenth century Hungarian art?

H U N T I N G AS A D E M O N ST R AT I O N O F STAT U S

the connection between hunting and demonstrations of status and wealth is in separable from people’s access to hunting, that is, from whether or not an individual irrespectively of their social rank was permitted to hunt. laws passed in Hungary in 1848 eliminated the privileges of the nobility, and the Hunting Act of 1872 made the right to hunt an integral part of land ownership. Although the number of people entitled to hunt increased somewhat as a result of these laws, hunting remained the hobby of the wealthiest in society, and so the context of the present examination em braces the habits and depictions of hunting prevalent among the aristocracy and within royal and imperial circles.

Hunting, as it is known in modern european societies and in Hungarian culture, is fundamentally associated with its function as a symbol of status and prestige ex a m p l e s o f t h i s a r e h u n t i n g a t t i r e , w i t h i t s d i s t i n c t iv e m e a n i n g s , t h e d i s p l a y s (catafalques) of prey laid out after a successful hunt, trophies taken from bagged game (such as antlers, horns or tusks), taxidermy preparations, as well as textual (literary) and visual (artistic, photographic) records of specific hunts in the case of these phe nomena and objects, besides being of ritual importance and recalling the experience of the hunt, a further important criterion is high aesthetic quality 3 trophies, stuffed animals, and pictorial representations initially decorated the halls of aristocratic palaces, and could therefore only be admired by a privileged few (fig 1), although later they became increasingly accessible, eventually taking their place before their widest audiences at the world’s fairs. early milestones of this process included the first exhibition of trophies held at the Hungarian national riding school in 1871, and the hunting sections at the Millennium exhibition in budapest in 1896 and at the exposition universelle in paris in 1900 4

At the regular international exhibitions, which featured both professional and cul tural programmes, Hungary always participated with a rich and complex set of hunt ing-related exhibits, including an increasing proportion of works of fine art. in the meantime, hunting and the protection of game in Hungary were gradually formalised: 1881 saw the establishment of the national Hungarian Hunting protection society, which later changed its name to the national Hungarian Hunters’ Association. the association was responsible for organising hunting activities in Hungary, and it en joyed strong social and political support, with Crown prince rudolf its patron and Archduke Joseph August its honorary chairman (cat nos 39 40) in reference to the vision of saint Hubert, the association chose as its emblem a stag with a radiant cross

bagged

with pre set rules,

hunting

1 gyö rgy k l ö s Z, The Dining Room of Count Tasziló Festetics’s Mansion in Berzence, ca 1900

between its antlers, as can be seen on the medal produced by lajos berán, an excep tionally prolific exponent of Hungarian medal design (cat. no. 27).

H U N T E RS F RO M M Y T H O L O G Y A N D H I STO RY

Hungarian hunting culture experienced upswings initially in the reform era (in the second quarter of the nineteenth century) and again in the period after the establish ment of the Austro-Hungarian Monarchy (in 1867), and was dominated by phrases, customs and symbolic acts adopted from germanophone areas 5 in spite of this, writ ings that discussed hunting beliefs, such as József lakatos’s book of 1910, which dealt with superstitions, tended to regard veneration of saint Hubert as a part of german hunting culture 6 depictions of saint Hubert appear only sporadically in nineteenth century Hungarian art; the martyr saint eustace was likewise not a common subject for paintings and sculptures in this period However, it is beyond doubt that in earlier centuries, chapels dedicated to saint Hubert and saint eustace were erected in forests

5| this can be observed above all in the development of hunting terminology in Hungarian, with words and expressions borrowed directly from germany and Austria or translated literally from the german language Cf Csőre 2003, 51 64 6| lakatos 1910, 69

belonging to the aristocracy, for example on the estate of the pálffy family in detrekő (plavecké podhradie, slovakia), in konyha (kuchyňa, slovakia), and in ugod and Csákvár, on the esterházy estate.7

Hunting motifs appear not only in religious depictions, but also in scenes inspired by classical mythology8 (cat. nos. 1 15). images of the main characters, such as the greek goddess Artemis and her roman counterpart diana, and the roman forest deity silvanus silvestris, can also be found on a variety of Hungarian relics, although their presence in nineteenth century works can rather be attributed to cultural edu cation at the time to conclude their artistic training, painters and sculptors embarked on a study tour of europe. besides england, the main destination of the grand tour was italy, where young artists familiarised themselves with the main periods and mas terpieces of italian art.9

7 | it was mostly hunting masses that were held in these chapels According to nineteenth century an ecdotal descriptions and feuilletons, hunting masses were held before the hunt, and as it was compulsory to listen all the way through to the end, such events were designed to be kept short Cf Kalauz 1867, 312 8 | the story of diana and Actaeon revolves around a hunt while out hunting, Actaeon accidently catches sight of diana bathing naked enraged, the goddess curses Actaeon, who is transformed into a stag and torn apart by his own hounds 9 | sinkó 2018, 53 55

2 kÁroly MArkó

tHe elder, Diana and Callisto, 1850

3 kÁroly MArkó

tHe elder, Diana Mourns

the Slain Stag (Apollo and the Stag), 1831

the most outstanding examples of mythological hunting depictions in Hungarian art are found in the oeuvre of károly Markó the elder, an artist with wide ranging cultural knowledge, including thorough familiarity with classical antiquity. He began to paint mythological compositions in the 1820s when he was living in Vienna, but his depictions of diana were produced in italy. diana was the goddess of hunting and animals, like Artemis, but unlike the latter, diana was also the goddess of the moon several myths related to diana feature in Markó’s work: he painted her during the hunt, in the company of her nymphs, with Callisto, who became a victim of revenge, and also beside her love, endymion10 (fig 2) His painting of 1833 entitled Diana at the Hunt shows the goddess and her entourage in a romantic, wild landscape, as she is

10 | in the wake of ovid’s Metamorphoses, the story of Callisto became widely known: the deeds of greek and roman deities are mixed in the work, as Jupiter, the chief roman god, falls in love with one of the nymphs accompanying diana on her hunts, Callisto, daughter of lycaon, king of the greek state of Arcadia Jupiter assumes the form of diana (Artemis) and seduces Callisto, who thus breaks her vow of chastity and is therefore expelled from diana’s entourage Callisto gives birth to her son, Arcas, who later hunts his own mother, who has been transformed into a bear by Juno (Hera) Jupiter saves Callisto and Arcas by placing them in the sky as the constellations Ursa Major and Ursa Minor, the great and little bears

about to take aim at the roebuck that is fleeing from her hounds (cat no 9) the “con sequences” of this story can be seen in a painting made two years earlier, in which diana (or Artemis) is mourning a slain stag, while Apollo beside her holds a lyre in his hand (fig. 3). since the story of endymion, according to ancient sources, was as sociated not with the goddess of hunting but with the moon, this legend only later became part of hunting culture.11 the greek goddess of the moon, selene, was gradu ally transformed into diana in seventeenth century art, from which point onwards the goddess was portrayed mounted on a stag, together with her bow and other hunt ing attributes, on her way to visit her love, as we can see in another painting by Markó the elder12 (cat no 10)

Hungarian art historical literature has hitherto devoted relatively little attention to works on the theme of hunting, which makes the writings of the literary historian dr. domokos imre nagy particularly important, partly because he dealt with Hun garian artists and other artists active in Hungary who are otherwise hardly known in art history research.13 in nagy ’ s publications, which touch on forestry, hunting and nature conservation, religious and mythological depictions constitute a separate group He raises the question of whether it is justifiable to discuss these pictures to gether with works of art that take hunting as their theme. there are several arguments against this: biblical and mythological scenes do not depict actual hunts, and the artistic intent is also incomparably different from, for example, the situation with a “game strap picture”; furthermore, they can often be accused of depicting the animals, the costumes, the weapons and indeed the entire practice of hunting in an inauthentic, inexpert manner 14 on the other hand, when hunting is seen as a phenomenon of cul tural history, there is no doubt that depictions of saint Hubert or diana form an integral part of the history of this type of painting, because with certain attributes of theirs they made a significant contribution to the iconography of hunting

Just as important to the history of depictions of hunting are those based on uniquely Hungarian hunting themes, such as the legend of Hunor and Magor, the tragic death of prince saint emeric (imre), and the death of the military leader, poet and ban of Croatia, Miklós Zrínyi the legendary hunters and ancestors of the Huns and the Ma gyars, Hunor and Magor were out hunting for the legendary creature known as the wondrous stag when they came across a land that was suitable for settlement rep resentations of this scene in Hun and Hungarian mythology survive to this day in folk art and traditions, including even minstrel songs, and in fine art (cat nos 17, 22)

1 1 | Apollodorus, book 1, chapter 7, section 5

1 2 | According to the story, selene, the greek goddess of the moon, felt deep love for endymion, and as she was unable to accept that the young shepherd would grow old and die, she put him into an eternal sleep every night, the Moon goddess admired the boy’s undying beauty later, when diana began to be depicted as the moon goddess, additional characters were introduced, with Cupid guiding her to the ever sleeping endymion

1 3 | Among those he writes about are aristocrats who painted their own hunting experiences, such as Count ferenc lamberg, Count Manó Andrássy and baron béla orczy, and authors of hunting literature who illustrated their own stories, such as sándor nemeskéri kiss nagy 1972; nagy 1974, 149 61; nagy 1988, 152 63; nagy 1996, 243 63

1 4 | the game strap consists of straps of leather or hemp tied together, to which small winged game can be attached, thus allowing them to cool more easily

4 AntAl ligeti And sÁndor wÁgner, King Matthias

Returning from the Hunt (Vajda Hunyad Castle

in the Age of King Matthias), 1872

A similarly popular hunting motif can be discovered in the legends about king Matthias i (Matthias Corvinus): instructive tales about the king roaming the country in disguise, often taking part in hunts, are preserved in a lively and colourful folklore tradition. they relate the king’s miraculous, heroic deeds or romantic escapades while out hunting, and even explain the origins of certain place names, as Matthias some times had a castle erected to commemorate a notable hunting adventure, as was the case with dedevár, for example, a fortress named after the king’s favourite huntsman, dede.15 while some of these stories remained local legends, hunting became a general feature of the cult surrounding Matthias Corvinus, and the tradition resulted in both written and physical relics one such relic was a set of antlers, which, legend has it, came from a stag slain by king Matthias; it was kept in the esterházy family’s hunting lodge in Csákvár until it was stolen in summer 1861 16 depictions of Matthias Corvinus at the hunt, combining landscape painting with genre scenes, can be exemplified by the work entitled King Matthias Returning from the Hunt, painted by Antal ligeti and

15 | Magyar 2017, 201

| Hölgyfutár 1861, 615 1 7 | the painting was exhibited at the Vienna world’s fair in 1873 under the title of Die Burg Vajda Hunyad im restaurierten Zustande: in the exhibition catalogue the work is credited to Antal ligeti, while sándor wágner is given as the painter of the figures Cf Vienna 1873, 179

sándor wágner, which shoes the king as a passionate hunter, riding a white horse, galloping towards Vajdahunyad Castle accompanied by a stately procession 17 the hunt was undoubtedly a success, as an assortment of bagged game can be seen in the picture: a stag with magnificent antlers and a hind beside it on a cart, and a wild boar, a hare and various gamebirds being carried by the king’s attendants18 (fig 4) the nar rative poem Beautiful Helen by Mihály Vörösmarty also tells of a hunt undertaken by Matthias Corvinus:19 the king, disguised as a simple hunter, is roaming the forests of the Vértes hills when he catches sight of a woman chasing a butterfly, who immediately

18 | king Matthias Corvinus, with his famous passion for hunting and his game parks, was also the subject of an article in Vadász és Versenylap [Hunting and sporting Magazine] 1871, 254 19 | first published: Vörösmarty 1834, 179 85

5 soMA orlAi petriCH, series of Beautiful Helen illustrating the poem by Mihály Vörösmarty, ii (The Hideout), 1866

6 soMA orlAi petriCH, series of Beautiful Helen illustrating the poem by Mihály Vörösmarty, Viii (The Mourning), 1866

captures his heart. the woman’s name is ilonka (Helen) peterdi. from this moment, the hunter ’ s desire comes into conflict with the king’s patriotism and obligations, and this leads to the final tragedy of the poem the unrecognised hunter invites Helen and her father to buda, where they are shocked to discover that the man they had hosted in their home was in fact the king Matthias later returns to the homestead in the Vértes, only to find it abandoned.20 in 1866 soma orlai petrich produced a series of eight intimate genre scenes relating the story,21 one of a number of artistic

20 | Vaderna 2019 2 1 | soma orlai petrich, series of Beautiful Helen illustrating the poem by Mihály Vörösmarty, i Viii (The Hideout, The Surprise, The Introduction, The Toast, The Farewell, The Recognition, The Lamentation, The Mourning), 1866 oil on canvas, 86 × 74 cm Hungarian national bank, depositary program, on loan to the petőfi literary Museum

reworkings of Beautiful Helen created in the nineteenth century (figs 5 6) the Matthias fountain sculpted by Alajos stróbl for the royal palace in buda Castle was probably adapted from a wall fountain commissioned by Count Miklós József esterházy for his palace in tata, but which was not completed due to the count’s death. the group of sculptures illustrates the story of beautiful Helen: Matthias, dressed in hunting garb, stands at the top of the rock formation, while down below, to his left, the young beautiful woman sits and caresses a deer Accompanying them are a hornblower, a master huntsman and a falconer (sometimes identified as the italian humanist scholar, galeotto Marzio), as well as different breeds of dog a russian wolfhound and some transylvanian Hounds the king gazes triumphantly into the distance, a monumental Carpathian stag at his feet, which was modelled on a beast killed by poachers. the stag was discovered close to szentendre by the gamekeeper of the architect Alajos Hauszmann, and the trophy was brought to his office in the royal palace of buda Castle, which was under reconstruction at the time, where it was seen not only by the sculptor, Alajos stróbl, but also by the king and emperor franz Joseph

7

gusZtÁV keleti,

The Death of Zrínyi, the Poet, 1860s

Hunting accidents and attacks by wild boar are recurring motifs in Hungarian his tory and in folk tradition Although the tragic death of prince saint emeric is not fre quently depicted in art the prince is more often shown as a youth beside king saint stephen and saint ladislaus, which his burial is also a common subject , his ill fated story has become a part of the Hungarian hunting memory Also of great significance is the death of Miklós Zrínyi in 1664, which has been questioned many times, but is still recognised by historians as a hunting accident pictures of his death are based on contemporary accounts, such as the memoirs of Miklós bethlen, a later chancellor of transylvania, who described the events as a witness who arrived on the scene after Zrínyi was attacked by the boar.23 in nineteenth century history painting, among the depictions of the heroic members of the Zrínyi dynasty, the death of the poet Zrínyi was a less popular theme, especially compared with the siege of szigetvár.24 setting aside the details that survive in written tradition, the basic motif of his demise became more widely known in 1866, when gusztáv keleti’s picture of The Death of Zrínyi, the Poet was turned into an art reproduction of the national Hungarian society of fine Arts25 (fig 7) set in a lush, romantic landscape, Zrínyi is portrayed struggling until his dying breath, finally managing to slay the boar. the fatal hunt is depicted by keleti as though in a genre scene, and in the midst of the enormous forest vegetation, man

Bethlen

603

Cennerné wilhelmb

lithograph version: Hungarian national Museum, budapest, Historical gallery, inv no 61 105 Art cards, reproductions on artistic themes produced with a variety of techniques, were issued, for example, by the pest Art society, active from 1840, and by the national Hungarian society of Arts, founded in 1861

and beast appear almost as mere staffage figures or secondary characters Another drawing by keleti is known, which may have been a study for the work that was later reproduced the sketch also shows a rifle, but the outcome is the same: both hunter and boar lie dead on the ground (fig. 8).

H U N T E RS : G E N R E S C E N E S A N D P O RT R A I TS

such is the thematic diversity among hunting related artworks that it is possible to classify them into narrower types of paintings, such as genre scenes, portraits of hunters and animals, still lifes, and group portraits directly derived from the social customs of hunting.

As w e h a v e s e e n i n g u s z t á v k e l e t i’s h i s t o r i c a l h u n t i n g s c e n e , m a n y l a n d s c a p e painters included humans in nature as secondary characters, as though the tiny staffage figures were visual devices to emphasise the majesty and inexorability of the landscape. József Molnár was a landscapist who often populated his works with hunters: several paintings of his capture the forbidding mountains and cascading wa terfalls of the tatras, and in these emphatic natural surroundings he placed a hunter accompanied by his dog, drinking from a spring or taking a rest26 (cat. no. 64). interest ingly, when pál szinyei Merse retreated to his Jernye estate, the canvas that later became famous as a hunting scene was originally a painting of just trees and undergrowth.27 it was only after a hiatus from painting, which lasted a decade, that he returned to this landscape, supplementing the scene with a hunter and his dog, resulting in the work entitled Oculi (cat no 66) szinyei Merse exhibited the work at the winter show of the national Hungarian society of fine Arts in 1894 1895, where it reaped immense success, and was immediately purchased by franz Joseph for his private collection the story of how Oculi came about is known from the memoirs of the painter’s son, félix szinyei Merse, who wrote about his father’s attitude towards hunting and sniping:

o w i n g t o h i s c o m f o rt l o v i n g n a t u r e , h e w a s s c a r c e l y a p a s s i o n a t e h u n t e r. Among the sports, he liked riding most of all, and was an able rider, regarded as having a very good feel for horses. ... within the sport of hunting, he liked only sniping, and he would willingly accompany us hunters to their evening courtship flights. He once made a special request in connection with this, asking me to photograph a snipe in flight i could never fulfil this request, however, partly because the vespertine light made photography impossible, but mostly because, as an immensely passionate hunter, whenever i saw a snipe, i would drop everything, camera and all, and reach for my rifle. My father did, however, once shoot a wild boar on a hunt with our neighbour, elek péchy, of which he was proud, because as the boar came towards him, he killed it with a single shot to the forehead. what joy

26 | Another painting by József Molnár depicts a wild boar hunt the work was reproduced several times in the mid nineteenth century, including as a coloured lithograph in the album entitled Hunting and Sport in Hungary, published under the auspices of Count Manó Andrássy (Andrássy 1857)

27 | Budapest 1990, 108, 114

there was that evening, after the hunt, when he was ceremoniously initiated as a wild boar hunter!28

the subject of the painting was therefore inspired by the painter ’ s favourite pastime of sniping, which required a high degree of marksmanship; the model for the hunter was his younger brother, József szinyei Merse, as proven by a photograph made at the same time as the painting29 (fig 9) the painting Oculi was mentioned and repro d u c e d i n s e v e r a l a rt i c l e s p u b l i s h e d i n t h e h u n t i n g m a g a z i n e Ni m r ó d , w h i c h w a s launched in 1913,30 so szinyei Merse’s work became widely known in hunting circles and was fully integrated into Hungarian hunting culture the painting has featured in numerous exhibitions, including the show entitled The Forest in Hungarian Painting, held in sopron in 1958, and at the fine art exhibition hosted by the Műcsarnok (kunst halle budapest) to coincide with the world Hunting expo in Hungary in 1971. in 1897, a few years after Oculi was completed, szinyei Merse painted a self portrait that he later gifted to the gallery of artists’ portraits in the uffizi in florence, granting the request of the italian minister of culture 31 this can be regarded as the best known Hungarian exemplar of a portrait of a hunter: in the painting, the artist is shown as a landowner pursuing his passion for walking in nature His pose is particularly eloquent, as only one other self portrait by szinyei Merse is known; painted in 1880, as a young man, the artist is dressed in fashionable bourgeois attire, standing against a neutral background in his later self portrait, by contrast, the personality and worldview of the then 52 year old painter are also in evidence; the work was painted in the open air,

| szinyei Merse 1948, 124.

| published in: Budapest 1990, fig 179

| bobory 1928, 290 91; rédly 1929, 147; balla 1962, 7; telepy 1979, 447 49; telepy 1987, 256; Motesiky 1990, 8 9 (232 33); Muray 2006, 26

| pál szinyei Merse, Self portrait in a Leather Coat

uffizi,

1980

1897 oil

canvas,

5

florence, galleria

in his beloved countryside of sáros county, as though he were about to set off on a hunt. His daughter rózsi szinyei Merse later described how the painting came about:

„

He painted his self portrait out in the garden, by the clump of birch trees. He had two large stands taken outside, on one of which he rested a large mirror, and on the other his canvas. it was only possible to work with such apparatus when fine weather was assured 32

reflecting on the words of félix szinyei Merse, the painter was probably not a true born hunter, but loved nature with even more fervent passion one of the most com pelling indications of this is a decision he took in 1869 that would define his entire career: he quit the Academy of fine Arts in Munich, simultaneously abandoning his tory painting, and devoted himself to nature:

„

i have decided henceforth to leave piloty ’ s school and to follow the teacher who will guide me the best, and this teacher of mine is nature 33

szinyei Merse’s example also shows that the hunter portrait was expressly tied to the personality of the subject as a means of shaping their identity the other type of hunting portrait forms part of the centuries old tradition of regal representation: portraits of major secular dignitaries often feature hunting attire, a rifle, or a hunting dog, all of which can be interpreted as attributes of hunting (cat. nos 28 40) likenesses of ladies portrayed as the goddess diana and portraits of the king bearing witness to his hunting prowess all emphasise the extremely important role that images of hunting played in social representation where did the notion originate for rulers to have themselves painted as hunters?

A contribution to this idea may have been made by niccolò Machiavelli’s political treatise of 1510 entitled The Prince (Il Principe), which the author dedicated to lorenzo de Medici. the writing lists the ideal character traits and qualities of a ruler, and also defines what makes a good military commander: hunting is described as a means of training a captain in both body and mind: endurance, knowledge of the terrain, and the pursuit of prey are equated with the tasks and expectations needed in war, when the “prey ” is the enemy.34

„

As regards action, he ought above all things to keep his men well organised and drilled, to follow incessantly the chase, by which he accustoms his body

3 2 | szinyei Merse 1989, 301

3 3 | pál szinyei Merse’s letter to his father, München, 9/8 1869, published in szinyei Merse 1989, 136, no 141 twenty eight years later, when, as a member of parliament, he submitted his proposal for education reform at the Hungarian Academy of fine Arts to gyula wlassics, Minister of religion and education, his love for nature was still apparent: “ because the painter the artist could fully and correctly learn drawing, form, colour, tone, composition in short, everything from one master alone, and that sole master is nature itself ” pál szinyei Merse’s proposal for reform of the Academy of fine Arts, 16 January 1897, published in szinyei Merse 1989, 156

3 4 | Machiavelli 2019, chapter xiV, translated by william k Marriott

to hardships, and learns something of the nature of localities, which know ledge is useful in two ways. firstly, he learns to know his country, and is better able to undertake its defence; afterwards, by means of the knowledge and ob servation of that locality, he understands with ease any other which it may be necessary for him to study hereafter; And the prince that lacks this skill lacks the essential which it is desirable that a captain should possess, for it teaches him to surprise his enemy, to select quarters, to lead armies, to array the battle, to besiege towns to advantage

The Prince was widely read throughout the ages, for example by the sixteenth century prince of transylvania istván (stephen) báthory, and was referred to by such promi nent nineteenth century Hungarian statesmen as istván széchenyi and ferenc deák, and by the defining Hungarian art historian and art philosopher of the twentieth century, lajos fülep 35 the concepts contained in The Prince were later adopted by other thinkers, so it can be assumed that this is part of the reason why rulers chose hunting portraits as a way of expressing their military strengths talented artists were often employed by rulers to work in their courts as visual chroniclers, portraying them and the events of court life, often with a high degree of idealisation, to underline the rulers’ various virtues of major significance in this respect is the work of Mihály Zichy, whose drawings and watercolours are held by the Hermitage in saint petersburg, which preserves the memories of the erstwhile imperial russian court, and in the art collection of the british royal family. the artist served in russia under four emperors nicholas i, Alexander ii, Alexander iii and nicholas ii and recorded the everyday lives of the House of romanov, as well as their most important events and banquets He also participated in the imperial hunts, making rapid sketches in pencil at the scene, which he later elaborated into works in watercolour or ink and wash, before arranging the finished pictures into series or albums. imperial hunts were held frequently, but Zichy ’ s incredible capacity for work enabled him to keep pace. several of the series he produced became famous, such as the set of fifty two cards depicting the bear hunt in bol’shoye lisino undertaken by tsar Alexander ii in 1860,36 and the pictures he made of the bison hunt in belovezhsko in 1861. Mihály Zichy ’ s watercolour in the collection of the Hungarian national gallery, showing a scene from a bear hunt of 1869, bears witness to his time in russia (cat. no. 63). when Zichy was granted a few weeks’ leave by tsar Alexander ii, he took up the invitation he had received from the prince of wales, the future king edward Vii He spent his ten day sojourn in scotland hunting, as recorded in an album of drawings and wa tercolours published in multiple languages 37 these experiences persuaded Zichy to

3 5 | on the reception of Machiavelli in Hungary: kaposi 2007

6 | Zichy’s cards, which sometimes verge on the grotesque, narrate the entire hunt the hunting album containing the cards is held by the department of russian Cultural History at the Hermitage. Cf. princeva 2007, 101 6

7 | Mihály Zichy, Scene from the series scottish Hunts, Finding the Stag, 1875 engraving, 795 × 569 mm, unsigned Museum of fine Arts Hungarian national gallery, budapest, inv no g 59 68; Mihály Zichy, Scene from the series scottish Hunts, Taking Home the Stag, 1875 sepia, watercolour, and pen and ink on paper, 735 × 535 mm, signed lower right: Zichy 1875 Museum of fine Arts Hungarian national gallery, budapest, inv no f 59 127

take up writing, and he addressed his account to the public: the text sent by the painter from saint petersburg was published in its entirety in four instalments in the Vadász és Versenylap [Hunting and sporting Magazine] 38 from his often anecdotal, sometimes humorous, almost sociographic descriptions of the hunts, it emerges that Zichy took a keen interest in the costumes, customs and culture of hunting, and greatly enjoyed the scottish sword dances, evening torchlight dances, and bagpipe music (cat no 65) Zichy ’ s works, with their detailed, realistic rendering of nature and their portrait like depictions of high ranking aristocrats, are among the most vivid hunting pictures ever produced this may be due to the fact that his oeuvre combined high artistic quality with a love of hunting.39 this is evident in the description composed by the french writer and critic théophile gautier, who visited the artist in his studio in saint petersburg in the winter of 1858 1859, and whose account made Zichy famous across europe:

„

first we passed through a rather vast salon, one wall of which was occupied by a superb display of hunting equipment there were rifles, shotguns, knives, game bags and gunpowder flasks hanging from the antlers of stags’ heads, gro uped together with pelts of lynx, wolf and fox, victims or specimens of Zichy one could have believed one was at the home of a great hunter, or at least that of a sportsman, were it not for a panel, filled with shadows in the manner of rembrandt and depicting a prophet in his cave, a print of paul delaroche’s Hemicycle, engraved by Henriquel dupont, and a mezzotint of Horace Vernet’s [battle of ] smala, which, together with a few empty frames awaiting canvases, attested that one was actually at the home of an artist 40

the nineteenth century saw the emergence of paintings that focused on hunting not so much as a demonstration of wealth and power, but as a social event enjoyed by the nobility, thus reviving a type of painting with origins in sixteenth century netherlandish art, namely the group portrait paintings of groups of people, each of whom was rendered with their own individual likeness, became immensely pop ular group portraits were characterised by a desire to record the given event and its participants as accurately as possible, so they can be seen as direct forebears of photography the artistic precedents for the hunting group portrait can be found

38 | He wrote his report immediately following the hunt, in 1871, but we also know of an account he wrote in 1897 based on his experiences in saint petersburg in the 1860s this was published in ten in stalments by the Vadászlap [Hunting paper], see Zichy 1871

39 | As the painter was descended from the noble Zics and Zajk (now sajka, Croatia) branches of the Zichy family, ennobled in the thirteenth century, his heritage included a coat of arms consisting of antlers branching out of a gold crown, with a silver greek cross hovering between them further examples of Hungarian heraldry related to stags include the coats of arms of the bakócz family and of their branches, the erdődy and pálffy families, which depict a prancing stag emerging from behind a half wheel for additional hunting related heraldic motifs, see: Huszár 1972, 87 104

40 | gautier 1867, i, 294 (translated from the french by réka krasznai) items belonging to Mihály Zichy in saint petersburg, such as his weapons and trophies, are now in the collection of the Mihály Zichy Memorial Museum in Zala

in two british types of painting, known as sporting art and the meet, which also have their roots in dutch art of the seventeenth century. Sporting art emerged in the late eighteenth century, during the reign of king george iii, when sporting activities derived from hunting, such as horse racing and fox hunting, were regarded as part of the culture 41 in parallel with this, there arose a demand, especially among breed ers who wanted to popularise their animals, for portrait like depictions of racehorses, scent dogs, and even cattle and sheep 42 one sub genre of this is the meet painting, mostly depicting hunters and their pack gathering before the chase, and imbued with a narrative content. the meet painting was based on strict adherence to tradi tion, so during its two hundred year history in england, its components remained unchanged. 43

depictions of hunting in Hungary changed with developments in hunting culture A major role in this was played by Count istván széchenyi, who founded the so called Career society (later renamed the Animal Husbandry society, and then the national Hungarian Agricultural society) in 1827 and established the pest County Agrarian Company in 1839 thanks to széchenyi’s reforms, Hungary began to import racehorses and greyhounds from england, and by the middle of the century, hunting with hounds (especially scent hounds) had become widespread both in Hungary and in Austria. in addition to the methodological innovations imported from abroad, the adoption of british practices can also be observed in appearances, as the clothing worn by members of hunting companies was based on the english style the scarlet coats used on fox hunts and the green coats worn when hunting for deer or hare are no ticeably present in works of art from this time 44 the influences of english art in Hungary were not manifested initially under the patronage of franz Joseph and the royal court, but in the circles of long standing aris tocratic families such as the széchenyi, nádasdy, esterházy and Zichy dynasties the high nobility decorated their hunting lodges with trophies and paintings, while their passion for hunting was also reflected in their collections of weapons in their furniture crafted from antlers. besides the lamberg Merán Mansion in Csákberény and the Cziráky Mansion in lovasberény, the mansion in nádasdladány belonging to Count ferenc nádasdy, a shareholder in the pest scent Hunting Company and the first chair man of the national Hungarian Hunters’ Association, was also decorated with a par ticularly fine array of hunting-related adornments.45 the mansion’s interiors can be reconstructed on the basis of surviving family archive documents and contemporary descriptions and photographs: the walls of the billiard room, for instance, were be decked with eighty paintings by Harry Hall and eighty one by emil Adam.46 the ma jority were small pictures of horses, but emil Adam’s painting of a noble hunting com

different periods: Henry thomas Alken,

goodwin kilburne, late nineteenth century, and Heywood Hardy, early twentieth

hunting

ferenc nádasdy: bányai in Székesfehérvár 2019,

AdAM, Noble Hunting Company in Agárd,

pany in Agárd (1882) also hung here47 (fig. 10). in 1889 the canvas was described by a journalist, Mrs gizella Vértessy Makfalvay:

”

the large painting in the men’s drawing room is a work by Adam; the partici pants in the “Agárd pack hunt” surprised the count with this fine memorial, which shows some 30 figures, their faces true to life, in groups on coaches or on horseback, while their names are engraved on a plaque at the bottom of the frame.48

Adam’s work is a typical meet painting of the hunts that took place in Agárd, as is a painting produced almost twenty years later, which likewise attests to high esteem in which ferenc nádasdy was held by his social circles. emil Adam’s son, richard benno Adam, who studied art in Munich, first rode out with the budapest hunters in autumn 1899, when he produced his first sketches for the forty seven portraits and for his depictions of horses.49 the completed work shows the company beside the danube, in a magnificent setting between Újpest and dunakeszi in november 1900,

4 7 | the other painting recalling the hunts in Agárd is the equestrian portrait of ferenc nádasdy by béla pállik béla pállik, Pack Hunting, 1880 oil on canvas, 94 × 145 cm Hungarian national Museum, budapest, Historical gallery, inv. no. 53.22.

48 | Vértessyné Makfalvay 1893, 92 100

49 | several reports on the group portrait being made for Count ferenc nádasdy were published in the Vadász és Versenylap, including a separate article on the artist, richard benno Adam: Vadász és Versenylap 1899, 645; Vadász és Versenylap 1900a, 45; Vadász és Versenylap 1900b, 665; Vadász és Versenylap 1900c, 668; Vadász és Versenylap 1901, 609

1 1

riCHArd

benno AdAM, The Budapest Fox Pack Company, 1900

12 wilHelM riCHter,

The Fox Hunt

of the Esterházy Family, 1870

on saint Hubert’s day, the painting was presented to the count, who had it hung in the dining room of his mansion in nádasdladány (fig 11) tata palace, owned by the esterházy family, lay in the game-rich lands of the Vértes and gerecse hills while the estate was the venue for grand hunts, tata was also the centre of horse racing Count Miklós József esterházy, a noted art patron, employed béla pállik at tata palace not only as a painter, but also as the director of his theatre and its performances, and as a stage designer 50 the count also gave commissions to numerous other painters.51 wilhelm richter, a painter at the Vienna Academy of fine Arts, also worked for the esterházy family, painting portraits and pictures of race horses, while his best known work is a painting of a fox hunt produced in 1870.52 All the characteristics of a meet painting are found in this work: richter shows the mo ment when the hunters, the pack of dogs and the master, Count esterházy himself, are all assembling on the shore of the old lake in tata (fig 12) the famous hunts of the counts ferenc nádasdy and Miklós József esterházy were surpassed only by the royal hunts of franz Joseph, which also served an important diplomatic function in the course of the king’s wide ranging art patronage, he com

number

by

staud 1964,

appearing on the inventory of esterházy palace, tata: Johann erdmann gottlieb prestel, Julius von blaas, béla pállik, wilhelm richter Cf kövesdi 2015, 217 21

| the painting originally hung

the grand salon of esterházy palace in tata, and can now be found in the billiard room

between

and

missioned several artists specifically to paint hunters and hunts. one such artist was Julius von blaas, who stemmed from a dynasty of painters 53 gyula blaas, as he was called by the Hungarian press, also worked alongside richter in tata, painted for tasziló festetics, and fulfilled numerous commissions from across Hungary for paint ings of racehorses and breeding horses He painted equestrian portraits of the royal couple, and in 1882 he immortalised on canvas a hunt held in gödöllő: the painting shows the company and their pack of hounds assembling for a fox hunt, headed by the royal couple and Crown prince rudolf, with the facade of gödöllő palace in the background 54 (fig 13)

At this time gödöllő was one of the centres of hunting with hounds in Hungary. the area was purchased by the Hungarian government in 1867 and presented to the royal couple as a crown gift the king transferred ownership of the palace and the estate to the Hungarian treasury, retaining the right to use them and to hunt on the estate; by the end of the century he had extended the territory available for hunting by rent ing neighbouring lands.55

Another visitor to gödöllő in the 1880s was the polish painter wojciech Horacy kossak, who had earlier been a pupil of sándor wágner at the Munich Academy of

Julius von blaas

blaas’s

13 kornÉl spÁnyik

After Julius Von blAAs, Royal Fox Hunting in Gödöllő, after 1882

blaas

w o J C i e C H ko s s A k, Imperial Hunt in Gödöllő/The Start of the Hunt, 1887

fine Arts. kossak presented his painting entitled Imperial Hunt in Gödöllő, commissioned by franz Joseph, at the winter show of the Műcsarnok in 1887 (fig 14) the contempo rary press wrote that the king had ordered three scenes from kossak, “ whose subjects will be: the meet, the run, the kill” 56 the painting, now in the collection of the national Museum in warsaw, depicts the king crossing a stream on horseback, while Arch duchess gisela, dressed in black hunting garb and a half top hat, rides sidesaddle across a bridge one of the most interesting incidents in the dynamic painting is being played out on the horizon of the hilly landscape: a saddled bay horse is galloping away from its scarlet tailcoated rider, who is lying on the ground this scene exemplifies the nar rative nature of sporting art, with its emphasis on recording actual events, so it is highly likely that such an accident did indeed take place on this particular hunt 57

wilhelm richter, already mentioned above, was not only employed by the aristocracy in Hungary, as on several occasions he painted franz Joseph and his family, and even his hunts, his racehorses, and his jockeys richter produced two group paintings depicting royal hunts, in one of which a hunting company rests by the danube as a stag, pursued by hounds, flees into the water,58 while the other is a meet painting, com

56 | Pesti Hírlap 1886, 4 5 7 | based on contemporary press reports, it can be reconstructed that wojciech Horacy kossak attended the royal hunts in autumn 1886, when he made sketches for his paintings. Archduchess gisela did not participate in every hunt, but she was present at the fox hunt on 19 november 1886 press coverage of the event also informs us that the horse ridden by Count teleki faltered, unseating its rider, who fell to the ground Pesti Napló 1886, [2]

5 8 | wilhelm richter, The Royal Family on a Hunt near the Danube Bend, 1876 oil on canvas, 95 × 126 5 cm Hungarian national Museum, budapest, Historical gallery, inv no 1894

„

prising thirty horses and fifty four identifiable portraits (fig. 15). the latter was com missioned by baron béla wenckheim, president of the budapest Hunting Company, which presented the work to Queen elisabeth, who had it hung on the wall of her study in the royal palace the painting was enthusiastically received by the press, who published detailed reports about the work, reproduced it as an engraving, and listed the names of the people depicted;59 readers could even order large photographic prints of the work, both coloured and uncoloured the announcement was placed in the columns of Vadász és Versenylap, which supplemented its review of the painting with a comment addressed to the Hungarian art world: behold, in addition to the useful outcomes of pack hunting that were listed in the previous issues of this journal, it also affects the development of art. this branch of painting (namely the genre of the sport and military rider) is still very primitive in Hungary with a couple of exceptions, our painters limit themselves to walking the well worn path of saints, landscapes and mytholo gical subjects it is astonishing but true that in Hungary, if we wish to have a few horses painted correctly, we have to look abroad.60

Although art was not part of the profile of Vadász és Versenylap, richter ’ s painting was not the only artistic subject they dealt with: the paper regularly reported on works

15 wilHelM riCHter, Royal Fox Hunting in Rákos, 1872

osZkÁr glAtZ, Disembarkation

at Lake Velence, 1904

by foreign artists active in Hungary, gave details about certain major commissions, informed readers about which painters were residing with whom, and produced full page illustrations of prize-winning horses. the above quotation, from 1873, called attention to the lack of Hungarian sporting paintings and depictions of cavalry horses, and indeed, as we have seen, a number of british, german and Austrian painters were employed by the uppermost echelons of Hungarian society. what influence did foreign artists exert on Hungarian painters?

only a few paintings on the theme of hunting are known in nineteenth century Hungarian art one of the largest group portraits was painted by géza Mészöly for Count Jenő Zichy, a regular client of the artist. the painter depicted the count’s guests and hunting attendants after a wild duck hunt (cat no 37) on the distant horizon can be seen the water tower of Zichy Mansion in felsőszentiván (now the village of Aba in fejér county) one of the visitors to the count’s hunting mansion was kálmán Mikszáth, who wrote about it in 1883:

„

its staircase even addresses the sons of nimrod everything is a symbol of hunting, the horns in the family coat of arms, which glitters on the facade of the mansion, the great antlers on the walls, the hunting horns, heads of deer and bears, their dreadful tusks like coat hooks, their pelts like carpets …

All manner of things have been bequeathed by these innocent wild creatures to their killers! ... last but not least among Zichy’s art treasures are the paintings Here there are a hundred pictures by twenty one of our homegrown artists, and worthy

of great attention amongst them is a large work by géza Mészöly that covers the entire wall, which depicts a beloved detail of the park at felsőszentiván, w i t h a h u n t i n g c o m p a n y a s s e m b l e d , a n d a d o n k e y d r a wn c a rt i n t h e foreground.61

the work is not a typical meet painting as it has none of the features of the english picture type; it is rather in line with Mészöly ’ s own painterly oeuvre and follows the realist landscape tradition of the Munich school Compared with the preceding ex amples, this work places less emphasis on the portraits of the hunters, and the com position is dominated by a more naturalist concept of the landscape

Another painting that eschews the inspiration of foreign hunting scenes is a work by oszkár glatz, which shows the portraits of more than forty members of the lake Velence Hunting Company62 (fig. 16). the painting was commissioned as a gift to benedek Meszleny, to commemorate his twenty fifth year as chairman of the com pany.63 glatz presented the group painting at the 1904 show at the Műcsarnok, where it attracted great attention for its large size and its theme 64 the dynamic composition, which resembles a photograph, does not contain a single genre like episode, nor are the participants arranged in inactive, theatrical poses. one of the figures in the painting, istván Chernel, wrote in his diary that in february 1904 he visited glatz’s studio twice, and he was followed by pál Meszleny and Count lászló eszterházy.65 several members of the family of Count Cziráky can also be seen in the painting: Antal and his son lászló, and béla and his son József. According to the oral tradition that still lives on in the Meszleny family, the painting was entrusted to the Cziráky family, whose man sion in lovasberény had higher ceilings and was therefore more able to accommodate the large canvas during world war ii the building was severely damaged by soldiers of the red Army, but the Meszleny family had succeeded in hiding the painting some where, the whereabouts of which, however, are still unknown.66 group portraits depicting hunting companies resting during the hunt, enjoying a more relaxed atmosphere, also generate the effect of a genre scene. in the case of many paintings, the identities of the people who appear in them have now been lost to oblivion, but the efforts to remain faithful to nature and the individuality apparent in the faces portrayed clearly show that these were not the product of the artists’ imagination but were painted on commission (cat. nos. 35, 36, 38). this is exemplified by Alajos györgyi giergl, who painted a group hunting portrait featuring many figures; although he regularly worked for the aristocracy and even participated in noble hunts on several occasions, he felt distinctly discomfited by the sporting life:

6 1 | Mikszáth 1883, 64 71

| oszkár glatz, Disembarkation at Lake Velence, 1904 the painting was reproduced, together with the names of the people depicted in it, in Vasárnapi Ujság 1904, 851; Nimród, 10 March 1915, 61

| erdős, farkas, and kállay 1983, 27, 36.

| Vasárnapi Ujság 1904, 859 60

| Horváth 1963, 68

| gáspár gránitz and Árpád fehér of the Velence local History society conducted an interview with ignác Meszleny, whose grandfather was pál Meszleny, brother of the original owner of the painting, benedek Meszleny gránitz and fehér 2014

„ „

on sunday i had to take part in a hunt, and you can imagine how unpleasant that was for me, as you are aware of my strong aversion. it is my heartfelt regret that, out of the plentiful game, i was unable to send a few hares and wild ducks to show you, at least the ones that i shot.67

G A M E B I R D S A N D A N I M A L S ST I L L L I F E S A N D P O RT R A I TS

the animals depicted in paintings and sculptures related to hunting were partly those that assist during the hunt and partly bagged or slain creatures. Animal painting was one of the less highly respected genres in academic art teaching in the nineteenth century, and károly lyka, the best known art critic and historian in the period, had a rather withering general opinion of its practitioners one exception was béla pállik, about whom lyka wrote admiringly:

He became so intimately acquainted with the sheep, rams and lambs that he was in fact not a painter of animals, but the creator of portraits of individual creatures 68

béla pállik’s most celebrated animal portrait is of an english thoroughbred mare named kincsem (literally: “My precious one” or “My treasure”), who was born in 1874 and had an undefeated career as a racehorse Her victories were routinely reported in the pages of Vadász és Versenylap; in 1878, for example, the year in which the painting was made, kincsem won all fifteen races she took part in during the season the horse enjoyed enormous popularity, as did pállik’s portrait of her, which was available as an oil print reproduction 69

Just as lyka distinguished between general paintings of animals and the type of “an imal portrait” created by pállik, numerous portrait like depictions of dogs, horses or sheep can be found in the art of earlier centuries portraits of dogs, for example, are rooted in the italian renaissance, and they were unwaveringly popular in dutch and flemish art and in french baroque painting (cat nos 54, 67) Animal portraits have much in common with so called sporting art and meet paintings: this type of painting arrived in Hungary from britain at the same time as the sport of horse racing in the mid-nineteenth century.70 in england, individualised paintings of animals originally served to popularise breeding animals with an excellent pedigree 71 outstanding exam ples of animal portraiture in Hungary were produced not only by béla pállik, but also by members of the Vastagh family: the painter györgy Vastagh senior and his sons.

6 7 | letter from Alajos györgyi giergl to his wife, Anarcs, 22 september 1857 published in bakay 1938, 44

| lyka 1908, 384 89

| the racehorse named kincsem was painted not only by pállik, but also by Harry Hall, emil Adam and Julius von blaas, while in 1942 the mare was modelled in bronze by györgy Vastagh Junior, based on photos, measurements, and the horse’s prepared skeleton

| the best known depictions of dogs and horses were by george stubbs and sir edwin Henry landseer, while wilhelm richter, who was active in the circle of franz Joseph, was also renowned for his paintings of racehorses

1 | paget 1945, 8

while géza Vastagh mostly painted exotic pictures of lions during hunting expeditions in africa,72 the sculptor györgy Vastagh Junior, pursuing the original purpose of animal portraits, modelled his works on hungarian breeds of domesticated animals, and the most outstanding breeding animals, horses, cattle and sheep (cat. nos. 70, 71). he never idealized his sculptures, but strove to be as realistic as possible: he sketched drawings, made watercolours and took photographs, and in order to maximise the accuracy of his portrayals, he even took samples of their fur or hair, later colouring his plaster casts accordingly. Vastagh also produced sculptures that were of importance to agricultural museology and breed history, which he first presented at the hungarian Millennium exhibition in 1896, resulting in the Ministry of agriculture ordering fifty sculptures from him, and the national hungarian agricultural Society a further sixteen. he later reaped success internationally as well, receiving two gold medals at the exposition Universelle in paris in 1900, and further medals at the 1910 Vienna hunting exhibition and the turin international in 1911; 73 the deutsches

72| géza Vastagh, Head of a Lion, 1899. pencil and white heightening on paper, sheet size: 262 × 324 mm, signed lower right: Vastagh géza; dated upper right, in the lion’s mane: 1899. jan. 6. Museum of Fine arts – hungarian national gallery, Budapest, inv. no. 1938-3306. 73| Szöllősy 2009, 6.

17 Unknown photographer,

The Hall of the Lamberg-Merán Mansion in Csákberény, ca. 1940

LaMBerg,

in the

Museum in Munich and the British Museum in London also purchased sculptures from györgy Vastagh Junior.74

Vastagh’s anatomically precise sculptures are impeccable exemplars of greyhounds, vizslas, and, among burrowing breeds, dachshunds, but in hunting culture, portrayals of the animals that take part in the hunt are far less widespread than depictions of the prey animals. the latter also include animal portraits: slain animals were often painted as living creatures, with individual features based on the trophies, set in their natural environment. among the artists who proceeded in this way in hungary were the selftaught painter count Franz emerich von Lamberg, the son of Lieutenant general count Ferenc Fülöp Lamberg, who was killed in the hungarian war of independence in 1848–49, and the austrian painter Franz Xaver von pausinger. immortalising slain beasts as living animals served two functions: to record the precise circumstances of the hunt, and to commemorate the creature itself. the ritual nature of hunting is evident in these pictures, and this means of representation is the clearest expression in art of the high regard in which the game is held. producing portraits of slain prey depicted as though they were still alive has, in terms of spirit and intent, much in common with the ceremonies of laying out the game on a catafalque: this practice should not be regarded

merely as a means of tallying up the bag for the day, however, because the catafalque is prepared in accordance with strict ethical and aesthetic rules, demonstrating that the ceremony is more profound than a celebration of the hunter’s skill and success

Count lamberg inherited hunting grounds in both Hungary and Austria, and he organised numerous hunts, although he tended rather to paint the game than to shoot it. owing to his colour blindness, he produced his paintings in grisaille (shades of grey), and he hung them in his mansion in Csákberény, beneath the antlers of slain deer75 (figs 17 18) only a few of his works survive in the family ’ s possession,76 as the majority were destroyed during the war, as a result of which the animal paintings of Count lamberg have not been researched by art historians in terms of style, his pic tures bear a close resemblance to the works of pausinger, who was franz Joseph’s favourite animal painter, and who also earned commissions from Hungarian aristo crats: pausinger ’ s paintings of roe deer and stags once adorned, among other places, the hunting lodges of Count tasziló festetics in berzence (fig 1) and Count ferenc nádasdy in nádasdladány (fig. 19), and the converted convent used as a hunting lodge in Majk, owned by Count Miklós Móric esterházy 77

Another manner of depicting bagged game was to show them in “game strap paint ings”, a sub category of still lifes. Although there are only a few known examples in nineteenth century Hungarian art, depictions of bagged game have been common in the history of art, particularly in earlier centuries (cat. nos. 77 85). the characteristic of these still lifes is that, rather than capturing a moment during the act of hunting, they present the outcome of the hunt. they are completely devoid of idealisation and unabashedly show the wounds inflicted on the game, and they include allusions to the method by which they were killed, and sometimes also the weapons deployed, evoking the human participation in their demise the carefully arranged compositions frequently include allegorical content as well; for example, depictions of game sup plemented with kitchen still lifes symbolise the wealth of the owner of the painting.

H U N T I N G I L L U ST R AT I O N S

the nineteenth century heralded in a golden age for the illustrated press in Hungary, a n d t h a t i n c l u d e d i t s f a i r s h a r e o f s p e c i a l i s t p u b l i c a t i o n s d e a l i n g w i t h h u n t i n g the two most important periodicals on this theme, the Vadász és Versenylap, published from 1857, and Nimród, first issued in 1913, not only employed their own illustrators, but as we have seen, also focused on art related questions and the dissemination of knowledge with a cultural objective.78

75 | on the paintings by Count lamberg: szabó 1996, 161 97

76 | the paintings were looked after by fülöp Meran, who was born in Csákberény and who died in 2021 at the age of 95; Meran once served as director of the Hunting Museum in graz 77 | on nádasdy Mansion: sisa 2000, 21 54; on the Camaldolese hermitage in Majk: rácz and sárossy 2013, 355 69

78 | the Vadász és Versenylap was issued between 1857 and 1919 (in its first year it was titled Lapok a lovászat és a vadászat köréből [pages from the realm of horse riding and hunting]); Nimród is still published today, having appeared continuously since its launch, despite brief interruptions during world war ii, and being renamed Magyar Vadász [Hungarian hunter] between 1948 and 1968

19 györgy klösZ, The Library of Count Ferenc Nádasdy’s Mansion in Nádasd ladány, with a char coal drawing by Pausinger depicting a stag with twenty branched antlers, ca 1900

besides such journals, richly illustrated books on hunting also appeared by the end of the century, covering an increasing range of topics and issued in growing print runs these books were privately published at first, and in most instances the illus trations were produced by the authors themselves 79 As we have already seen in the case of Count ferenc lamberg, the hunting aristocracy in the mid nineteenth century also produced a number of self taught painters and draughtsmen only a few of them managed to exhibit before the general public, but their works were nonetheless known among the hunting community one such private undertaking was a decorative album issued in french and Hungarian by Count Manó Andrássy; entitled Hunting and Sport in Hungary, it was published in 1857 and featured twelve large coloured lithographs and numerous smaller illustrations inserted among the text.80 besides works by established painters such as ferenc Markó, károly lotz, József Molnár and károly sterio, the volume also featured contributions drawn by Count Manó Andrássy himself (Grey hound Coursing, Great Bustard Hunting, Wild Boar Hunting, Fishing) and by baron béla orczy (Stag Hunting, The Hunters’ Hut in Csákó, Chasing the Pack in Csákó, In Hot Pursuit) the baron, who regarded his artistic endeavours as mere “dabbling in the arts”,81 learnt to paint from károly klette, the father of gusztáv keleti 82 one of orczy ’ s works in

Count Manó Andrássy,

Andrássy 1857.

Vasárnapi Ujság 1882, 405

Vasárnapi Ujság 1879, 634

stories about

exotic hunts, illustrated with his own drawings (Andrássy 1857)

and periodicals: Vuray, rácz fodor, and szabó

Andrássy’s album, The Hunters’ Hut in Csákó, is among the earliest Hungarian examples of a meet painting, providing evidence of the influence of english art in the first half of the 1850s.

A series of books entitled Osztrák Magyar Monarchia írásban és képben [the Austro Hungarian Monarchy in words and pictures] was published between 1885 and 1902, “At the initiative of and with the collaboration of His imperial and royal Majesty Crown prince rudolf ” , who was renowned as a passionate hunter.83 the lavishly illus trated volumes sought to provide a panoramic ethnographic, historical, geographical, economic and cultural overview of all the nations in the Monarchy. the Hungarian edition was edited by Mór Jókai As part of each volume, the presentation of every re gion also featured a description of local hunting and fishing; the section on the Hun garian great plain, for instance, was accompanied by Árpád feszty ’ s drawing of a swamp fisherman forager, or pákász (cat no 94) the hunts of the Hungarian royal court are discussed in the sub chapter entitled Gödöllő and its Environs, with an illus tration by gusztáv keleti84 (fig 20) gödöllő Castle is only visible in the distance (de picted, according to keleti’s own notes, from the favourite bench of Archduchess Marie Valerie), while the foreground reveals a lush natural environment the same

Magyar Monarchia

20

gusZtÁV keleti, Gödöllő, early 1890s

sub chapter also features pál Vágó’s image of a royal fox hunt, in which franz Joseph, in the company of his two daughters and Crown prince rudolf, all on horseback, is about to jump over a fence, led by a pack of hounds (cat no 38) 85

At the end of the century, one of Hungary ’ s best known hunting authors, istván bársony, published two volumes of literature: the book entitled In the Forest, In the Field was illustrated with pictures by lászló pataky, béla spányi and other painters,86 while Silence, released a year later, featured works by Antal neogrády 87 these scenes were mostly taken from the everyday lives of hunters, genre pieces showing hunters riding through the forest with their dogs. Compared with the crowded, action filled paintings commissioned by the aristocracy and the king, the simplified compositions in bár sony’s volumes aimed at precisely illustrating the text they accompanied. the quantity of works of fine art on the theme of hunting decreased in the twentieth century, with the genre almost completely losing its autonomy, but the output of illustrations for books and periodicals thrived similarly to in the preceding century

*

the universality of the theme of hunting is present in a number of phenomena in nineteenth century Hungarian art: as well as the different genres and media presented here, which give equal prominence to hunting whether in still lifes or (animal) por traits, illustrations or genre pieces, medals or paintings, this overarching theme proved so pervasive and versatile that it even prompted lay members of the aristocracy, with out formal training in art but with a passion for hunting, to try their hand at being artistically creative why did artists in the nineteenth century, professional or amateur, choose to depict themes related to hunting? because they wanted to demonstrate the hunting skills of the people depicted (themselves or their clients); because they sought to emphasise their wealth (their own, or that of their clients); and because they wanted to preserve for posterity the fruits of their own hunting ventures by erect ing memorials to them these intents and motives led artists back almost as far as the prehistoric beginnings of the history of the depiction of hunting: the rituality in herent in the representation of hunting can still be glimpsed even after so many mil lennia have passed.

i s t o f i l l u s t r At i o n s

f i g . 1 | györgy klösz, The Dining Room of Count Tasziló Festetics’s Mansion in Berzence, ca. 1900. Hungarian national Museum, Historical photo department, budapest, inv no 78 108

f i g 2 | károly Markó the elder, Diana and Callisto, 1850 oil on canvas, 143 × 200 cm, signed lower center: C Marko p Appeggi 1850 kovács gábor Art foundation, budapest

f i g 3 | károly Markó the elder, Diana Mourns the Slain Stag (Apollo and the Stag), 1831 oil on panel, 35 × 42 cm, signed lower left: C. Marko 1831. kovács gábor Art foundation, budapest

f i g . 4 | Antal ligeti and sándor wágner, King Matthias Returning from the Hunt (Vajda Hunyad Castle in the Age of King Matthias), 1872 oil on canvas, 152 × 223 5 cm, Museum of fine Arts Hungarian national gallery, budapest, inv no 2767

f i g 5 | soma orlai petrich, series of Beautiful Helen illustrating the poem by Mihály Vörösmarty, ii (The Hideout), 1866. oil on canvas, 86 × 74 cm, signed lower left: orlay 866. Hungarian national bank, depositary program, on loan to the petőfi literary Museum, budapest

f i g 6 | soma orlai petrich, series of Beautiful Helen illustrating the poem by Mihály Vörösmarty, Viii (The Mourning), 1866 oil on canvas, 86 × 74 cm, signed lower left: orlay 866 Hungarian national bank, depository program, on loan to the petőfi literary Museum, budapest

f i g 7 | gusztáv keleti, The Death of Zrínyi, the Poet, 1860s watercolour, india ink, and walnut stain on paper, 330 × 455 mm, Museum of fine Arts Hungarian national gallery, budapest, inv. no. 1955 5336

f i g . 8 | gusztáv keleti, Wild Boar Hunter, second half of the 19th century. watercolour and pencil on paper, 141 × 197 mm, Museum of fine Arts Hungarian national gallery, budapest, inv no f95 53

f i g 9 | the artist’s younger brother, Józsi szinyei Merse, posing for the painting Oculi, 1884 family archive photograph

f i g . 10 | emil Adam, Noble Hunting Company in Agárd, 1882. oil on canvas, 160 × 285 cm, signed lower left: emil Adam 1882 München Hungarian national Museum, budapest, Historical gallery, inv. no. 53.1

f i g 11 | richard benno Adam, The Budapest Fox Pack Company, 1900 Matra Museum of the Hungarian natural History Museum

f i g 12 | wilhelm richter, The Fox Hunt of the Esterházy Family, 1870 oil on canvas, 127 × 189 cm, signed lower right: wilh. richter 1870. Museum kuny domokos, tata, Art Collection, inv. no. 66 1 1

f i g 13 | kornél spányik after Julius von blaas, Royal Fox Hunting in Gödöllő, after 1882 oil on canvas, 62 × 100 cm, signed lower left: Julius v. blaas u. másolta spányik kornél M. [Copied after Julius v blaas by kornél M spányik] Hungarian national Museum, budapest, Historical gallery, inv no 1909

f i g 14 | wojciech kossak, Imperial Hunt in Gödöllő/The Start of the Hunt, 1887 oil on canvas, 111 × 194 cm, signed lower left: wojciech kossak / 1887. Collection of the national Museum in warsaw, inv no Mp 222 Mnw

f i g 15 | wilhelm richter, Royal Fox Hunting in Rákos, 1872 oil on canvas, 144 × 153 cm, signed lower left: “wilh. richter 1872”. Hungarian national Museum, budapest, Historical gallery, inv no 1897

f i g 16 | oszkár glatz, Disembarkation at Lake Velence, 1904 reproduced in Vasárnapi Ujság, 11 december 1904, 851

f i g 17 | unknown photographer, The Hall of the Lamberg Merán Mansion in Csákberény, ca 1940 private collection, courtesy of balázs bányai and Ákos sánta

f i g 18 | ferenc lamberg, Roebuck in the Vértes Hills, 1898 private collection, courtesy of balázs bányai and Ákos sánta

f i g 19 | györgy klösz, The Library of Count Ferenc Nádasdy’s Mansion in Nádasdladány, with a charcoal drawing by Pausinger depicting a stag with twenty branched antlers, ca 1900 Hungarian national Museum, budapest, Historical photo department, inv. no. 78.186

f i g . 20 | gusztáv keleti, Gödöllő, early 1890s. watercolour and white heightening on paper, 253 × 355 mm, signed lower right: kelety Museum of fine Arts Hungarian national gallery, budapest, inv no 1902 1034

CAtAlog u e

s e C t i o n 1

H u n t i n g g o d s , g o d d e s s e s A n d H e ro e s i n g r e C o - ro M A n M y t H o l o g y

“i am knowledgeable about woodland, and hunting wild animals ... ”

(ovid, Metamorphoses, bk Vii:661 758, the infidelities of Cephalus and procris trans. A. s. kline)

l É o n d AV e n t (active in fontainebleau, 1540 1556)

After lu C A p e n n i (florence, 1500/1504 paris, 1557) or f r A n C e s C o p r i M At i C C i o (bologna, 1504/1505 fontainebleau, 1570)

Adonis Slaying the Calydonian Wild Boar

1547

engraving on paper, 310 × 394 mm imprint i/ii purchased from the esterházy collection, 1871 inv no 52262

Museum of fine Arts, Collection of prints and drawings

in the 1520s, king francis i of france rebuilt his castle in fontainebleau in the ren aissance style He commissioned the finest italian artists to decorate the interiors the masters working under the supervision of rosso fiorentino (giovanni battista di Jacopo rosso) and francesco primaticcio of bologna created a uniquely rich en semble of murals, stuccos, intarsias, and tapestries over several decades. it was not only the luxurious decoration of the rooms that proclaimed the greatness of the ruler: the most famous compositions in the castle soon became widely known via printed reproductions

However, the sheets of the fontainebleau engravers are rarely exact reproductions of the murals, as they often used sketches that ultimately did not become paintings Although léon davent made his engravings almost exclusively after primaticcio’s frescos, there is no known mural similar to this sheet, which relates the mythological s t o r y o f Ad o n i s a n d t h e C a l y d o n i a n w i l d b o a r As , o v e r t i m e , t h e e n g r a v i n g s i n fontainebleau became less and less limited to the works of local painters, we cannot be sure whether the composition was even part of the castle’s decorative programme

ZoltÁn kÁrpÁti

literAture: Zerner 1969, no ld 77; Aldovini in Paris 2004, 276 77

r e n C H s C u l p t o r (?)

Venus and Adonis

mid 16th century Marble, 32.5 × 45 cm transferred from the Museum of Applied Arts, 1950 inv. no. 51.926 Museum of fine Arts, sculpture Collection

the marble relief depicts a tragic story from ancient mythology Venus and her lover, the handsome but mortal Adonis, went hunting together, but the goddess of love, however, warned the young man against any reckless show of strength: “neither youth nor beauty, nor the charms that affect Venus, affect lions or bristling boars or the eyes and minds of other wild creatures” (ovid, Metamorphoses) the carving shows Venus, surrounded by nymphs, hounds and putti, pleading with Adonis not to set out on his fatal wild boar hunt Although the creator of the relief is unknown, due to its stylistic features an emphatically vertical composition, crowded with elongated figures in graceful poses it shows close affinity with the works of artists of the french fontainebleau school, who drew inspiration from the italian late renaissance An analogy is the stucco decoration of the former bedroom (converted in the eigh teenth century into a royal staircase) of the duchess of Étampes in the chateau of fontainebleau near paris, designed by francesco primaticcio (1504 1570) in the 1540s. the budapest work is probably based on a printed or painted prototype MÁrton tótH

g i o rg i o g H i s i (Mantua, 1520 Mantua, 1582)

After lu C A p e n n i (florence, 1500/1504 paris, 1557)

Allegory of Hunting

1556

engraving on paper, 364 × 254 mm imprint ii/V purchased from the esterházy collection, 1871 inv. no. 5440

Museum of fine Arts, Collection of prints and drawings

giorgio ghisi, an engraver from Mantua, had an unparalleled career. He was employed by some of the greatest publishers of prints in europe He later travelled to france, where he made engravings after drawings of the italian masters luca penni and fr a n c e s c o pr i m a t i c c i o , w h o w e r e w o r k i n g o n t h e d e c o r a t i o n o f t h e C h a t e a u o f fontainebleau After a decade, he returned to Mantua, where he served the gonzaga family as curator of the ducal collection of jewellery and precious metals until his death. Although he made most of his works after Michelangelo and raphael, his finest e n g r a v i n g s w e r e i n s p i r e d b y d r a w i n g s b y l u c a pe n n i . pe n n i b e g a n h i s c a r e e r i n raphael’s workshop in rome, before moving to france, where he earned his living mainly from his drawings for engravers in paris and fontainebleau. fontainebleau was popular for its depictions of hunting: its name originates from the legendary story of bleau, the hound who discovered the hidden spring in the forest, while diana, goddess of hunting, also appears frequently in the iconography of king francis i of france ghisi and penni’s collaborative engraving is also on hunting: the allegorical representation, however, does not depict a specific mythological story, so its characters could be identified with Venus and Adonis as much as with diana and orion

ZoltÁn kÁrpÁti

H e r n i tA l i A n s C u l p t o r

Meleager

mid 16th century bronze, black lacquer patina, 42 × 17 × 13 cm purchased from the collection of istván ferenczy, 1914 inv. no. 5309 Museum of fine Arts, sculpture Collection

the small bronze depicts the ancient prince Meleager, slayer of the Calydonian wild boar, with his hound by his right foot. the composition follows a classical model: the lost original bronze version of the marble sculpture of the hero with his dog and the boar ’ s head, held in the Museo pio Clementino in the Vatican, was made by the greek sculptor scopas (active in the mid fourth century bCe) the marble sculp ture had been known as one of the finest classical sculptures in rome since 1546, and an etching was made of it in 1555 the budapest piece copies the roman marble statue without the boar ’ s head resting on the tree trunk and also without the end of the cape that flutters from Meleager’s left arm, but it faithfully follows the figures’ postures the hunter ’ s left arm also remains unfinished, a deliberate attempt by the sculptor to imitate the ancient prototype. A number of modern masters were inspired by this theme to cast small bronzes A renaissance replica, which reproduces the antique marble in its entirety, but with the addition of Meleager’s left forearm, is in the princely Collection of liechtenstein in Vienna, while an eighteenth century piece from rome is now in the frick Collection in new york.

ZsófiA VArgyAs

bernAert de riJCkere (kortrijk, ca 1535 Antwerp, 1590)

Diana and Actaeon

1562

oil on oak panel, 48 × 70 5 cm signed lower left, on the stone steps: 1562 / B.D. Rickere IV transferred from the apartment of the royal chamberlain in buda, 1848 inv. no. 378 Museum of fine Arts, Collection of old Master paintings

the story of diana and Actaeon is related by ovid in his Metamorphoses (iii; 138 253): while out hunting, the brave grandson of king Cadmus was led by fate “through parts unknown” to a sacred grove of nymphs, where the virgin goddess and her followers would gather to rest and bathe in a cave. in the left foreground of the painting, we see the young man spying on the naked diana, radiant with unearthly beauty, who in her fury throws spring water over Actaeon, casting a fateful curse upon him: she turns the hunter into a deer, and although he tries to escape, he is mauled to death by his own dogs this myth, highly popular in the low Countries in the sixteenth cen tury, contains elements of the erotic, the bizarre and the horrific, and appears in many depictions bernaert de rijckere, known mainly for his allegorical and mythological paintings, wove the opening and closing scenes of the story into the bluish green thicket of the grove as tiny motifs in the background of the painting, while the dra matic climax was executed on a larger scale in the foreground. besides faithfully de picting the narrative, he also placed great emphasis on the forest mountain landscape and its inherent decorativeness: Actaeon’s attire and the marble-white bodies gleam like jewels among the velvet green of the lush vegetation that dominates the painting georginA Csető

g i u s e p p e C e s A r i ( C AVA l i e r d ’A r p i n o ) (Arpino, 1568 rome, 1640)

Diana Transforming Actaeon into a Deer (Diana and Actaeon)

ca. 1603 1606 oil on copper, 50 × 69 cm signed below on the stone before Actaeon’s foot: IOSEPH(US) ARPlNA(S) F(EClT) purchased from the esterházy collection, 1871 inv. no. 508 Museum of fine Arts, Collection of old Master paintings

According to ovid’s Metamorphoses (iii, 138 253), Actaeon, a young hunter, was led by destiny to the sacred forest of diana, where he caught a glimpse of the goddess of hunting bathing with her nymph attendants. in fury, diana turned the young man into a deer, who was eventually killed by his own dogs Cesari captures the moment in the story when Actaeon’s body is just beginning to undergo metamorphosis. the surprise and alarm of the female figures is mixed with playful curiosity in this erotic mythological scene, complete with nudes painted in a variety of poses, Cesari, in keeping with public taste at the time, presents diana as a childlike yet sensual figure in addition to his important roman frescos and altarpieces, giuseppe Cesari also painted a number of smaller cabinet paintings on mythological themes. the latter works were often painted on wood, copper or slate, contributing to the elegant, metic ulously executed enamel like finish of his paintings. the budapest work is an early example of this, a popular composition which survives in several versions: an earlier version is preserved in the louvre in paris, while a later variation, in a reverse com position, is in a private collection in rome A copy made by the master ’ s brother, bernardino, can be found in the collection of the galleria borghese in rome. nikolettA koruHely

literAture: tátrai in Summary Catalogue 1991, 25; szigethi in Frankfurt am Main 1999, 248 49, cat no 71; tátrai in Madrid 2017, 110 11, cat no 35

p i e t ro t e s tA (lucca, 1612 rome, 1650)

Venus and Adonis

ca. 1632

etching on paper, 355 × 452 mm imprint i/iii purchased from the collection of istván delhaes, 1901 inv. no. 46553 Museum of fine Arts, Collection of prints and drawings

in the seventeenth century, a growing number of painters started to produce etchings this method of printmaking encouraged a more spontaneous and flexible means of expression than copperplate engraving, enabling artists to work directly on the cop perplate without the need for an engraver. the popularity of etching was partly due to the fact that it provided artists with a source of income when painting commissions were scarce. while most painters only occasionally turned to engraving, pietro testa has left a substantial body of etchings to posterity the painter was employed in rome by Cassiano dal pozzo (1588 1657), the most famous antiquarian of the period, and he drew ancient monuments for his patron’s Museo Cartaceo (paper Museum), which boasted 10,000 sheets pozzo belonged to the upper echelons of the roman elite, and testa intended his etchings primarily for them this work depicts the tragic love story between Venus, the goddess of love, and the mortal young hunter Adonis. testa created the dramatic impact of this carefully choreographed allegorical composition not through simple storytelling but by filling his work with intellectual references obvious to sophisticated audiences versed in classical literature

ZoltÁn kÁrpÁti

literAture: Cropper 1988, no 16; bellini and wallace 1990, 4506 025 s1

f e r d i n A n d o tA C C A (florence, 1619 florence, 1686)

Venus and Adonis

ca. 1650

bronze, brown lacquer patina, 44 5 × 26 × 26 5 cm purchased from the collection of istván ferenczy, 1914 inv no 5352 Museum of fine Arts, sculpture Collection

the sculpture depicts an episode in the ovidian story of Venus and Adonis: the god dess of love tries in vain to keep her mortal lover by her side, who instead embarks on a fatal hunt. Venus’s desperation and Adonis’s bravado were conveyed with the atrical gestures by ferdinando tacca, the master of the small bronze the florentine sculptor, who also worked as a stage designer and architect, succeeded his father pietro tacca (1577 1640), a pupil of giambologna, as court sculptor to the Medici in 1640, and took over the bronze foundry at borgo pitti. in addition to monumental commissions (such as the equestrian statue of king philip iV of spain in Madrid [1640 1642] and those of grand dukes ferdinand i and Cosimo ii of tuscany in flo rence [1642 1649]), he produced a series of small bronzes featuring two figures, each with a mythological theme these include the finely detailed budapest piece placed in the master’s oeuvre by Anthony radcliffe. in addition to the small bronze depicting the fateful hunt for the wild boar, several other sculptures depicting hunting scenes were made in the seventeenth century in the sculpture workshop of the Medici, prob ably inspired by the hunts held by the grand ducal court

ZsófiA VArgyAs

literAture:

szőcs in London 2010, cat

k Á ro ly M A r kó t H e e l d e r (lőcse [levoča, slovakia], 1791 florence, 1860)

Diana at the Hunt (Nymphs at the Hunt)

1836

oil on panel, 38 5 × 52 5 cm signed middle left: C Markó 1836 Romae gift, 1862

inv. no. 3085

Hungarian national gallery, Collection of 19th and 20th Century painting

károly Markó the elder ’ s frequent use of mythological themes testifies to his wide ranging education and knowledge of classical authors. Moreover, he repeatedly painted figures such as paris and diana, depicting different episodes and compositions in Diana at the Hunt, he alludes to the story of the goddess of hunting through the at tributes of hounds, bows and horns Although his characters are not generalised into staffage figures, unlike his earlier paintings, which followed the representational tradition, the scene here does not fill the space of the painting: it is as if the magnificence, variety, and beauty of the ideal italian landscape were his primary subject, underlined by the people and animals inhabiting it. the composition revolves around a peculiar balance: on the left, we can see diana and the wood nymphs accompanying her, ges turing towards the deer fleeing across the watercourse on the right.

this work, along with seven other Markó paintings, was purchased from the artist’s estate in 1862 by the Association for the foundation of the national picture gallery and donated to the József nádor national picture gallery the collection was contin ually expanded by purchases and gifts, until finally, at the end of the nineteenth century, it was transferred from the Hungarian national Museum to the Museum of fine Arts Adrienn prÁgAi

k Á ro ly M A r kó t H e e l d e r (lőcse [levoča, slovakia], 1791 florence, 1860)

Diana and Endymion

1853

oil on canvas, 71 × 94 6 cm signed lower left: C. Markó S.p. Ap. 1853 purchased through public donation, 5 december 1861, pest inv. no. 3086 Hungarian national gallery, Collection of 19th and 20th Century painting

According to ancient sources, the story of diana and endymion was not linked to the goddess of hunting, but to the goddess of the moon. selene, the greek goddess of the moon, was only transformed into diana in the seventeenth century; from then on, as in the painting by károly Markó the elder, the goddess is depicted mounted on a deer, carrying the attributes of hunting, the bow and arrows, on her way to visit her lover.

Ac c o r d i n g t o m yt h o l o g y, t h e l o v e s e l e n e f e l t f o r e n d ym i o n w a s s o f i e r c e t h a t she could not accept that the young shepherd would grow old and die, so instead, she lulled him into eternal slumber. every night the moon goddess admired the boy ’ s never fading beauty later, when the moon goddess was portrayed as diana, the cast o f c h a r a c t e r s w a s e x p a n d e d , w i t h C u p i d l e a d i n g t h e l o v e r t o t h e e v e r s l e e p i n g endymion, set in an idyllic moonlit landscape as we can see in Markó’s painting the ageing Markó, by that time suffering from an eye disease, painted the story of the lovers in 1853, the year he visited pest, in the last phase of his life, after he had settled near florence. He already had an enormous cult following, and this only increased his death, when his legacy, including Diana and Endymion, was donated to the Hungarian national Museum

Adrienn prÁgAi

J ó Z s e f ró n A (lovasberény, 1861 budapest, 1939)

Diana between 1880 and 1910 bronze, 16 cm signed on the base, on the left: Róna József purchased from the artist, 1937 inv. no. 56.543-n Hungarian national gallery, Collection of sculptures, Coins and Medals

the artist, who started out as an apprentice carpenter, learned sculpture in Vienna from 1879 to the mid 1880s. under the mentorship of Caspar von Zumbusch (1830 1915), he acquired not only the skills needed to express biblical and classical themes, but also the requisite knowledge to create monumental works that best suited his artistic inclination Among his most famous works is the neo baroque equestrian statue of prince eugene of savoy that stands in front of the Hungarian national gallery, whose composition, monumentality, oval pedestal and spatial arrangement are testimony to the influence of róna’s erstwhile master (Zumbusch produced the equestrian statue of Archduke Albrecht in front of the Albertina in Vienna). we do not know what relationship József róna had with hunting it is likely that his interest in antiquity was due to Zumbusch’s example and his scholarship in rome, and the two dianas shown here may have been inspired by the sculptural conventions of the time. the archaically styled piece bought from the artist in 1937 and the sculp ture later acquired as a gift from his widow were both probably made during or im mediately after his stay in italy. the stele-like composition can only be identified as the work of a young modern sculptor from the plasticity of the figures

ZoltÁn subA

J ó Z s e f ró n A (lovasberény, 1861 budapest, 1939)

Diana Mounted on a Stag between 1880 and 1910 bronze, 25 cm signed on the base: Róna J. gift of the artist’s widow inv. no. 56.773-n Hungarian national gallery, Collection of sculptures, Coins and Medals

Diana Mounted on a Stag appears to be a typical classicising genre sculpture of the pe riod, but the face of the goddess of hunting gives the impression of an archaising copy géza lengyel, in his 1910 article on József róna, points out that “[producing] more intimate sculpture was, by his own admission, a means of relaxation. His energies were actually bound up in monumental tasks ” the artist’s autobiography of 1929, however, leads us to a contradictory conclusion: his vivid recollections of the beauty of the female body, the longing for models and the nudes depicted after them, and portraits that were either unfinished or not yet begun, give the impression that the elderly sculptor ’ s interest in “more intimate sculpture” was not merely a temporary pastime

ZoltÁn subA

literAture: lengyel 1910, 23 36; róna 1929; kenyeres 1982, vol ii, 532 .

J e A n A l e x A n d r e J o s e p H fA l g u i è r e (toulouse, 1831 paris, 1900)

Diana

sculpted: ca. 1882; cast: ca. 1890 bronze, 42 5 × 37 × 26 cm purchased, 1980 inv no 80 1 u Museum of fine Arts, Collection of Art after 1800

Alexandre falguière was one of the most celebrated french sculptors in the second half of the nineteenth century the full figured, life size statue of diana, the roman goddess of hunting, is considered one of his best known works. the statue, presented at the 1882 exhibition at the salon in paris, was both a success and a scandal at the same time, as many critics complained that the artist did not portray the goddess in an idealised way instead of following classical tradition, falguière opted for a realistic depiction of the female body, accentuating diana’s human character by emphasising her natural proportions and buxom charms, considered vulgar by many nevertheless, the artist produced several variations on the same theme, including in one of his (relatively rare) paintings, and his masterpiece also became extremely popular as a bust only the crescent adorning the forehead tells us that we are look ing at diana, but as the body is not present here to distract us from the goddess’s unidealised facial features, the bust’s defiant and radiant profile shines through to full effect.

AnnA ZsófiA koVÁCs

literAture: Javel 1898,

bénédite 1902, 8 9; illyés 2001,

A n tA l r u d o l f w e i n b e rg e r (resica [reșița, romania], 1879 Vienna, 1936)

Allegory of Art and Hunting

1910 embossed bronze, plaquette dimensions: 75 × 57 mm signed below on the front, on the right: WEINBERGER; on the left: WIEN 1910 purchased, 1985 inv. no. 86.39 p Hungarian national gallery, Collection of sculptures, Coins and Medals

of Hungarian origin, Antal rudolf weinberger graduated from the Academy of fine Arts in Vienna and subsequently stayed in the city, where he received numerous com missions and became a regular exhibitor at the künstlerhaus His works were often exhibited in budapest at the exhibitions of the national Hungarian society of fine Arts the best known Hungarian piece among his extensive oeuvre of medals and plaques is the sándor petőfi Medal, which was created in 1908. weinberger ’ s plaque was made to commemorate the first international hunting ex hibition held in Vienna in 1910, which also focused greatly on culture: in the pavilion of painting and Applied Arts, the public could see works by Hans Makart (1840 1884) and franz xaver von pausinger (1839 1915), the latter of whom was frequently com missioned by Hungarian aristocrats. the plaque depicts an allegory of art and hunting. the former is represented by a painter, while hunting is personified by the goddess diana, whose attributes are the bow and arrows and the radiant crescent moon on her head Alongside literature, the visual arts are a particularly important part of the hunting tradition: after Vienna in 1910, the 1971 world Hunting exhibition in budapest also featured a special exhibition of paintings and sculptures related to the theme, and a contemporary art competition was also held on this occasion

Adrienn prÁgAi

siklóssy

bányai 1996, 62,

A l A d Á r g Á r d o s (budapest, 1878 budapest, 1944)

Diana

ca. 1923 Marble, 89 × 34 × 26 cm signed on the side, beside the left foot, in cursive script: Gárdos A. purchased from a private individual, 1960 inv. no. 60.50-n Hungarian national gallery, Collection of sculptures, Coins and Medals

“sculpture, whose main aim is the expression of absolute form, should never strive to achieve results through cheap, so called painterly effects.” these words were written by Aladár gárdos in an article published in 1917, in which he emphasises the impor tance of proficiency in various sculptural materials (stone, bronze, wood) and states that works of sculpture should achieve a sense of materiality Contemporary critics of his marble sculptures described them as “radiating spirituality ” with forms that “ vibrate with human emotions” gárdos’s sculpture of diana was presented at the ex hibition of the benczúr society exhibition at the national salon in budapest in 1923 the mythological identification of the nude figure is helped by the crescent moon adorning her head, which is turned towards the left shoulder diana is identified with l u n a , t h e g o d d e s s o f t h e m o o n . H e r n a m e i s a l s o d e r iv e d f r o m t h e w o r d d i a (’moon/light’) Among the deities of the pantheon, diana is the counterpart of Artemis in roman mythology, and is therefore primarily the goddess of hunting. this aspect of her being is alluded to in gárdos’s statue by her attributes (the quiver on her left side and the short arrow resting on her thigh in her right hand), but this is not the prominent focus furthermore, while diana is also a symbol of virginity in general, here, the depiction of the young female nude, resting on her left leg with her right knee gently bent, is dominated by a kind of repressed sensuality rather than by chaste modesty

Judit sZeifert

literAture: gárdos 1917, 761; Budapest 1923, lot 121; Budapest 1929, lot 181; Ojság 1929, 4; Népszava 1929, 14

H u n t e rs i n H u n g A r i A n A n d H u n M y t H o l o g y

“dense mists arise, behind, before; ’tis vain the chase to follow more. whilst, unaware, the men pursue, the prey hath vanished far from view.”

(János Arany,

The Legend Of The Wondrous Hunt, 1863, excerpt trans e d butler)

s e C t i o n 2

Al AdÁr körösfői kriesCH (buda, 1863 budakeszi, 1920)

Ancient Hungarian Bison Hunt

ca. 1899 oil on canvas, 85 × 99 5 cm

signed lower right: Szives emlékül [As a fond reminder] Kriesch Aladár gift, 1939 inv. no. 7738

Hungarian national gallery, Collection of 19th and 20th Century painting

Hungary ’ s history has been intensely researched since the first half of the nineteenth century. Aladár körösfői kriesch, head of the gödöllő artists’ colony, was keenly in terested in the nation’s pre history, devoting particular attention to Hungarian and Hun mythology. one of the central motifs of the Magyar saga, the wondrous stag, was first depicted by him in a sketch of 1897 in the planar, decorative picture, built around patches of colour, the figures’ violent movements lead towards the white stag, which flees ethereally körösfői kriesch enclosed the work in an ornamental frame decorated with four petalled flowers reminiscent of medieval art.

Ág n e s f e r e n C

literAture: keserü in németh 1981, vol i, 433; gellér in gellér, g Merva, and őriné 2003, 5 26; földi in őriné 2016, 73 76

i

Al AdÁr körösfői kriesCH (buda, 1863 budakeszi, 1920)

The Wondrous Stag (Hunting)

1897

watercolour, indian ink and tempera on paper, 353 × 465 mm signed lower left: KA 897 Vadászat [Hunting] gift of pál Majovszky, 1935 inv. no. 1935-2805

Hungarian national gallery, Collection of prints and drawings

similar in theme and conception is the oil sketch of the Ancient Hungarian Bison Hunt, a secco he was commissioned to produce in 1897 for the dining room of the Hungarian parliament building körösfői kriesch chose a scene from The Death of King Buda, an epic written by János Arany: in the diagonally structured, multi figured, and highly dynamic composition, Attila, mounted on horseback with his spear in his hand, rushes to rescue buda, who has fallen to the ground. After numerous revisions, the monumental work finally achieved its final form on the wall of the parliament in 1902 Ágnes ferenCZi

literAture: keserü in németh 1981, vol i, 433; gellér in gellér, g Merva, and őriné 2003, 5 26; földi in őriné 2016, 73 76

b A r n A b Á s H o l l ó (Alsóhangony, 1865 budapest, 1917)

Drinking Hunter

ca. 1900 bronze, 37 cm signed on the base: HOLLÓ B purchased from the artist’s widow, 1927 inv. no. 56.300-n Hungarian national gallery, Collection of sculptures, Coins and Medals

the Drinking Hunter was originally made for a competition to design a public fountain; this is a bronze version of the fountain. in his will, lajos Millacher, a citizen of bu dapest and a producer of sparkling water who died in 1892, left the capital 20,000 forints to erect a fountain in his memory. Millacher stipulated that the commissioned sculptor should be chosen by tender and that the artist should display the name of the donor, who specified in his will that the work should be called the “lajos fountain”. in 1902, twenty seven sculptors submitted a total of thirty five entries, and after a lengthy jury selection process and further rounds, barnabás Holló was chosen to cre ate the fountain in June 1903, ahead of many leading sculptors of the time, such as gyula Jankovits, richárd füredi, József dankó and ede Markup barnabás Holló was himself a passionate hunter, who used animal motifs even in his first exhibited works. His early successes led to many commissions to produce sculptures for buildings (in cluding a relief commemorating the founding of the Hungarian Academy of sciences, and a work on ferenciek square celebrating Miklós wesselényi rescuing victims from the danube flood), but he returned to his favourite subject with a trained hand when modelling the lajos fountain, combining it with a Hungarian male topos from the time of the Hungarian Conquest

ZoltÁn subA

literAture: Magyar Szemle 1902, 564; Alkotmány 1903, 8; Pesti Hírlap 1903, 9; Művészet 1917, 76 78

k Á ro ly s e n y e i ( s C H M i d t ) (pest, 1854 budapest, 1919)

Horn Blower

ca. 1900 bronze, 57 cm signed on the base: Senyey purchased from a private collection, 1933 inv. no. 52.146 Hungarian national gallery, Collection of sculptures, Coins and Medals

the creator of the statues of the Hungarian kings Saint Stephen and Andrew II, which grace the Millennium Monument on Heroes’ square in budapest, is mostly known for his genre pieces and his building sculptures the Horn Blower, featured in this volume, belongs to the former group. károly senyei’s sculpture is first found among the pur chases made at the winter exhibition in the Art Hall: the bronze statue with the kuruc bugle was bought by kálmán benkő, a member of the national Hungarian society of fine Arts, in 1899 the work was subsequently exhibited under the title Kuruc at the exhibition universelle in paris in 1900, as an exemplar of Hungarian applied art, specifi cally bronze casting, and was produced in the beschorner foundry in budapest. the historical version of the tárogató, the turkish pipe, which became popular during the rákóczi war of independence in the early eighteenth century, was used both as a war bugle and for entertainment the instrument was inextricably linked to kuruc cavalrymen, so the secondary political meaning of the sculpture cannot be ignored, given that when the work was made, Hungary was still part of the dual Monarchy: in this regard, its inclusion in an international exhibition can be seen as a declaration of independence when and why the statue was renamed from Kuruc to the more “neu tral” Horn Blower are valid, but as yet unanswered questions

ZoltÁn subA

literAture: Műcsarnok 1900, 9; györgyi 1900, 236; kenyeres 1982, vol ii, 619; ortutay 1982, 213

g y ö rg y VA s tA g H J u n i o r (kolozsvár [Cluj napoca, romania], 1868 budapest, 1946)

Ancient Hungarian Rider (Mounted Archer)

1938 bronze, 45 cm

signed on the base: Vastagh György / 1938. VIII. 31. transferred from the royal Castle, budapest, 1952 inv. no. 52.946 Hungarian national gallery, Collection of sculptures, Coins and Medals

györgy Vastagh the younger, known for his anatomically accurate, portrait like sculp tures of animals, attached great importance to the precise representation of details in all his works for the sake of authenticity, he modelled most of his equestrian sculp tures after the traditional horse rider of Hortobágy (known in Hungarian as csikós). in the case of the Ancient Hungarian Rider, however, in the absence of an authentic model, he based the horseman’s costume and weapons on nineteenth-century romantic ideas the figure of the horse was copied from the sculpture of a neighing horse he had made in 1908 in bábolna, depicting an Arabian stallion named gazal the first versions of the sculpture were made in 1910, when the city of Mukachevo commissioned a large scale equestrian sculpture of prince Árpád Although the out break of world war i prevented him from completing the life size sculpture, he re visited the composition from time to time, implementing minor alterations His half life size version, complete with spear, was erected as a public sculpture under the t i t l e Va l i a n t Ö r k é n y A n o t h e r v e r s i o n , l a r g e r t h a n l i f e s i z e a n d c a s t i n a l u m i n i u m , adorned the tomb of gyula gömbös. the bronze held in the Hungarian national gallery once decorated the living quar ters of Admiral Horthy and his family in the royal palace Another sculpture on a similar scale, in which the rider holds a spear instead of a shield, is known as The Van guard of the Hungarian Conquerors

dorottyA gulyÁs

literAture: szatmári 2001, 457 72; ujvári 2001, 105 24; barla szabó 2004; szőllősy 2009, 5 12; 35; 79

g y u l A M Au g s C H (besztercebánya [banská bystrica, slovakia], 1882 Austria, 1946)

Ancient Hungarian Archer

first half of the 1940s bronze, 42 5 cm signed on the base: Maugsch purchased from the artist, 1944 inv. no. 56.473-n Hungarian national gallery, Collection of sculptures, Coins and Medals

Although he established his reputation as an animal sculptor during his twelve years in germany, besides his depictions of dogs, bears and other creatures, gyula Maugsch also created figural compositions and portraits the Ancient Hungarian Archer can only be considered a “ hunting portrait” if we set aside the circumstances under which it was made: the title was composed much later, combining the term “ancient Hungarian”, which appeared in press reports in the 1940s, with the movement depicted. the work was created at the height of wartime irredentism, and can thus be regarded as a pro pagandistic piece rather than a historicising genre sculpture the Ancient Hungarian was first mentioned in connection with the spring exhibition in the kunsthalle in 1943, so in the absence of more precise information we must assume it was made in the first half of the 1940s.

in line with the cultural and political aspirations of the war period, the image of a Hungarian warrior from the Age of Conquest a popular and enduring theme since the Millennium exhibition of 1896 was clearly intended to appeal to art lovers in Hungary ’ s hinterland; in this context, the ancient Hungarian hunter taking aim with his bow is presented as an archer pursuing the enemy

ZoltÁn subA

szentmiklóssy

Szépművészet

V i o l A b e r k i (kiskunhalas, 1932 budapest, 2001)

Ancient Hungarian Hunting

1971

oil on canvas, 110 5 × 118 5 cm signed lower right: Berki Viola transferred from the Ministry of Culture, 1974 inv. no. MM74.156

Hungarian national gallery, Contemporary Collection

originally from kishunhalas, Viola berki painted in oil, watercolour, and ink, made pencil drawings, etchings and silkscreen prints, illustrated storybooks and magazines, and is also known for her mosaic works she studied with géza fónyi and was later influenced by her time at the artists’ colony in szentendre and the art of dezső korniss and Jenő barcsay berki derived her forms from Hungarian folk art, the italian trecento and persian miniatures. Her decorative, colourful fantasy world of stylised figures recalls the atmosphere of the works of istván pekáry, Vladimír szabó, and Arnold gross the bible and history were further sources for her mythical, narrative scenes the artist’s painting Ancient Hungarian Hunting depicts a traditional hunting scene in a vividly coloured landscape: the hunters of the Age of Conquest hunted deer on horseback, ambushing them with bows, and aided by dogs. Viola berki made the pic ture for the 1971 world Hunting expo in the accompanying exhibition at the Art Hall, classical art was represented by paintings from the smithsonian institute in washington, seventeenth and eighteenth century flemish and dutch works from the Museum of fine Arts, and Hungarian works from the nineteenth and twentieth centuries held by the Hungarian national gallery, while the contemporary selection included contributions by artists from sixteen countries

Adrienn prÁgAi

literAture: Budapest 1971, 70; dévényi 1973, 520 21; brestyánszky 1984, 6; szűcs 2012, 26 32; kovács 2013, 6 35, 72

S ECTION 3

SAINTS WITH DEER: SAINT GILES AND THE PATRON SAINTS OF HUNTING

“... by this hart that thou huntest I may hunt thee.” (Jacobus de Voragine, Golden Legend, ca. 1260. Trans. William Caxton)

TYROLEAN OR SOUTH GERMAN SCULPTOR (active ca. 1500)

Saint Giles

ca. 1500

Limewood, 128 × 42 × 32 cm

Purchased from the Central Financial Institute, 1970 Inv. no. 70.2

Museum of Fine Arts, Sculpture Collection

Saint Giles migrated from the Greek peninsula to what is now the south of France, where he later founded a Benedictine abbey in the village named after him (SaintGilles-du-Gard). His attribute is the hind, which he rescued from the hunters of the Visigoth King Flavius. According to a story recorded in the eleventh century text, the Vita Sancti Aegidii, the hind, pursued by dogs, sought refuge with Giles, who caught an arrow fired at the deer with his own hand. Giles was revered as one of the Fourteen Holy Helpers, the protector of wild animals, and from the late Middle Ages he was often portrayed in German-speaking areas on murals, panel paintings, and winged altarpieces depicting the fourteen saints. The present sculpture may also have once been part of an altarpiece, although the shepherd’s crook is a later replacement. In the second half of the fifteenth century, it was mostly characteristic of the southern German regions to depict the elongated figure of the deer rearing on its hind legs and leaning on Giles with its forelegs. One of the finest examples of this can be seen on the carved winged altarpiece in the Lutheran church in Osternohe, near Nuremberg. The Budapest sculpture was once part of the outstanding art collection of Richard von Kaufmann (1850–1908), former minister of finance, in Berlin.

ADÉL DOMÁNY

LITERATURE:Cassirer and Helbing 1917, no. 315, table 42; Balogh 1975, vol. I, cat. no. 36; Budapest 1999, cat. no. 45.

A l b r e C H t d ü r e r

The Vision of Saint Eustace

ca. 1501 engraving, 355 × 259 mm purchased from the elischer collection, 1900 inv no 1900 496 Museum of fine Arts, Collection of prints and drawings

Albrecht dürer, the virtuoso draughtsman and printmaker of the northern renais sance, depicted sharply observed nature in rich, vivid detail in his engravings, bril liantly deploying shades of grey to conjure up almost painterly tonal transitions. the composition entitled The Vision of Saint Eustace, made around 1501, is the artist’s largest engraving, depicting the conversion of placidus, a roman soldier who lived during the reign of trajan According to legend, while out hunting, placidus saw the crucified Christ among the branches of a deer ’ s antlers. the soldier, who took the name eustachius at his baptism, kneels in contemporary hunting attire beside his horse on the bank of a stream, spreading his arms wide as he watches in wonder the apparition in the background. the landscape, meticulously evoked with a system of differentiated lines, with hunting dogs depicted from different angles, is a perfect example of dürer’s special sense for conveying scenes based on the direct observation of nature. decades later, during his visit to the netherlands, the artist sold or donated several copies of the engraving, which shows the great value of the work.

sZilViA bodnÁr

literAture: bartsch Vii, 73 57; Meder 1932, 60; schoch, Mende, and scherbaum 2001 2004, vol i, 32

M i C H e l A n g e l o A n s e l M i (lucca, ca 1492 parma, 1555/1556)

Saint Giles

ca. 1523 1524 oil on panel, 54 × 46 cm purchased from the esterházy collection, 1871 inv no 995 Museum of fine Arts, Collection of old Master paintings

saint giles, one of the fourteen Holy Helpers, was, according to the Golden Legend, active in the south of france in the seventh and eighth centuries A man of piety, he became famous for his many miracles and, “ fearing the danger of human praise”, he re treated into seclusion during this time he was fed by a doe one day, the men of the king of the western goths wanted to shoot the deer, but they wounded giles instead. in atonement, the king founded a monastery at giles’s request, and appointed the her mit as its first abbot. the benedictine abbey, later named after saint giles (saint-gillesdu gard), became one of the most important pilgrimage sites of the Middle Ages in the painting, the saint appears with the deer and, in a rare iconographic type, in abbatial vesture and insignia. the circumstances under which the painting was commissioned are not known it was transferred with the esterházy collection to the national picture gallery, the predecessor to the Museum of fine Arts, as a work by federico barocci the gentle effects of light and shade, the tender colour harmonies, and the elegance and directness of the picturesque yet compact figure are indeed all traits that are common to the style of both masters, but by analogy with a fresco of religious teachers made for the Monastery of saint John the evangelist in parma in 1523 1524, the work is now attributed to Michelangelo Anselmi nikolettA koruHely

Summary

C o r n e l i s C o rt (Hoorn, 1533 rome, ca 1578)

After girol AMo MuZiAno (brescia, 1532 rome, 1592)

The Vision of Saint Eustace

1574

engraving on paper, 529 × 391 mm purchased from the esterházy collection, 1871

inv no 32414

Museum of fine Arts, Collection of prints and drawings

in the second half of the sixteenth century, Antwerp was one of the most prosperous printmaking centres in europe, and publishers in the low Countries sought to serve the needs of collectors throughout the continent naturally, the most sought after prints were those reproducing famous works by the great italian masters. the Antwerp engraver Cornelis Cort therefore travelled to Venice in 1565 specifically to make en gravings with titian the success of the works led to further commissions, and Cort settled in rome, where he collaborated with the greatest painters of the time. girolamo Muziano originally trained as a landscape painter and became the most popular artist of the Counter reformation. He specialised in religious paintings and murals, while working on the most important papal commissions He was at the height of his career when he began publishing a series of six engravings of penitent saints. for this he teamed up with Cornelis Cort, the best engraver in italy Although Muziano chose a religious theme, in keeping with the expectations of the time, the saints are merely tiny staffage figures in compositions that evoke the impenetrable wilderness of the germanic Alps

ZoltÁn kÁrpÁti

l A J o s b e r Á n (budapest, 1882 budapest, 1943)

The Budapest Antler Exhibition of the National Hunting Society

1928 gilded, embossed bronze, diameter: 58 mm signed on the recto, below: BERÁN on the verso, within a wreath of oak leaves: NEMZETI VADÁSZATI VÉDEGYLET [nAtionAl Hunting soCiety]; in the middle: AGANCS / KIÁLLITÁS / BUDAPEST [Antler / exHibition / budApest] purchased from the procopius collection, 1944 inv. no. 55.314 p Hungarian national gallery, Collection of sculptures, Coins and Medals

the national Hunting society operated for a period in parallel with the national Hungarian Hunters’ Association, promoting regular, professional hunting and the protection of game. their annual antler exhibition was held in the Hungarian Museum of Agriculture in budapest between 1925 and 1944 it was during this period that the medallist and sculptor lajos berán was commissioned to make a commemorative medal, a copy of which is shown here, purchased from the collection of béla procopius, who was also vice president of the Association of Coin enthusiasts and later of the numismatic society.

the medal’s allegorical representation of a stag with a radiant cross between its antlers is a reference to the legend of saint Hubert and the importance of hunting ethics the artist added to the motif a background with pine trees, and it is therefore a perfect example of the harmonious composition and high-quality workmanship found in the oeuvre of lajos berán the stag of the holy bishop was also used by the national Hungarian Hunters’ Association on its coat of arms and on its emblem berán studied with ede telcs, then at the Academy of fine Arts in Vienna, and later won a series of medal competitions, becoming the most sought after medallist in Hungary between the two world wars. Among other things, he was responsible for el evating Hungarian sports medals to an artistic level, and he also performed major tasks as the master engraver of the Hungarian state Mint.

Adrienn prÁgAi

literAture: Huszár 1943, 80 82; procopius 1943, 47 49; gosztonyi 1982, 36 40

“ he cannot be a gentleman which loveth not hawking and hunting ”

(Humfrey braham, The Institucion of a Gentleman, 1555)

s e C t i o n 4

t H e H u n t i n g p o rt r A i t A s A s tAt u s s y M b o l

C o r n e l i s VA n p o e l e n b u rC H (utrecht, 1594/1595 utrecht, 1667)

The Seven Eldest Children of the “Winter King and Queen”

1628

oil on oak panel, 37 9 × 65 3 cm signed and dated lower right: CP.1628 purchased from the esterházy collection, 1871 inv. no. 381 Museum of fine Arts, Collection of old Master paintings

frederick V of the palatinate (1596 1632), elector palatine, had been on the throne of bohemia for barely a year, earning the nickname “the winter king”, when he and his family were forced to flee to the netherlands after the protestant defeat at the battle of white Mountain in 1620. Cornelis van poelenburch’s group portrait shows seven of frederick’s children and his wife, elizabeth stuart (1596 1662) the painter spent several years in italy, and his experiences there are reflected in the delicately painted idyllic landscape, the clear, classical formulation of the figures, and the harmonious rhythm of their arrangement the postures of the royal progeny convey a sense of no bility, and they are all dressed in classical costumes, perhaps depicted by poelenburch as participants in a mythological role play As such, the eldest son, frederick, embodies Meleager, the Calydonian hunter who killed the wild boar, while elizabeth personifies Atalante, the Arcadian huntress in the hands of frederick, the slaughtered boar ’ s head or the spear of Charles louis symbolises the fortitude, strength and valour re quired to hunt game the trained hawk and the gentle songbird refer to the cultivation of virtues, aimed at overcoming desire, instinct, and luxury. the bagged animals symbolise these vanities, so a successful hunt emphasises the triumph of virtue, befitting a ruler the painting once graced the collection of king Charles i of england (1600 1649), brother of the “winter Queen”.

literAture: pigler 1967, 552 53; Czobor 1967a, fig 4; Haak 1984, 320, fig 684; Summary Catalogue 2000, 135; sluijter seiffert 2016, 152, fig 190, 381, cat no 279

CsAbA Hertelendy

Infante Don Baltasar Carlos (Prince Balthasar Charles)

1633 1634

oil on canvas, 144 × 109 cm

Acquired in 1951 inv no 51 2828

Museum of fine Arts, Collection of old Master paintings

since the Middle Ages, the practice of hunting had been of particular importance to members of the ruling elite in spain this was the activity that best demonstrated the king’s skills (physical prowess, ingenuity and tactical sense), all of which were es sential for victory in war Hunting also played an important part of the education of balthasar Charles (1629 1646), a royal infante (prince) of the Habsburg dynasty, who was only five or six years old at the time this work was painted. neither his clothes nor his other accessories indicate his rank, but his stately posture, his for his age serious and dignified ex pression, and the firmness with which he grips his rifle indicate his royal origins the circumstances under which the painting was commissioned and its original function are unknown in its composition and in the setting of the figure it depicts, it follows the portrait of prince balthasar Charles painted by diego Velázquez for philip iV in the hunting lodge of torre de la parada, near Madrid the work serving as a model for this painting was part of a series of portraits in which Velázquez por trayed the monarch, his brother, Cardinal infante ferdinand Habsburg, and his son, balthasar Charles, as hunters.

AdriÁnA lAntos

literAture: wethey 1983, 155, cat no x 17; nyerges 1983, 143 49; nyerges in Budapest 2006b, cat no 60, 182 83; doval trueba 2010, 202 11

At t r i b u t e d t o d A n i ë l M i J t e n s t H e y o u n g e r (the Hague, 1644 the Hague, 1688)

Young Noble Lady as Diana

ca. 1680 1685

oil on canvas, 77 3 × 88 cm purchased from the esterházy collection, 1871 inv no 317 Museum of fine Arts, Collection of old Master paintings

the magnificent attire worn by the young lady in the painting is not in line with the fashion of the day, but suggests she is dressed in costume the crescent moon adorning her hair, the quiver of arrows hung on the tree and the bow all clearly signify that she is cast in the role of diana, the roman virgin goddess of hunting the greyhounds and pointers around her are befitting of a noble huntress, while the garden fountain, decorated with putti, recalls the legend of Actaeon, who glimpsed the goddess while she was bathing.

the so called portrait historié (historicised portrait), a type of portrait in which the model was depicted as a mythological, biblical or historical figure, became popular in the Hague court from the 1630s. depictions of aristocratic young ladies in the guise of diana are known by gerrit van Honthorst (1590 1654), who introduced the genre to the netherlands, and by his brother willem. the budapest painting was long at tributed to franciscus Haagen, but it has recently been accepted that the work was by daniël Mijtens the younger. the Hague master was taught by his father, daniël Mijtens the elder, who long served as court artist to the stuarts in london the sitter is set in a southern landscape, and painted in a classical manner, with refined dignity and elegance this, and the exquisite sense of materiality in the drapery, show that the artist was influenced by the flemish style of portraiture, in particular that of Anthony van dyck.

CsAbA Hertelendy

literAture: pigler 1967, 298; Summary Catalogue 2000, 77; németh in Turin 2004 2005, 114 15, cat no 46; ekkart 2011, 207 18, fig 9

At t r i b u t e d t o J o H A n n C o n r A d e i C H l e r (peine, 1680 wolfenbüttel, 1748)

Hunting Portrait of Charles I, Duke of Braunschweig Wolfenbüttel

1730s oil on canvas, 152 × 112 cm forged signature lower left, on the stone: Johan. Kupezky Pinx. 1709 Acquired in 1951 inv. no. 51.165 Museum of fine Arts, Collection of old Master paintings

the painting shows a hunter sitting in the shade of a tree on a rocky mountain His casual elegance and his relaxed posture appear to have been captured by chance, but in fact, every detail of the spectacle was consciously and deliberately thought through the sophisticated choice of garments with the artistically decorated, soutache pat terned dolman and tricorn hat, the freshly curled hair, and the confident air are meant to express the social rank of the sitter, as are the german pointer lazing faithfully at his feet and the double barrelled, muzzle loading flintlock held in his left hand the person depicted (based on a portrait of him in the landesmuseum in braun schweig) is certainly Charles i, one of the rulers of braunschweig wolfenbüttel (1713 1780) Although it is signed “Johan kupezky ” , the work cannot be classified as part of the oeuvre of the prestigious Czech portrait painter. the anatomical inaccuracies and the jerky, somewhat stilted pose suggest the work of a less talented master it can presumably be related to the creator of the previously mentioned portrait, namely Johann Conrad eichler, a specialist in portraiture, who from 1717 was court painter of the principality of braunschweig wolfenbüttel. this portrait, formulated in a direct and casual manner and combining baroque decorativeness with objectivity, could have been made for the hunting lodge of the prince.

AnnAMÁriA gosZtolA

literAture: garas in Summary Catalogue 2003, 49 50; gosztola in Turin 2004 2005, cat no 49

y

Boldizsár Máriássy at the Age of Four

1763

inscribed upper right: Balthasaius Mariassy / Annor. 4. oil on canvas, 87 5 × 70 cm purchased, 1984 inv no 84 3M Hungarian national gallery, Collection of old Hungarian paintings and sculptures

boldizsár Máriássy ii (toporc [toporec, slovakia], 1759 sajószentpéter, 1811), a mem ber of a patrician family of szepes county, served as the noble magistrate and county court judge of szepes and later borsod county. He probably acquired his borsod es tates through his wife, klára losonczy of losonc, whom he married in sajószentpéter in 1787. He later lived and managed their property in sajókazinc, where most of their children were born Hunting, a favourite pastime of the nobility, was in his family ’ s blood, and some of his descendants in the nineteenth and twentieth centuries became famous hunters the portrait of boldizsár Máriássy as a child shows him as a diminutive adult, dressed as a hunter, in a striped hunting suit, with a green hat adorned with roses, a muzzle loading rifle, and a hunting dog besides the winsome figure of the young boy, the main attraction of the painting is the rugged landscape in the background, featuring a castle beside a meandering river, with a group of squabbling wild ducks the land scape and the towered castle are reminiscent of the Márkusfalva (Markušovce, slo vakia) estate in the Hernád valley, ancestral seat of the Máriássy family, who also owned land in the counties of szepes and gömör.

ZsuZsAnnA bodA

literAture: tüskés and Máriássy 2019,

M A rt i n f e r d i n A n d Q u A d A l ( C H VÁtA l ) (němčice nad Hanou [niemtschitz], 1736 saint petersburg, 1809)

Hunting Boy at Rest

1786

oil on canvas, 118 × 155 cm signed lower right, on the stone: M. F. Quadal. Pinx / 1786 purchased from the esterházy collection, 1871 inv. no. 435 Museum of fine Arts, Collection of old Master paintings

Having studied in Vienna, Moravian born Martin ferdinand Quadal continued his education at the royal Academy in paris and then in london. As an independent artist, he travelled throughout europe from dublin to naples, eventually settling in saint petersburg as court painter to the tsar. His noble clients received exactly what they wanted to decorate their palaces from a painter who quickly adapted to local style requirements: portraits, often featuring the depicted person’s favourite dog, and hunting scenes successful grey partridge hunting requires perfect cooperation between the hunting dog, who stands still (“sets”), pointing in the direction of the game, and the hunter, with his steady hand on the shotgun Quadal’s genre scene convincingly shows the pride shared between man and animal in pursuing the quarry. it is unlikely that the simply dressed, barefoot boy is meant to represent noble youth, although two years earlier the painter depicted the chief hunter of king ferdinand iV of naples among his dogs, holding the prey up high (in reggia di Caserta) the assumption in the earlier literature that the painting was made for a supraporte, i e , to be set over a door, can no longer be upheld the red and white irish setter looks straight at the viewer from the depth of the image, an ingenious solution that would lose all of its effect from a height.

Miklós gÁlos

literAture: németh in Székesfehérvár 1993, b 95; Summary Catalogue 2003, 106; safarik 2006, 146 47

J o s e p H k r e u t Z i n g e r (Vienna, 1757 Vienna, 1829)

Sitting Man with a Shotgun

1780s

signed lower right: Jos Kreutzi oil on canvas, 124 × 96 cm purchased, 1979 inv. no. 79.6M

Hungarian national gallery, Collection of old Hungarian paintings and sculptures

Joseph kreutzinger was one of the most sought after portraitists of his times in Vienna, popularly commissioned by members of the aristocracy and the nobility. in his works, he strove to capture his models’ individual personality with great sensitivity He was also active in Munich and saint petersburg; his portraits were reproduced in engrav ings His art was influenced by french rococo portraiture, but he was also interested in english portrait painting, which he probably had the opportunity to study at first hand, not only from prints the portrait of a man shown here also bears the influence of contemporary english portraiture. the elegantly dressed young man, notwithstanding the hunting rifle in his hand, has allowed his thoughts to drift away from the excitement of the hunt; in deed, he seems lost in quiet contemplation, in harmony with the nature that surrounds him He rests his elbow against a marble pedestal on which a stone urn stands, in scribed with the name “Magdalena”. His slightly gloomy and pensive look implies he is thinking about his deceased lover and about the happier, bygone days this brooding atmosphere is reinforced by the background scenery, with its softly painted tall trees and cloudy sky: the deeply felt expression of emotions and the intense harmony between feelings and nature were features commonly found in contemporary english and german sentimentalist art and literature.

ZsuZsAnnA bodA

A l A J o s g y ö rg y i g i e rg l (pest, 1821 pest, 1863)

Hunting Company in the Gerecse Mountains

1859

oil on canvas, 143 × 179 cm signed lower middle: Giergl 1859 purchased, 1964 inv. no. 65.57t Hungarian national gallery, Collection of 19th and 20th Century painting

the aristocratic hunt was an important event in social life, and was regarded almost as an obligation of the nobility. the wealthiest gentlemen of the time commissioned famous painters to immortalise them pursuing their favourite pastime the multi figured painting entitled Hunting Company in the Gerecse Mountains, by one of the cen tury ’ s most outstanding portraitists, Alajos györgyi giergl, was probably commis sioned by a member of the aristocracy. painted in 1859 with a biedermeier atmosphere, the picture shows a joyful company celebrating the success of their hunt the metic ulously executed portraits of the different members of this group of friends posed a painstaking challenge to the artist. besides faithfully recreating the spectacle, györgyi giergl also carefully evoked the atmosphere and even paid attention to compositional principles. behind the hunters and their dogs, assembled around their quarry, the dis tant landscape, painted in tones of blue and green, reflects the influence of german romantic painting.

Ágnes ferenCZi

literAture: telepy 1979, 447 48; Vuray, rácz fodor, and szabó 2000, 311

k

ro ly J A ko b e y (kúla [kula, serbia], 1826 budapest, 1891)

In the Verdant Countryside

1861

oil on canvas, 146 × 174 5 cm signed lower right: Jakobey Károly Pesten 1861 purchased, 1956 inv. no. 56.245t

Hungarian national gallery, Collection of 19th and 20th Century painting

Hunting artworks mostly show people actually hunting or preparing to hunt However, a large canvas painted by károly Jakobey in 1861 captured hunters during a relatively rare moment of rest three hunters sit in a clearing bordered by trees and bushes in autumnal colours, with a fourth watching from the background. Around them, on the ground and propped up against the tree, are hunting bags and rifles, food boxes and cups, while their hunting dogs are resting beside them.

Jakobey shows the hunters’ attire in rich detail: a green, buttoned jacket reaching down to mid thigh with matching trousers, knee high black boots, and a dark hat even though we no longer know who is depicted in the painting, Jakobey, who made his name as a portrait painter, clearly wanted to individualise the faces

ildikó bACsA

É Z A M É s Z ö ly

A Hunting Party (The Wild Duck Hunt)

1880 1882

oil on canvas, 179 × 280 cm signed lower right: Mészöly G. 82 purchased, 1954 inv. no. 54.354

Hungarian national gallery, Collection of 19th and 20th Century painting

this large canvas by géza Mészöly depicts a detail of the estate of Count Jenő Zichy (known for his travels in Asia), located in felsőszentiván in upper fejér county. A group of hunters can be seen on the shore of the lake shaded by dense foliage the gentlemen, having finished their hunt, are holding their rifles and looking at their kill with satis faction the blue feathered ducks and other gamebirds are about to be loaded onto a donkey-drawn cart by members of the hunting entourage. the party is headed by the host and master himself, Count Jenő Zichy, who was renowned as a passionate hunter, and who went to great lengths to increase the game population on his estate of almost 400 acres. the estate developed into a major hunting ground, and the chases held here were major social events Members of the nobility came from all over the country, and the most famous hunting guest was king Milan of serbia, who visited the estate on several occasions Zichy commissioned the artist to paint a picture for the first international art exhibition in Vienna in 1882, and the work later adorned the salon of the felsőszentiván hunting lodge

Ágnes ferenCZi

literAture: Fővárosi Lapok 1882, 496; Fővárosi Lapok 1889, 406; bányai 2013, 29

k Á ro ly s t r A s s g ü rt l (budapest, 1869 berlin, ?)

Franz Joseph and Queen Elisabeth on a Fox Hunt

1896

etching on paper, 243 × 370 mm signed lower right: Vágó; lower right on the edge: Strassgürtl sculp. 96. / Vágó Pál: Udvari vadászat a gödöllői határban gift, 1914 inv no 1914 1166

Hungarian national gallery, Collection of prints and drawings

All the social events attended by the royal family, including the court hunts, attracted avid interest károly strassgürtl, who earned his reputation for his finely executed etched portraits, produced a depiction of the royal couple hunting foxes for the national exhibition of 1896, based on a drawing by pál Vágó entitled Hunting on the Outskirts of Gödöllő. there is no written description of either work to inform us exactly who most of the people are, but we do know that the king and queen are riding in the lead, watching their english pointers chasing the game at close quarters on one side of franz Joseph, the rider raising his hat can be identified from his features as Archduke rudolf, while on his other side is his son in law, prince leopold of bavaria riding behind Queen elisabeth is one of her daughters, but as they looked so similar, it is difficult to determine whether it is gisela or Marie Valerie the gödöllő castle and estate were bought by the government in 1867 as a crown gift to the royal couple. fr a n z J o s e p h w a s a n e x c e l l e n t h u n t e r a n d h e w a s o f t e n a c c o m p a n i e d b y Q u e e n elisabeth, herself an enthusiast of the sport, and especially of pack hunting. ildikó bACsA

M i k l ó s l i g e t i (buda, 1871 budapest, 1944)

Princess Auguste of Bavaria During the Hunt

1910 bronze, 92 cm signed on the base at the front: Ligeti M. 910. gift of lajos ernst to the Municipal picture gallery, 1932 inv. no. 56.422-n

Hungarian national gallery, Collection of sculptures, Coins and Medals

Archduke Joseph August During the Hunt

1910 bronze, 80 cm signed on the base at the front: Ligeti Miklós 1910 gift of lajos ernst to the Municipal picture gallery, 1932 inv no 56 424 n Hungarian national gallery, Collection of sculptures, Coins and Medals

Archduke Joseph August and his wife, patrons of the national Hungarian society of fine Arts, were regular guests of honour at social and cultural events not only were they enthusiastic devotees of the arts and sciences, they were also passionate about hunting, one of their favourite leisure pursuits. in autumn 1903, the Vadász és Verseny lap published a detailed report on the hunt attended by the archducal couple in Mára maros, listing the participants in the event, the quantity of bagged game, and the qual ity of the antlers besides praising the archduke’s outstanding successes, the article also commended his wife for wounding and then killing a beautiful, large black bear: “this momentous stroke of hunting fortune on the part of the archduchess is all the more remarkable because stalking the beast over exceedingly long distances and up immensely steep trails is enormously exhausting, while in terms of excitement, this was a bold undertaking of the kind hitherto experienced by very few huntresses”

in 1908, a statue by Miklós ligeti of Crown prince rudolf, who had died at a trag ically young age, was erected in budapest’s City park the sculptor depicted the heir to the throne standing on a rock during a hunt. the solution is similar in several re spects to the bronze compositions shown here, which ligeti produced for the world hunting exhibition in Vienna in 1910. the archduke and archduchess are portrayed in hunting attire, on bases that imitate the natural environment they are holding rifles, standing above their game. Joseph August and princess Auguste visited the artist’s studio on stefánia road in budapest in person to sit as models for the sculptor

As we can read in the columns of the newspaper Pesti Hírlap, “Archduke Joseph is mod elled in the hunting attire he wore when accompanying prince Henry of prussia on the hunt in betlér hosted by Count géza Andrássy At his feet is an enormous bagged bear, and His Highness is preparing to aim and shoot once more. Archduchess Auguste, with a beautifully antlered stag laid on the ground beside her, is presented in motion she is dressed in a light hunting garment, and her weapon is strung over her left shoulder in her right hand she holds a long cane and a fan, which she always carries with her, even on hunts.” the two bronze compositions were presented to the Museum of fine Arts by lajos ernst

dorottyA gulyÁs

literature: Vadász és Versenylap 1903, 634; Pesti Hírlap 1910, 16; Magyarország 1910, 9; Élet 1910, 722 23 (repr ); Das Interessante Blatt 1910, 4 (repr ); Mazányi 2005, cat nos 165 66

s e C t i o n 5

C H A s e t o t H e d e At H

“rabbiting, hunting, quailing and fishing are man’s recreations, to his mind and mood, his heart and life, they bring exultations … ”

(istván koháry, Let us not succumb to sorrow, but rather live out our days in mirth, 1682 1685)

Small tablet with a scene of Shoshenq III hunting lions

third intermediate period, 22nd dynasty, reign of shoshenq iii (825 773 bCe) steatite, originally glazed white, 2 5 × 1 9 cm purchased, 2007 inv no 2007 1 e Museum of fine Arts, Collection of egyptian Antiquities

the obverse of the tablet, serving as a protective amulet, shows the healed eye of the god Horus, the udjat eye, which was an apotropaic sign of integrity and successful regeneration, but also symbolised the sun eye, which renewed daily. on the reverse, in a complex scene of a lion hunt, shoshenq iii uses a spear to kill one beast as it l e a p s t o w a r d s h i m , w h i l e h i s h u n t i n g d o g g r a p p l e s w i t h t h e o t h e r. b e n e a t h t h e pharaoh’s feet lie symbolic figures of the defeated enemy the depiction of the king in festive costume suggests that this is not a specific hunt: the composition as a whole reflects the otherworldly notion of “justification against the enemy,” a precondition for “coming out” (i e , rebirth) at dawn it was only if they were in possession of this justification that the dead, now in the otherworldly cyclic orbit of the sun, could regain their specific wsr power and begin to restore order disrupted by chaos (that is, death). to do so, the dead had to deal with their enemies, identified here as lions, passing through the dangerous transitional section of the afterlife in this task, they were protected by being in possession of the justification, which also guaranteed them free passage from the otherworld, through the lion guarded horizon gate leading to this world.

pÉter JóZsef gAbodA

literAture: gaboda 2012, 219 33; gaboda in kóthay and liptay 2012, cat no 43, pp 92 93; gaboda 2013, 21 50

Large commemorative scarab of Amenhotep III: lion hunt

new kingdom, early in the reign of Amenhotep iii (early 14th century bCe) sericite schist, 7 5 × 4 7 cm

Acquired by the Hungarian national Museum in 1916 by bequest from baron ferenc révay, transferred to the Museum of fine Arts in 1934 inv. no. 65.3-e Museum of fine Arts, Collection of egyptian Antiquities

the reign of Amenhotep iii saw the appearance of the so called large commemorative scarabs, which did not carry representations on the lower surface of their body, but only longer texts they were probably issued at various festive ceremonies, presented as gifts to members of the elite of the time, or offered to temples as donations. the eight line text on the lion hunt commemorative scarab is also indirectly about how the sacred ruler fulfils his various duties by ensuring order in the empire. After mentioning the full royal name of the pharaoh and the name of Queen tiye, it reports that in the first ten years of his reign, the king killed a total of 102 wild lions due to its immense strength and wild nature, the lion was one of the animals with which the pharaoh willingly identified, using it as a symbol of his own power and determi nation. the beast may also have symbolised the chaos that threatened the order of the empire and the strength of hostile powers by hunting them, the pharaoh sym bolically indicated that he was able to defend, maintain, and even cyclically renew his reign against the enemy in the same way, the former owner could have hoped for this piece to provide renewal and a regeneration of full health. the scarab’s body was drilled through, suggesting it was used as an amulet

pÉter JóZsef gAbodA

Roman era oil lamp depicting a dog attaching a stag

late 1st century first half of 2nd century Ce Clay, made using a negative mould length: 7.4 cm; height: 2.3 cm from the collection of istván delhaes, transferred from the Hungarian national Museum, 1950 inv no 50 1146 Museum of fine Arts, Collection of Classical Antiquities

the circular oil lamp stands on a low pedestal, its shoulders are adorned with an egg pattern and its plate (discus) is decorated with a relief scene the body has two open ings: a small hole in the plate was used to pour in the oil, while the burner hole at the end of the nose was used to feed out the wick, dipped in oil the potter did not make the lantern on a potter ’ s wheel, but with the help of two negative moulds of terracotta or plaster, into which he pressed the clay and then fitted the upper and lower parts together

oil lamps were perhaps the most common type of object from the roman period, produced in large quantities and in series, in a wide variety of shapes the discus was often decorated with a scene from everyday life or from the world of myths. this piece shows a two figure composition of a dog attacking a fleeing stag in the roman imperial era, hunting was a favourite pastime of the elite, but it also played an important role in military training, so it is no surprise that its depiction was popular in the art of the era. oil lamps feature depictions of wild animals (lion, boar, deer, hare) and hounds, sometimes alone and sometimes during the chase the hunter himself is less frequently shown; when he does appear, it is often as a character from a mythical hunting story (such as Artemis or Meleager).

CsAbA bodnÁr

literAture: szentléleky 1969, cat no 164, tables 100, 102 and 164a b; bailey 1972, table 12f; Anderson 1985

Etruscan brazier, with a depiction of hare hunting

ca. 550 525 bCe

roughly worked clay, relief decoration made with cylinder seal

Height: 14.1 cm; diameter: 46.5 cm gift, 2000 inv. no. 2000.25.A Museum of fine Arts, Collection of Classical Antiquities

the rim of this large clay (impasto) brazier is surrounded by a relief decoration made with a cylinder seal. the same scene is repeated six times in each band of the deco ration, showing, from left to right, a bird, two fighting goats, and a male figure the figure, identifiable as a hunter, is holding two curved sticks, typically used for hunting hares, and with the help of two dogs he is driving a hare towards the net stretched out in front of it.

similar braziers were made in the workshops of Cerveteri (known in antiquity as Cisra, Agylla, and Caere), about forty kilometres northwest of rome, in the sixth cen tury bCe. the pots, filled with embers, could be used for heating, but also for cooking food they were used as household items, but were often also placed next to the dead in their graves.

Hunting, especially of wild boar and hares, is a common theme in the decoration of the brazier. while the scenes of wild boar hunting may have evoked a greek legend (the exploits of Meleager on the hunt at Calydon) in the minds of ancient viewers, hare hunting is not linked to any mythical story. the depiction, however, drawing on the world of real life hunts, was suitable for expressing a key aspect of the aristocratic way of life and remained popular in etruscan art for centuries

sZilViA lAkAtos

literAture:

M o d e r n o ( g A l e A Z Z o M o n d e l l A ) (Verona, 1467 Verona, 1528)

Lion Hunt

between 1480 1525 bronze, height: 8 1 cm purchased from A. s. drey, Munich, 1920 inv no 6272 Museum of fine Arts, sculpture Collection

galeazzo Mondella, one of the most influential plaquette and medal makers in renais sance italy, was born into a noble family of Verona He initially headed his own guild of goldsmiths, but later joined the circle of goldsmiths around pier Jacopo Alari bona colsi, known at the court of the Marquis of Mantua as “Antico”, as his style perfectly reflected the art of antiquity. this experience was decisive in Mondella’s mastering of classical forms He was also influenced by several workshops in northern italy, which helped him to develop his own style and adopt the name “Moderno”, which can be found on dozens of works associated with him His composition of a lion hunt draws on a number of ancient precedents: the figure of the rider in the foreground appears in the frieze of trajan on the Arch of Constantine in rome, while the rider in the background, as well as the lion attacking his victim, as he attempts to defend himself with his shield, are images found on late classical sarcophagi. the composition of the plaquette depicting the lion hunt also recurs on royal medals, such as those of Charles V (ca. 1530) and king sigismund ii Augustus of poland (1564). several examples of the plaquette survive, and the piece in the Museum of fine Arts is of a similar size and quality to the one in the national gallery of Art in washington.

AdÉl doMÁny

literAture: balogh 1975, vol i, 274 75, cat no 416; Budapest 1978, 24 25, cat no 76; lewis 1987, 77 97; lewis 1989, 105 41

AMiCo Aspertini (bologna, 1474/1475 bologna, 1552)

Lion Hunt

ca. 1520

pen and brown ink on paper, 163 × 245 mm purchased from the esterházy collection, 1871 inv no 2152 Museum of fine Arts, Collection of prints and drawings

the fifteenth and sixteenth centuries were dominated by the contradictory relation ship between the imitation and the transcendence of ancient art Copying ancient works of art was an integral part of artistic practice, but in the main, such works of antiquity were treated by artists as mere motifs to be utilised in their works as they pleased. the antique style (all’antica), popular at the time, did not refer to the art of a particular era, but was considered the appropriate style to follow Ancient and mod ern art lived in close symbiosis, and in the less differentiated notion of antiquity of the era, the boundaries between them were often blurred

t h e “ b i z a r r e a n d e c c e n t r i c ” a r t o f t h e b o l o g n e s e p a i n t e r a n d s c u l p t o r A m i c o Aspertini coincided fortuitously with the passion for antiquity among the educated elite Aspertini was fully acquainted with ancient monuments and tried to draw as much as possible during his travels. in the budapest drawing, he reworked the lion hunt of an Ancient roman relief, recorded in one of his sketchbooks, into a dynamic and dramatic scene in the mannerist style of his time. the work was intended as a drawing for an engraving, the outlines of which were copied directly from this sheet onto copperplate by the italian engraver giovanni Antonio da brescia, who reproduced the composition

ZoltÁn kÁrpÁti

literature: faietti in Bologna 1988, cat no 72; Zentai in Budapest 2003, cat no 8

b e r n A r d VA n o r l e y (brussels, ca 1490 brussels, 1541)

Breakfast in the Forest (“november ” , from the series of tapestries the Hunts of Charles V)

ca 1530

black chalk, pen and brown ink, brown, blue, pale green, pink and yellow wash, on paper 387 × 537 mm signed upper left: An mennekens dans purchased from the esterházy collection, 1871 inv. no. 1365

Museum of fine Arts, Collection of prints and drawings

the representative role of hunting in sixteenth century courts is demonstrated by a g r a n d i o s e s e r i e s o f t a p e s t r i e s i n t h e M u s é e d u l o u vr e i n pa r i s , m a d e f o r k i n g Charles V (1500 1558), the most powerful ruler in europe, shortly after his coronation as Holy roman emperor the magnificent weavings, modelled on the cyclical depic tions of the months found in painted calendars of the period, recount in vivid detail the events of the hunting season in twelve episodes, from spring salmon fishing through autumn deer hunting to the december wild boar hunt the series was de signed by bernard van orley, one of the finest masters of the flemish renaissance, who used decorative oak trees with bare branches, placed in perspective foreshorten ing, to give a lifelike sense of the depth of space in his design for the month of novem ber smaller scenes unfold between the trees: in the background on the right, hunters gather around a flaming bonfire, while in the foreground, hard-working servants lay the table for a breakfast to be served in the forest Van orley used pen and brown ink on the black chalk preliminary drawing to outline the contours, brown wash to give a sense of plasticity and shadows, and yellow, pink, and pale green watercolours to evoke the decorative nature of the tapestry for the client

bernAdett tótH

literAture: Ainsworth 1982, 79 80; schneebalg perelman 1982, 167, cat no 4; gerszi in Budapest 2012, 28 30, cat no 4; bücken in Brussels 2019, 206 8, 211, cat no 52

J o n A s s u y d e r H o e f (?, ca 1613 Haarlem, 1686)

After p i e t e r pAu l r u b e n s (siegen, 1577 Antwerp, 1640)

Lion and Leopard Hunt

1642 engraving, 463 × 580 mm inscribed lower middle: In adfectus et Venerationis Pignus Idoneum Leoninam Venationem Indoco Vander Graft Cognato Suo Mathematicae artis cultori / P Soutman Editor D D D P P Rubens Pinxit I Suijderhoef Sculpsit Cum Privil Sa Cae M / P Soutman Excud purchased from the esterházy collection, 1871 inv no 38215

Museum of fine Arts, Collection of prints and drawings

i n a n c i e n t t i m e s , h u n t i n g w a s r e v e r e d a n d p r a i s e d b y c l a s s i c a l a u t h o r s s u c h a s xenophon in 1616, in the spirit of the humanist vision of the renaissance, baldovino de Monte simoncelli, working in the service of the grand duke of tuscany, Cosimo ii de’ Medici, wrote a treatise on hunting entitled Il Simoncello, o vero della caccia, in which he placed hunting among the liberal arts. At the same time, in Antwerp, due to the artistic genius of pieter paul rubens, hunting scenes, previously depicted on tapestries, also appeared in painting. in his large scale, monumental canvases, he cre ated dynamic compositions of native and exotic animals, of galloping horses and hunters, in life-size depictions, showing the dramatic clash of forces. this engraving by Jonas suyderhoef is a mirror image of a painting by rubens for the palace of Maxi milian ii emanuel, elector of bavaria at schleissheim, now held in the dresden picture gallery. printed reproductions enabled later generations of artists to study rubens’s expressive power in detail; eugène delacroix, for example, made several drawings of the biting lion and the man lying on the ground seen here.

literature: schneevoogt 1873, 227, cat no 21/2; Hollstein Dutch and Flemish xxViii (boon 1984), 215, cat no 28; Corpus Rubenianum vol xViii, part 2 (balis 1986), vol ii, 46 49, 149 53, cat no 8, fig 64

bernAdett tótH

reMbrAndt HArMensZ. VAn riJn (leiden, 1606 Amsterdam, 1669)

The Large Lion Hunt

1641

etching and drypoint on paper, 223 × 297 mm signed upper right: Rembrandt f 1641 purchased from the esterházy collection, 1871 inv. no. 31441 Museum of fine Arts, Collection of prints and drawings

rembrandt, the greatest artist of dutch baroque painting and printmaking, became familiar with the works of his flemish contemporary rubens in his youth, moreover, in certain subjects, he even tried to create what he considered to be the valid artistic interpretation in the spirit of aemulatio, the renaissance artistic ideal of competition. these included the Lion Hunt, which he created in several versions in this exceptionally large etching, rembrandt generously refrained from using precise, closed contours. the atmospheric intensity of the scene is primarily conveyed by the gestural, energetic l i n e s , w h o s e i m m e d i a c y a n d s p o n t a n e i t y a r e i n d i c a t iv e n o t o n l y o f r e m b r a n d t’s exquisite draughtsmanship but also of his masterly etching technique. in the back ground of the composition, which evokes the leonardesque sense of non finito (un finishedness), the figure of the hunter raising his sword is a mirror image of leonardo’s warrior from The Battle of Anghiari, known to posterity only from rubens’s drawn copy the borrowing of motifs in artistic depictions of hunting and battle scenes reflects the contemporary idea that hunting, as a sport that bred courage and honed strategic skills, was an excellent way to prepare in peacetime for future combat. bernAdett tótH

literature: Hollstein Dutch and Flemish xViii, 60, cat no 114/ii; gerszi in Budapest 2006a, cat no 42; The New Hollstein Dutch and Flemish 2013, vol ii, 63, cat no 187

50–51

d A M i A n o C A p p e l l i (active 1662 1688 in florence)

Horseman Pursuing a Boar and Horseman Killing a Bull

ca. 1650

bronze with golden brown patina, 28 × 39 × 21 cm and 28 5 × 31 × 22 cm purchased, 1959 inv nos 59 3 és 59 4 Museum of fine Arts, sculpture Collection

damiano Cappelli was one of the sculptors active in florentine bronze casting, which flourished as a result of giambologna’s work little is known of his life: filippo bald inucci, the biographer of italian baroque artists, remembers him as a skilled bronze caster before opening his own workshop in 1662, he had worked for ferdinando tacca only five signed works by Cappelli survive, all of them small bronzes of extremely high quality, four of which, depicting hunting scenes, are now in a private collection in new york. the compositions, which depict lion, deer and boar hunting, as well as bullfighting, may once have formed part of a larger series Versions of the latter two depictions can be found in the collection of the Museum of fine Arts

Certain details of Cappelli’s hunting themed bronzes, such as the rearing and gal loping horses, the wild boar and the stag, appear in similar forms in the works of his masters giambologna and tacca. the compositions may have been inspired by the hunts popular with members of the Medici family, but they could equally have been derived from the animal fights that abounded in florence and featured prominently in all the city ’ s major festivities to add a tough of the exotic, the riders, armed with spears or swords, are often dressed in oriental costumes, as seen on the small bronzes in budapest

the dynamic scenes of the Bullfight and the Wild Boar Hunt were once believed to have been invented by Cappelli’s master, ferdinando tacca, but researchers today at tribute the creation of these elaborate compositions to Cappelli himself

MiriAM sZőCs

literAture: balogh 1975, vol i, 180 81, cat nos 242, 243; radcliffe and penny 2005, 260 65; szőcs 2005, 119 31, 211 18; warren 2010, 102 10

C A r l b o r ro M äu s A n d r e A s r u t H A rt (danzig [gdańsk], ca 1630 Aquila, 1703)

Wolves Attacking a Wild Boar

1663

oil on canvas, 98 5 × 78 cm signed lower middle: C. RUTHART 1663 purchased from the esterházy collection, 1871 inv. no. 568 Museum of fine Arts, Collection of old Master paintings

in the seventeenth century, the only notable german specialist in hunting scenes was Carl borromäus Andreas ruthart. He spent nearly a decade travelling in italy, where he was greatly inspired by the animal paintings of giovanni benedetto Castiglione of genoa, while in flanders, he was impressed by the works of frans snijders and Jan fijt, who also feature in this volume in the mid 1660s he travelled to Vienna, where he was employed by karl eusebius, prince of liechtenstein. with direct access to his patron’s private menagerie, ruthart committed himself to painting animals in this painting, he leads the viewer into a little clearing in a wooded, rocky mountain land scape to witness the struggle between a pack of wolves and a wild boar. His focus, however, is not on the attack of the bloodthirsty wolves, the helplessness of the downed animal or the brutality of the event, but rather on the impressive spectacle of the an imals’ movements and the sensual rendering of their fur the deer skull, a memento of an earlier struggle, is a reminder of transience and mortality. despite the influence of his distinctively charactered italian and flemish role models, ruthart developed a recognisable style of his own. in his work he typically combined a decorative group of animals with a landscape painted in lustrous, almost monochrome colours, and he modelled each motif with touches of light that give the impression of artificial lighting.

AnnAMÁriA gosZtolA

literAture: garas in Summary Catalogue 2003, 112; gosztola in Compiègne 2007 2008, cat no 67

JoHAnn eliAs ridinger (ulm, 1698 Augsburg, 1767)

Stag Hunt

1726

pencil, black chalk and white heightening on blue paper, 321 × 288 mm signed lower middle: J. El Ridinger inv et del: 1726. purchased from the esterházy collection, 1871 inv. no. 821

Museum of fine Arts, Collection of prints and drawings

Johann elias ridinger was one of the most outstanding painters and draughtsmen of eighteenth century Augsburg, owing his reputation primarily to his hunting scenes and animal depictions in his printmaking company, which he operated with his sons, he made about 1,600 engravings based on his own drawings and other images. particu larly popular among the publisher ’ s prints was a series of a hundred plates, published in parts and completed only in the year of ridinger’s death, known by the title Genaue und richtige Vorstellung der wundersamsten Hirschen the large compositions capture episodes of the aristocratic hunts held in various south german parks and the animals that lived there. Stag Hunting, held in budapest, is a sketch for the 45th plate of the series the dramatic struggle of the two attacked deer as they hopelessly try to shake off the hunting dogs jumping at them and biting them was depicted by the artist in subtle shades of grey, with a picturesque contrast of light and shade achieved through a combination of black chalk, blue paper and white heightening. the immediacy of the scene is further enhanced by a dog lying on its back and kicking the drawing is dated 1726, while the engraving, in a mirrored composition, was made in 1731, and, according to its inscription, evokes a hunting scene observed in nymphenburg park

sZilViA bodnÁr

literAture: Hoffmann 1929, 137 38, fig 42; garas 1980, cat no 31; ecsedy in Compiègne 2007, cat no 72

A l e x A n d r e f r A n ç o i s d e s p o rt e s (Champigneulle, 1661 paris, 1743)

Boar Hunt

1730s

oil on canvas, 81 × 101 cm purchased from a private collector, budapest, 2010 inv no 2011 1 Museum of fine Arts, Collection of old Master paintings

Alexandre françois desportes was a leading figure of eighteenth century french still life and animal painting from 1700 until his death, he decorated several royal castles with his depictions of animal fights and hunts, and portraits of the king’s favourite dogs saint simon noted that during the hunts, he “usually walked by the king, with a small sketchbook in his hand, to record the various behaviours of the dogs on the spot ” He not only used animals as his models, but also nature itself, which he recreated in faithful realism using sketches he made outdoors. As such, he can be considered as one of the earliest exponents of naturalistic landscape painting what desportes’s contemporaries admired most about his animal paintings was not their high degree of fidelity to nature, but rather the unique, almost human like character of his figures this image is typical of his style: the bloodthirsty stare of the dogs baring their fangs and the highly detailed flesh hungry claws and teeth vividly reveal the brutality of hunting the wild boar refuses to give up as it fights for its life, and has already brought down one dog, which lies in a pool of blood. its companions are desperately throwing themselves at their prey, but seeing the determination of the beast and the pain and torment of the wounded hound, we cannot be sure that the attackers, despite their greater numbers, will eventually overcome their chosen victim orsolyA rAdVÁnyi

Vittorio AMedeo CignAroli (turin, 1730 turin, 1800)

Deer Hunt

early 1770s

oil on canvas, 97 × 129 cm bequest of ferenc kossuth, 1914 inv no 4644 Museum of fine Arts, Collection of old Master paintings

with his landscapes and his hunting scenes, the turin born Vittorio Amedeo Cignaroli became immensely popular in the savoyard court and among the piedmontese aris tocracy. for decades he played a significant role in decorating the savoyard residences (Venaria, Moncalieri), and at the peak of his success, in 1782 he was appointed court painter of “ landscapes and forest scenes” to king Victor Amadeus iii of sardinia. in the spectacular and highly narrative pictures he painted in the royal hunting lodge in stupinigi, he depicted the different stages of the royal deer hunts. the budapest painting dates from the 1770s, and shows the event not with specific participants, but as a genre theme the setting for this elegant hunting scene is an idealised landscape recalling the hills and plains around turin. Cignaroli’s attention is focused not on the intense efforts of the galloping mounted hunters, nor on the dramatic struggles of the deer as it flees the pack of baying hounds, but on the idyllic scenery that remains tranquil and undisturbed even amid the ferocity of the life or death battle with ex traordinary sensitivity the artist painted the tiny, pleasing details of the restful sur roundings: the colourful interplay of green and golden brown leaves, the shadows concealed in the rocks beside the stream, and the silkily shimmering surface of the water the rococo charm of the depiction and the light imbued atmosphere indicate that Cignaroli also derived inspiration from the art of giuseppe Zais and francesco Zuccarelli, the foremost exponents of Venetian settecento landscape painting.

ZsuZsAnnA dobos

literAture: garas 1972, pp 99 100, note 40; Cifani and Monetti 1999, 127 30; tátrai in Montreal 2002, 78 79, cat no 42

Au g u s t Q u e r f u rt (wolfenbüttel, 1696 Vienna, 1761)

Falconry Hunt

ca. 1750

oil on canvas, each 34 5 × 26 cm bequest of Count Jenő Zichy to the Municipality of budapest, 1906 transferred from the Municipal picture gallery, 1953 inv. nos 53.438 a, b, c Museum of fine Arts, Collection of old Master paintings

August Querfurt was known to the citizens of Augsburg, bratislava and Vienna mainly as a specialist in battle paintings and cavalry scenes. t hough he was not blessed with many original ideas, his works, painted in the manner of his master g eorg p hilipp rugendas and his idols J ohann e lias r idinger and p hilips wouwerman, brought him immense popularity H e also enjoyed capturing hunting scenes t he series of four paintings, which included these three cabinet paintings, was probably made to dec orate a noble mansion or hunting lodge Q uerfurt was fond of this subject and repro duced it several times

i n this work, he did not depict a specific event with real people, but rather tried to recreate the atmosphere of a falconry hunt i n the middle picture, the participants are peacefully chatting, relaxing, and looking around. i n the scene on the left, the falconer begins to fly his bird, while several people, including a distinguished, fashionably dressed couple, watch with bated breath, struggling struggle to restrain their excited, restless dogs as they pull at their leashes i n the picture on the right, everything is in motion, conjuring up the thrill of the hunt. t hese images offer good examples of Querfurt’s compositional skills, his light brushwork, and relaxed picturesqueness the paintings, though part of a series, also stand well on their own as individual works

AnnAMÁriA gosZtol A

literAture: garas in Summary Catalogue 2003, 106 7; gosztola in Szombathely 2005, cat no Vii 14; gosztola in Székesfehérvár 2014, 118 19, cat no 41

kÁroly klette (dresden, 1793 budapest, 1874)

After drawings by k Á ro ly f o rg Á C H (active early 19th century)

Hunting Scenes

1816

lithograph on paper; print dimensions: 1: 393 × 550 mm; 2: 393 × 550 mm; 3: 390 × 550 mm; 4: 388 × 540 mm 1 signed lower left: Carl Forgach pinx ; lower right: C Klette lith ; 2 Signed Carl Forgach; lower right: Klette litograph; 3. signed lower left: Carl Forgach pinx; lower right: Carl Klette litograph; 4 signed lower left: Carl Klette; lower middle: Carl Forgach pinx purchased, 1981 inv. no. g81.76.1 4 Hungarian national gallery, Collection of prints and drawings

born in dresden, károly klette came to pest in 1836 as court painter to Archduke Joseph of Austria. in addition to his official commissions, he also painted numerous portraits, vedute (cityscapes) and landscapes early in his career he produced litho graphs after four drawings of hunting scenes by the now unknown károly forgách. in all four works he captures moments of deer and stag hunting two of the draw ings are typical of this kind of depiction: the hunter, raising his rifle, fires at the game as it flees the third depicts the moment when the creature, fighting for its life, is confronted by the hound. the focus is on the animals, not the hunters in the background the main focus of the fourth lithograph is likewise the group of animals, in this case deer jumping into the river to escape károly forgách was probably a devotee of this sport, and like his contemporaries, he recorded his own experiences and memories on paper He then turned to klette, still a young man at the time, and commissioned him to make lithographs from his drawings klette also passed down many of his own animal and hunting scenes to posterity.

ildikó bACsA

literAture: Éber and gombosi 1935, 569; Győr 2000, n p

s Á n d o r b ro d s Z ky (tóalmás, 1819 budapest, 1901)

Deer Hunt

ca. 1845

pencil on paper, 214 × 213 mm gift of rudolf bedő, 1924 inv no 1924 1075 Hungarian national gallery, Collection of prints and drawings

sándor brodszky, one of the most important exponents of Hungarian romantic land scape painting, moved from Vienna to Munich in 1845, where he lived for nearly a decade. His works from this period, like the drawing shown here, reflect the influence of his teacher at the Academy of fine Arts in Munich, Carl rottmann, and meet all the criteria of romantic landscape painting. brodszky travelled almost all his life, and was particularly fond of the tyrolean, swiss, and bavarian mountains, as well as the buda hills and the area around lake balaton As he wandered, he explored new landscapes, drawing studies in situ on which he later based his works, including this Deer Hunt the rocky landscape shows a leaping deer fleeing from the hunters in pursuit. Composed in accordance with strict rules, the drawing aims to capture the natural scene accurately brodszky ’ s em phasis is less on the hunt than on the depiction of the wilderness.

Ágnes ferenCZi

literAture: szendrei and szentiványi 1915, vol i, 268 73; bodnár 1975, 65; szvoboda dománszky 2009, 54

t H o M A s C o u t u r e (senlis, 1815 Villiers le bel, 1879)

The Bird Catcher

1857

oil on canvas, 42 × 61 cm signed lower left: T. C. 1857 bequest of Count János pálffy, 1907 inv. no. 253.b Museum of fine Arts, Collection of Art after 1800

thomas Couture, one of the most popular french painters of the mid nineteenth cen tury, learned his craft from such great masters of history painting as Antoine Jean gros and paul delaroche in terms of subject matter and technique, Couture was re markably versatile, for besides historical subjects, his repertoire also included land scapes, portraits and allegorical compositions in 1847 he opened a prestigious private school where, as painter and teacher, he nurtured many talents including Anselm feuerbach and Édouard Manet

in the late 1840s, his hometown offered Couture the old bishop’s chapel as a studio; The Bird Catcher depicts the courtyard of this building. in the foreground we see a young hunter, alert and tense, down on one knee, waiting for the right moment to pull the string of the trap. Around the birdman, we can see cages placed in the court yard and hanging from the side of the building and from the trees, a reference to the young man’s trade.

bird catching and birdmanship belong to the ancient crafts, and they offer an exciting embodiment of human resourcefulness. in his warm-toned genre painting, Couture depicts the kind of bird catching that deployed conventional tools rebekA MrÁZik

literAture: boime 1969, 48 56; illyés 2001, 30 31

M i H Á ly Z i C H y (Zala, 1827 saint petersburg, 1906)

Bear Hunt

1869

watercolour and white heightening on paper, 180 × 285 mm signed lower left: Zichy 1869 exchanged with sotheby ’ s Auction House (london), 1988 inv. no. f88.120

Hungarian national gallery, Collection of prints and drawings

with only brief interruptions, Mihály Zichy lived in russia from 1853 until the end of his life, during which time he worked for four tsars, initially fulfilling commissions, and later being appointed court painter during almost five decades, he painted por traits and recorded diplomatic events and ceremonies, but his main task was to depict court hunts the sketches he made in situ were later elaborated and arranged into albums, resulting in dozens of realistic animal paintings, drawings and watercolours that bear witness to the majestic hunts led by the tsar tsar Alexander ii was a pas sionate bear hunter, and it was based on such occasions that Zichy produced a series of fifty two cards featuring humorous sketches, as well as the watercolour shown here. in his Bear Hunt, Zichy combined the spontaneity of the genre with the exactness of a well constructed composition: he painted the collapsing animal, the drivers ap proaching from the left, the restrained dog, the momentary nature of the background events, and the perfect rhythm of the trees in the winter pine forest.

Zichy’s works on the theme of hunting are characterised not only by their narrative nature and their keenly observed, dynamic movements, but also by their anatomically impeccable depictions of game Although he himself disparaged his animal paintings, he became a member of the saint petersburg Academy as an animal painter, and even the french critic théophile gautier was a fan of Zichy ’ s foxes, wolves and wildcats. Adrienn prÁgAi

J ó Z s e f M o l n Á r (Zsámbok, 1821 budapest, 1899)

Waterfall (Hunter in the Tatra Mountains)

after 1870 oil on canvas, 150 × 84 5 cm signed lower right: Molnár J. bequest, 1992 inv. no. 92.11t Hungarian national gallery, Collection of 19th and 20th Century painting

beginning in the mid nineteenth century, there was a tendency among several Hun garian landscape painters, such as károly Markó the elder and gusztáv keleti, to treat the human figures in their works merely as incidental characters next to the true protagonist of nature, in all her ideal beauty. similarly, József Molnár, who worked in several genres, often added small staffage fig ures to emphasise the majesty of the landscape, the awe-inspiring ridges and cascading waterfalls of the tatra Mountains in Waterfall (Hunter in the Tatra Mountains), the hunter, drinking fresh spring water from his hat, is seen resting with his dog in the midst of a successful hunt. there are several known paintings by Molnár depicting the entrance to the kis tarpatak Valley (in slovakian: Malá studená dolina) and the bluish summit of the lomnický peak behind it, but only a few are populated with a genre like scene. Molnár kept returning to the figure of the hunter during his almost six decade career: he painted hunters watching for game from a hunting blind, and there is also an amusing indian ink drawing of a hunter falling into a deep sleep while waiting for his prey.

Adrienn prÁgAi

literAture: turcsányi 1938, 92

MIHÁLY ZICHY

(Zala, 1827 – Saint Petersburg, 1906)

Taking Home the Stag (Scene from the series Scottish Hunts)

1875

Sepia, watercolour, and Indian ink on paper, 735 × 535 mm

Signed lower right: Zichy 1875 Purchased, 1959

Inv. no. F59.127

Hungarian National Gallery, Collection of Prints and Drawings

Mihály Zichy, who had been working as a painter for the Russian court, was granted a few weeks’ leave by Tsar Alexander II in 1871, when he accepted an invitation from the Prince of Wales, the future King Edward VII. During the several days he spent in Scotland, they hunted deer and small game, including grouse. Zichy depicted everything, from the search and stalking of the game, the moment of shooting and finding the game, to the bagpipe playing and the torch and sword dancing that followed the successful hunt. In one of the pieces in the series, a bagged deer is carefully hauled by its antlers down a high cliff. Zichy’s watercolours, reminiscent of illustrations, blend realism and romantic composition, freedom of creation and experientialism.

On his return to Saint Petersburg, Zichy sent a report to the Hungarian readers of the Vadász- és Versenylap, the first Hungarian sports journal, describing in detail not only the hunting trips but also the Scottish landscape and the costumes, which he had found particularly pleasing. As he wrote, he was at first prejudiced against the English, but later all his reservations disappeared. He was pleased to note that the royal family was a great patron of the arts: some of Zichy’s drawings still form part of the royal collection.

ADRIENN PRÁGAI

LITERATURE:Zichy 1871; Berkovits 1964, 47, 53, 62. és 76; Gellér 2000, 75–85.

pÁ l s Z i n y e i M e rs e (szinyeújfalu [Chminianska nová Ves, slovakia], 1845 Jernye [Jarovnice, slovakia], 1920)

Oculi

1884 1894

oil on canvas, 60.5 × 47.8 cm signed lower left: Szinyei Merse Pál 1894 purchased, 1918 inv no 5207

Hungarian national gallery, Collection of 19th and 20th Century painting

the first bird of the hunting season is the snipe, which appears on the third sunday of lent: this is also referred to in the latin word oculi, which opens psalm 25, verse 15 out of this psalm, a verse evolved that became widespread in german hunting calen dars, listing the main stages of snipe hunting, from the first sunday of lent to the first sunday after easter, that is, from the time when the birds prepare to breed until the beginning of the brood in 1884, szinyei Merse’s painting was still only a sketch of reddish bushes, barren trees and patches of snow left over from winter ten years later, he added a hunter and a dog to the painting, thus making the early evening snipe hunt, favoured so much by the painter, the subject of the picture the artist’s younger brother József posed for him; a photograph of him survives, taken by szinyei Merse’s son félix, himself a keen hunter (fig 9)

A major turning point in szinyei Merse’s life came when he exhibited Oculi at the winter exhibition of the Hungarian fine Arts society in 1894 1895 the work was immediately purchased by emperor franz Joseph. Afterwards, the painter, who had spent the previous decade in solitary retreat at his home in Jernye, took up his brushes once more, filled with renewed hope

Adrienn prÁgAi

literAture: szinyei Merse 1948, 124; szinyei 1989, 108, 114

Still Life with Dog and Birds

1658 (?)

oil on canvas, 41 × 51 7 cm signed lower right, on the stone: Joannes Fyt/165. (8?) purchased from the esterházy collection, 1871 inv. no. 737 Museum of fine Arts, Collection of old Master paintings

frans snijders and his pupil Jan fijt were the most significant leading figures in flem ish baroque animal painting. fijt made the most of his painting talent in the field of hunting scenes, although he also painted fruit and flower compositions He worked in paris and in several major cities in italy, then returned to Antwerp in 1641, where he became one of the city ’ s most popular painters rubens was no longer alive at this time, but his example was decisive in the refinement of fijt’s workmanship and the perfect structure of his compositions from his rich oeuvre of nearly three hundred works, this so called cabinet still life exemplifies his art perfectly: the viewer is cap tivated simultaneously by its decorativeness and its naturalism. in the foreground, at the foot of a tree, two fallen jays lie on the ground the hound behind them is climbing up on a dark, square stone, looking around and assessing whether the prey entrusted to it is in danger in addition to fijt’s ability to evoke atmosphere, his dazzling technical knowledge also prevails: we can see the animals from almost palpable proximity, we can almost feel the touch of the dog’s fur and the birds’ feathers. we can admire the special light effects and the plumage of the birds, painted in shades of pink, steel blue and grey AnnAMÁriA gosZtolA

literAture: gosztola in Summary Catalogue 2000, 71; willigen and Meijer 2003, 83; ember 2011, 85 86, cat no 24

f l e M i s H pA i n t e r (active around 1700)

Two Hunting Falcons

oil on canvas, 77 × 95 cm transferred from the deposited holdings, 1958 inv. no. 58.36

Museum of fine Arts, Collection of old Master paintings

the painting shows a peregrine falcon facing the viewer and a gyrfalcon from behind, each with a plumed helmet on its head and a bell attached to its feet. both species were favourites among falconers the peregrine falcon was preferred by ladies because of its small stature and elegant flight, while the larger and faster gyrfalcon was used by men for hunting falconry, a royal and aristocratic privilege, began to lose its significance by the eigh teenth century nevertheless, in the 1730s, Clemens August of bavaria built a hunting lodge at his summer residence in brühl, the very name of which falkenlust refers to falconry one of the rooms in the castle was decorated with wooden panelled paint ings of the archbishop’s favourite falcons this painting could also have been made for such a decorative purpose, which would explain the expeditious treatment of the background and a certain roughness of composition. in similar depictions, falcons usually perch on the branch of a tree or on a hand protected with a leather glove Here, the gyrfalcon clings to a rotten log in the foreground, while its companion appears on the bare hill in the centre, contra vening the laws of perspective

Miklós gÁlos

literAture: ember in Wausau 1989, cat no b15; gosztola in Summary Catalogue 2000, 65; ember 2011, cat no 35

k Á ro ly g e r l (neulerchenfeld [Vienna], 1857 körmöcbánya [kremnica, slovakia], 1907)

Commemorative medal of the Budapest Antler Exhibition of the National Hunting Society

1883

embossed bronze, diameter: 68 mm inscribed on the verso, below: K B on the recto, within a wreath: NEMZETI VADÁSZATI VÉDEGYLET [nAtionAl Hunting soCiety]; in the middle: AGANCS / KIÁLLITÁS /

BUDAPEST [Antler / exHibition / budApest] purchased from the pompéry collection, 1940 inv no 56 339 p Hungarian national gallery, Collection of sculptures, Coins and Medals

with the spread of aristocratic hunting, the cult of the hunting trophy also grew in popularity: castles and mansions were decorated with antlers, tusks, horns, and taxi dermied specimens. europe’s first public exhibition of trophies was held in 1871 in pest, in the national riding Hall; later, the national Hungarian Hunters’ Association, founded in 1881, organised annual musters in the Hungarian Museum of Agriculture, the national Casino or the Vigadó Concert Hall. Although the internationally stan dardised trophy grading system was only established in the first decades of the twen tieth century, even at the first Hungarian exhibitions trophies were graded according to their weight, the number of branches, and their strength

After graduating from the Academy of fine Arts, károly (karl) gerl, who was born in Vienna, became an engraver at the mint in kremnica it was here that the com memorative medal commissioned by the national Hungarian Hunters’ Association for the antler exhibition in 1883 was made, as indicated by the inscription “k b ” (for körmöcbánya, the Hungarian name for kremnica) on the withers of the deer this medal, 68 mm in diameter, depicting a deer’s head, and later repeatedly reminted, also had a smaller companion medal depicting a roebuck in the course of his almost three decade career, gerl produced numerous commemorative medals, the best known of which are those featuring the portraits of cultural figures such as Mihály Munkácsy, károly lotz, ferenc (franz) liszt, and Mór Jókai.

Adrienn prÁgAi

literAture: siklóssy 1910, 50 54; szigeti 1951 1952, 64 67; Huszár 1957 1958, 58 62; Várhidy 1974, 29 32

g y ö rg y VA s tA g H J u n i o r (kolozsvár [Cluj napoca, romania], 1868 budapest, 1946)

Horse (Kozma)

ca. 1903 bronze, 56 × 16 × 46 cm transferred from the györgy ráth Museum, 1951 inv no 52 136 Hungarian national gallery, Collection of sculptures, Coins and Medals

in 1903, györgy Vastagh the younger was commissioned by Ágoston Zimmermann to create anatomical sculptures for the Hungarian royal Veterinary College, showing the musculature of horses as they paced or pranced. His sculpture of the english thoroughbred stallion kozma is not just an anatomical depiction of a horse, but an animal portrait based on a specific creature. the modelling of the racehorse, with its head turned slightly to the left, its ears pointed and its long mane, reveals deep knowl edge of equine anatomy, but there is also a true sense that this is a representation of a particular horse kozma’s character traits a noble neck, slender legs, and a slightly stronger rump and waist are also handled with individuality

Vastagh created hundreds of animal portraits, which, besides their artistic value, are also significant from an agro museological point of view, as they are primary doc uments of breed history. they allow us to trace the development and evolution of in dividual breeds, the effects on breeding exerted by the most important breeds, and the main changes in breeding objectives and trends.

Vastagh modelled kozma at the same time as he produced the sculptural anatomical studies. in 1903, the journal Művészet [Art] reported that the szeged fine Arts Association had purchased the sculpture at one of its exhibitions, to be given to one of its members, chosen by drawing lots the lucky recipient of the statue was János ruzicska

Judit sZeifert

g y ö rg y VA s tA g H J u n i o r (kolozsvár [Cluj napoca, romania], 1868 budapest, 1946)

Greyhound

ca. 1910 bronze, 37 × 40 × 13 cm

signed on the bronze base, by the right rear foot, in cursive script: Ifj Vastagh György purchased from the national Hungarian society of fine Arts, 1921 inv no 5617

Hungarian national gallery, Collection of sculptures, Coins and Medals

györgy Vastagh the younger was commissioned in 1898 to create sculptures of fifty breeding animals (cows, bulls, sheep, poultry) in a professional manner, in quarter, third or full size. At the 1900 exposition universelle in paris he won two gold medals: one in fine art and one in agriculture the complete series was commissioned and purchased by the british Museum in london, and some of the sculptures were acquired by the deutsches Museum in Munich His sculptures also won gold medals at the Milan international in 1906 His series of twenty four dog breeds, commissioned for the 1910 Vienna Hunting exhibition, was another success, earning him the state silver Medal the Greyhound is from this latter series Vastagh always aimed to capture the unique characteristics of the animal chosen as his model. the most evocative examples of character portrayal are found in his horse sculptures, but his canine sculptures are also noteworthy in this respect. the Greyhound boasts the characteristics of an excellent hunting dog with its head held high and its disciplined, upright pos ture, ready to leap at a moment’s notice, the hound embodies tense and focused attention its proud stance and its look of great intelligence and self confidence convince the viewer that this dog will not tolerate any rough treatment, not even from its master, but is willing to leap into icy water to retrieve the shot game.

Judit sZeifert

J o H n f r e d e r i C k H e r r i n g (surrey, 1795 Meopham, 1865)

Fox Hunt 1831

oil on canvas, 86 × 103 cm signed lower left: J. F. Herring 831 Acquired in 1969 inv. no. 570.b Museum of fine Arts, Collection of Art after 1800

John frederick Herring’s work depicts fox hunting, very popular in england in the first half of the nineteenth century. from the eighteenth century onwards, foxes were not only hunted for their valuable fur or to prevent overpopulation, but also for pleas ure. in practice, this happened as follows: a group of upper class men in full hunting gear, on horseback and with the aid of a pack of hounds, would chase the fox until it became exhausted and succumbed to being hunted down. by the nineteenth century, the sport had acquired an increasing number of middle c l a s s f a n s , i n a d d i t i o n t o t h e n o b i l i t y, a n d i t b e c a m e t h e n a t i o n a l s p o r t o f t h e english, despite its considerable expense. At the same time, the popularity of paintings depicting the event also proliferated this was a world close to Herring’s heart: he had first worked as a professional coachman (a respectable job at the time), then as a painter of trade signs for inns and equestrian portraits. from the 1830s he became a full time artist, often commissioned by the english gentry to paint hunting scenes and portraits of racehorses even Queen Victoria took notice of him and became his patron. His paintings were widely reproduced, and it is likely that they also had an influence on the work of Édouard Manet and edgar degas

biAnkA bodA

literAture: gaunt 1964, 89 98; London Leicester Liverpool 1974, 18 19, 104

f r i e d r i C H J o H A n n g o t t l i e b l i e d e r (potsdam, 1780 pest, 1859)

Hunting before 1859

oil on canvas, 46 × 88 cm purchased, 1940 inv no fk5300

Hungarian national gallery, Collection of 19th- and 20th-Century painting

the potsdam born painter, known in Hungary as frigyes lieder, studied at the paris Academy of Art under Jacques louis david and became a renowned portraitist of aristocrats in pest, trnava, and bratislava. He later worked in Vienna and also served as court painter to king frederick william iii of prussia in the last decades of his life he worked in Hungary.

lieder chose a unique composition for this painting: the attention of the rider and the hounds is focused on a single point, as the hunter fires his long, muzzle-loading rifle we cannot, however, see the quarry, and can only guess from the hunter ’ s green jacket that he is aiming at a deer or a hare the painting is surely not an accurate de piction of a hunt, but rather a portrait of an aristocrat with his beloved horse and hounds this is especially true because the shot fired directly next to the horse’s head (and the resulting detonation) could never be carried out in practice. this type of im agery, featuring the hunter without the game, came into being as hunting tools and methods developed. increasingly sophisticated weaponry allowed hunters to shoot further away from their targets, so compositions showing only the hunter or only the fleeing prey began to appear in the visual arts.

Adrienn prÁgAi

literAture:

Éber

d i r k M A A s

(Haarlem, 1656 Haarlem, 1717)

Hunters Riding Out

between 1675 and 1717 oil on oak panel, 37 2 × 46 cm gift from Count sándor Apponyi, 1919 inv no 5300 Museum of fine Arts, Collection of old Master paintings

falconry, the privilege of rulers and aristocrats, had a long standing tradition in the low Countries: the falconers of Arendonk and Valkenswaard in brabant were em ployed by many european courts from the sixteenth century onwards. in this painting by the dutch artist dirk Maas, the noble couple are preparing for a falconry hunt, accompanied by drivers, trappers and hunting servants. Having probably arrived by carriage at the ornate gate of the castle, the lady is already in the saddle, watching the bird perched on the arm of a falconer, while her husband glances at one of the greyhounds as a servant holds the halter of his mount in those days, small game was usually hunted on horseback with falcons, while the hounds drove the quarry out Maas worked for years in the service of king william iii of england. Although he had earned his reputation mostly for his battle paintings, he also captured the lives of aristocrats in many works. in this painting, he adheres to the elegant style of repre sentation expected of him, but adds a sense of vividness and directness by utilising genre like motifs, such as the boy holding the greyhound or the natural movement of the lady the almost idyllic beauty of the landscape echoes the influence of the italianate landscapes of his former master, nicolas berchem (1620 1683). throughout his career, Maas depicted horses frequently and enthusiastically, which is perhaps why the nobleman’s white steed features so prominently in this composition

CsAbA Hertelendy

k Á ro ly s t e r i o (Újmoldova [Moldova nouă, romania], 1821 pest, 1862)

Leaving for the Hunt

1856

oil on cardboard, 50 × 63 cm signed lower right: Sterio 856. exchanged, 1946 inv. no. fk8019

Hungarian national gallery, Collection of 19th and 20th Century painting

of greek emigrant descent, károly sterio was a portraitist and genre painter, also known for his many sporting and hunting paintings. An example of the latter is one of his best known works, Leaving for the Hunt, which he exhibited along with two other paintings at the exhibition of the pest Art society in 1856. the painting belongs to the type of picture depicting the preparations for a hunt the central figure is a hunter on a white horse, observing the events around him with interest. All the figures in the painting (hunters and horses, the boys calming the excited greyhounds) are por trayed in motion, lending the scene more dynamism than theatricality Although one contemporary press report described the painting as conveying a “pleasant impression”, it also noted two drawing errors, pointing out the ungracefulness of the pony ’ s neck and the awkward left hand of the boy holding the dogs.

in 1979 the Hungarian post office issued a set of seven stamps featuring paintings of animals; sterio’s picture featured on the five forint stamp.

ildikó bACsA

literAture: Budapesti Hírlap 1856, n p ; k gyurkovich 1974, 323 25; Új Tükör 1979, 44; szvoboda dománszky 2007, 393

J Á n o s VA s Z A ry (kaposvár, 1867 budapest, 1939)

Greyhound Coursing (Before the Greyhound Hunt)

early 1890s

oil on panel, 45 × 54 5 cm

signed lower right: Vaszary J. purchased, 1947 inv. no. fk8512

Hungarian national gallery, Collection of 19th and 20th Century painting

At the beginning of 1891, János Vaszary left paris for an extended period, where he had been studying at the Académie Julian, and spent the next year and a half in esztergom and its surroundings, and in italy during this period, he produced his first naturalistic works, including his painting Greyhound Coursing. during his studies in Munich and paris, the painter had the opportunity to become acquainted with the naturalistic works of Jules bastien-lepage. Here, following the french master, he experiments with a more detailed representation of the landscape

Vaszary depicts not the hunt itself, but the preparations preceding it A stable boy standing in the courtyard holds a saddled horse by the reins, surrounded by three greyhounds waiting to set off greyhound coursing is one of the most ancient hunting methods, in which the mounted hunter brings down his prey with the help of his dogs in Hungary, game hunting flourished after the defeat of the 1848 1849 war of independence, and reached its peak during the period of the Austro Hungarian Monarchy the stricter licensing of weapons meant that few people had the oppor tunity to hunt with weapons, and unlicensed hunting became increasingly widespread.

Ágnes ferenCZi

literAture: krasznai 1986, 14 20; Vuray, rácz fodor, and szabó 2000, 313; boros in Budapest 2007a, 27

s e C t i o n 6

H u n t i n g s t i l l l i f e s

“the artist had expended his whole skill in giving life to these lifeless creatures … ”

(Johann wolfgang goethe, From my Own Life: Truth and Poetry, 1811 1833 trans. A. i. w. Morrison, 1849)

C o r n e l i s l e l i e n b e rg H (the Hague, ca 1610/1630 the Hague, after 1676)

Still Life with Wild Birds and Hunting Rifle

early 1660s

oil on canvas, 80 × 101 5 cm signed lower left: : C.V. Lelienberg f. purchased from dezső somogyi, 1951 inv. no. 51.2888

Museum of fine Arts, Collection of old Master paintings

in seventeenth century Holland, members of the nobility were keen to see their favourite pastime hunting depicted in paintings. from the mid century onwards, portraits of models in hunting costumes, hunting scenes, and still lifes with bagged animals became popular among the wealthy bourgeoisie, who increasingly emphasised their growing prestige and imitated the habits of the aristocracy in the 1650s, in the Hague, the seat of the governor, a number of painters specialised in depicting bagged prey as the trophy of the nobility, and Cornelis lelienbergh became the most impor tant exponent of this type of hunting still life in this painting, there is no trace of the simple composition and restrained palette that had characterised his earlier work the hectic drapery, the elaborate hunting rifle, the strikingly painted duck, hare and bird, the dynamism of the setting along vertical and diagonal axes, are all characteristic of the new style of representation that became dominant in the 1650s, which aspired to decorativeness and grandeur. the strong chiaroscuro and the meticulously rendered naturalism serve to deceive the eye, with the trompe l’oeil effect further enhanced by the floating feathers, which create the illusion of a fleeting moment

CsAbA Hertelendy

literAture:

78–79

J A C o b VA n d e k e rC k H o V e n (Antwerp, ca 1637 Venice, 1712 or later)

Still Life with Bagged Hare and Birds

1680s

oil on canvas, 79 5 × 101 5 cm

Monogrammed lower left: I.VD K. transferred from the Hungarian national Museum, 1877 inv. no. 851

Museum of fine Arts, Collection of old Master paintings

J A C o b VA n d e k e rC k H o V e n (Antwerp, ca 1637 Venice, 1712 or later)

Still Life with Live and Bagged Birds

1680s

oil on canvas, 80 × 102 cm

Monogrammed lower left: I VD K transferred from the Hungarian national Museum, 1877 inv. no. 895

Museum of fine Arts, Collection of old Master paintings

kerckhoven learnt the basics of the genre in Antwerp from Jan fijt, one of the most important masters of flemish animal painting. in 1685, he moved to Venice, where he incorporated the influence of his italian peers into his art and became a successful painter under the name giacomo da Castello the few paintings made by him that are on display in budapest were made before his trip to italy and are among the most high quality pieces in his oeuvre thematically they are somewhat different. one only shows bagged game: a wild boar ’ s head with a rabbit carcass on it, various birds in front and behind, a huge celery in the back ground and two fruits on the right. the other consists of a cluster of birds, both live and dead, next to a large lemon the composition is dominated by two bare necked turkeys with their legs tied together, perched on a richly pleated, blue-striped cloth. both paintings reflect the master ’ s unique style and exceptional vision His paint ings are characterised by a decorative, almost unrealistic arrangement of realistically painted details, a striking contrast between light and shade, an overall tone of brownish ochre, a two tiered division of motifs in an elliptical form, and a rustic atmosphere these and similar still lifes have complex meanings and may have served a variety of purposes As well as fulfilling a decorative function, they could also remind their owners of their prosperity and hunting triumphs. their theme and melancholic tone evoked the idea of memento mori (’remember death’) and drew attention to the inherent violence of life.

AnnAMÁriA gosZtolA

AbrAHAM VAn CAlrAet (dordrecht, 1642 dordrecht, 1722)

Bagged Partridge 1670 1690

oil on copper, 47 2 × 38 cm signed upper right: AC purchased from the collection of frigyes glück, budapest, 1949 inv. no. 9835 Museum of fine Arts, Collection of old Master paintings

the importance of hunting became increasingly important in the netherlands in the second half of the seventeenth century. it still remained a privilege of the aristocracy and was governed by strict laws only members of the court were allowed to hunt deer and big game. noblemen could shoot hares and larger birds (wild ducks, par tridges, swans) in limited numbers, but songbirds could be shot at any time Citizens were only allowed to hunt on their own land, if they could afford to spend any of their income on it thus, depictions of hunting were associated with high social status, be it a hunting still life for a bourgeois home or a trophy for an aristocratic apartment Among birds, the partridge, with its fine plumage, was a recurring theme, a gamebird of distinction, as it was commonly hunted by the nobility However, according to Ce sare ripa’s book of emblems, the Iconologia, it was also the embodiment of fornication, unbridled lust and lechery in this painting, all this is obscured by the stark reality of mortality, accentuated by the plasticity and dramatic tone created by the strong contrast of light and shade similarly composed paintings of bagged and hung par tridges previously suggested the authorship of willem van Aelst, and later of his follower Hendrik de fromantiou in 2012, the painting was attributed by fred Meijer to Abraham van Calraet of utrecht

CsAbA Hertelendy

literAture: pigler 1967, 21; Wausau 1989, 136, cat no b16; Summary Catalogue 2000, 71; ember 2011, 87 90, cat no 25; Meijer 2012, 20 25

p H i l i p p f e r d i n A n d d e H A M i lt o n (brussels, 1664 Vienna, 1750)

Still Life with Hare and Birds

1698

oil on canvas, 98 × 83 cm signed and dated lower right, on the edge of the stone: Philip F. de. Hamilton. / 1698. purchased from the esterházy collection, 1871 inv. no. 726 Museum of fine Arts, Collection of old Master paintings

born in brussels, philipp ferdinand de Hamilton was court painter to Joseph i and his successors in Vienna from 1705, but he also worked for the schwarzenbergs, the liechtensteins, and prince eugene of savoy in addition to hunting scenes, he painted depictions of birds and other animals for his clients’ palaces in Vienna and bohemia. this early painting still follows the netherlandish tradition the motif of a bagged hare hanging among birds and hunting equipment is of flemish origin, but the closest relatives of Hamilton’s painting are to be found in works by dutch masters, such as the 1681 hunting still life by Jan weenix ii (städel Museum, frankfurt) the setting for weenix is a castle park a type of still life not unknown to Hamilton himself, as proven by his work in the Alte pinakothek in Munich the dark background only hints at the balustrade railing behind the stone table, bearing a gunpowder horn, a flintlock rifle, a velvet hunting bag, and a game bag However, the rooster that appears alongside the bullfinch and rosefinch lying on the table suggests that it is not a display of a specific kill the colourfulness of the rooster’s feathers contrasts with the hare’s monochromatic fur, and indeed the very presence of the domestic fowl is a testament to the fact that hunting still lifes developed from the kitchen still lifes of the second half of the sixteenth century

Miklós gÁlos

literAture: ember in Wausau 1989, cat no 17; garas in Summary Catalogue 2003, 62; ember 2011, cat no 33

JoHAnn pHilipp Von purgAu (linz, 1681 Vienna, after 1720)

Killed Roebuck

1710s

oil on canvas, 95 5 × 155 5 cm signed lower left: P. v. Pvrgav. f. purchased, 1999 inv. no. 99.5 Museum of fine Arts, Collection of old Master paintings

Johann philipp von purgau, who originated from linz, produced many small still lifes, often painted on copper, depicting birds and reptiles; he was a specialist in this field. this larger image, with its compositional and spatial uncertainties (the body of the dog on the left hardly fits between the tree stump and the mound) suggests that the painter was venturing into unknown territory with this work the motif of a deer killed during the struggle dates back to mid-seventeenth-century flemish painting the nineteenth century inscription on the old stretcher frame of the painting, reading “snyders”, not only indicates that the signature on the painting went unnoticed (or was perhaps deliberately ignored), but also shows which famous painter the work was intended to be attributed to, and even points out the source of the composition. frans snijders was the school founding master of flemish hunting still lifes in his painting from ninety years earlier, depicting a deer hunt, preserved at the royal Museum of fine Arts in brussels, the deer appears in the same position. the dynamism in snijders’s hunting scene is softened to a still life in purgau’s paint ing, with the snarling of the dogs fading into more subdued interest. this mood, creating the sense of an idyll, is also enhanced by the woodpecker sitting on the oak stump the realistic depiction of the oak and the pine testifies to the artist’s effort to reflect the flora characteristic of the areas around Vienna.

Miklós gÁlos

gAbriele sAlCi (rome, 1681 ?, after 1720)

Still Life with Bagged Hare and Birds

1719

oil on canvas, 99 × 75 cm signed lower right: Gabriello Salci / Romano 1719 purchased at the 7th auction of the bÁV Commission trading House and pawn Credit Company, budapest,1963 inv no 63 9

Museum of fine Arts, Collection of old Master paintings

Very little is known about gabriele salci’s life and career. At the end of the seventeenth century, in rome, under the influence of Christian berentz, Maximilian pfeiler and Cristoforo Munari, he painted carefully elaborated still lifes and animal scenes in a northern style His corpus of known works, which is not extensive, features sumptuous arrays of luxury objects (tableware, glassware) as well as hunting still lifes, one of the most striking of which is held by the Museum of fine Arts, depicting a bagged hare, a wild duck, and partridges the bounteous prey lies on a stone table covered with a colourful oriental carpet, with spreading vines across the top of the scene like a canopy. the double barrelled shotgun resting on the vine stock and the gunpowder rack visible behind the animals indicate the human presence and the means by which the game was killed the elegant setting, the spectacular composition, and the detached objectivity of the animal carcasses make it clear that the painter ’ s intention was not to dramatise death but to create a decorative, sophisticated overall effect salci’s tech nical prowess is evident in the way he conjures up the illusion of the soft, downy feathers, the velvety fur of the hare, the fluffy carpet, and the dewy grapes

ZsuZsAnnA dobos

literAture:

g A b r i e l e s A l C i (rome, 1681 ?, after 1720)

Still Life with Bagged Fox and Hedgehog

1720

oil on canvas, 72 6 × 59 3 cm signed lower middle: Gabrielle Salci Romano / 1720 purchased at the 63rd auction of the bÁV Commission trading House and pawn Credit Company, budapest, 1984 inv no 84 5

Museum of fine Arts, Collection of old Master paintings

gabriele salci’s hunting still lifes not only include spectacular works featuring an array of bagged animals and objects, but also more modest compositions with a few s e l e c t m o t i f s . A m o n g t h e m i s t h i s p a i n t i n g , w h o s e t h e m e i s a s s i m p l e a s c a n b e : a bagged red fox and the corpse of a hedgehog are laid on the ground in their natural habitat, the rocky soil of a forest clearing. the backdrop for the scene consists of just a few wild flowers violets and daisies , and some bushes in the distance whereas the bagged fox is a common motif in baroque hunting still lifes, the hedgehog was hardly ever depicted, even though it has been widely hunted since antiquity. salci, driven by a desire for scientific accuracy, painted every strand of the fox’s fur and every spine on the hedgehog’s back in an almost hyperrealist fashion, using a thin brush this distinctive aspect of his style, painting so meticulously that the details can be appreciated at close quarters, was remarked upon in connection with his paint ing of bagged birds and a wild boar, which appears in the 1731 inventory of the earl of pembroke’s collection in wilton House. while the viewer becomes engrossed in observing the painterly details that emerge in the contrast of light and shade, there is also a message of “memento mori”, a merciless reminder that all things must die

ZsuZsAnnA dobos

kÁroly JAkobey (kúla [kula, serbia], 1826 budapest, 1891)

Hunting Still Life

1852

oil on canvas, 92 × 72 cm signed lower right: Jakobey Károly Baján 1852. purchased, 1949 inv. no. fk9820 Hungarian national gallery, Collection of 19th and 20th Century painting

during his career, károly Jakobey painted only a few still lifes, but even among these, his Hunting Still Life is a rare exception. the painting was first exhibited at the 1852 pest Art exhibition He used warm colours to portray a lifeless ensemble of hare, dove, woodcock and mallard, depicting the animals’ features in various positions with natu ralistic precision Hunting still lifes are characterised by the presence of some kind of hunting equipment, in this case a hunting bag, alongside the game. the group of animals, arranged in a still life like composition, is placed in a natural setting by the painter Jakobey ’ s ability to depict animals so faithfully was not only due to his keen skills of observation; it is likely that he himself was also an avid hunter. despite the success of the painting at the exhibition, he never exhibited a still life again. this probably had something to do with the negative press reaction, which claimed that, as a well known painter of religious scenes, he ought to concentrate on painting more serious themes than the less appreciated genre of still life.

ildikó bACsA

literAture: nagyszandai szekeres 1938, 62; telepy 1979, 447; szvoboda dománszky 2007, 355; Budapest 2020, 12

s e C t i o n 7

f i s H i n g

“ now drawing in the drag nets full of fish, now sitting on a rock, casting, with rod and line.”

(ovid, Metamorphoses, bk xiii: 898 968, glaucus tells scylla of his transformation. trans A s kline)

H e n d r i C k J A C o b s Z . d u b b e l s (Amsterdam, 1621 Amsterdam, 1707)

The Coast near Scheveningen, with Fishermen

ca. 1660

oil on oak panel, 49 × 75 5 cm signed lower left: H. Dubbels transferred from the Municipal picture gallery, 1953 inv. no. 53.441 Museum of fine Arts, Collection of old Master paintings

for the dutch, the sea was both a blessing and a curse: there was a constant threat of storm surges, but maritime trade and fishing provided a livelihood and even pros perity from the beginning of the seventeenth century, the popularity of seascapes increased, with many excellent landscapists, including Jan van goyen and salomon van ruysdael, depicting the coastal dune lands the maritime landscape and its chief exponents defined the whole of Hendrick dubbels’s career: his early works were painted in the manner of Jan porcellis, and from 1650, he was active as a collaborator in the workshop of simon de Vlieger and later that of Jan van der Velde the elder the blissful tranquillity of Vlieger ’ s paintings of “still waters” (Stille watertie), the wide horizon, and the legacy of Van goyen’s landscape painting, with its evocation of light and atmospheric effects, are echoed in dubbels’s budapest work. towards the end of the 1650s, dubbels depicted dunes in several of his paintings, in which the recurring motifs are flat bottomed fishing boats pulled up on the shore, fishermen gathering on the banks, and fishmongers offering their wares the tower in the background of this work suggests that the location may not be the coast near scheveningen, as traditionally believed, egmond aan Zee, some ninety kilometres further north

CsAbA Hertelendy

literAture: pigler 1967, 197; bol 1973, 116 17, fig 223; Middendorf 1989, 34 35, 141 42, cat no 85; Summary Catalogue 2000, 46

At t r i b u t e d t o A d A M p i J n A C k e r (schiedam, 1620/1621 Amsterdam, 1673)

Rocky Landscape with Waterfall

1650s

oil on panel, 55 × 46 cm signed lower left, on the rock: Apynacker (Ap in ligature)

Acquired in 1949 inv. no. 9783 Museum of fine Arts, Collection of old Master paintings

Adam pijnacker was a wine merchant before he became artist: he was almost thirty w h e n h e p a i n t e d h i s f i r s t k n o wn p i c t u r e . d u r i n g h i s s h o rt c a r e e r, h e w o r k e d i n schiedam and neighbouring delft, as well as in Amsterdam, and he was employed at the court of brandenburg from 1654 to 1655. He painted mostly riverside landscapes, using warm, light infused colours, combining rich detail with subtle harmony Con trary to the claims made by Arnold Houbraken, the eighteenth-century art biographer, it is unlikely that pijnacker ever visited italy in developing his own style, he drew in spiration from the work of dutch italianate painters (Jan both, Jan Asselijn, Herman saftleven).

this painting, with a mountain stream running through vast rocky crags, bears a resemblance to a painting in the rijksmuseum in Amsterdam, but here the colours are more sombre, the lights sharper and the shadows deeper, which, together with the wildness of the water, give the painting an expressive power. rocky landscapes with waterfalls feature in several of the artist’s paintings from the 1650s, and he may have painted this one around the same time, although the chronology of pijnacker ’ s work is uncertain, due to the limited number of dated works below, fishermen are catching trout with small nets and sticks the fish, living in cold and clear mountain streams, were highly prized prey and a tasty dish in the cuisine of the aristocracy.

CsAbA Hertelendy

literAture: pigler 1967, 562; Harwood 1988, 132, cat no C29, table 148; Summary Catalogue 2000, 137

w o l f g A n g kö p p (kismarton [eisenstadt, Austria], 1738 Vienna, 1807)

Mountain Landscape with a Lake and Fishermen

1780s

watercolour and indian ink on limestone (scagliola), 45 5 × 65 cm gift of Mihály keszt, 1863 inv no 3158

Hungarian national gallery, Collection of old Hungarian paintings and sculptures

born in kismarton (eisenstadt, Austria), wolfgang köpp graduated from the Academy of fine Arts in Vienna and became widely known and appreciated for a type of deco rative scagliola (stucco marble) he experimented with, which earned him membership of the academies in Vienna, florence and berlin on a plaster base, which he coloured and then sanded, he scratched and inked the outlines of the motifs, and after further colouring the details, he finished the surface with additional sanding and then pol ishing. He began to work with this technique in the 1770s, and while he could also use it to create large altarpieces (solymár parish church, 1782), he more commonly produced italianate landscapes on a smaller scale He is also known for a series of scenes representing the months (Hungarian national gallery, budapest) which were based on pre drawings of italian, french and flemish engravings this technique is a unique and effective synthesis of the genres of marbling and watercolour engraving, two otherwise disparate materials and processes this is also reflected in this fantasy landscape, coloured in subtle tones of blue and yellow, with a watercolour like effect; the foreground is populated with genre figures catching and selling fish

ZsuZsAnnA bodA

k Á ro ly M A r kó t H e e l d e r (lőcse [levoča, slovakia], 1791 florence, 1860)

Fishermen

1851

oil on canvas, 110 × 165 cm signed lower middle: C. Markó p. App. 1851 from the bequest of Count Jenő Zichy, 1911 inv.no. fk 1588

Hungarian national gallery, Collection of 19th and 20th Century painting

in the last period of his career, károly Markó the elder worked in italy, and in his paintings he portrayed the hazy, sun drenched atmosphere of his natural Mediter ranean surroundings in Fishermen the idealised landscape is illuminated from behind by the light of the setting sun, with the aerial perspective formed using delicate tones of colour the fishermen and the swaying boats are outlined in the shady foreground by the dying rays of sunlight still penetrating across the bay.

Markó’s painting originates from the bequest of Count Jenő Zichy, who in 1902 es tablished Hungary ’ s first private museum in budapest He inherited mostly seven teenth century german, french, italian, flemish and dutch works from his father, edmund Zichy, and he continued to expand the collection As a generous patron of the arts, Jenő Zichy made most of his purchases from nineteenth century Hungarian artists, and besides Markó, he also owned works by Antal ligeti, József borsos, gyula benczúr and géza Mészöly.

Adrienn prÁgAi

August Von pettenkofen (Vienna, 1822 Vienna, 1889)

River Landscape (By the Tisza)

early 1850s

oil on canvas, 18 5 × 28 3 cm signed lower left: Pettenkofen gift of Móric Heim, 1920 inv. no. 381.b Museum of fine Arts, Collection of Art after 1800

the discovery in the mid nineteenth century of the great Hungarian plain by Austrian painters, including August von pettenkofen, was no accident: having tired of the con straints of academicism, they turned towards nature for them, the Hungarian plains were already part of the “exotic east”, and the lights and impressions of the great plain landscape made the town of szolnok even more attractive in their eyes, a location which became easily accessible with the construction of the railway. their art and choice of subject were also significantly influenced by french landscape painting and the barbizon school pettenkofen also visited both paris and barbizon; the pic tures he created there may also be considered ethnographic recordings. His work entitled River Landscape, painted in the early 1850s, is based on the contrast between the lonely figure of an angler and the endless Hungarian lowlands surround ing him the view of the spacious horizon of the river bank is interrupted only by a towering tree. the swampy landscape depicted in the painting is also special because this natural environment on the banks of the tisza, a diverse source of inspiration for artists at the time, disappeared permanently with the river regulations of the 1870s.

biAnkA bodA

M ó r t H A n

(óbecse [bečej, serbia], 1828 trieste, 1899)

Fishing 1880s

oil on canvas, 25 × 32 cm signed lower middle: Than M. purchased, 1916 inv. no. 5023

Hungarian national gallery, Collection of 19th and 20th Century painting

Mór than was known mainly for his historical scenes, but his oeuvre also includes a good number of portraits, wall paintings and some folk genre scenes. long after he became famous, he painted this small scale genre painting of fishermen and their families working on a riverbank. the dusk scene is dominated by the dark colours of the bank, contrasted by the lighter greyish sky reflected in the meandering river, and by the white clothes of the fishermen. than illustrates the exhausting work of lifting the net the mother, sitting on the left of the painting, points this out to the child on her lap, and this gesture also directs the viewer ’ s gaze towards the action the figures on the barge and sitting in front of the hut represent other aspects of the fishermen’s trade than, who grew up on the banks of the river tisza, would have witnessed such scenes many times in his life. He probably also recalled some of his childhood mem ories in this small sketch from the 1880s

ildikó bACsA

literAture: wilhelmb 1953, 78; Cennerné wilhelmb, 1982, 46 47; kalapis 1982, 8; losonci 1984, 31

Au g u s t i n f e y e n p e r r i n (bey sur seille, 1826 paris, 1888)

Fisher Women of Cancale

1881

oil on canvas, 118 × 158 cm signed lower right: A. Feyen Perrin purchased, 1882 inv. no. 80.b

Museum of fine Arts, Collection of Art after 1800

Augustin feyen perrin, an artist who is now somewhat forgotten, became popular in the last quarter of the nineteenth century as a painter of the women in Cancale the small town on the breton coast, home to oyster farming and fishing, inspired many compositions that usually depict the everyday lives of local women

His painting held by the Museum of fine Arts, many variations of which are known, was very successful in 1881 at the salon exhibition in paris and at the autumn exhi bition of the Hungarian national fine Art society. its theme is the so-called pêche à pied, meaning the collecting of fish and seashells in shallow water at low tide the composition focuses on three Cancale “graces” walking barefoot in simple, unadorned attire in the wet sand, gracefully returning home with their baskets full. their attrac tive, slender, yet noble and radiant figures emerge in front of a cloudy sky, the slight worm’s eye view lending a kind of monumentality to their appearance. true to the poetic naturalism characteristic of him, feyen perrin did not depict the strain and fatigue of physical labour, but rather conjured up an idealised picture of traditional fishing life

AnnA ZsófiA koVÁCs

literature: Paris Salon 1881, p xx, cat no 879; Budapest 1881, cat no 51; Balatonfüred 2019, 12, 22, 55

H e r M A n n b A i s C H (dresden, 1846 karlsruhe, 1894)

Shrimp Fishing

1890

oil on canvas, 102 × 154 cm signed lower right: Hermann Baisch 1890 purchased, 1890 inv. no. 117.b

Museum of fine Arts, Collection of Art after 1800

the german artist Hermann baisch was best known for his village genre paintings, rural landscapes, and animal depictions, combining realistic and romantic elements, although he also produced a smaller quantity of more naturalistic works in katwijk, on the coast of Holland. the fishing village (which probably also inspired his painting in budapest) attracted a large number of painters in the last quarter of the nineteenth century: the special lighting, the simple fishing life, and the local clothing and customs provided them with new and attractive themes the fishermen on the beach are collecting shrimps using horse drawn nets while the women are waiting for the fresh produce. what first captures the viewer’s attention is the bright sunshine; baisch brilliantly depicted the special light effects of the cloudy sky, the shadows on the shore, and the wet texture of the sand. the tension in the composition derives from the fact that, while the artist depicted the scene with photo realistic precision encompassing every detail, we still cannot see what the attention of all the characters is focused on: the fishermen turn away from the viewer, and the horse-drawn carriage obscures the goods that are laid out.

AnnA ZsófiA koVÁCs

literAture: Budapest 1890, cat no 19; tóth 2012, 158

Á r pÁ d f e s Z t y (ógyalla [Hurbanovo, slovakia], 1856 lovran, 1914)

Swamp Fisherman Forager

1880s

watercolour, white heightening and pencil on cardboard, 357 × 246 mm signed lower left: Feszty Árpád transferred from the Ministry of finance, 1902 inv. no. 1902-930 Hungarian national gallery, Collection of prints and drawings

t h i s w o r k b y Á r p á d fe s z t y i s a r e m i n d e r o f a n o w f o r g o t t e n a c t i v i t y l i v i n g i n the marshy regions in the east of Hungary (ecsed, nagy and kis sárrét, bodrog), the swamp fishermen foragers (known in Hungarian as pákász) lived by hunting, fishing, and gathering plants. they came from the poorest strata of the peasantry and were forced to adapt their way of life to the geographical conditions in the marshy, flood prone areas. they lived in huts made of mud and straw, and used a moor stick and reed soles attached to their sandals to navigate on the uneven ground they were ex cellent fishermen, catching their prey with fish weirs and spears feszty depicts a pákász standing on his rickety boat, preparing to strike with his five pronged harpoon at the fish hiding in the swamp the precisely drawn back ground is almost entirely occupied by the lush vegetation of the marshlands that these fishermen called home feszty ’ s drawing was published in a volume describing the great Hungarian plain, part of a series of books entitled The Austro Hungarian Monarchy in Words and Pictures

literAture: nyakas 1985, 12; selmeczi kovács

Ágnes ferenCZi

w i l l e M o r M e A (utrecht, 1611 ? utrecht, 1673) and

A d A M (?) w i l l A e rt s (Antwerp, 1577 utrecht, 1664)

Still Life of Fish on a Seashore

1650s

oil on oak panel, 51.5 × 74 cm purchased from Mrs istván fehér, budapest, 1969 inv no 69 52

Museum of fine Arts, Collection of old Master paintings

from the mid sixteenth century, netherlandish masters began to depict fish in pic tures of markets and kitchens, and later in still lifes. within this genre, fish still lifes became an increasingly popular type from the 1630s onwards in the compositions by willem ormea of utrecht, the fish still life in the foreground is complemented by a background of coastal scenery, as in this budapest painting the master depicted the characteristic shapes and details of the diverse fish species, the light glistening on their flat, wet bodies, with the same care as he rendered their glassy eyes and gaping mouths this unemotional objectivity emphasises the traditional moral over tones of the fish still life, as the dead animals, snatched from their natural element, offer a reminder of mortality the diagonal coastline echoes the writhing bodies of the fish, and this dynamic composition is completed by the thrashing waves of the sea and the billowing clouds above the landscape background was painted by Adam willaerts, or perhaps by his son Abraham. they and the other willaerts brother, isaac, worked with ormea on several occasions the contrast between the foreground and the background is not merely stylistic: in contrast to the stark fatalism suggested by the still life of the fish, the tiny figures emerging from the shore and the boats strug gling against the wind remind us of the presence of life

CsAbA Hertelendy

literAture: ember in Bulletin 1973, 84 85; ember 1979, 140 43, fig 99; Wausau 1989, 150, cat no b29; Summary Catalogue 2000, 128; ember 2011, 193 95, cat no 61

Still Life with Fish

1673

oil on canvas, 58 × 72 cm signed and dated lower right: J van Duynen 1673 purchased in Amsterdam from A goudstikker, 1908 inv. no. 3826 Museum of fine Arts, Collection of old Master paintings

Art writers in the seventeenth century ranked still life as the lowest in the hierarchy of painting genres. still lifes of fish were, if anything, regarded as even less important: “we shall pass these over:”, wrote the dutch painter theorist gérard de lairesse, “any one who likes them can take himself off to the market”, where they were often sold and were in great demand in the netherlands of the period the painter, isaac van duynen, came from a family of fishmongers in dordrecht. the master, who specialised in still life painting, was initially influenced by the flemish artists Adriaen van utrecht (1599 1652) and Jan davidsz de Heem (1606 1684), and after his move to the Hague (1657), by the style of Abraham van beijeren (1620/1621 1690), the most outstanding exponent of the still life Van beijeren’s influence was so strong that Van duynen was long believed to have been his pupil. in Van duynen’s painting, it is as if the scored cod, the rhine salmon fillets, and the large lobster were just about to be cooked the delicious kitchen ingredients, set against a dark background, are nevertheless rendered with an objectified firmness, underscored by the meticulous, geometric pyramidal composition. the strong light and shade add plasticity to the forms and give the work overall a rustic vigour this is also enhanced by the restrained colouring: the silvery shimmer of fish and the brownish mass of lobster surround the blood red slices the latter, with its raw realism, is a recurring element in Van duynen’s fish still lifes.

CsAbA Hertelendy

literAture: pigler 1967, 200; Wausau 1989, 60 61, cat no 10; Summary Catalogue 2000, 52; ember 2011, 75 78, cat no

Fish Still Life 1679

oil on canvas, 56 5 × 66 cm signed and dated lower right: Jgillig 1679 purchased from gyula göbölyös, budapest, 1980 inv. no. 80.12 Museum of fine Arts, Collection of old Master paintings

like his father, Jacob gillig of utrecht initially earned his living as a merchant and warden of the town hall prison. it was not until he was about twenty five that he began painting, his master probably being willem ormea, who worked in the city; gillig’s first wife, Hester, was the daughter of the painter Adam willaerts. Adam and his sons Abraham and isaac were known for their seascapes, and they also painted the seascape backgrounds in fish still lifes by several masters of utrecht. they may also have collaborated with gillig, who over time became the most distinguished local painter of fish still lifes As described by Arnold Houbraken, the seventeenth century dutch biographer of painters, gillig “painted all kinds of fish, especially freshwater fish, which is most characteristic of utrecht”, and his works were “ lifelike and witty ” this painting is not lacking in painterly ingenuity either: it is as if the catch from the river (carp, pike, perch) is pouring out of a basket that has been tipped over so fresh is the catch that the fish are still surrounded by seaweed. gillig often also shows fishing gear, for example, the rolled up net in this painting the artist clearly derived pleasure from painting the details with bravura; his fish still life captures the spectacle without any moralistic message and without any symbolic evocation of memento mori CsAbA Hertelendy

literAture: ember 1979,

Summary Catalogue

Wausau

70

cat no

i s t VÁ n i Z b i g H y V ö rö s (izbég?, ca 1698 kassa [košice, slovakia], 1758)

Table Still Life with Crayfish, a Haban Jug, a Glass, Bread and a Mouse

1740s

signed lower middle: St: Mich: Ibighy oil on canvas, 42 × 53 cm exchanged, 1989 inv no 89 2M

Hungarian national gallery, Collection of old Hungarian paintings and sculptures

istván izbighy Vörös was a citizen and landowner in kassa (košice, slovakia) and a member of the city assembly in the first half of the eighteenth century, he undertook a variety of works as a painter in and around the city, such as painting statues, towers and flags, and renewing the city ’ s coat of arms He created the illusionistic fresco ceil ing decoration of the dominican church in the kassa the 1750s and, according to the most recent research, the mural paintings of the pilgrimage church in Máriapócs in 1748 1749 He is, however, primarily known as an excellent still life painter, on the basis of a small number of exceptionally high quality paintings, which he probably created for noble patrons as decorations for their castles in this painting, which still retains the influence of seventeenth century still lifes, river crayfish are piled on a plate, cooked bright red and ready to be consumed; beside them are a glass of wine and a blue Haban ceramic jug, the latter of which also indi cates the Hungarian origin of the painting the items depicted are lined up in the foreground, barely concealing each other; there is no space behind them, and the composition ends in a “dark wall” the painting is meticulous and naturalistic the intimate discipline of the simple objects is relieved by the amusing elements in the still life: a mouse scurries off the table and a loaf of bread is about to fall in its wake.

ZsuZsAnnA bodA

ó Z s e f M A r A s t o n i (Venice, 1834 Vienna, 1895)

Still Life with Lobster

1853

oil on canvas, 56 cm × 78 cm purchased, 1940 inv no fk 4978

Hungarian national gallery, Collection of 19th- and 20th-Century painting

József Marastoni began his studies at the first Hungarian painting Academy, founded by his father, Jakab Marastoni, in 1846 He later attended the Academy of fine Arts in Vienna, and it was around this time that he painted his Still Life with Lobster, which was probably first shown at one of the exhibitions of the pest Art society in 1853 Marastoni painted the fine fare at a splendid banquet, with lobster, shellfish, wine, lemons and oils, all typical of Mediterranean fishing and gastronomy the fly on the tankard is painted in the illusionistic tradition of trompe l’oeil, while the type of still life originates from an anecdote by pliny the elder about Zeuxis and parrhasius this painting once hung in the dining room in the nádasdladány palace of Count ferenc nádasdy, a passionate and dedicated hunter. the palace was also decorated w i t h a n o t h e r p a i n t i n g b y M a r a s t o n i , t h e F i s h i n g B o y n o w h e l d b y t h e H u n g a r i a n national gallery, and with ede spiró’s painting entitled Praying Girl. Adrienn prÁgAi

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Brussels 2019 bücken, Véronique and ingrid de Meûter eds Bernard van Orley bruxelles, palais des beaux Arts, 2019 bruxelles: bozar books, Mardaga, 2019

Budapest 1881

Az Országos Magyar Képzőművészeti Társulat Műcsarnokában 1881 évben rendezett őszi kiállítás első sorozatának tárgymutatója I budapest: oMkt, 1881.

Budapest 1890

Az Országos Magyar Képzőművészeti Társulat Műcsarnokában 1890 évben rendezett Téli kiállítás tárgymutatója. budapest: franklin társu lat könyvnyomdája, 1890

Budapest 1896

Ezredéves Országos Kiállítás A Képzőművészeti Csoport képes tárgymu tatója budapest: oMkt, 1896

Budapest 1923

A Benczúr Társaság első kiállítása budapest: nemzeti szalon, 1923 április

Budapest 1929

CVII csoportkiállítás budapest: ernst Múzeum, 1929 november

Budapest 1968

Ifj Vastagh György emlékkiállítás exh cat introduction by erzsébet Csap budapest: Mezőgazdasági Múzeum, 1968

Budapest 1971

Vadászati Világkiállítás ex cat edited by János frank kunsthalle, 27 August 30 september 1971 budapest: kiállítási intézmények, 1971

Budapest 1978

Kisplasztikai kiállítás a 10 től a 19 századig az Iparművészeti Múzeum és a Szépművészeti Múzeum anyagából edited by Éva sz eszláry and Éva sz koroknay budapest: szépművészeti Múzeum, 1978

Budapest 1990 szinyei Merse, Anna Szinyei Merse Pál élete és művészete budapest: Magyar nemzeti galéria, Corvina kiadó, and széchenyi kiadó kft , 1990

Budapest 1999 Verő, Mária Gótikus szobrok budapest: szépművészeti Múzeum, 1999

Budapest 2003

Z e n t a i , l o r á n d É s z a k i t á l i a i r e n e s z á n s z r a j z o k b u d a p e s t : s z é p művészeti Múzeum, 2003

Budapest 2006a gerszi, teréz Rembrandt 400 Rézkarcok és rajzok Kiállítás a művész születésének 400 évfordulójára budapest: szépművészeti Múzeum, 2006

Budapest 2006b El Greco, Velázquez, Goya Öt évszázad spanyol festészetének remekművei edited by Éva nyerges and Matthias weniger budapest: szép művészeti Múzeum, 2006

Budapest 2007a

Va s z a r y Já n o s e d i t e d b y n ó r a Ve s z p r é m i b u d a p e s t : M a g y a r nemzeti galéria, 2007

Budapest 2007b

Zichy Mihály, a “rajzoló fejedelem” edited by enikő róka. budapest: Magyar nemzeti galéria, 2007

Budapest 2009 München magyarul Magyar művészek Münchenben 1850 1914. edited by györgy szücs budapest: Magyar nemzeti galéria, 2009

Budapest 2011 Markó Károly és köre Mítosztól a képig edited by gábor bellák, Zoltán dragon, and orsolya Hessky budapest: Magyar nemzeti galéria, 2011

Budapest 2012 gerszi, teréz (with the assistance of bernadett tóth) The New Ideal of Beauty in the Age of Pieter Bruegel: Sixteenth century Netherlandish d r a w i n g s i n t h e M u s e u m o f F i n e A r t s, B u d a p e s t b u d a p e s t : s z é p művészeti Múzeum, 2012

Budapest 2020 Állatok Állatábrázolás a 19 századi festészetben budapest: Magyar Mezőgazdasági Múzeum, 2020

Budapesti Hírlap 1856 bulyovszky, gyula “pesti műtárlat ” Budapesti Hírlap, 5 June 1856, n p [2 3]

Bulletin 1973

“nouvelles acquisitions 1967 1972 ” Bulletin du Musée hongrois des Beaux Arts no 41 (1973): 53 124

Bulletin 2000

“new acquisitions ” Bulletin du Musée hongrois des Beaux Arts nos 92 93 (2000): 143

Cassirer and Helbing 1917 Cassirer, paul and Hugo Helbing Sammlung Richard von Kaufmann, Berlin berlin: kunstsalon paul Cassirer, 1917

Cennerné wilhelmb 1982 Cennerné wilhelmb, gizella Than Mór budapest: képzőművészeti kiadó, 1982

Cennerné wilhelmb 1997 Cennerné wilhelmb, gizella A Zrínyi család ikonográfiája budapest: balassi kiadó, 1997

Cifani and Monetti 1999

Cifani, Arabella and franco Monetti “la Caccia al cervo di Vittorio Amedeo Cignaroli ” Bulletin du Musée hongrois des Beaux Arts nos 90 91 (1999): 127 30

Cifka 2000

Cifka, brigitta The 19th Century Exhibition budapest: szépművészeti Múzeum, 2000

Compiègne 2007 starcky, emmanuel and Marie lionnet et al Nicolas II Esterházy, 1 7 6 5 1 8 3 3 : U n p r i n c e h o n g r o i s c o l l e c t i o n n e u r M u s é e n a t i o n a l d u château de Compiègne, 2007 2008 paris: réunion des musées na tionaux, 2007.

Corpus Rubenianum

Corpus Rubenianum: An illustrated catalogue raisonné of the work of Peter Paul Rubens based on the material assembled by ludwig burchard in 26 vols Landscapes and Hunting Scenes Vols 18/1 2 2: Hunting Scenes by Arnout balis. london, oxford, and new york: phaidon, 1986.

Cropper 1988

C r o p p e r, e l i z a b e t h P i e t r o Te s t a , 1 6 1 2 1 6 5 0 : Pr i n t s a n d D r a w i n g s philadephia: university of pennsylvania, 1988

Czobor 1967 Czobor, Ágnes Holland tájképek budapest: Corvina, 1967

Csőre 2003 Csőre, pál “A magyar vadászati szaknyelv kialakulása ” in A magyar mezőgazdasági, kertészeti, erdészeti és vadászati szaknyelv kialakulása, 51 64 budapest: Mezőgazdasági Múzeum, 2003

dévényi 1973 dévényi, iván “berki Viola ” Vigilia vol 38, no 8 (1973): 520 21

doval trueba 2010 d o v a l tru e b a , M a r í a d e l M a r “A l o n s o C a n o y l o s r e t r a t o s d e l príncipe baltasar Carlos ” Goya Revista de Arte no 332 (July sep tember 2010): 202 11

duschanek 1994 1995 duschanek, Adolf “der Maler und Mosaizist wolfgang köpp (1738 1807) ” Acta Historiae Artium vol xxxVii (1994 1995): 175 229

Éber and gombosi 1935 Művészeti Lexikon Vols i ii edited by lászló Éber and györgy gombosi budapest: győző Andor, 1935

ekkart 2011 ekkart, rudolf e o Old Masters’ Gallery Catalogues, Szépművészeti Múzeum, Budapest Vol 1: Dutch and Flemish Painting: Portraits 1600 1800 leiden and budapest: nl primavera, 2011

Élet 1910 Élet, 29 May 1910, 722 23 (repr )

ember 1979 ember, ildikó “trois natures mortes aux poissons d’utrecht ” Bul letin du Musée hongrois des Beaux Arts no 53 (1979): 137 48

ember 2011 ember, ildikó Old Masters’ Gallery Catalogues, Szépművészeti Múzeum Budapest Vol 2: Dutch and Flemish Still Lifes 1600 1800 leiden and budapest: nl primavera, 2011

eörsi 2001 eörsi, Anna: “puer, abige muscas! remarks on renaissance flyology ” Acta Historiae Artium vol 42 (2001): 7 22

Erdészeti Lapok 1910 “A bécsi nemzetközi vadászati kiállításról ” Erdészeti Lapok vol 49, no. 15 (1910): 590 602.

erdős, farkas, and kállay 1983 erdős, imre, gábor farkas, and istván kállay Gárdony története gárdony: gárdony nagyközség tanácsa, 1983.

fáczányi 2006 fáczányi, ödön “strobl Alajos (1856 1926) ” Nimród vol 94, no 7 (2006): 31 32.

fadda 2004 fadda, elisabetta Michelangelo Anselmi torino: umberto Allemandi & C , 2004 farkas 2013 farkas, József “A koronauradalom kialakítása ” in Gödöllő története II , 1867 1945 Vol 1 edited by Mária g Merva gödöllő: gödöllő Város önkormányzata, 2013

Florence 2013 Az Uffizi Képtár Magyar önarcképei edited by ildikó fehér florence: galleria degli uffizi, 2013

fónagy 1935 fónagy, béla “lieder frigyes ” in Művészeti Lexikon Vol ii (l Z) edited by lászló Éber budapest: győző Andor, 1935

Fővárosi Lapok 1882 (pr ) “A nemzetközi műkiállítás ii ” Fővárosi Lapok, 5 April 1882, 496

Fővárosi Lapok 1889 ( m) “Mészöly hátrahagyott képei (A műcsarnokban) ” Fővárosi Lapok, 26 february 1889, 406 8

Frankfurt am Main 1985 Natur und Antike in der Renaissance edited by Herbert beck et al frankfurt am Main: liebighaus, Museum alter plastik, 1985

Frankfurt am Main 1999 barkóczi, istván, ed Von Raffael bis Tiepolo Italienische Kunst aus der Sammlung des Fürstenhauses Esterházy frankfurt am Main: schirn kunsthalle, 1999

gaboda 2012 gaboda, péter József “the royal lion hunt/fight motif on a wedjat plaque of shoshenq iii: an exceptional evocation of a favourite new kingdom theme in the lybian period part 1 ” Bulletin du Musée hongrois des Beaux Arts nos 116 117 (2012): 33 48

gaboda 2013 gaboda, péter József “the royal lion spearing motif on a wedjat plaque of shoshenq iii, a study of complexly structured levels of meaning part 2 the interrelated semantics of the main icons/con stellations of the two sides ” Bulletin du Musée hongrois des Beaux Arts no 118 (2013): 21 50

garas 1972 garas, klára “les oeuvres de giambettino Cignaroli et de pietro rotari en Hongrie ” Bulletin du Musée hongrois des Beaux Arts no 39 (1972): 77 100

garas 1980 garas, klára Deutsche und österreichische Zeichnungen des 18 Jahrhun derts : Ausgewählte Meisterwerke der graphischen Sammlung des Muse ums der Bildenden Künste Budapest budapest: Corvina, 1980

garas 1991 garas, klára. “natures mortes du xViiie siècle au Musée des beaux Arts: Maximilian pfeiler, franz werner tamm et gabriele salci ” Bulletin du Musée hongrois des Beaux Arts no. 74 (1991): 31 48.

gárdos 1917 gárdos, Aladár “önmagáról ” Vasárnapi Ujság, 11 november 1917, 721

gaunt 1964 gaunt, william “rural life and sport ” in william gaunt, Concise History of English Painting london: thames and Hudson, 1964

gautier 1867 gautier, théophile Voyage en Russie Vols i ii paris: Charpentier, 1867

gellér 2000 g e l l é r, k a t a l i n “ Z i c h y M i h á l y m ű v e i a z a n g o l k i r á l yn ő gyűjteményében ” Művészettörténeti Értesítő vol 49, nos 1 2 (2000): 75 93

gellér 2003 gellér, katalin “Újítás és tradícióváltás ” in A gödöllői művésztelep 1901 1920 edited by katalin gellér, Mária g Merva, and Cecília őriné nagy gödöllő, 2003

gosztonyi 1982 gosztonyi, József “száz éve született berán lajos ” Az Érem vol 38, no 1 (1982): 36 40

gránitz and fehér 2014 gránitz, gáspár and Árpád fehér “beszélgetés Meszleny ignáccal 2 ” A Ve l e n c e i H e l yt ö rt é n e t i e g y e s ü l e t h o n l a p j a , h t t

h e l y tortenet eoldal hu/cikkek/az egyesulet sajat gyujtesei/granitz gas par feher arpad beszelgetesmeszleny ignaccal 2 html

Győr 2000 Hessky, orsolya A XIX századi magyar rajzművészet mesterei Válogatás a Magyar Nemzeti Galéria és a Soproni Múzeum rajzgyűjteményéből győr: Városi Művészeti Múzeum, 2000

györgyi 1900 györgyi, kálmán “Az iparművészet a párisi kiállításon ” Magyar Iparművészet vol 3, no 5 (1900): 236

k gyurkovich 1974 k gyurkovich, tibor “sterio károly, a mozgás festője ” Művészettörté neti Értesítő vol 23, no 4 (1974): 323 27

Haak 1984 Haak, bob The Golden Age: Dutch painters of the Seventeenth Century new york: Harry n Abrams inc , 1984

Harwood 1988 H a r w o o d , l a u r i e b Ad a m Py n a c k e r : c 1 6 2 0 1 6 7 3 d o o rn s p i j k : dAVACo, 1988

Hauszmann 1997 Hauszmann Alajos naplója Építész a századfordulón Compiled by dr Ambrus seidl. budapest: gondolat, 1997.

Hessky 2011 H e s s k y, o r s o l y a “ M i t o l ó g i a é s t á j t a l á l k o z á s a i d ő s e b b M a r k ó károly művein.” in Budapest 2011, 59 72.

Hoffmann 1929 Hoffmann, edith “A szépművészeti Múzeum néhány németalföldi és német rajzáról ” Az Országos Szépművészeti Múzeum Évkönyvei [An nales du Musée des Beaux Arts de Budapest] no 5 (1927 1928): 89 143

Hollstein Dutch and Flemish xViii white, Christopher and karel g boon Rembrandt van Rijn, Holl stein’s Dutch and Flemish Etchings, Engravings and Woodcuts Vol xViii roosendaal: koninklijke Van poll / sound & Vision pub, 1969

Hollstein Dutch and Flemish xxViii Hollstein’s Dutch and Flemish Etchings, Engravings and Woodcuts Vol xxViii edited by karel g boon, compiled by dieuwke de Hoop scheffer and geroge s keyes blaricum: Van gendt, 1984

Hölgyfutár 1861 “budapesti hírharang ” Hölgyfutár, 27 June 1861, 615

Horváth 1963 Horváth, ernő “Adatok Chernel istván életrajzához ” Savaria, A Vas Megyei Múzeumok értesítője no 1 (1963): 57 83

Huszár 1943

Huszár, lajos “berán lajos emlékezete ” Szépművészet vol 4, no 5 (1943): 80 82

Huszár 1957 1958

Huszár, lajos “körmöcbányán 1872 1899 években vert emlékérmek mesterei ” Numizmatikai Közlöny vols 56 57 (1957 1958): 58 62

Huszár 1972

H u s z á r, k á r o l y “ Va d á s z a t i m o t ívu m o k a m a g y a r c í m e r e k b e n ”

A z O r s z á g o s E r d é s z e t i E g y e s ü l e t E r d é s z e t t ö r t é n e t i S z a k o s z t á l y a K ö z leményei nos 5 7 (1972): 87 104

illyés 2001

illyés, Mária Œuvres françaises du XIXe siècle les Collections du M u s é e d e s b e a u x A rt s b u d a p e s t 4 b u d a p e s t : s z é p m ű v é s z e t i Múzeum, 2001

Interessante Blatt 1910 “ein familiengeschenk für den kaiser ” Das Interessante Blatt, 2 Juni 1910, 4 (repr )

Javel 1898 Javel, firmin “Alexandre falguière: sa vie et son œuvre ” in Alexan dre Falguière: sculpteur et peintre, 30 32 paris: société anonyme la plume, 1898

kalapis 1982 kalapis, Zoltán “than Mór bácskai emlékei ” Magyar Szó no 217 (1982): 8

Kalauz 1867 Kalauz Szakközlöny az elemi tanügy és népnevelés barátai számára, 1 July 1867, 312.

kaposi 2007 kaposi, Márton “Machiavelli Magyarországon A merész kortárs és a reneszánsz klasszikus fogadtatása 1541 1921. ” phd. diss. buda pest, Magyar tudományos Akadémia, 2007

karasszon 1978 dr. karasszon, dénes. “Monostori professzor és a ‘Veterinarius’ hatása a hazai állattenyésztéstani szakirodalom fejlődésére ” Magyar Állatorvosok Lapja vol 33, no 6 (1978): 365

kenyeres 1982 Magyar Életrajzi Lexikon Vol ii edited by Ágnes kenyeres buda pest: Akadémiai kiadó, 1982

kóthay and liptay 2012 kóthay, katalin Anna and Éva liptay eds A Szépművészeti Múzeum Egyiptomi Gyűjteménye budapest: szépművészeti Múzeum, 2012

kovács 2013 kovács, Zita Berki Viola Halasi Albumok 14 kiskunhalas: thorma János Múzeum, Halasi Múzeum Alapítvány, and berki Viola köz alapítvány, 2013

kövesdi 2015 kövesdi, Mónika “Az első és az utolsó falkavadászat ” Art Limes Képzőművészek Tata városában XVIII XX század vol 4, no 2 (2015): 217 21

krasznai 1986 krasznai, péter: “Az agarászat ” Nimród Fórum Nimród’s special issue (April 1986): 14 20

krüger 2018 krüger, Michael “Visual sources in the History of sports: potential, problems, and perspectives with selected examples of sporting Art ” Historical Social Research / Historische Socialforschung special issue: Visualities sports, bodies, and Visual sources vol 43, no 2 (2018): 72 92

lakatos 1910 lakatos, károly Vadászhit A magyar vadászbabonák és hiedelmek kul tusza 2nd ed szeged: engel lajos kiadása, 1910

lengyel 1910 lengyel, géza “róna József ” Művészet vol 9, no 1 (1910): 23 36

lewis 1987 lewis, douglas “the Medallic oeuvre of ‘Moderno’: His develop ment at Mantua in the Circle of ‘Antico’ ” Studies in the History of Art vol 21 (1987): 77 97 symposium papers Viii: italian Medals washington: national gallery of Art

lewis 1989 lewis, douglas “the plaquettes of ‘Moderno’ and His followers ” Studies in the History of Art vol. 22 (1989): 105 41. symposium papers ix: italian plaquettes washington: national gallery of Art

London 2001 bury, Michael. The Print in Italy 1550 1620 london: british Museum, 2001

London 2010 ekserdjian, david, ed. Treasures from Budapest: European masterpieces from Leonardo to Schiele london: royal Academy of Arts, 2010

London Leicester Liverpool 1974 British Sporting Painting 1650 1850 Hayward gallery, london; leices tershire Museum and Art gallery, leicester; walker Art gallery, liverpool london: the Art Council of great britain, 1974

losonci 1984 losonci, Miklós “than Mór festménye a halászatról ” Halászat no 1 (1984): 31

lyka 1908 lyka, károly “pállik béla ” Művészet vol 7, no 6 (1908): 384 89

Macchiavelli 2019 Machiavelli, niccolò The Prince translated by william k Marriott delhi: lector House, 2019

Madrid 2017 solana, guillermo and Mar borobia, eds Obras maestras de Budapest del renacimento a las vanguardias Madrid: Museo nacional thyssen bornemisza, 2017

Magyar 2017 Magyar, Zoltán Mátyás király narratív hagyományköre Típus és motívu mindex budapest: balassi kiadó, 2017

Magyarország 1910 “A b é c s i v a d á s z a t i k i á l l í t á s m a g y a r c s o p o r t j a ” M a g y a r o r s z á g, 29 April 1910, 9

Magyar Szemle 1902 “irodalom és művészet ” Magyar Szemle, 23 november 1902, 564

Marosvásárhely 2017 Árkádia színei Remekművek a budapesti Szépművészeti Múzeum Zichy g y ű j t e m é n y é b ő l M a r o s M e g y e i M ú z e u m ; r o m á n i a n e m z e t i Művészeti Múzeuma; szépművészeti Múzeum Magyar nemzeti g a l é r i a e d i t e d b y b a l á z s b á n y a i , A n n a m á r i a g o s z t o l a , a n d eleonóra kovács Marosvásárhely: Maros Megyei Múzeum, 2017

Mazányi 2005 Mazányi, Judit Ligeti Miklós szobrászművész életműve phd diss elte btk, budapest, 2005

Meder 1932 Meder, Joseph Dürer Katalog: Ein Handbuch über Albrecht Dürers S t i c h e, R a d i e r u n g e n , H o l z s c h n i t t e, d e r e n Z u s t ä n d e, A u s g a b e n u n d Wasserzeichen Vienna, 1932

Meijer 2010

Meijer, fred g. “A partridge Abraham van Calraet (1642 1722) in budapest ” in Geest en gratie: essays presented to Ildikó Ember on her seventieth birthday edited by orsolya radványi. budapest: szép művészeti Múzeum, 2012

Middendorf 1989 Middendorf, ulrike. Hendrik Jacobsz Dubbels (1621 1707): Gemälde und Zeichnungen mit kritischem Oeuvrekatalog freren: luca Verlag, 1989

Mikszáth 1883 Mikszáth, kálmán “A nyolc tó pusztája látogatás Zichy Jenőnél ” in Mikszáth Kálmán összes művei Cikkek és karcolatok XVII , 1882 1883, 64 71 Vol 67 edited by gyula bisztray and istván király budapest: Akadémiai kiadó, 1969

Mojzer 1982 Mojzer, Miklós A Magyar Nemzeti Galéria késő reneszánsz és barokk kiállítása, képek és szobrok budapest: képzőművészeti Alap, 1982

Molnár 2001

Molnár, lászló “emlékezzünk stróbl Alajosra, nemzetközi hírű szo brászunkra ” Nimród vol 89, no 11 (2001): 36 37

Montreal 2002 lavoie, francine, ed Italian Old Masters from Raphael to Tiepolo The Collection of the Budapest Museum of Fine Arts, Montreal, The Montreal Museum of Fine Arts Connaissance des Arts no 176 (2002)

Motesiky 1990

Motesiky, Árpád “Híres festő remek nimród ” Nimród vol 110, no 10 (1990): 8 9

Mravik 1989

Mravik, lászló “két szilánk a hajdani brunsvik gyűjteményből ” Művészettörténeti Értesítő vol 38, nos 1 4 (1989): 145 47

Műcsarnok 1900 “Vásárlások a téli kiállításon ” Műcsarnok, 1January 1900, 9

Muray 2006

Muray, róbert “Vadászati Világkiállítás képzőművészeti kiállí tás ” Nimród vol 94, no 3 (2006): 26

Művészet 1917 “krónika Holló barnabás ” Művészet vol 16 (spring 1917): 76 78

Museum Guide 2021 Museum Guide Old Collections of the Museum of Fine Arts edited by orsolya radványi budapest: szépművészeti Múzeum, 2021

nagy 1972 dr nagy, domokos imre A vadászat a festészetben budapest: Cor vina kiadó, 1972

nagy 1974 dr nagy, domokos imre “gondolatok és adatok a xix xx századi magyar vadászfestészetről ” Vadászévkönyv ’ 75 (1974): 149 61

nagy 1988 nagy, domokos imre. “gondolatok a magyar vadászfestészetről.” in Hunor Vadászkönyv Állatvilág, szafari, vadvédelem, 152 60 edited by dr. Attila Zoltán. budapest: officina nova Magyar könyvklub, 1988 nagy 1996 dr. nagy, domokos imre. “A vadászat és a művészet.” in dr. Ádámfi tamás et al , Vadászetika I, 243 63 budapest: lipták kiadó, 1996

nagyszandai szekeres 1938 nagyszandai szekeres, Margit Jakobey Károly (1826 1891) budapest: Hollósy János könyvnyomtató Műhelye, 1938

németh 1981 Magyar művészet 1890 1919 Vols i ii edited by lajos németh bu dapest: Akadémiai kiadó, 1981

Népszava 1929 (i e ) “Csoportkiállítás az ernst Múzeumban ” Népszava, 17 novem ber 1929, 14

New Hollstein Dutch and Flemish 2013 The New Hollstein Dutch and Flemish Etchings, Engravings and Woodcuts 1450 1700, Rembrandt edited by erik Hinterding and Jaco rutgers 7 vols (vols 69 75) ouderkerk aan den iJssel: sound and Vision publishers, 2013

nyakas 1985 dr nyakas, lászló “pákász ” Hajdú Bihari Napló, 18 May 1985, 12

nyerges 1983 nyerges, Éva, “el retrato de don baltasar Carlos en el Museo de bellas Artes de budapest ” Archivo Español de Arte 56, no 222 (1983): 143 49

Ojság 1929

“szenzációs attrakciók az ernst Muzeumban ” Az Ojság, 17 novem ber 1929, 4

ortutay 1982

Magyar Néprajzi Lexikon Vol V edited by gyula ortutay budapest: Akadémiai kiadó, 1982

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Körösfői Kriesch Aladár (1863 1920) festő és iparművész monográfiája és œuvre katalógusa edited by Cecília őriné nagy gödöllő: gödöllői Városi Múzeum, 2016

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Osztrák Magyar Monarchia 1887

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