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Had It Not Been for Him To God Be the Glory and No One Else!

Had It Not Been for Him To God Be the Glory and No One Else!

Author: Noel A Pinnock I - Noel Pinnock
ISBN 10: 1424151511
ISBN 13: 9781424151516
Binding: Paperback
Had It Not Been for Him To God Be the Glory and No One Else!
by Noel A Pinnock I - Noel Pinnock
2006 Paperback
1424151511 / 9781424151516
Kóka Ferenc megidézése Evocation of Ferenc Kóka Page 5-6 Prelude I became acquainted with Ferenc Kóka in 1970. Then, I yet attended university while he lived already with his wife in the New Artists' Colony in Szentendre. The interest shared by my latter husband and Kóka laid the foundation of the friendship of the four of us, despite the age gap. The Kókas "embraced" us, the students, and took us in the confidence of the large company of their artist friends. We took the car of Kóka to hop down to the town of Pest to enjoy a good Italian movie and, later, continued to evocate the best scenes, emphasized by Feri's distinctive uproarious laughter. We were ready, at any time, to wander the country and to be amused by any performance of Miklós Köllő's pantomime company. We attended the concerts given by János Gonda in the Musical Academy, although we did not always listen entirely to the experiments of some of the start-up musicians of that age, like Zoltán Kocsis and his classmates. We did not spare efforts to travel to enjoy plays presented in the Theatre of Kaposvár and, lacking funds needed to pay for accommodation, we took his car crawling back to Szentendre during the same night. We had excellent relationship with people living in Szentendre's New Artist Colony and enjoyed each other's company during bonding nights. In weekends, I liked to get together with the Kókas, to have lunch, listen to music or read poems and Feri turned over the pages of a book introducing a painter because he wanted to understand better the answers to the "what" and "why" questions aroused by those creations in him. After a while, Feri opened the door of his atelier inviting us to look at his latest work. Any piece yet unfinished, was turned towards the wall. He was eager to hear our opinion. I liked his paintings and tried to couch my satisfaction in words. Usually, he kept nodding and told: "Yes, it can be done that way". We saw every exhibition of Feri. We arrived to participate in his exhibition held on 20 September 1980, carrying our 5-months old baby. I was honored to have been invited to assist in staging his exhibition held in Miskolc in 1983. We became integral parts of each other's life. I still remember that, in 1989 or 1990, Feri realized the importance to have a book compiled, on his own, as to present his works. Otherwise, the posterity, his devotees and the professional art experts would face difficulties when his works were evaluated among those of his peers, since most of his paintings had been acquired by museums and various institutions or purchased by private collectors, in Hungary and abroad. As a result, a book compiled to present the works of Ferenc Kóka and completed by an exordial review written by Lenke Haulisch, was published in 1990 by Officina Nova. Whenever they had funds and passport, Feri and his wife wandered in the museums of Europe. A friend of theirs, Magda Moór, a painter living in Italy, granted much support to their journeys, while a brother living in Canada helped them to study the most outstanding museums in America. On 30 June 1997, Ferenc Kóka died in a car accident. His wife, Magda Luttár whom Feri had known from her age of 12, decided in 1998 to establish, with my assistance, the Ferenc Kóka Art Foundation with the purpose to provide a place suitable for presenting Kóka's paintings on specific occasions, in the frame of periodic exhibitions. However, illness depleted her energy too soon and she asked me to assume management of the foundation. In 2000, she died and confirmed in her will her intention to pass the pleasure and worries concomitant with that responsibility down to me. The first exhibition was held in November 2000 within the premises of the Ferenc Kóka Art Foundation, in District 13, Visegrádi Street 6, Floor 1, i.e. the former apartment of the Kókas, prior to their moving to Szentendre. Since then, 20 years elapsed and, prior to arranging and opening either exhibition, I put the question to Feri: "Can it be done this way?" Now, the time has come to complete this book, based on Kóka's notes written on issues related to the philosophy of art and on pieces of art owned by the foundation, in addition to having processed writings made available by museums or found among contemporary articles, critiques or art history analyses, personal correspondence, photographs and various art history and art philosophy analyses that emerged after Feri's decease. This book helps to understand the personality and the works of Ferenc Kóka and the influence he had made on the contemporary artists. I wish you joyful reading and getting acquainted with Kóka's life and works. Szentendre, 11 September 2020 dr. Valéria MOLNÁR curator of the Ferenc Kóka Art Foundation Page 7 BIOGRAPHY AND AWARDS Kóka had lived through World War II as a child. Perhaps, his experiences made him an unconditional upholder of concepts like peace, liberty and humanism. Poverty and indigence made him responsive to understanding the fate of other people. He had talent for music and graphic arts and his predestination and diligence gave him the possibility of emergence. He had excellent teachers whom he had respected as paragons. Page 13 Writings, Ideas, Letters The writings of Ferenc Kóka help us understand his role as a creative and reasonable man. In addition to various notes, his legacy contains contiguous confessions and description of thoughts of other persons, deemed by the artist a guidance of importance. While browsing among his writings, I chose a few ones that reflect his views about arts. I deemed also a few letters worthy of note because they truly suggest the spirit of the age he lived through. Like in other chapters of this book, I arranged Kóka's thoughts in chronological order. Page 29 A selection from preambles of exhibition catalogues The preambles shown in exhibition catalogues suggest the degree of contemporary recognition received by the artist. I quote from catalogues preserved in the period between 1969 and 2001. Unfortunately, no catalogue introducing an outstanding exhibition held in the Art Gallery in 1980 survived the vicissitudes of passing time. In 1969, Lajos Németh acknowledged the rapid development, spiritual fullness and pictorial richness achieved by Kóka. In 1983, Lajos Végvári highlighted the sensitive amazement and the portrayal of mythical heroes transformed in our everyday reality. In 1987, Lóránd Bereczky emphasized the streaming picturesqueness, the order of composition and Kóka's ethical integrity. In 1997, Lenke Haulisch mentioned him as painter of harmony and beauty who, simultaneously, perceived the menace faced by the mankind. In his reminiscences written in 2001, László Gyémánt emphasized Kóka's professional integrity and the essential importance of the common program and understanding, in connection with the establishment of the Gresham Club. Page 41 PICTURE ANALYSES, STUDIES This chapter includes analyses of and studies concerning Kóka's paintings, written after his decease. Gábor Bellák, art historian wrote, independently from the formation of the present book, an essay regarding the painting titled Flower Shop and approved publication of the text. The artistic writer of the Damjanich Museum of Szolnok, Róbert Csiszár has appreciated Kóka paintings stored in the museum. Certain parts of analyses written by Balázs Feledy, art historian, in 2001 have been used to evaluate the art of Kóka. Valéria Molnár deemed important to write about the relationship between Kóka and liberty, in connection with the theme of Icarus. Endre Sipos, art philosopher, who had known the painter and liked his works, has paid tribute to Kóka's artistic activities in his art philosophy related articles. Zsófia Somogyi, art historian, wrote summary accounts about subjects intensely occupying Kóka's attention. It is interesting that the first version was written almost 20 years ago, upon invitation from Valéria Molnár. Ildikó Vajda, camerawoman, was inspired by the painting Pilinszky - Spaces II and wrote an essay. Some of the paintings evoked the attention of several analysts to write about the same work of art. Page 139 THE EFFECTS INDUCED Ferenc Kóka died unexpectedly when he and his wife were about to visit their favorite country, Italy, and specifically their friend, Magda Moór painter, as to enjoy a carefree journey when he fell victim of a car accident. Once she woke from her bereavement, his wife considered preservation of the work and art-related thoughts of her husband the most important task and, therefore, she established the Ferenc Kóka Art Foundation. Our almost 30-year long friendship prompted her to ask me to undertake the responsibility of the Foundation's chairwoman. After the death of Magdolna Luttár, I continued working for this noble issue, because Kóka made very deep effect on me, as well. He intensified my love for the fine arts and poems and awoke my inclination to the performing arts. During the initial functions of the Foundation held in 2000, I associated literature with Kóka's paintings. Later, I offered also other artists an opportunity to exhibit their works during thematic exhibitions. The moment when Cecília Zsigár, costume designer, looked at Kóka's works with amazement, I felt prompted to know how much other lovers of art could have been impressed. I invited tenders and received applications inspired by Kóka's works far beyond my expectations. Two more invitations were published subsequently with similar purpose and great creations were submitted in the category of graphics, gobelin, tapestry, paintings, plaques, statues and films. Milán Bajovics, composer and violinist, deserves special mention because he composed and performed for almost 20 years music compositions, inspired by Kóka's paintings. Together with Pál Vincze, composer and concert pianist, also a record inspired by Kóka's paintings had been produced. The next chapter gives a taste of the exhibitions arranged by the Foundation to reflect the effects taken by Kóka. Page 143 APPENDIX The Appendix provides a list of every individual and group exhibition, a selection of actually printed publications, almost every work of Ferenc Kóka stored in museums and a substantial assortment of paintings owned by the Foundation, copies of negatives and slides. Based on data available in the catalogue, we publish data concerning the paintings, like title, date of creation, painting technique, name of owner and inventory number. Page 158 CONTENTS Prelude Biography and awards Writings, ideas, letters A selection from preambles of exhibition catalogues Picture analyses, studies The effects induced Appendix The Appendix provides a list of every individual and group exhibition, a selection of actually printed publications, almost every work of Ferenc Kóka stored in museums and a substantial assortment of paintings owned by the Foundation, copies of negatives and slides. Based on data available in the catalogue, we publish data concerning the paintings, like title, date of creation, painting technique, name of owner and inventory number.

Kóka Ferenc megidézése Evocation of Ferenc Kóka Page 5-6 Prelude I became acquainted with Ferenc Kóka in 1970. Then, I yet attended university while he lived already with his wife in the New Artists' Colony in Szentendre. The interest shared by my latter husband and Kóka laid the foundation of the friendship of the four of us, despite the age gap. The Kókas "embraced" us, the students, and took us in the confidence of the large company of their artist friends. We took the car of Kóka to hop down to the town of Pest to enjoy a good Italian movie and, later, continued to evocate the best scenes, emphasized by Feri's distinctive uproarious laughter. We were ready, at any time, to wander the country and to be amused by any performance of Miklós Köllő's pantomime company. We attended the concerts given by János Gonda in the Musical Academy, although we did not always listen entirely to the experiments of some of the start-up musicians of that age, like Zoltán Kocsis and his classmates. We did not spare efforts to travel to enjoy plays presented in the Theatre of Kaposvár and, lacking funds needed to pay for accommodation, we took his car crawling back to Szentendre during the same night. We had excellent relationship with people living in Szentendre's New Artist Colony and enjoyed each other's company during bonding nights. In weekends, I liked to get together with the Kókas, to have lunch, listen to music or read poems and Feri turned over the pages of a book introducing a painter because he wanted to understand better the answers to the "what" and "why" questions aroused by those creations in him. After a while, Feri opened the door of his atelier inviting us to look at his latest work. Any piece yet unfinished, was turned towards the wall. He was eager to hear our opinion. I liked his paintings and tried to couch my satisfaction in words. Usually, he kept nodding and told: "Yes, it can be done that way". We saw every exhibition of Feri. We arrived to participate in his exhibition held on 20 September 1980, carrying our 5-months old baby. I was honored to have been invited to assist in staging his exhibition held in Miskolc in 1983. We became integral parts of each other's life. I still remember that, in 1989 or 1990, Feri realized the importance to have a book compiled, on his own, as to present his works. Otherwise, the posterity, his devotees and the professional art experts would face difficulties when his works were evaluated among those of his peers, since most of his paintings had been acquired by museums and various institutions or purchased by private collectors, in Hungary and abroad. As a result, a book compiled to present the works of Ferenc Kóka and completed by an exordial review written by Lenke Haulisch, was published in 1990 by Officina Nova. Whenever they had funds and passport, Feri and his wife wandered in the museums of Europe. A friend of theirs, Magda Moór, a painter living in Italy, granted much support to their journeys, while a brother living in Canada helped them to study the most outstanding museums in America. On 30 June 1997, Ferenc Kóka died in a car accident. His wife, Magda Luttár whom Feri had known from her age of 12, decided in 1998 to establish, with my assistance, the Ferenc Kóka Art Foundation with the purpose to provide a place suitable for presenting Kóka's paintings on specific occasions, in the frame of periodic exhibitions. However, illness depleted her energy too soon and she asked me to assume management of the foundation. In 2000, she died and confirmed in her will her intention to pass the pleasure and worries concomitant with that responsibility down to me. The first exhibition was held in November 2000 within the premises of the Ferenc Kóka Art Foundation, in District 13, Visegrádi Street 6, Floor 1, i.e. the former apartment of the Kókas, prior to their moving to Szentendre. Since then, 20 years elapsed and, prior to arranging and opening either exhibition, I put the question to Feri: "Can it be done this way?" Now, the time has come to complete this book, based on Kóka's notes written on issues related to the philosophy of art and on pieces of art owned by the foundation, in addition to having processed writings made available by museums or found among contemporary articles, critiques or art history analyses, personal correspondence, photographs and various art history and art philosophy analyses that emerged after Feri's decease. This book helps to understand the personality and the works of Ferenc Kóka and the influence he had made on the contemporary artists. I wish you joyful reading and getting acquainted with Kóka's life and works. Szentendre, 11 September 2020 dr. Valéria MOLNÁR curator of the Ferenc Kóka Art Foundation Page 7 BIOGRAPHY AND AWARDS Kóka had lived through World War II as a child. Perhaps, his experiences made him an unconditional upholder of concepts like peace, liberty and humanism. Poverty and indigence made him responsive to understanding the fate of other people. He had talent for music and graphic arts and his predestination and diligence gave him the possibility of emergence. He had excellent teachers whom he had respected as paragons. Page 13 Writings, Ideas, Letters The writings of Ferenc Kóka help us understand his role as a creative and reasonable man. In addition to various notes, his legacy contains contiguous confessions and description of thoughts of other persons, deemed by the artist a guidance of importance. While browsing among his writings, I chose a few ones that reflect his views about arts. I deemed also a few letters worthy of note because they truly suggest the spirit of the age he lived through. Like in other chapters of this book, I arranged Kóka's thoughts in chronological order. Page 29 A selection from preambles of exhibition catalogues The preambles shown in exhibition catalogues suggest the degree of contemporary recognition received by the artist. I quote from catalogues preserved in the period between 1969 and 2001. Unfortunately, no catalogue introducing an outstanding exhibition held in the Art Gallery in 1980 survived the vicissitudes of passing time. In 1969, Lajos Németh acknowledged the rapid development, spiritual fullness and pictorial richness achieved by Kóka. In 1983, Lajos Végvári highlighted the sensitive amazement and the portrayal of mythical heroes transformed in our everyday reality. In 1987, Lóránd Bereczky emphasized the streaming picturesqueness, the order of composition and Kóka's ethical integrity. In 1997, Lenke Haulisch mentioned him as painter of harmony and beauty who, simultaneously, perceived the menace faced by the mankind. In his reminiscences written in 2001, László Gyémánt emphasized Kóka's professional integrity and the essential importance of the common program and understanding, in connection with the establishment of the Gresham Club. Page 41 PICTURE ANALYSES, STUDIES This chapter includes analyses of and studies concerning Kóka's paintings, written after his decease. Gábor Bellák, art historian wrote, independently from the formation of the present book, an essay regarding the painting titled Flower Shop and approved publication of the text. The artistic writer of the Damjanich Museum of Szolnok, Róbert Csiszár has appreciated Kóka paintings stored in the museum. Certain parts of analyses written by Balázs Feledy, art historian, in 2001 have been used to evaluate the art of Kóka. Valéria Molnár deemed important to write about the relationship between Kóka and liberty, in connection with the theme of Icarus. Endre Sipos, art philosopher, who had known the painter and liked his works, has paid tribute to Kóka's artistic activities in his art philosophy related articles. Zsófia Somogyi, art historian, wrote summary accounts about subjects intensely occupying Kóka's attention. It is interesting that the first version was written almost 20 years ago, upon invitation from Valéria Molnár. Ildikó Vajda, camerawoman, was inspired by the painting Pilinszky - Spaces II and wrote an essay. Some of the paintings evoked the attention of several analysts to write about the same work of art. Page 139 THE EFFECTS INDUCED Ferenc Kóka died unexpectedly when he and his wife were about to visit their favorite country, Italy, and specifically their friend, Magda Moór painter, as to enjoy a carefree journey when he fell victim of a car accident. Once she woke from her bereavement, his wife considered preservation of the work and art-related thoughts of her husband the most important task and, therefore, she established the Ferenc Kóka Art Foundation. Our almost 30-year long friendship prompted her to ask me to undertake the responsibility of the Foundation's chairwoman. After the death of Magdolna Luttár, I continued working for this noble issue, because Kóka made very deep effect on me, as well. He intensified my love for the fine arts and poems and awoke my inclination to the performing arts. During the initial functions of the Foundation held in 2000, I associated literature with Kóka's paintings. Later, I offered also other artists an opportunity to exhibit their works during thematic exhibitions. The moment when Cecília Zsigár, costume designer, looked at Kóka's works with amazement, I felt prompted to know how much other lovers of art could have been impressed. I invited tenders and received applications inspired by Kóka's works far beyond my expectations. Two more invitations were published subsequently with similar purpose and great creations were submitted in the category of graphics, gobelin, tapestry, paintings, plaques, statues and films. Milán Bajovics, composer and violinist, deserves special mention because he composed and performed for almost 20 years music compositions, inspired by Kóka's paintings. Together with Pál Vincze, composer and concert pianist, also a record inspired by Kóka's paintings had been produced. The next chapter gives a taste of the exhibitions arranged by the Foundation to reflect the effects taken by Kóka. Page 143 APPENDIX The Appendix provides a list of every individual and group exhibition, a selection of actually printed publications, almost every work of Ferenc Kóka stored in museums and a substantial assortment of paintings owned by the Foundation, copies of negatives and slides. Based on data available in the catalogue, we publish data concerning the paintings, like title, date of creation, painting technique, name of owner and inventory number. Page 158 CONTENTS Prelude Biography and awards Writings, ideas, letters A selection from preambles of exhibition catalogues Picture analyses, studies The effects induced Appendix The Appendix provides a list of every individual and group exhibition, a selection of actually printed publications, almost every work of Ferenc Kóka stored in museums and a substantial assortment of paintings owned by the Foundation, copies of negatives and slides. Based on data available in the catalogue, we publish data concerning the paintings, like title, date of creation, painting technique, name of owner and inventory number.

Author: Kemény Zoltán - Molnár Valéria
ISBN 10: 6150100111
ISBN 13: 9786150100111
Kóka Ferenc megidézése Evocation of Ferenc Kóka Page 5-6 Prelude I became acquainted with Ferenc Kóka in 1970. Then, I yet attended university while he lived already with his wife in the New Artists' Colony in Szentendre. The interest shared by my latter husband and Kóka laid the foundation of the friendship of the four of us, despite the age gap. The Kókas "embraced" us, the students, and took us in the confidence of the large company of their artist friends. We took the car of Kóka to hop down to the town of Pest to enjoy a good Italian movie and, later, continued to evocate the best scenes, emphasized by Feri's distinctive uproarious laughter. We were ready, at any time, to wander the country and to be amused by any performance of Miklós Köllő's pantomime company. We attended the concerts given by János Gonda in the Musical Academy, although we did not always listen entirely to the experiments of some of the start-up musicians of that age, like Zoltán Kocsis and his classmates. We did not spare efforts to travel to enjoy plays presented in the Theatre of Kaposvár and, lacking funds needed to pay for accommodation, we took his car crawling back to Szentendre during the same night. We had excellent relationship with people living in Szentendre's New Artist Colony and enjoyed each other's company during bonding nights. In weekends, I liked to get together with the Kókas, to have lunch, listen to music or read poems and Feri turned over the pages of a book introducing a painter because he wanted to understand better the answers to the "what" and "why" questions aroused by those creations in him. After a while, Feri opened the door of his atelier inviting us to look at his latest work. Any piece yet unfinished, was turned towards the wall. He was eager to hear our opinion. I liked his paintings and tried to couch my satisfaction in words. Usually, he kept nodding and told: "Yes, it can be done that way". We saw every exhibition of Feri. We arrived to participate in his exhibition held on 20 September 1980, carrying our 5-months old baby. I was honored to have been invited to assist in staging his exhibition held in Miskolc in 1983. We became integral parts of each other's life. I still remember that, in 1989 or 1990, Feri realized the importance to have a book compiled, on his own, as to present his works. Otherwise, the posterity, his devotees and the professional art experts would face difficulties when his works were evaluated among those of his peers, since most of his paintings had been acquired by museums and various institutions or purchased by private collectors, in Hungary and abroad. As a result, a book compiled to present the works of Ferenc Kóka and completed by an exordial review written by Lenke Haulisch, was published in 1990 by Officina Nova. Whenever they had funds and passport, Feri and his wife wandered in the museums of Europe. A friend of theirs, Magda Moór, a painter living in Italy, granted much support to their journeys, while a brother living in Canada helped them to study the most outstanding museums in America. On 30 June 1997, Ferenc Kóka died in a car accident. His wife, Magda Luttár whom Feri had known from her age of 12, decided in 1998 to establish, with my assistance, the Ferenc Kóka Art Foundation with the purpose to provide a place suitable for presenting Kóka's paintings on specific occasions, in the frame of periodic exhibitions. However, illness depleted her energy too soon and she asked me to assume management of the foundation. In 2000, she died and confirmed in her will her intention to pass the pleasure and worries concomitant with that responsibility down to me. The first exhibition was held in November 2000 within the premises of the Ferenc Kóka Art Foundation, in District 13, Visegrádi Street 6, Floor 1, i.e. the former apartment of the Kókas, prior to their moving to Szentendre. Since then, 20 years elapsed and, prior to arranging and opening either exhibition, I put the question to Feri: "Can it be done this way?" Now, the time has come to complete this book, based on Kóka's notes written on issues related to the philosophy of art and on pieces of art owned by the foundation, in addition to having processed writings made available by museums or found among contemporary articles, critiques or art history analyses, personal correspondence, photographs and various art history and art philosophy analyses that emerged after Feri's decease. This book helps to understand the personality and the works of Ferenc Kóka and the influence he had made on the contemporary artists. I wish you joyful reading and getting acquainted with Kóka's life and works. Szentendre, 11 September 2020 dr. Valéria MOLNÁR curator of the Ferenc Kóka Art Foundation Page 7 BIOGRAPHY AND AWARDS Kóka had lived through World War II as a child. Perhaps, his experiences made him an unconditional upholder of concepts like peace, liberty and humanism. Poverty and indigence made him responsive to understanding the fate of other people. He had talent for music and graphic arts and his predestination and diligence gave him the possibility of emergence. He had excellent teachers whom he had respected as paragons. Page 13 Writings, Ideas, Letters The writings of Ferenc Kóka help us understand his role as a creative and reasonable man. In addition to various notes, his legacy contains contiguous confessions and description of thoughts of other persons, deemed by the artist a guidance of importance. While browsing among his writings, I chose a few ones that reflect his views about arts. I deemed also a few letters worthy of note because they truly suggest the spirit of the age he lived through. Like in other chapters of this book, I arranged Kóka's thoughts in chronological order. Page 29 A selection from preambles of exhibition catalogues The preambles shown in exhibition catalogues suggest the degree of contemporary recognition received by the artist. I quote from catalogues preserved in the period between 1969 and 2001. Unfortunately, no catalogue introducing an outstanding exhibition held in the Art Gallery in 1980 survived the vicissitudes of passing time. In 1969, Lajos Németh acknowledged the rapid development, spiritual fullness and pictorial richness achieved by Kóka. In 1983, Lajos Végvári highlighted the sensitive amazement and the portrayal of mythical heroes transformed in our everyday reality. In 1987, Lóránd Bereczky emphasized the streaming picturesqueness, the order of composition and Kóka's ethical integrity. In 1997, Lenke Haulisch mentioned him as painter of harmony and beauty who, simultaneously, perceived the menace faced by the mankind. In his reminiscences written in 2001, László Gyémánt emphasized Kóka's professional integrity and the essential importance of the common program and understanding, in connection with the establishment of the Gresham Club. Page 41 PICTURE ANALYSES, STUDIES This chapter includes analyses of and studies concerning Kóka's paintings, written after his decease. Gábor Bellák, art historian wrote, independently from the formation of the present book, an essay regarding the painting titled Flower Shop and approved publication of the text. The artistic writer of the Damjanich Museum of Szolnok, Róbert Csiszár has appreciated Kóka paintings stored in the museum. Certain parts of analyses written by Balázs Feledy, art historian, in 2001 have been used to evaluate the art of Kóka. Valéria Molnár deemed important to write about the relationship between Kóka and liberty, in connection with the theme of Icarus. Endre Sipos, art philosopher, who had known the painter and liked his works, has paid tribute to Kóka's artistic activities in his art philosophy related articles. Zsófia Somogyi, art historian, wrote summary accounts about subjects intensely occupying Kóka's attention. It is interesting that the first version was written almost 20 years ago, upon invitation from Valéria Molnár. Ildikó Vajda, camerawoman, was inspired by the painting Pilinszky - Spaces II and wrote an essay. Some of the paintings evoked the attention of several analysts to write about the same work of art. Page 139 THE EFFECTS INDUCED Ferenc Kóka died unexpectedly when he and his wife were about to visit their favorite country, Italy, and specifically their friend, Magda Moór painter, as to enjoy a carefree journey when he fell victim of a car accident. Once she woke from her bereavement, his wife considered preservation of the work and art-related thoughts of her husband the most important task and, therefore, she established the Ferenc Kóka Art Foundation. Our almost 30-year long friendship prompted her to ask me to undertake the responsibility of the Foundation's chairwoman. After the death of Magdolna Luttár, I continued working for this noble issue, because Kóka made very deep effect on me, as well. He intensified my love for the fine arts and poems and awoke my inclination to the performing arts. During the initial functions of the Foundation held in 2000, I associated literature with Kóka's paintings. Later, I offered also other artists an opportunity to exhibit their works during thematic exhibitions. The moment when Cecília Zsigár, costume designer, looked at Kóka's works with amazement, I felt prompted to know how much other lovers of art could have been impressed. I invited tenders and received applications inspired by Kóka's works far beyond my expectations. Two more invitations were published subsequently with similar purpose and great creations were submitted in the category of graphics, gobelin, tapestry, paintings, plaques, statues and films. Milán Bajovics, composer and violinist, deserves special mention because he composed and performed for almost 20 years music compositions, inspired by Kóka's paintings. Together with Pál Vincze, composer and concert pianist, also a record inspired by Kóka's paintings had been produced. The next chapter gives a taste of the exhibitions arranged by the Foundation to reflect the effects taken by Kóka. Page 143 APPENDIX The Appendix provides a list of every individual and group exhibition, a selection of actually printed publications, almost every work of Ferenc Kóka stored in museums and a substantial assortment of paintings owned by the Foundation, copies of negatives and slides. Based on data available in the catalogue, we publish data concerning the paintings, like title, date of creation, painting technique, name of owner and inventory number. Page 158 CONTENTS Prelude Biography and awards Writings, ideas, letters A selection from preambles of exhibition catalogues Picture analyses, studies The effects induced Appendix The Appendix provides a list of every individual and group exhibition, a selection of actually printed publications, almost every work of Ferenc Kóka stored in museums and a substantial assortment of paintings owned by the Foundation, copies of negatives and slides. Based on data available in the catalogue, we publish data concerning the paintings, like title, date of creation, painting technique, name of owner and inventory number.
by Kemény Zoltán - Molnár Valéria
2021
6150100111 / 9786150100111