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Count Miklós Bánffy (1873-1950), novelist and graphic artist, superintendent of the Hungarian National Theatre and the Hungarian State Opera, later foreign minister, was the last male descendant of his parentage, the wealthiest historic family of Transylvania. His world-famous Transylvanian Trilogy (Erdélyi történet) is associated with Lampedusa’s novel, Il Gattopardo. After the Treaty of Trianon in 1920, Transylvania had been transferred to Romania, including Bánffy’s hometown and his estates. In summer of 1926, he stood aside from diplomacy and moved back to his castle in Bonchida, near Kolozsvár for good. He became a Romanian citizen and exerted a growing influence on the Hungarian art world and politics of Transylvania. Main stages of his work in literature and fine arts were founding the periodical Erdélyi Helikon and improving the publishing company Erdélyi Szépmíves Céh. In the meantime, he had an intense conflict with the conservative Magyar Party (Országos Magyar Párt). This study deals with the reasons and circumstances of Bánffy’s retiring, the political reflections about his reception in Hungary and in Romania and his first achievements.
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The changes in Transylvanian fine arts can also be followed on the map. These changes are signalled by the number and character of the art galleries not only in Cluj-Napoca (Kolozsvár) but also in smaller Transylvanian towns, such as Sfântu Gheorghe (Sepsiszentgyörgy) or Miercurea Ciuc (Csíkszereda). The changes in artistic approach are revealed by the previous special issues of the journal Korunk, beginning with 1974, through the eighties and nineties, until the year 2002 and to our present. Similarly, the publishing activity in the domain of fine arts also shows a significant improvement, which is partly due to the contributions of the Korunk.
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The author, a notable sculptor from Cluj-Napoca (Kolozsvár), professor at the University of Fine Arts, evokes his encounter in Paris with Viktor Román, who achieved world fame as a sculptor after he left Transylvania. The artistic career of Viktor Román started in Târgu Mureº (Marosvásárhely), his first successful exhibitions were held in Bucharest, after which he emigrated to the West due to a scholarship in London. Finally, Viktor Román settled down in Paris, where several of his public statues can be seen. The reminiscences of Tibor Kolozsi also contain references to Viktor Román’s meeting with Henry Moore, who may be the most significant sculptor of the 20th century, and to Henry Moore’s influence on his own artistic work.
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Looking back upon the last two and a half decades, the author surveys the statues erected in public spaces in Romania and the considerations which guided this practice in this country. He sharply criticizes those viewpoints which do not take aesthetic criteria into consideration. For Romanians and Hungarians alike, the most important criterion seems to be the struggle for the expression of their collective identity. However, the author also mentions positive examples, which are few in number in Romania.
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