BK: István Réti (Painter / Art Historian) - A Nagybanyai Muvesztelep (in Hungarian)

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Notes: István Réti (26 December 1872 – 17 January 1945) was a Hungarian painter, professor, art historian and leading member, as well as a founder and theoretician, of the Nagybánya artists' colony, located in what is present-day Baia Mare, Romania. In addition, he served as president of the Hungarian University of Fine Arts (1927-1931) and (1932-1935).

The artists' colony and its school were considered very influential in Hungarian and Romanian art; in 1966 the Hungarian National Gallery had a major exhibition of their work: The Art of Nagybánya. Centennial Exhibition in Celebration of the Artists' Colony in Nagybánya. n his first phase as a painter, Réti was chiefly interested in light and interiors, especially lamps or sunlight streaming through windows, as shown in Gyötrődés (Cacophony), 1894; Öregasszonyok (Old Women, 1900); and Kenyérszelés (Slicing the Bread, 1906).

He did not adopt the plein air landscape painting programme at Nagybánya. In 1899 he produced one of his best-known canvases, Honvédtemetés (Burial of a Hungarian Soldier), which referred to the 1848 revolution; the unity of the landscape and people is bound together by the grey of the dusk.[3]

From 1904–07 (the last two years working in Rome), Réti painted several versions of Krisztus apostolok között (Christ with the Apostles), his most significant religious work. After 1910 he created several decorative paintings, such as Cigánylány (The Gypsy Girl, 1912), and many portraits and self-portraits, including one of Lajos Kossuth in 1931.[2]

In his later years, Réti worked relatively slowly, taking long breaks between paintings and undertaking theoretical preparation for each new one. His oeuvre from this period is considered inconsistent. As he concentrated on teaching, his works diminished in both quality and quantity.

From an early age, Réti was preoccupied by contemporary questions of artistic theory, which he also tried to explore as a professor. After 1920, particularly, he wrote more articles on these subjects. Scholars consider his writings on aesthetics, influenced by Benedetto Croce and Henri Bergson, to have had a more profound effect on other artists than did his painting or teaching activities. - wiki

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