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The Orbed Red Underwing Skipper

The Hungarian Skipper


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Szentendre is a riverside town in Pest county, Hungary, near the capital city Budapest. It is known for its museums, galleries, and artists. It's a beautiful village with wonderful architecture.

#Smile on Saturday

#Nature is an Artist

award-winning metro station at Szent Gellért Square in Budapest, Hungary (Szent Gellért being the patron saint of Budapest); the glass mosaic design that covers the vaults was designed by visual artist Tamás Komoróczky; the station really is spotlessly clean like in the photo


P.S. I have to thank the employees of Budapest Transport Plc (Budapesti Közlekedési Vállalat - BKV) for letting me in the station (stations, actually) to get some photos without paying for a metro ticket; you don't get that sort of kindness from public employees very often.

Erno Dohnanyi, A Well-Battered Artist

Brahms Intermezzo


Hungarian Christmas Song

Dohnányi Rhapsody opus 11 no. 2

Schubert Impromptu 2


Mozart Concerto, G Major K453



Andante Favori in F

Haydn in F Minor

His Own Works


Ernö von Dohnányi (1877-1960)

Among the dominant figures in Hungarian music during the first half of the twentieth century, pianist, composer, and conductor Ernst von Dohnányi is still regarded as the most versatile musician to emerge from that country since Franz Liszt. Dohnányi was born in present-day Bratislava in 1877, where he received his earliest musical instruction (piano and the rudiments of theory) from a local church organist and friend of the family. Entering the Budapest Academy in 1894, Dohnányi studied piano with Thóman and composition with Koessler for three years before making his 1898 debut as a pianist in London (under the baton of Hans Richter). Dohnányi's astounding skills at the keyboard earned him quick recognition throughout the musical establishment, even as his early compositions began to win approval. Brahms himself organized the Vienna premiere of Dohnányi's 1895 Piano Quintet in C minor, Op. 1 (despite its opus, the work is not the composer's first, following some 70 earlier efforts), and in 1899 his Piano Concerto, Op. 5, won the Bösendorfer Prize for piano composition.


At Joachim's invitation Dohnányi served on the faculty of the Berlin Hochschule from 1905 to 1915, after which he returned to Budapest to take a more active part in his homeland's musical development. Traditionally, the majority of Hungarian musical talent left the homeland for training and careers in the more financially and culturally rewarding European careers. Hoping to curb this trend, Dohnányi committed himself to the cause of then-lesser-known Hungarian composers such as Bartók and Kodály, and, in doing so, changed the landscape of Hungarian music forever. These years were busy indeed: in addition to his own activities as a composer and as a professor of piano at the Budapest Academy, Dohnányi maintained a hectic performance schedule including over 100 annual appearances in Budapest alone!


Ousted from the Academy in 1919 by the new fascist regime, Dohnányi took to the podium, first as chief conductor for the Budapest Philharmonic Society (1919-1944) and later with the New York State Symphony Orchestra as well (1925 on). His concert career slowed somewhat during the 1930s (owing to persistent illness), and he returned to the Academy as director in 1934, but when the Second World War erupted, Dohnányi chose to resign from the Academy rather than conform to its anti-Semitic demands. Dohnányi refused to dismiss members of his Budapest orchestra on racial or religious grounds, and eventually disbanded the Philharmonic to avoid such action. Frustrated by the state of affairs in his homeland during the early 1940s, he relocated to Austria in 1944 (a highly criticized move which would later make reappearance on the international music scene difficult) and, in 1949, accepted a position at Florida State College in Tallahassee. Dohnányi continued to perform and conduct on a limited basis until his death in 1960.



Huberman & Friedman Beethoven's Kreutzer

Nocturne Chopin

Kol Nidrei

Ave Maria, Schubert

Wieniawski: Waltz Caprice & Romance

La Campanella

Jota Navarra

Zarzycki : Mazurka op.26

oil painting on canvas

by János Tornyai

(a then contemporary artist's view from about a hundred years ago)

Alföldi Galéria, Hódmezővásárhely, 2019

Szent Gellért tér is a metro station of Line 4 in Budapest Hungary. Artist Tamás Komoróczky was commissioned to design the mosaic interior decoration of the inner platform. It was opened in 2014.


♥ Thank you very much for your visits, faves, and kind comments ♥

Light Projection on the facade of ArtScience Museum @i Light Marina Bay festival 2018

Thank you friends for your faves and kind comments..

Have a great weekend..

The BORY CASTLE was built by JENÖ BORY (1879-1959)

who was an architect and sculptor, and professor

of the Academy of Fine Arts and the Technical University in Budapest.


For 40 summers he was building it assisted by only one

or two helpers on the basis of his own origin plans.

He exchanged the building material for sculptures

or paintings. He realised his artistic dreams in the shape

of this castle which is regarded as a memorial to them.

He raised a memorial not only to his artistic dreams

out to his love of work and to his love for his wife.

(His poems fulfill the same function, carry the same message.)


The extensive varied and artistic use of (ferro)

concrete for statues, fountains, pools, battlements,

balustrades, staircases, window and door frames

is characteristic. The castle is full of artistic compositions by himself and by his wife. The studio contains an exibitition of their sculptures and paintings,

and those of other artists.


His works of art, including heroic and monumental

sculptures can be found everywhere in our country.

The original gypsum models of many are to be found

under the arches of the "Hundred Column Court"

and above can be seen representations in concrete

of Hungarian Kings.

In the chapel behind is the sculpture expressing

symbolically the love of men for their wives.

Maintenance of every stone and artistic product

in its original form is continually carried out by members

of Bory's family with loving care.

as painted by the artist Béla Endre, detail

Exhibition of collected works, Hódmezővásárhely, 2018

(photo taken with permission)


(biography in French

Puteaux_La Défense_Tours Kupka_France


Building named after František Kupka.

František Kupka (23 September 1871 – 24 June 1957), also known as Frank Kupka or François Kupka,[1] was a Czech painter and graphic artist. He was a pioneer and co-founder of the early phases of the abstract art movement and Orphic Cubism (Orphism).[2] Kupka's abstract works arose from a base of realism, but later evolved into pure abstract art.


František Kupka was born in Opočno (eastern Bohemia) in Austria-Hungary in 1871. From 1889 to 1892, he studied at the Academy of Fine Arts in Prague. At this time, he painted historical and patriotic themes. Kupka enrolled at the Academy of Fine Arts in Vienna, where he concentrated on symbolic and allegorical subjects. He was influenced by the painter and social reformer Karl Wilhelm Diefenbach (1851–1913) and his naturistic life-style. Kupka exhibited at the Kunstverein, Vienna, in 1894. His involvement with theosophy and Eastern philosophy dates from this period. By spring 1894, Kupka had settled in Paris; there he attended the Académie Julian briefly and then studied with Jean-Pierre Laurens at the École des Beaux-Arts.[4][5]


World War I

Kupka served as a volunteer in the First World War, and is mentioned in La Main coupée by Blaise Cendrars. Cendrars describes him as a "proud soldier, calm, placid, strong"... but really too old to be a soldier, being at least 25 years older than the rest. When the regiment set out from Paris for the front in Picardy (they marched all the way on foot) Mme Kupka met the column as they arrived at the La Défense roundabout, near where they lived. She marched with them, carrying her husband's bag and his rifle. She would have marched all the way to the front, but at the end of the first day the colonel had her arrested and sent back to Paris. She later made her way to the front lines to spend time with her husband. Kupka himself left the front due to frostbite in the foot, caused by nights in the trenches waist-deep in freezing water.[6]




Amorpha, Fugue en deux couleurs (Fugue in Two Colors), oil on canvas, 210 × 200 cm, 1912, Narodni Galerie

Kupka worked as an illustrator of books and posters and, during his early years in Paris, became known for his satirical drawings for newspapers and magazines. In 1906, he settled in Puteaux, a suburb of Paris, and that same year exhibited for the first time at the Salon d'Automne. Kupka was deeply impressed by the first Futurist Manifesto, published in 1909 in Le Figaro. Kupka's 1909 painting Piano Keyboard/Lake marked a break in his representational style. His work became increasingly abstract around 1910–11, reflecting his theories of motion, color, and the relationship between music and painting (orphism). In 1911, he attended meetings of the Puteaux Group (Section d'Or). In 1912, he exhibited his Amorpha. Fugue à deux couleurs, at the Salon des Indépendants in the Cubist room, although he did not wish to be identified with any movement. Creation in the Plastic Arts, a book Kupka completed in 1913, was published in Prague in 1923.[7]


The Salon d'Automne of 1912, held in Paris at the Grand Palais from 1 October to 8 November. Kupka's Fugue in Two Colors is exhibited on the left. Other works are shown by Jean Metzinger (Dancer in a Café), Joseph Csaky (Groupe de femmes), Francis Picabia (La Source), Amedeo Modigliani (sculptures) and Henri Le Fauconnier (Mountaineers Attacked by Bears).

In 1931, he was a founding member of Abstraction-Création. In 1936, his work was included in the exhibition Cubism and Abstract Art at the Museum of Modern Art in New York City, and in an important show with another Czech painter, Alphonse Mucha, at the Jeu de Paume in Paris. A retrospective of his work took place at the Galerie Mánes in Prague in 1946. The same year, Kupka participated in the Salon des Réalités Nouvelles, where he continued to exhibit regularly until his death. During the early 1950s, he gained general recognition and had several solo shows in New York.


Between 1919 and 1938 Kupka was financially supported by his good friend, art collector and industrialist Jindřich Waldes who accumulated a substantial collection of his art. Kupka died in 1957 in Puteaux, France.



Robi Botos (b. 1978 in Nyiregyháza) is a part of the huge musical Botos clan in Toronto. They came from Hungary in the late 1990's and early 2000's. Robi is the best known from them all. Robi Botos is probably the best jazz piano player in Canada now, but his brothers (or cousins?) Frank, Jozef, Norbert, Daniel, Lajos are no slouches.

Here Robi played with Jozef at "Kensington Jazz Festival", as a part of group Romani Jazz. He played with the best in the world internationally. (Romani Jazz: George Koller-bass, Robi Botos- piano, Jozsef Botos- guitar and Nenad Bogdanovic- vocals, Majd Sekkar-sax)


11. TMR Toronto 2019- September -14, P1270184; Uploaded 10. June 2020. Lmx -ZS100. KMJF2019 Photo No. 7.


View On Black


The Hungarian Parliament Building by Irene Becker © All rights reserved


Sunrise over the Hungarian Parliament Building beside the river Danube.


This image is available for commercial use in :


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...was one legendary alternative cult place in Hungary under and after Soviet occupation.

Was half legal half illegal, inside the doors is no law, but was hard rules about common respect, but with maximum freedom... The police cant handle... was the little island of freedom, with opened friendships, free talk, free exchange of ideas, and free love, free ecxtasy...

Was home as underground music, and the free art... Later this core of musicans artist, or just simple peoples was important engine of changing the contry, and maybe bit part the world around 1989-1991, because the dictatorship goverement cant handle this freedom, and this ideas infected all level of the society of country... In early 90s was the best alternative music place, where the newer generations infected with idea of tolerance and freedom... The changes never coming from mainstream, mainstream just serve the money as a slave... The changes all time coming from subcultures... The todays mainstream musics, fashions, designs, is not new things, all was 30 year ago subculture, and trend followers laughing on that... and now trend fans following that as a sheeps, but all dont know what is the real content of that design/song/style... Dont mind anymore, that teenagers (in every nation and in every country) just want enjoy the life, and creating something good, and share with everyone for free :)


Sometimes the past is the future...


Kira from KiB design, give back to me one little slice from my best years...


Credits and song lyrics is here

Jozef Botos (b.1981 in Nyiregyháza) is a part of the huge musical Botos clan in Toronto. He studied in Vienna before coming to TO. They came from Hungary in the late 1990's and early 2000's. The best known is Robi Botos probably the best jazz piano player in Canada, but his brothers (or cousins?) Frank, Jozef, Norbert, Daniel are no slouches.

Here Jozef played with Robi at "Kensington Jazz Festival", as a part of group Romani Jazz. He is teaching guitar, when not too busy.


10. TMR Toronto 2019- September -14, P1270163; Uploaded 10. June 2020. Lmx -ZS100. KMJF2019 Photo No. 6.


Szent Gellért tér is a station of Line 4 beneath the eponymous square, named after Szent Gellért, patron saint of Budapest. It was opened in March 2014. Artist Tamás Komoróczky was commissioned to design the mosaic interior decoration of the inner platform below the University of Technology and Economics.


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Artist's village not far from Budapest.

OM Zuiko 24/2


Szentendre is a charming small town with a Mediterranean atmosphere on the banks of the Danube just north of Budapest. It has been the home of many Hungarian artists since the early 20th century. It has lots of small art galleries and museums. Hungary


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by Irene Becker © All rights reserved


The Szechenyi Chain Bridge, Parliament Building and Margaret Bridge seen from Citadella in Budapest, Hungary


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Makes every figure you want in minutes - from glass, while you watch. Seen on Széchenyi István u..


© All Rights Reserved - you may not use this image in any form without my prior permission.

Sorok-patak (creek)

Vas megye (county)



Mansion of Bezerédj family.

The first mention says it was a manor-house in the Middle Ages, then it was rebuilt in 1867 from renaissance and baroque styles in a romantic style. Still renessaince window remains can be seen on some walls. Today it's a workshop for artists - mainly for painters and musicians, with ateliers and instruments like pianos, though also used of authors.

Freshly renewed in 2015.


A Bezerédj-kastély középkori udvarházból épült ki (ezt késő reneszánsz részletek is tanúsítják) barokk stílusban a XVIII. században. Romantikus stílusban 1867-ben alakították át. Kertje védett. A falu szélén, mintegy 14 hektáros park közepén álló kastély tulajdonosa a XIX. század elejéig a Sennyei, azt követően a Bezerédj, majd a századfordulón a Békássy család volt. Ma a Magyar Alkotóművészeti Közalapítvány Alkotóháza.

Frissen renoválva, 2015-ben.

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Fisherman's Bastion (Halászbástya ) by Irene Becker © All rights reserved


Fisherman's Bastion (The Halászbástya) is a terrace situated on the Buda bank of the Danube in Budapest.It's made up of seven towers - each one symbolizing one of the seven Magyar tribes that came to Hungary in 896.


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Brooklyn-based Rachel Therrien, is originally from Rimouski, Quebec. She is a rising star and well respected by her peers. This year she played in France, Hungary, Serbia, Germany, Ukraine as well as various festivals in North America. Well known in Montreal music scene, she is invited often to perform at the Montreal Jazz festival.

The photo is from afternoon Heineken stage show where she played with her bandmates: Benjamin Deschamps (sax).

Charles Trudel (piano), Simon Page (bass) and Alain Bourgeois (drums)

First time I seen her few years ago in Toronto in few shows and she even participated with community 'Street Brass' in New Orleans style parade.


42. TMR 2019-04 July, P1220131, Rachel Therrien Quintet (FIJM 2019 day 8 -No 42); Uploaded 30. October 2019.


Victor Vasarely (1906–1997) was a French-Hungarian artist, leader of the Op Art movement.


Yom HaShoah, dan kad se u mnogim dijelovima svijeta prisjeća oko 6 milijuna Židova, žrtava holokausta, podsjetio me na ovu sliku koju sam snimila 2009. godine u Budimpešti. Iza sinagoge u ulici Dohany, u parku nazvanom po Raoulu Wallenbergu, švedskom diplomatu koji je spasio tisuće Židova tijekom drugog svjetskog rata, postavljen je maštovit spomenik za oko 600000 mađarskih Židova koji nisu izbjegli holokaust.

"Srebrnu tužnu vrbu" ostvario je mađarski umjetnik Imre Varga, čini je labirint metala, niti od srebra koje su usmjerene prema nebu, savijaju se i padaju prema zemlji. Na svakom je listu ime osobe za koju se zna da su je ubili nacisti.

Ne ponovilo se !!!

Bili smo duboko potreseni, zaboravili smo pitati vodiča zašto su dijelovi omotani plastikom- možda tada još nije bilo dovršeno postavljanje skulpture (???)


Yom HaShoah, a day when people in many parts of the world remember approximately six millions Jews, victims of holocaust, reminds me of this photo taken in the year 2009 in Budapest. Behind Dohany Street Synagogue, in a park named for Raoul Wallenberg, the Swedish diplomat who saved thousands of Jews during World War II, is an imaginative memorial to the 600,000 Hungarian Jews who didn't escape the Holocaust.

The "Silver Weeping Willow," designed by the Hungarian artist Imre Varga, is an eye-catching maze of metal, slivers of silver that reach for the sky, then bend and fall to earth. Each leaf has a name of a person known to be killed by nazis.

Let it never happen again!!!

We were so deeply moved, we forgot to ask our guide why parts of the sculpture were covered with plastic- maybe the placement of the sculpture was not yet finished (???)

Attila is keyboard and piano player, composer, arranger, producer. He was born in Budapest, but lives in Toronto for a long time. His fingers are really dancing on the ivories, and he obviously enjoying the music. Attila is shown here playing in the solo piano series at Tom's clothing store in Kensington Market. He plays with his trio, but he can take a more subdued performance, when he accompanies a singer. These days he performs on line in newly formed Quarantet, which includes 3 of his house mates. For some reason we have in Toronto 3 excellent piano jazz musicians who were born in Hungary. The others are Robi Botos and Robert Horvath.


006. TMR Toronto 2019- September -14, P1270018; Uploaded 03. June 2020. Lmx -ZS100. KMJF2019 Photo No. 2


Robi BOTOS, a Roma/Hungarian immigrant, who settled 1998 on the piano stool in Toronto was a protégé of the great Oscar Peterson. Self taught, he became a Go-To piano player for vocalists and he is busy with his trios and quartets in the city and abroad. He is a recipient of many accolades from his peers and awards from the music industry.

The Juno Award winner was performing at the Montreal Jazz Festival with Molly Johnson, bassist Mike Downes and Larnell Lewis- drums and Eric St. Laurent- guitar. At one point the musician all switched their instruments; the result was still perfection. Robi played drums.


31. TMR 2019-04 July, P1220338, Robi Botos (Molly Johnson) (FIJM 2019 day 8-No 31); Uploaded 28. September 2019.


"The area where Szentendre is today was uninhabited when the Magyars arrived. In the 9th century, Árpád's companion, the sacral prince Kurszán, settled here. He renovated the Roman fortress that had fallen into ruin and reestablished a settlement on the remains of the Roman buildings.


Little is known about the history of Szentendre between the 9th and 10th centuries.

The city was largely depopulated in the Ottoman era. According to a 17th-century census, only one family and their service staff remained here at that time.

After the Ottomans were expelled from the area, foreign settlers moved to the settlement. Today evidence of the town's prosperity in this time can be seen in the baroque style of the houses, the Mediterranean atmosphere of the town's architecture, its beautiful churches, the cobblestoned streets, and its narrow alleys. During the Great Turkish War, Serbs were invited to emigrate to Hungary to evade the Ottoman Empire. Because of this invitation, there was a mass emigration of Serbs in 1690 to the Szentendre region. These Serbs left enduring traces on the townscape and its culture. The buildings in the city center have tried to preserve this Serbian influence in their architecture, but these buildings do not in fact date to the 17th century. Based on maps from the end of the century, the city center actually boasted other buildings at that time.


There was also considerable Dalmatian immigration. The Dalmatian families settled on Donkey Mountain where Dalmát Street preserves their memory today. Even in the 1980s, this street was inhabited exclusively by descendants of the original Dalmatians. These descendants now live throughout the city.


Although the Ottomans had decimated the population of the region, starting in the 1690s, the population slowly began to increase and in 1872 it reached a level when the town-like character began to dominate again instead of the village-like character. The public administration as well as the business establishments made it possible to practice all the privileges entailing a city. Szentendre was granted city-status in 1872.


The calm provincial life of the city has attracted artists since the beginning of the 20th century. The Szentendre colony of artists came into existence in 1929. The so-called Szentendre School is connected with it. Today, more than two hundred fine and applied artists, authors, poets, musicians and actors live in the city."

Zulejka Csőke

Beautiful young Girl Model Zulejka

Modelling for photographer Ande Wick.

Portrait : Closeup Girl:

Model : Zulejka Csőke : ref 20176/19 :

Eyes Light Blue : Brown Hair :

Nationality Hungarian from Budapest Hungary :

Makeup & cosmetics by : artist Kriszta Korosi Paphos :

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Modelling black T Shirt :

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flickr Album : Girl Models : Zulejka Csőke :

Andeimage fashion shoots

Meet the females that model for

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at Andeimage, Beautiful Girls

from around the World,

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Regieassistentin: "der Victor hat das Foto, das du ihm zur Premiere geschenkt hast verloren. Er bittet dich, ob du es ihm vielleicht schicken kannst" Ich: "Ja klar" Regieassistentin: "Er mag das Bild so und er möcht es unbedingt haben. Die Panká hat es dann auch noch gesucht und herumgefragt, aber sie hat es auch nicht gefunden. Er hat geglaubt er hats in der Kantine liegen lassen, aber da wars auch nicht. Weißt eh, der Victor halt :-)" Ich: ":-) Ja, kein Problem, ich schicks ihm"


As music to this picture I choose this one, because it is Hungarian (and the director is Hungarian) and because it fits to the play, that we rehearsed:

"Szomorú Vasárnap - Vége a világnak (Gloomy Sunday)"

Famous as "the Hungarian Suicidesong". Well known in the English translation: "Gloomy Sunday" interpreted by: Billy Holiday, Marianne Faithful, Björk, Serge Gainsbourg, Kronos Quartett, Elvis Costello, Ray Charles, Genesis.... and many others..... It is also played in the movie "Schindlers Liste" Berühmt geworden ist es als "Selbstmörderlied" auf Grund vieler Fälle von Freitod, die in Zusammenhang gebracht wurden mit diesem Lied (etwa daß sich eine Schallplatte mit diesem Lied noch auf dem Plattenspieler drehte,,,,) Oben verlinkt in einer Version mit dem Text den der Komponisten Rezső Seress (1899 - 1968 Freitod durch Sprung aus einem Fenster) selbst später während des 2. WK als neuen Text schrieb. Titel: "Vége a világnak". Aussschnitt dieses Textes in wörtlicher Englischer Übersetzung:


The world has come to its end, hope has ceased to have a meaning

Cities are being wiped out, shrapnel is making music

Meadows are coloured red with human blood

There are dead people on the streets everywhere


Ursprünglich komponierte Seress das Lied zu Beginn des 2. Weltkrieges zu einem Text von László Jávor. Auf dieser berühmteren Textversion basiert auch die deutsche Version mit dem Titel "Trauriger Sonntag" oder "Einsamer Sonntag" sowie die englische Version "Gloomy Sunday" von Sam M. Lewis. Hier aber nun das Original mit dem ursprünglichen Text von Jávor, gesungen vom ersten Interpreten des Liedes Kalmár Pál "Szomorú Vasárnap".

Als drittes noch: Váradi Roma Cafe "Szomorú Vasárnap" (alle Links: youtube)


Part of: "res noscenda note notiz sketch skizze material sammlung collection entwurf überlegung gedanke brainstorming musterbogen schnittmuster zwischenbilanz bestandsaufnahme rückschau vorschau" Proben "Zinnober" 13. 12. 2016 - 11. 2. 2017 // "aquarius water wasser" aggregate states solid liquid gaseous fest flüssig gasförmig: Snow is not white Schnee ist nicht weiß


1. Februar 2017 #schneefall #winter #present #geschenk #gift #fenster #window #theater #theatre #baum #tree #park #work #arbeit #regie #regisseur #think #denken #nachdenken #überlegen #denker #probe #rehearsal #zinnober #red #rot #autobus #bus #laterne #lampe #auto #car #künstler #artist #handwerk #kopf #head #blut #blood #blutrot #blau #blue #schild #sign #verkehrsschild #station #haltestelle #black #portrait #porträt #beard #bart #bearded #bärtig #mann #man #male #brille #spectacles #goggles #handwerk #pause #fermate #spiegelung #reflection #wet #naß #grey #gray #grau

Calouste Gulbenkian Museum, Lisbon, Portugal


Material: Oil on canvas

Collection: Calouste Gulbenkian Foundation, Modern Collection

Inv.: 78PE104




Maria Helena Vieira da Silva settled in Paris as a painter, where she met her husband Arpad Szenes. She became one of the most acclaimed abstract artists in post-war Europe, due to her original geometrised compositions. After a period of exile in Brazil during World War II, she was given French nationality. She spent the rest of her life in this country, where she obtained the most important national artistic prizes. Vieira’s career also includes important public art commissions and works in scenography, tapestry, stained glass and illustration. Her complete work has been subjected to countless retrospectives and can be seen in institutions across the globe.


A lonely childhood among adults, punctuated by travels abroad and days spent in her grandfather’s library, soon fostered in Vieira da Silva the need for artistic imagination. She was taught music, drawing and painting at home by tutors. Interested in sculpture, she also studied anatomy at the Medical School of Lisbon. Fearing the stagnation of her art, in 1928 she headed to Paris with her mother to study sculpture with Bourdelle, then assisted by Richier and Giacometti, and later with Despiau. Vieira would ultimately concentrate on painting, studying with famous artists such as Fernand Léger and Roger Bissière, and learning to engrave in the renowned Atelier 17 of S.W. Hayter. As a child, Vieira had decided to become a painter after visiting England, and her process of artistic discovery and experimentation would remain attached to constant travelling in this period of formation, during which she married the Hungarian painter Arpad Szenes, in 1930. In spite of considering Matisse and Cézanne as the great Modern masters, the most conspicuous impact on her painting resulted from along a long and intense relationship with the work of the Uruguayan Torres-García she discovered in 1929. Across the following decade, Vieira’s painting gradually withdrew from the real, first absorbing and then expelling human presence, until reaching the borders of abstraction. With her idiosyncratic language and an interest in the representation of space, Vieira transformed metaphorical motifs such as chessboards or card games in complex grid-like compositions with strong visual ambiguities.


Her first solo show took place in the Galerie Jeanne Bucher (1933). Two years later, António Pedro presented the work of Vieira da Silva in Portugal, where she stayed for a brief period. Upon returning to Paris, in October 1936, she participated in the “Amis du Monde”, a group of Parisian artists united against the threat of far-right politics in Europe. Vieira’s painting also changes, substituting perspective for grids and other visual structures that emphasise the composition’s architecture, with lines that interweave labyrinthically. As the threat of war grew closer, her subjects became more political, particularly when, stateless and married to a Jew, Vieira da Silva was forced to return to Lisbon (1939). However, Salazar’s government denied her Portuguese citizenship, and the couple had to leave for exile in Rio de Janeiro (1940-1947). There they exhibited, taught, and befriended Brazilian poets such as Murilo Mendes and Cecília Meireles, and painters like Carlos Scliar. Even so, this was a period of a drastic decrease in Vieira da Silva’s artistic production, having resorted to figurative options that were lacking the boldness of her former abstractions, precipitating her to come back to France.


A fundamental change takes place in Vieira’s career when the French State acquires one of her works (1948), an official recognition that was followed by a thriving and diversified artistic production, collaborating with writers such as René Char, creating sets for Arthur Adamov’s Theatre of the Absurd, or painting the sculptures of Germaine Richier. Towards the late 1950s, Vieira da Silva was already internationally hailed for her lyrical compositions, conciliating figuration and abstraction in a highly personal language that recalls, but never identifies with, the paysagisme abstract of Bissière or Bazaine. Repeatedly evoking the theme of libraries, cities and labyrinths, the structural motifs and inexpressive colours of Vieira’s pictures seemed to be icons of the post-war Existentialist alienation.


Although she belonged to the School of Paris, Vieira da Silva would only become a French citizen in 1956, around which time she reached the peak of her acclaim, exhibiting all around the world and being awarded consecutive official honours from France. She was made Chevalier and Commandeur de l’Ordre des Arts et des Lettres (1960 and 1962) and received the Grand Prix National des Arts (1966), in addition to having won the International Award of Painting at the Biennale of São Paulo, Brazil (1961). Retrospectives of her work multiplied in Europe (Hannover, Bremen, Wuppertal, in 1958; Mannheim, in 1962; Grenoble, Turin, in 1964; Paris, Oslo, Basel, Lisbon, at the Gulbenkian Foundation, in 1971), and she was invited for numerous projects: the execution of her first tapestry by the illustrious Manufacture de Beauvais (1965), the decoration of the stained glasses of the Saint-Jacques church in Reims (1966), the design of posters on occasion of the April Revolution in Portugal, edited by the Gulbenkian Foundation (1975), and of the International Year of Peace, on request of the UNESCO (1986). The Portuguese Government distinguishes Vieira with the Grand Cross of the Order of Santiago de Espada (1977) and she has commissioned the decoration of the Lisbon subway station “Cidade Universitária”, in which she is assisted by Manuel Cargaleiro (1988).


The last days, spent working in her Parisian studio, no longer accompanied by Arpad, were also the time for the highest recognition of her lifetime achievements. She was elected Member of the Royal Academy of Arts in London (1988) and made Officier de la Legion d’Honneur, with insignias handed personally by the French President François Mitterrand (1991). In Lisbon, the Arpad-Szenes-Vieira da Silva Foundation was created (1990). Besides being featured in Portugal’s foremost art collections, her work is also represented in some of the most prestigious museums worldwide, such as the Centre Georges Pompidou (Paris), the MoMA and Guggenheim Museum (New York), the Tate Collection (London), the Museo Thyssen-Bornemisza (Madrid), the Art Institute of Chicago (Chicago), the Ashmolean Museum (Oxford) or the Pinacoteca do Estado de São Paulo (São Paulo).




February 2011




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Large painting of tulips in Király utca, Budapest, Hungary. This wall painting was part of an art project of 50 wall paintings in the street.

Also called the Emanuel Tree, or the Weeping Willow. Adjacent to the Dohány Street Synagogue.




Here is some information on the sculptor, Imre Varga .

The Hungarian Glider


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Also called the Emanuel Tree, or the Weeping Willow. Adjacent to the Dohány Street Synagogue.




Here is some information on the sculptor, Imre Varga .

is a riverside town in Pest county, Hungary, near the capital city Budapest.

It is known for its museums (most notably the Open-Air Ethnographic Museum), galleries, and artists.


Due to its historic architecture and easy rail and river access, it has become a popular destination for tourists staying in Budapest.

There are many facilities, including souvenir shops and restaurants, catering to these visitors.


Van Gogh kept on painting even though he didn't really have any buyer for any of his works during his entire career, so I keep on trying to draw public attention to some utterly underrated and yet really great musicians/ artists of the past.


Erno Dohnanyi was born in Hungary in 1877. He was a pupil of Istvan Thoman, A Lizst pupil -- who also taught Cziffra and Bartók -- and Eugen d'Albert, both of whom had studied with Liszt. At the age of 18, he composed his Piano Quintet of which Brahms commented, "I couldn't have done better myself." It was Brahms who arranged for its first performance in Vienna in 1895. Not long thereafter (around 1900), Dohnanyi became considered to be the greatest Hungarian pianist and composer since Liszt. Pianists of such stature as Josef Hofmann attended his recitals and many of his compositions found their way into recitals and orchestral concerts.


David Dubal, an American pianist, teacher, author, lecturer, broadcaster, and painter & Music Director of storied New York City classical music radio station WNCN-FM, writes in his book, The Art of the Piano, "Dohnanyi may be called the last in the line of virtuoso pianist composers."


Oops, how come David forgot Rachmaninoff ? Perhaps Dubal didn't exactly see the latter a virtuoso pianist for there was no room to assume that Rachmaninoff was not a great composer for his three piano concertos were so well received... Anyway, personally I find Dohnanyi on the piano so poetic, not just musical...


Schumann Kinderszenen Op 15 No's 7-13 Dohnanyi Rec 1953


Ernst von Dohnanyi plays Beethoven Andante Favori in F


Beethoven Sonata Op.109 1st Mov. Dohnanyi Rec.1960


Pastorale (Hungarian Christmas Song) -- A beautiful example of innocence, felicity and wonderment in music


Mozart Concerto G Major K 453 3rd Mov Dohnanyi conducting Budapest Philharmonic from the keyboard in 1928


Beethoven Tempest 3rd Mov. Dohnanyi Rec. 1950


PS for those who appreciate the pathos in Mozart's of in Schubert's music, I urge them to look into Dohnanyi's interpretations even just from YouTube

as seen by the artist Sándor Nyilassy in 1913

Szent Gellért tér is a metro station of Line 4 in Budapest Hungary. Artist Tamás Komoróczky was commissioned to design the mosaic interior decoration of the inner platform. It was opened in 2014.


♥ Thank you very much for your visits, faves, and kind comments ♥

Szent Gellért tér is a station of Line 4 beneath the eponymous square, named after Szent Gellért, patron saint of Budapest. It was opened in March 2014. Artist Tamás Komoróczky was commissioned to design the mosaic interior decoration of the inner platform below the University of Technology and Economics.

Also called the Emanuel Tree, or the Weeping Willow. Adjacent to the Dohány Street Synagogue.




Here is some information on the sculptor, Imre Varga .

A nod here to the Hungarian artist Sarolta Ban.


Credits to Pixabay.

J'ai rencontré le muraliste hongrois Taker lors de son séjour à Brooklyn.


I met Hungarian muralist Taker during his stay in Brooklyn.

by Hungarian-born artist Victor Tolgesy (1978), ByWard Market, Ottawa, Canada

canvas for Molotow™ Artist Feedback project. Check the report here:

Thanks to Laura and the Molotow company to make this happen!

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