János Thorma in the context of Hungarian National Gallery


János Thorma in the context of Hungarian National Gallery

⭐ Core Definition: János Thorma

János Thorma (24 April 1870 – 5 December 1937) was a Hungarian painter. A representative figure of the Nagybánya artists' colony, which started in 1896, in Nagybánya, Austria-Hungary (today Baia Mare, Romania), he moved through different styles, shifted from the naturalism that was the aesthetic of the colony, to historical subjects, to romantic realism and to a Post-Impressionism style. His work is held by the Hungarian National Gallery, the Thorma János Múzeum, regional museums and private collectors.

In 1966, the Hungarian National Gallery held a major commemorative exhibition, The Art of Nagybánya, commemorating the innovations of Thorma and fellow artists. In February 2013, it opens a major retrospective of more than 100 pieces of János Thorma's work, drawing from numerous institutions and private collectors in Europe.

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János Thorma in the context of Alms

Alms (/ɑːmz/, /ɑːlmz/) are money, food, or other material goods donated to people living in poverty. Providing alms is often considered an act of charity. The act of providing alms is called almsgiving.

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János Thorma in the context of Nagybánya artists' colony

The Nagybánya artists' colony was an art colony in Nagybánya, a town in eastern Hungary that became Baia Mare in Romania after World War I. The colony started as a summer retreat for artists, mainly painters from Simon Hollósy's szabadiskola (Free School) in Munich. The original group focused on plein-air painting.

It was Hollósy's idea to have a summer school in a small town. Fellow artists Károly Ferenczy, Béla Iványi-Grünwald, István Réti and János Thorma were involved with the founding of the artists' colony. The colony attracted many artists from Hungary interested in learning the plein-air style taught by Hollósy in the bright atmosphere of Nagybánya. The colony held its first exhibition in 1897 at the Műcsarnok. It was well received by some critics as reflecting the new and innovative style of European painting and ridiculed by other critics for its departure from traditional forms and techniques. Through the course of its existence the teachers and students worked in the emerging modern styles such as Expressionism, Fauvism, Cubism, and Symbolism. Some styles were adopted and some rejected, along with the allegiance of various artists.

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