Torjay Valter szimbolista festőművész honlapja

Thoughts of Valter Torjay

Thoughts about art (I.)

Today's artistic higher education differs from the old academies in nothing: it oppresses the individuality and deforms it into the direction of the trendy streams, like its predecessors. Unfortunately it is not willing to give even the traditional true vocational bases and there is no capabelity for that either. Who shows "suspicious interest" towards the conventional style art, could be glad if he is not fired and hardly can wait for a nice future.

However Sar Péladan was a bit addlepated man. He had a phrase which appeared so true: "Artist, you are an apostle! The art is a big mystery." But this only could be true, if, we work from our heart without any compromise, and even we undertake the obscurity for our principles. Today freedom has a bigger price than ever.

Mainly there are two ways for prevailing in the artistic life. One of the opportunities is to be suited to the central cultural policy without any condition. In this case you are also expected to follow the internationally preferred current style, and it is needed being positioned as well. The other opportunity, the booming kitsch industry, which requires more work, and means less social appreciation, bringing much more money on the other hand: astonishingly talentless and non-trained people has fabulous incomes by wangling, and they take the bread out of the real artists' mouth. Between the two extremities " where most of the serious artists can be found though" the most complicated the existence is. The artists of the category which was mentioned as the first one disdain the kitsch guards deeply - however they have no reason for that, since they hardly differ from them…

The real art not just holds a mirror up to humanity, but enriches it psychically, brings self-awareness, faith, sensitivity to them. That is why some of the mightinesses do everything to short out the roots of the traditional art from the humanity's scope finally: unreliable consumer who cannot be leaded properly the person who has self-awareness, an own world and real emotions inside, so their own opinion about the world. These people meant to be mislead by the false media created stars. But it is already too little the time to let their full victory be allowed.

Either the local, neither the national cultural policy does not research for neglected artists. However there are many real values, which cannot promote themselves properly. Discovering Tóth Menyhért was a late chance only. The talent can be any strong it is rarely enough to the real success. In a country where the financial state support is wandering into the same pockets almost and the private patronage hardly exists: the talented artists has few opportunities, like being immersed in the kitsch, the resignation, suicide, and in the best case dubious opportunities of a success in foreign countries. To tell the truth the artist who is more astute cares five times more about occupying a position or running around after patronage, than creating new work.

The most beautiful phrases of Otto Modersohn, the big German artist, who was neglected for a pretty long time: "The valuable painter will be who has the bigger, the freer feeling ( . ) it is born with the real artist ( . ) The nature is the real fairyland. The roads, which passed over him nowhere, they drive".

Delacroix did not get any award in his life: I hope I will not either!

Most artists do not notice that they are sinking to the level of a wrangling craftsman in their fight for livelihood - when they carrier has started they thought on a different way though. Who is rather comprehensive to notice his own falldown, the biggest his suffering will be. He compensates on the way, that he flaunts his material successes and his social influence in front of his poorer but more talented colleagues. He creates philosophy to explain his trashy behaviour. That is why the artistic life is full of "philosophers" nowdays. An artist escapeing into the alcoholism is more sympathetic than these "philosophers".

I do not know if it is similar on abroad but if you search for the best artists here in Hungary you should not look for the most popular, many times awarded, rich and nice people but the grim chap in the backyard. Strong advantage if the officers of the press or art gallery start making a face hearing his name.

A well-known and adored member of the big generation of the 60's upon my hearing appointed Ferenczy Károly the largest Hungarian painter. The "halo" approved: we did not know, that our friend's art historical knowledge this much incomplete. The people like these thinks that it is necessary to win the debate with volume. Ferenczy would have been repelled by all this the most.

A bigger painter would have been Szőnyi, than Patkó or Aba-Novák? Hells, it is blown up only!

Among many of Renoir wise thoughts the most un-comprehensible: "Let the artist eat little, and let him despair from everything, which is important for other ones."

Many people say that the real talent prevails inevitably. This is one of the biggest lies I have ever heard: as if all talents would be durable equally! They possibly repeat this phrase so many times because many people - especially here - do not obtain the most fundamental chance for development. I see so many great people vegetate here around! Who could not attend the popular colleges in Budapest they are welcomed in Wien and Graz. They are foreigners though. But not everybody can go there!

Why it is, that I feel myself so badly, when I am looking at the domestic artistic journals?

Typical, that many people only consider somebody as an artist, if he was "pressed through" the academy and they have paper. Oh my God: Van Gogh, Cézanne, Rodin, Gauguin, Csontváry, Gulácsy, or the little Jenő Maticska.

It is not necessary to overestimate the value of our paintings - but we have charge their price. The excessive cheapness does not make the paintings saleable it is more harmful than useful.

According to Oscar Wilde the person who wants to solve the symbol does this onto his own danger.

I experienced sadly, that more than ten years younger beginner-artists how coward they are to declare their opinion. Of course all this appear for positioning and selling. If they start in this manner, how they personally will fade let us say, under two decades?

A helpful spouse who is willing to make sacrifices may "give wings" to the artist however the contrary could destroy him. Many successful artist could prevail because their spouse supported them. At the same time there is no more terrible blow recognizing the fact that what we are struggling for is not really important for the one who is the most important for us.

A level of maturity means, if we realize that a good glass of wine with cheese and fresh bread is worth much more than a passionate artistic debate. The first could left a beautiful memory behind indeed, and may encourage the imagery fantasy while the result of the second one is annoyance and a "bad taste in the mouth" usually.

Theory is worth little in the art: anybody can make sure of this in front of the white linen.

The artist has to take care that he should not drain extremely his creating energies for the studies and sketches being made for the composition prevously. In this way possibly not enough inspiration and pep will left for the picture. Károly Ferenczy, but Marées also became often the victim of this.

The artist - if he can - let the customer know about the correct treatment of the picture. In this way there is more chance for the works to survive him.

If we get an invitation for an exhibition into smaller settlements let us accept inevitably. We will experience much bigger appreciation, than in a more elegant place, where they often make you feel that is a favour from their side for you to be there. No dubt we have to know how important to take the art onto a place where you find deficiency in this field. I received the largest appreciation on Jánosháza.

Let the artist have nice properties around himself: Their majority will not be newer than the first tier of the 20th century.

Gauguin's phrase is true: the most terrible in poverty that it obstructs the artwork.

Only the artist who can work regularly may have healthy creativity. Who has to fight with omissions steadily, suffers from the lack of the work, though strange apathy overcomes him finally when he could work. This paralyses his hands, at least days are needed for defeat it. If finally may take the brush in his hand he trembles when the next opportunity will be? How many martyrs of the art could exists who may suffer from the deficiency of creation because they have to earn money for the living-expenses, and as they read the artistic publisments sourly because always the same lucky names are appearing even if they are not as talented but every movements of them are adored.

For an artist if he is "inside of the circle" it is enough, if he produces something annually: he will experience a much bigger appriciation, than the one who is creating "outside of the circle" but works regularly though.

The point is: who is your father, who was your master, if your style is trendy and fashionably and if you have awards?

I showed one of Gulácsy not well-known works to a collector in Szombathey who is considering himself a remarkable collector. He was singing praises how beautiful it was. I asked him:
- If I have painted it would you buy it?
- No.
We are like this with everything. Dear Collector! You, and the similar kind of persons are impossibly can be mentioned on the same page as Andrássy Gyula, Nemes Marcell or Rippl-Rónai Ödön and not because of their material opportunities but because you are basically miss the proper education and the intellect. You do not have independent opinion, the authoritarian is accepted only, work of art though - yet if it is not admitted to themselves either - you buy as an investment. You, and your much wealthier companions thinking similarly those who was called a petty bourgeois abusively once, and according to me - sharing Renoir opinion - it would be made better if shares would be hanged up on their walls, and not paintings.

The most important for the artist today is to decide what he prefers: The joy of the creation, you or the amenities of success? This is an important question since all of his life and future depends on this.

The real artist is able to express himself on a palmful surface.

Valter Torjay