1894-1934

   

Derkovits Gyula

20 th century Hungary

Destiny: typical or ordinary?

Bognár Alexandra
Art History - Politics

 
 DERKOVITS  GYULA  
 
This  paper  is  going  examine  a  Hungarian  artist's  life  and  work  in  a  political  context  
that  existed  at  that  time.  The  question  is  how  typical  his  destiny  was.  The  era  which  
is   going   to   be   analyzed   is   the   early   20th   century,   the   1st   World   War   then   the  
dissolution   of   the   Austro-­‐Hungarian   Monarchy,   the   short-­‐term   Hungarian   Soviet  
Republic  followed  by  the  Trianon  peace  treaty  and  finally,  the  regency  of  Horthy  all  
had  their  effects  on  the  cultural  life  -­‐  therefore,  it  is  not  unusual  that  such  an  artist,  
who   lived   a   relatively   short   life   had   3   artistic   periods,   dealing   with   different  
objectives,  but  still  felt  lonely.  
 
Derkovits   Gyula   (1894-­‐1934)   was   a   Hungarian   painter,   printmaker   and  
draughtsman.   He   established   his   unique   style   after   Western-­‐European   traditions   at  
that  time,  mostly  after  expressionism,  cubism  and  constructivism.  The  actual  political  
system,  which  of  course  tried  to  establish  equality  and  wealth  -­‐  "all  animals  are  equal  
but   some   animals   are   more   equal   than   others"   as   George   Orwell   wrote   in   Animal  
Farm  -­‐  applied  showcase  actions  in  order  to  gain  complete  control  over  society  and  
these  steps  "modified"  Derkovits'  sentimentality  towards  art.  
 
EARLY  LIFE  
 
Despite   his   artistic   interest,   he   was   trained   as   a   carpenter   (like   his   father),   but  
refused  to  pursue  this  vocation  and  as  an  attempt  to  escape,  he  volunteered  for  the  
army  during  World  War  1.  He  was  subsequently  gravely  wounded,  his  left  hand  was  
paralyzed   and   tuberculosis   was   diagnosed   from   which   he   suffered   throughout   his  
life.  In  1916,  as  a  war  casualty,  he  moved  to  Budapest,  where  he  got  aid  for  living  and  
also  worked  as  a  joiner.  (www.artportal.hu)  
 
As   a   result   of   the   World   War,   "the   military   collapse   of   the   Habsburg   monarchy  
opened  the  way  to  a  revolutionary  transformation  of  East  Central  Europe.  Released  
energies  found  expression  in  two  forms:  in  national  or  social  revolutions."  (István  I.  
Mócsy,  The  Effects  of  World  War  I)  
 

  2  
At   that   time,   there   was   a   pretty   strong   plebeian-­‐leftist   attitude   among   the   society,  
whose   most   radical   representative   was   the   communist   party.   This   is   not   Stalinism,  
this   is   something   stronger.   Political   resolution   and   even   radicalism   is   hearty  
welcome   everywhere,   but   can   be   dangerous   in   case   of   Hungary.   Thus,   he   tried   not   to  
stay  away  from  politics,  but  stay  away  from  the  forms  of  daily  politics.  
 
As   being   a   leftist   thinker,   Derkovits   joined   the   Communist   Party   in   1918.   The  
communist  theory  states  that  only  the  working  class  can  solve  the  problem  caused  by  
capitalism   or   the   "dictatorship   of   the   bourgeoisie",   because   it   is   the   working   class,  
"the  proletariat"  who  produces  wealth.  Generally,  the  aim  is  a  transition  to  a  society  
where   there   is   no   such   thing   as   "social   class",   only   equality.   Communism,   as   all  
political   movement   in   theory   sounds   nice   but   nonviable.   "How   do   you   tell   a  
communist?   Well,   it's   someone   who   reads   Marx   and   Lenin.   And   how   do   you   tell   an  
anti-­‐Communist?   It's   someone   who   understands   Marx   and   Lenin."   said   Ronald  
Reagan   in   1987,   expressing   that   even   though   the   goals   of   such   a   classless   and  
stateless  social  structure  is  imagined,  the  implementation  is  far  more  complicated.    
 
The   primary   reason   for   joining   the   communist   party   was   that   this   decision   meant   an  
opportunity   to   meet   the   company's   intellectuals   like   József   Attila   or   moreover,  
establishing  foreign  relations  (emigrants  from  Vienna).  He  remained  a  lone  warrior  
throughout  his  life.  Since  there  was  no  internet  or  tv  and  even  radio  has  just  started  
getting   more   and   more   popular   and   widespread,   the   political   forms   of   art   could  
appear   only   in   posters   or   in   newspaper   -­‐   this   was   the   way   of   communication.   The  
question   is,   therefore,   whether   a   real   artist   needs   to   take   a   commitment   in   world  
issues.   And   the   answer   is   yes,   he   ought   to,   he   can   not   hide   in   his   own   problems.  
Harsh,  radical  resolutions  always  characterized  his  art  since  after  a  neoclassical  start,  
he   expressed   himself   in   expressionism,   cubism   and   even   constructivism   as   having  
been  highlighted  in  the  introduction  of  the  essay.  
 
From   1918   Derkovits   was   trained   at   the   free   school   set   up   in   Haris-­‐köz   where   Rippl-­‐
Rónai   József,   Vedres   Márk   and   Kernstok   Károly   proofread.   There   he   learnt   to   paint  
and   do   copper   engravings   and   produced   mostly   pencil   and   tint   drawings.  
(www.terminartors.com)  

  3  
During  the  succeeding  Hungarian  Soviet  Republic  in  1919  he  worked  on  Kernstok's  
land   and   did   not   plan   to   return   to   the   capital   due   to   the   atmosphere.   As   being   an  
artist,  he  politicizes  with  his  art  and  he  wants  the  artistic  life  to  be  opened  to  what  
has  been  going  on  recently  in  the  real  world,  instead  of  nice  ivory  towers.  
 
He   did   not   look   up   on   Kernstock   as   a   kind   of   role   model   for   him,   but   it   should   be  
admitted   that   he   had   much   to   offer   -­‐   he   taught   the   basics   of   "painting-­‐building",  
realized   Derkovits'   talent   in   compositions   and   thus   directed   him   to   this   path.   What  
he   was   mostly   taken   by   is   Kernstock's   way   of   thinking   -­‐   he   made   a   connection  
between  art  and  politics,  therefore  art  has  a  social  role.  (Körner  Éva,  Derkovits  Gyula,  
p.  17)  
 
The  "Republic  of  Councils"  (made  up  of  Bolsheviks  and  left-­‐wing  Social  Democrats),  
led  by  Kun  Béla,  instead  of  waiting  for  the  deus  ex  machina,  officially  renounced  the  
territorial  integrity  of  Hungary.    
 
"When,  prompted  by  Paris,  Romania  and  Czechoslovakia  attacked  Kun’s  Hungary,  the  
Hungarian   counter-­‐attack   was   successful   and   in   the   eastern   half   of   what   is   today  
Slovakia   a   “Slovak   Republic   of   Councils”   was   proclaimed,   Georges   Clemenceau,   the  
Chairman   of   the   Peace   Conference,   prevailed   upon   Kun   to   stop   fighting   and   evacuate  
the   territories   occupied.   That   decision   contributed   to   the   fall   of   the   Hungarian  
Bolsheviks,   who   were   eventually   replaced   by   a   conservative-­‐leaning   national  
government,   which   was   eventually   summoned   to   Paris   to   be   presented   with   the  
terms   of   peace   in   January,   1920."   (Géza   Jeszenszky,   The   After-­‐Life   of   the   1920  
Hungarian  Peace,  p.  4)  
 
The  result  was  a  peace  treaty  signed  with  Hungary  and  from  that  time  on  the  name  
"Trianon"   became   a   household   word.   Extremist   political   tendencies   like   the  
nowadays   popular   Jobbik   party,   often   refer   to   it   as   the   most   unfair   settlement   as   it  
broke  up  the  kingdom,  reduced  the  territory  to  its  third  and  attaching  (against  their  
will)   several   million   Hungarians   to   neighbouring   countries   where   they   became  
victims   of   discrimination.   Repeating   history   always   boosts   people's   nationality,  
therefore,  mentioning  "Trianon"  is  a  good  weapon  for  revolution.  

  4  
With  the  fall  of  the  soviet  republic,  as  all  other  politically  compromising  institutions,  
the   school   in   which   Derkovits   learnt   had   to   break   up.   Students   left   the   building  
during  night,  hiding.  1920  is  an  important  year,  Derkovits  got  married  with  a  model  
from  the  free  school,  named  Dombai  Viktória  with  whom  he  had  been  going  out  for  2  
years.  Finding  a  life-­‐long  partner  strengthened  him  in  his  beliefs  and  convinced  him  
to  undertake  his  "character".  This  relations'  testimony  appeared  in  his  later  double  
portraits.  (Körner  Éva,  Derkovits  Gyula,  p.  21)  
 
When   Szobotka   Imre   travelled  
abroad,   he   offered   his   studio.   From  
that   time   on,   Derkovits   had   the  
opportunity   to   paint   larger  
compositions.   His   first   exhibition  
was   opened   in   November   1922   in  
Gallery   Belvedere   exposing   70  
artworks.  This  was  also  the  end  of  
his   first   artistic   period.   He   was  
under   the   influence   of   the   neo-­‐
Nazarene   worldviews,   which   were  
interpreted   by   the   "Nyolcak".   (An  

Koncert   art   group   formed   by   8   artists,  

1921   looked   for   "new".   Their   art  
originally   stems   from   Cézanne's   works,   but   the   aim   was   similar   to   some  
contemporary  Western  Europeans')  (www.bibl.u-­‐szeged.hu)    
 
 Paintings   like   "Koncert"   (1921)   or   "Nagy   fa   alatt"   (1922),   both   exhibited   at   the  
National  Gallery,  Budapest,  evokes  the  ideal  harmony  of  the  lost  Paradise  and  Golden  
Age.   "Koncert"   illustrates   a   few   people   sitting   in   a   ring,   with   their   body   naked,   the  
painting  evokes  the  golden-­‐age  Arcadia's  generality.  Human  community  is  based  on  
the   man-­‐woman-­‐child   principle   that   makes   up   a   family.   The   man   in   front   of   them,  
playing   on   the   violoncello   symbolizes   not   the   fourth   member,   but   completes   the  
musical  harmony's  ideal  image.  (Körner  Éva,  Derkovits  Gyula,  p.  45)  
 

  5  
Derkovits'   status,   the   poverty   and   hopelessness   were   opposed   to   cold,   isolationist  
politics   and   official   art,   which   "drools"   a   national-­‐romantic   bitterness   while   having  
its  suppression.  He  tried  to  escape  from  this  by  looking  for  
international   art   and   personal   relations   but   the   depressed  
searching  was  grievous  mostly  because  of  such  isolation.  His  
subjects   tell   the   same.   He   kept   painting   still   lives   -­‐   which  
indicates   that   he   desired   classical   genres   but   it   was  
impossible   to   work   in   piece.   Thus,   his   portraits   (and   even  
his   still   lives)   reveal   deep   tension.   He   created   high   artistic  
values,   this   can   especially   be   seen   in   his   portrayals   -­‐   how   he  

could   fill   his   art   with   life   and   "credit"   while   not   becoming  
Püspöksüveges  
önarckép   political  propagator  (although  he  was  very  dedicated).  
1923  
 
 
The   sentimentality   of   Derkovits   Gyula's   early  
painting  was  soon  superseded  by  a  mixture  of  Cubist  
composition   and   (German)   Expressionist   concern.  
His  Self-­‐portrait  with  Bishop's  Mitre,  exhibited  at  the  
National   Gallery,   Budapest,   shows   a   hammer   and  
sickle   in   a   five-­‐pointed   star   on   the   mitre,  
representing   his   romantic   personality.   The   archaic-­‐
mythological   'ideal'   world's   counterpart   appears   in   Utolsó  vacsora  
his   biblical   compositions.   In   his   Last   Supper,   also   1922

exhibited   at   the   National   Gallery,   Budapest,   the   faces   are   all   self-­‐portraits,   and   this  
artwork  can  be  the  rollup  of  the  biblical  paintings.  (www.facebook.com)  
 
AFTER  TRIANON  
 
In  1923  he  settled  in  Vienna  for  three  years,  his  brother  helped  him.  He  organized  his  
own   exhibition   at   the   Gallery   Weihburg   in   February   1925   with   considerable   success.  
In   May,   he   organized   an   exhibition   in   Budapest,   at   Mentor   Bookshop   where   he   could  
expose  his  newest  works.  (www.artportal.hu)  

  6  
Vienna  meant  a  new  period  in  his  art.  Vienna  meant  physical  boredom.  Thanks  to  the  
new   environment   -­‐   the   relatively   "stable"   (calculable?)   financial   background,   the  
freer   political   atmosphere   and   personal   relationships   -­‐   the   sudden   change   in   the  
topics   is   obvious.   The   shift   to   fall,   persecution,   death   and   runaway   are   all   his  
individual  adaptation  that  resembles  the  visions  of  the  German  Expressionism.  
 
After   3   years   of   emigration,   in   1926   he   moved   back.   It   was   due   to   the   Bethlen  
consolidation   that   several   artists   escaped   (e.g.   Kassák,   Kernstok,   Berény,   Bernáth)  
could   return   to   Hungary.   At   the   beginning,   together   with   his   wife   they   stayed   at  
temporary   accommodation   sites   but   found   home   in   Újpest.   Stressed   with   never-­‐
ending  financial  problems  he  looked  for  his  place  in  the  world  ("the  fugitive  artist"),  
but   what   was   more   depressing   for   him   is   the   poverty   of   cultural-­‐artistic   life   (Bethlen  
also   consolidated   the   cultural   life...)   Only   silence   ruled.   The   intellectual   stagnation  
caused  the  dilution  of  his  style  and  he  turned  to  another  direction.  
 
He  joined  the  KUT  art  group  and  slowly  he  found  some  maecenas,  buyers.  The  Fine  
Art  Museum  bought  "Élet  és  halál"  giving  some  hope  to  the  ever  dissatisfied  painter,  
thus   continuing   with   a   new   dynamism   which   even   if   not   providing   financial   security,  
resulted  in  the  completion  of  artistic  development.  At  Ernst  Museum,  he  exhibited  40  
pictures   in   Budapest   in   1927,   and   he   was   immediately   ranked   among   the   best  
Hungarian  painters.  (www.kieselbach.hu)  
 
The   earlier   cubist-­‐style   was   replaced   by   enhancing   the   dramatic   shadow   and   light  
contrasts.   This   was   due   to   the   effects   of   the   political   experiences   from   Vienna   that  
appeared   in   Derkovits'   art   from   1928   and   also,   this   was   the   time   when   he   was  
actively  involved  in  the  work  of  the  illegal  communist  party.    

"Let   the   ruling   classes   tremble   at   a   Communistic   revolution.   The   proletarians   have  
nothing   to   lose   but   their   chains.   They   have   a   world   to   win.   Working   Men   of   All  
Countries,  Unite!"(Karl  Marx,  Friedrich  Engels,  The  Communist  Manifesto,  Chapt.  IV)  

  7  
 Leading  issues  of  his  art  were  the  street  
and   home.   The   chaotic   bustle   of   the  
outside   world   or   "genre   scenes"   of  
everyday   life   are   being   represented   in  
his   artworks.   Working   men   -­‐   as   a   key  
figure   appear   in   paintings   like    
"Baromfivásár"   (1929),   "Halászok   I"  
(1929),   showing   lumpers   or   market  
scenes.     The   sharp   contrast   (between  
sweet   home   and   the   outside   world's  
rough   whirl   with   a   relative   financial  
security)   is   formed   in   his   art.  
Halászok  I   (www.artportal.hu)   The   expressionist  
1929   composition  allowed  laxity  -­‐  the  viewer  
is  faced  with  the  occasion.  By  the  way,  
this  painting's  starting  price  at  an  auction  held  at  Virág  Judit's  Gallery  last  December,  
was  20  million  Ft  -­‐  being  the  highest  of  its  kind.  (www.kultura.hu)  

It  was  during  this  period  when  he  made  (after  commission  by  the  communist  party)  
his   most   significant   graphic   work,   12   wood   engravings   which   show   Dózsa   Görgy's  
peasants'  revolt.  (Later,  in  1931  inspired  by  the  same  Dózsa-­‐series,  he  made  copper  
engravings)  (www.hung-­‐art.hu)  

It   is   the   synthesis   of   past   and   present,   the   actualization   and   assimilation   of   a  

historical   topic   fused   with   modern   art's   lively   intentions   while   giving   birth   to   the  
new   age   of   Hungarian   wood   engravings.   After   a   25-­‐year-­‐long   stagnation   of  
illustrating  historical  topic  as  an  artistic  mission,  historical  representation  returned  
to  the  center,  reviving  Hungary's  former  pursuit.  This  was  not  the  society's  desire  but  
the   political   regime's   that   wanted   to   show   its   "family   tree",   highlight   its   "raison  
d'etre".  Derkovits  re-­‐experienced  his  life  while  illustrating  Dózsa's  -­‐  his  feelings  were  
storming  in  the  shades  of  history.  These  works  not  only  represent  his  subjective  self-­‐
expressions  but  he  opens  to  the  public  as  an  agitation  of  his  (political)  views.  (Körner  
Éva,  Derkovits  Gyula,  p.  169,  170,  171)  

  8  
        
I.  Menetelők   II.  Kaszafenő  paraszt   III.  Kapudöngetők   IV.  Felkelő  paraszt  

       
V.  Dózsa  a  várfokon   VI.  Összecsapás   VII.  Leveretés   VIII.  Máglyák  

       
IX.  Dózsa  a  tüzes  trónon   X.  Verbőczy   XI.  Lőrincz  pap   XIa.  Leölt  parasztok  (unfinished)  

The   message   of   these   series   also   applies   to   nowadays   and   such   a   representation   of  
the   past   is   still   one   of   the   most   significant   historical   art   pieces   of   Hungary.   These  
artworks   truly   show   that   suppression,   poverty,   inequity   and   injustice   were   in   the  
focus,   not   to   forget   radicalism.   The   design   is   "snippy"   but   powerful,   the   applied  
technique   (engraving)   also   emphasizes   this.   There   are   no   traditional   oil,   aquarelle   or  
wall  paintings  (he  even  would  not  have  got  wall...)  but  he  was  not  exceptional.  Kassák  
or  Ék  Sándor  worked  in  these  thoughts,  too.  They  all  undertook  political  "speaking"  
but   again,   this   was   completely   different   from   the   official   trianon-­‐centric   priggish   and  
prissy  national  way  of  thinking  accompanied  by  the  19th  century's  romantic  painting  
tools.  

  9  
THE  1930S  
 
From   the   1930s   on,   Derkovits   "organizationally"   no   longer   belonged   to   the  
communists.   "Although   he   later   lost   active   contact   ...   he   remained   committed   to   its  
ideals.   This   is   reflected   in   the   iconography   of   his   work;   even   his   early   works,   most   of  
which  are  untraced,  show  a  conspicuous  social  concern."  (www.facebook.com)  
 
At  that  time,  the  term:  politicizing,  free  artist  could  not  exist,  if  there  had  been  any  of  
this  kind  they  would  have  made  revolution,  like  the  writers,  Petőfi  Sándor's  circle...  
From   that   time   on,   throughout   the   socialist   era,   showing   free   mindset,   poverty,  
plebeian   radicalism   and   "raw"   truth   was   a   problem,   moreover   looking   for  
international   relations   was   a   problem,   too.   You   could   live   in   a   compliant   manner  
together  with  the  official  politics,  deeply  locked  into  your  world.  And  that's  it...  
 
The  date  of  1930  indicates  a  firm  break  in  the  oeuvre,  the  imprisonment,  the  eviction  
and  the  loss  of  home  fill  his  works  with  deeper  and  more  "authentic"  drama.  His  final  
period   is   best   respresented   by  
"Végzés"   (1930),   "Alvó"   (1932),  
"Kivégzés"   (1932),   "Vasút   mentén"  
(1932),   "Anya"   (1934).   During   the  
last   years,   he   created   an   entirely  
individual  style  for  himself  with  the  
combination   of   the   strict   editing,  
lyric   use   of   color   and   the   inspired  
portrayal.   The   Order,   exhibited   at  
the   National   Gallery,   Budapest   can  
be   the   finishing   element   of   the  
home-­‐paintings   showing   a   radical  
social   topic.   A   double   portrait's   the  
two   poles   (split   between   in   and  
out),  appears  as  a  sinister  shadow  -­‐  
Végzés  
1930   the  couple  reading  the  order  by  the  

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open  window  and  the  shadow  of  the  cat  point  out  the  tragic  fear.  Because  of  the  time  
spent   in   jail   and   the   constant   distress,   poverty   and   diseases   put   an   end   to   his   life.   He  
died  of  tuberculosis  in  1934.  (www.artportal.hu)  
 
His  last  period  was  a  unique  mixture  of  realism  and  abstraction.  He  fuses  the  social-­‐
critical  realism  and  Plato's  ideal  realism  that  appears  in  abstract  constructivism.  This  
"movement"  worked  on  one  condition:  the  present  contrast  of  reality  and  idea.  But  it  
also   needed   relative   freedom   as   well   as   spiritual   perspective   for   perfect   human  
fulfillment.  (Körner  Éva,  Derkovits  Gyula,  p.  293)  
 
Derkovits   Gyula   was   a   very   lonely   person,   a   good   artist   but   his   destiny   is  
unfortunately   pretty   typical.   His   fate   is   deeply   tragic,   his   art   is   realistic,   even  
autobiographically  inspirational.    
 
He  was  recognized  and  glorified  in  the  1950s,  the  Rákosi  era  nominated  posthumous  
him   as   the   painter   of   the   nation   -­‐   but   it   is   not   his   responsibility   or   fault,   surely   he  
would   have   hated   this   "title".   He   fought   against   suppression   and   for   freedom.   He  
produced  high  quality  works  and  wanted  to  belong  to  the  European  art  world.  Rákosi  
vainly   glamorized   Derkovits,   actually   he   just   expropriated   the   artist   -­‐   he   stole   the  
essential  "features"  of  him  as  if  the  party  was  the  representative  of  poor  people.  On  
the  contrary,  Derkovits  showed  the  inhumanity  of  power  mechanism,  no  matter  who  
controls   (governs?).   Poor   Derkovits   never   saw   what   his   favorite   party   became   -­‐  
perhaps  it  is  better  this  way.  But,  it  is  for  sure  that  free-­‐minded  and  active  artists  had  
not  much  to  expect  for  at  least  50  years,  therefore  Derkovits'  destiny  is  still  ordinary.  
 

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REFERENCES  
 
Derkovits  Gyula  Page,  Facebook,  accessed:  2011.04.23:  
http://www.facebook.com/pages/Derkovits-­‐Gyula/102535113133878  
 
Ronald  Reagan:  In  his  own  words,  BBC  News,  accessed  2011.04.23:  
http://news.bbc.co.uk/2/hi/americas/3780871.stm  
 
Derkovits  Gyula  artist's  profile,  Terminartors,  accessed  2011.04.23:  
http://www.terminartors.com/artistprofile/Derkovits_Gyula  
 
A  Nyolcak  festészete,  bibl.u-­‐szeged,  accessed  2011.04.23:    
http://www.bibl.u-­‐szeged.hu/ha/muveszet/nyolcak.html  
 
Derkovits  Gyula,  bibl.u-­‐szeged,  accessed  2011.04.23:    
http://www.bibl.u-­‐szeged.hu/ha/muveszet/derkovits/derkovits.html  
 
Derkovits  Gyula,  artportal.hu,  accessed  2011.04.23:  
http://artportal.hu/kislexikon/derkovits_gyula  
 
Derkovits  Gyula:  Mi  ketten,  Kieselbach,  accessed  2011.04.24:  
http://www.kieselbach.hu/cgi-­‐
bin/kieselbach.cgi?MENUID=HIREK&HIRID=1234&ARCHIV=&KATID=284  
 
Sokat  érnek  a  halászok,  kultúra.hu,  acessed  2011.04.24:  
http://kultura.hu/main.php?folderID=948&ctag=articlelist&iid=1&articleID=308426  
 
István  I.  Mócsy:  The  Effects  of  World  War  I,  Chapter  1,  3,  6,  online  version:  
http://www.hungarianhistory.com/lib/mocsy/  
 
Géza  Jeszenszky:  The  After-­‐Life  of  the  1920  Hungarian  Peace,  p.  4  
 
George  Orwell,  Animal  Farm,  Penguin  Group  (UK),  1987,  p.  90  
 
Karl  Marx,  Friedrich  Engels,  The  Communist  Manifesto,  Chapter  IV,  online  version:  
http://books.google.hu/books?id=DFSevbr6VJgC&printsec=frontcover&dq=communist+manifesto#v
=onepage&q&f=false  
 
Derkovits  Gyula,  Képőművészet  Magyarországon,  accessed  2011.04.24:  
http://www.hung-­‐art.hu/frames.html?/magyar/d/derkovit/muvek/dozsa/index.html  
 
Körner  Éva,  Derkovits  Gyula,  Corvina,  2nd  edition,  1968,  p.  17,  21,  45,  169,  170,  171,  
293  

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