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TRILOGY
of
Bognár Alexandra
Munkácsy Mihály – Trilogy 2
Table of Contents
(Introduction)
Trilogy ................................................................................................. 4
Golgota ............................................................................. 7
Bibliography ......................................................................................... 15
Munkácsy Mihály – Trilogy 3
Munkácsy Mihály
Trilogy
At that time, “the Sedelmeyer gallery became the linchpin of many Paris-
based Austro-Hungarian artists.” He could manage to understand the
psyche of his customers (mostly Americans), thus with his taste and
professionalism he realized what they would like to buy, or at least he was
able to convince his customers that a particular artwork is a good
investigation. “The elegance and exclusivity of Sedelmeyer’s salon,
traditionally a meeting palace for cultivated and influential people was
designed to distance the bourgeois world from exchange traditions, while at
the same time providing social differentiation from the numerous dealers of
artists’ supplies.” They made a 10-year-long contract, in which Sedelmeyer
offers a fixed salary for the painter – it was an annual compensation of at
least 100.000 francs (approximately 20.000 dollars) that he guaranteed.
“The dealer in turn had at his disposal all paintings produced and the right
to reproduce them”. Moreover, the “right to influence even the production of
his artist can be seen”. (Charles Sedelmeyer’s Thetricality)
Thus, he was not just his art collector and dealer but his manager as well.
Munkácsy Mihály – Trilogy 5
Sedelmeyer himself honestly confessed in his book that the topic was found
out together, they were consciously looking for a tragic and dramatic event
which shows the death of a hero or martyr. This is how the passion – as the
main approach appeared. (Munkácsy Mihály Krisztus képei)
The characters do not turn towards each other but “speak out” from the
painting – it is not a dialog but a monolog. This parallel structure recalls
(or reminds) the final scenes from theatrical plays or operas where the
performers stand next to each other, thus the conflict situation is not
realistic which highlights the era’s contradictory directions and tragic
misunderstandings. (A sátán körzője, p. 5) Thousands of people visited the
palace to admire the painting and argued whether it is just a religious
painting or philosophical as well? Later Munkácsy declared that he wanted
to paint God moved into a human body. (Munkácsy Mihály festői világáról)
Golgota
Meanwhile, by 1884 he was ready with the second painting, Golgota (460 x
712 cm). Munkácsy was quite sick at that time, therefore it is not
surprising that in Jesus’s suffering, Munkácsy’s suffering can also be found.
Golgota (1884)
Just like the previous painting, it was also exhibited in Paris. For the
“premier”, Sedelmeyer brought back the Christ Before Pilate from Scotland
in order to exhibit the two paintings in front of each other in the garden of
his palace. This event was so amazingly well-organized for the elite that
Maupassant, in his novel Bel Ami recorded it. Later it was brought to
London, Budapest etc. while the painter’s fame (that he is a master of
theatrical, dramatic biblical scenes and he represents them as if they were
a stage performance) was “spread” in the most important cities of Europe.
Munkácsy Mihály – Trilogy 8
John Wanamaker
In 1886 both paintings were brought to the USA where Munkácsy spent 6
weeks. He dealt with mostly portrait painting. (www.hung-art.hu) He was
even invited by the president to the White House.
It cost 175 and 160 thousand dollars to him, altogether nearly 350.000
dollars. (www.hung-art.hu) This was more than anything else sold until
that time, in other words: a record price. The Munkácsy paintings’ value
worth more than any of the impressionist’s.
The 1890s
awaiting for a restoration process. Between 1911 and 1988 they stood in
Philadephia on the 8th floor of the Wanamaker-store. (www.hung-art.hu)
The two paintings were actually exhibited and open to the public only two
times a year: during Lent and Easter. (www.kinszi.multiply.com)
Ecce Homo
The third painting, Ecce Homo (403 x 650 cm) was a bit surprising, because
according to the original plans, it would have been about the resurrection.
But, Munkácsy was very sick at that time, he nearly gave up painting.
It was Kádár Gábor who convinced him to do the third part of the Christ-
series which is actually his final project, finished in 1896. Because of the
Munkácsy Mihály – Trilogy 10
Pilate therefore went forth again, and saith unto them, Behold, I bring
him forth to you, that ye may know that I find no fault in him.
Then came Jesus forth, wearing the crown of thorns, and the purple
robe. And Pilate saith unto them, Behold the man!
When the chief priests therefore and officers saw him, they cried out,
saying, Crucify him, crucify him. Pilate saith unto them, Take ye him,
and crucify him: for I find no fault in him. (King James V., John 19:4)
The 20 th century
The Ecce Homo was later exhibited in Brussels, Wien, England and Ireland.
It also reached the US but never met the two previous pieces. In 1914 it
was exhibited in Venice. (www.hung-art.hu)
On this Venice event it was the Hungarian state that organized the
Hungarian exhibition. Well, this was the problem because the result was a
room with a gold-background just because in the brochure Hungary was
mentioned as a country rich in gold and silver. But, in spite of the
circumstances, (that, thanks to the shiny and glittering background, the
paintings could hardly been seen) Munkácsy (and Paál László as well)
“beaten out” success. (Írók és Művészek között, p. 63)
Munkácsy Mihály – Trilogy 11
Déri Frigyes
The 1 s t World War brought out, no one was interested in the art business.
In this hopeless situation Déri Frigyes, the trade councilor living in Wien
appeared who bought the painting for 76 thousand coronas (approximately
15.000 dollars) in 1914. Later in 1930, he gifted (and also mentioned in his
will) the painting to his newly opened museum in Debrecen, named as Déry
Múzeum.
This answer is enough for the media, but the actual case is that without
management and a well-organized marketing plan, no artwork on earth
keeps its value for a long time.
Déry Múzeum
Current Owners
Until 1995 all three parts of the trilogy was given to the Déry museum in
order to exhibit them next to each other. It was the first time in history
when the Trilogy was exhibited, even Munkácsy did not have the chance to
see his works together. Ecce Homo belongs to the Déry Museum of
Debrecen. But, the other two was only given to the institution as deposit -
Christ Before Pilate is owned by the Tanenbaum’s Art Gallery of Hamilton
in Canada. (www.utazzitthon.hu)
Munkácsy Mihály – Trilogy 13
The 3 paintings are now being exhibited in the Hungarian National Gallery.
This chance has been given by the refurbishment of the Déry Múzeum of
Debrecen (and by courtesy of the Art Gallery of Hamilton and Pákh Imre
(www.artportal.hu) These pieces are taken from one exhibition to another –
this is the case for more than 15 years now. The sad part of it is that they
are only visited by some Hungarians. Its value can be expressed in three
ways. The trilogy was Munkácsy’s masterpiece therefore its price can not be
expressed – it is the artistic value. Secondly, there is such a thing as
insurance price that is for example 2 million dollars in case of Christ Before
Pilate. Finally, its commercial price, in other words: for how much can it be
sold. (2005/7 Találkozások)
Munkácsy Mihály – Trilogy 14
Bibliography
C.Huemer, Artwork through the market: the past and the present, Charles
Sedelmeyer’s Thetricality: art and speculation in late 19 t h -century Paris