network

36 result(s) for ‘network’
    Documents of János Tornyai (1869-1936)

    Documents of János Tornyai (1869-1936)

    … to his second wife) and 540 letters addressed to him. The correspondence clearly reveals Tornyai’s network of contacts, containing letters written to him by a number of prominent Hungarian artists (e.g. Jenő Barcsay, Mihály Munkácsy, József Rippl-Rónai, and Mihály Zichy), by some of his contemporaries from Hódmezővásárhely (Béla Endre, Mária Kovács, János Pásztor, and Gyula Rudnay), as well as by prominent art critics and writers (e.g. Ödön Gerő, Károly Lyka, to mention only a few). …

    The Estate of Lajos Tihanyi

    The Estate of Lajos Tihanyi

    … writer friends—a valuable and significant resource—as well as the artist’s notebooks revealing his network of professional contacts. From the point of view of art history research, the photographs of Tihanyi’s works constitute a particularly important group of artefacts. On the backs of many of these photos, Tihanyi wrote not only the basic data of the given painting or graphic piece, but also the name of its owner and the exhibitions where the given work had been showcased, thereby making it …

    The Endre Tót Archives

    The Endre Tót Archives

    … schools, work, scholarship applications) into a personal (family, acquaintances, friends) social network. The material can be broken down into the following subgroups: written correspondence (personal, professional, friendly), books, catalogues (building professional knowledge, direct or indirect involvement), reviews, essays, texts of exhibition opening speeches (building professional knowledge, direct or indirect involvement), personal objects, objects and tools (e.g. …

    György Tóth: Portraits (1985–1991)

    György Tóth: Portraits (1985–1991)

    … featured in his exhibitions or in publications. The pieces of the series document György Tóth network of professional contacts in the contemporary art scene of the 1980s. It also offers insight into an important period of his then ongoing oeuvre, when such props were already beginning to make their appearance from his dreamlike shots of the nineties as studio backgrounds, flashes, compositional elements and techniques for manipulating the subject of the portrait. /Balázs Zoltán Tóth/

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