Szentendre’s museum paradigm – little or more than enough?
Directorate of pest county museums
MúzeumCafé 22.
For decades the weekend of an average family living in Budapest has involved visiting the Margit Kovács Museum in Szentendre. While Kovács was only linked to the town with her museum, she became the emblem of art in relation to Szentendre and thousands of works were acquired by the museum directorate of Pest County so that exhibitions of other artists could open by converting all sorts of buildings into museums. In view of certain decrepit façades, the question naturally arises: to what extent do individual museums represent the modern art history of the “painters’ town”? Are the 4-8 permanent exhibitions in close proximity too few or more than enough to represent the Szentendre phenomenon? The existence of an artists’ colony continuously working in different forms since 1926, the proximity of Budapest and the nostalgia of artists working in the town, at least in the summer, predestined Szentendre to host a variety of museums. Museum establishment dates back to a joint decision of György Aczél, then in charge of cultural policy as secretary of the Party’s central committee, and Margit Kovács, who was highly regarded and the recipient of many state commissions. The Margit Kovács Museum opened in 1973 almost at the same time as the permanent exhibition compiled from the works of the Ferenczy family was inaugurated. The purchase of estates and collections was initiated by the county Party committee. In the middle of the 1970s negotiations were conducted simultaneously with Béla Czóbel about the opening of the Czóbel Museum and with János Kmetty’s widow about acquiring the artist’s estate. Margit Anna offered her own paintings as well as works by Imre Ámos in her possession for the purpose of founding a museum. The Barcsay Collection opened in 1975. The founding of the Jenő Kerényi Museum was initiated by Gábor Ö. Pogány, director of the Hungarian National Gallery, who proposed the idea of the Szentendre statue park following a request from the sculptor’s widow. It soon became obvious that works by the outstanding figure of Szentendre painting, Lajos Vada, would also be displayed in a permanent exhibition. The estates coming in later could only expect secure keeping. Several critical studies were published following the political changes of 1989-90. They primarily highlighted decisions taken without consulting professionals, political motivation and ‘devaluation’ regarding the comprehensive project of ‘Szentendre painting’. Public opinion stands in opposition to that, as evidenced by the number of visitors as well as art sociological surveys. In 1980 the galleries in Szentendre were visited by 1.2 million people, twice as many as the National Gallery that year. The Margit Kovács Museum drew most people. Following the political changes the number of people visiting Szentendre museums fell by approximately 80%, while the Open Air Museum increased in popularity. The Czóbel Museum was expanded and reconstructed in the 1980s. The Imre Ámos–Margit Anna exhibition had to be closed temporarily for renovation in 2005. The Kerényi Statue Park was completely closed and the small sculpture was accommodated in the cellar of the Kmetty Museum. The Margit Kovács Museum was expanded in several phases. Steps made with regard to building protection and expansion do not resolve the issue of a Szentendre Museum, which according to many people is vital. There is no building which could house a comprehensive exhibition. ArtMill, the cultural centre established in a former sawmill, owned by the town and still under renovation, was set up with a similar concept in mind. The deeds of foundation practically make it impossible to merge the small museums. Neither the buildings nor the collections can be altered or modified. Margit Kovács’s ceramics must remain where they are. Margit Anna also stipulated that her paintings could be exhibited only in the house she had owned. Since the permanent exhibitions are static, it could be events and museum education sessions which entice visitors. Special tickets have been introduced ensuring entrance to the Margit Kovács exhibition and two other museums of the visitor’s choice at discount prices. So what can visitors to museums in Szentendre see today? As a result of the renovation between 2005 and 2007 the Imre Ámos–Margit Anna exhibition is well presented with information available in three languages. The Barcsay Collection, however, is in a completely different condition. At the request of the master, who was of small stature, the pictures hung at his eye level are only a few centimetres rising damp in most rooms. The gate to the Czóbel Museum is closed and should visitors enter they encounter an entirely dark courtyard. Part of the Vajda Museum’s collection was loaned to the Hungarian National Gallery, Washington and Antwerp in 2008-2009 and the building accommodated exhibitions of other collections which temporarily lacked space (Margit Kovács, Ferenczy family). In vain were the paintings by Vajda returned. They will not be exhibited in Szentendre until the end of this year.