If Ferenczy Béni had not left one single coin or statue for us, only his drawings, then he still would be a significant artist in Hungarian art. He spoke in the language of graphics so naturally as we speak our mother tongue. Every one of his pages reflects his deep understanding of European culture he studied from his childhood. When we look at his works made with pencil, coal, aquarelle and red clay, we can map up the most intimate sphere of the artist, the way the artist was thinking.

The Ferenczy Museum of Szentendre owns hundreds of graphic by Ferenczy Béni. We show segments of this unique material from time to time. This time we show a selection of his landscapes and representation of nature.

For the sculptor, making of graphics and aquarelle did not only serve as preparation for the statues but were autonomous gender. Several of his graphics are held by private collectors living outside of Hungary. Many were devastated in the war. Despite of this, the audience saw landscapes made by Ferenczy ever since the 1930's.

Besides his landscapes, he painted his moods with homely simplicity, in the spirit of Nagybánya. That the avant-garde of the 20th century and modern genders also influenced his style did not contradict to that. The view built up of organic structure in his early works imply antiquity. We know about a similar approach in Barcsay Jenős works. His 'Brown Horse' is close to expressionism. The lightness of postimpressionism appears in his pages showing park details. Their freshness and homeliness makes them less intellectual letting the viewers peep inside a deeper region of the consciousness of the artist. The lonely horse, a red bridge crossing the road in a Moscow street, an open window, bare trees crate associations in the viewers' mind. Lyric motifs betray the experiences of the artist.

Mazányi Judit, fine arts manager PMMI