Thorma Janos (Ion)

Anul Nasterii: 1870

Anul Decesului: 1937

Text:

Foto: Artindex/Mihai Constantin

János Thorma

(24 April 1870 – 5 December 1937)

Was a Hungarian painter. A representative figure of the Nagybánya artists’ colony, his work progressed from naturalism, to historical subjects, to romantic realism to a Post-Impressionism of a style specific to Nagybánya (today Baia Mare, Romania).
Born in Kiskunhalas, Kingdom of Hungary, Austria-Hungary to the tax agency cashier Béla Thorma and his wife Gizella Fekete, Thorma moved with his family to Nagybánya at the age of 14. He began to study art at Bertalan Székely’s drawing school, continuing to learn under Simon Hollósy at Munich from 1888 to 1890. In 1891 and 1893-95 he worked at the Académie Julian in Paris. His first significant painting, Szenvedők (“The Bereaved”), was exhibited at the Budapest Art Gallery, then at the Paris Salon in 1894. In 1896, on the occasion of the millennium of the Magyars’ conquest of Pannonia, he presented his painting about The 13 Martyrs of Arad, Aradi vértanúk (“The Martyrs of Arad”), which gained him nationwide renown. In 1896 he was one of the founders of the Nagybánya artists’ colony, and from 1902-27 he was a teacher at the Nagybánya Painters’ Association, becoming its president in 1917. In 1898 he began to paint Talpra magyar! (“Rise up, Hungarian!”), on which he worked intermittently almost to his death.

His first paintings were naturalistic, and an early inspiration was Jules Bastien-Lepage, whose most popular work, the Portrait of Sarah Bernhardt, he used in 1892 as a model in painting Irén Biltz; the result bore the characteristic atmosphere of Art Nouveau. However, he felt that naturalism offered him too little to achieve his goals as a painter, and already as a young man drew inspiration from German romanticism (“The Bereaved”, 1892) and French classicism (“The Martyrs of Arad”, 1893–94). In 1897, following a long trip to Western Europe, he painted his Biblical subjects (including Békesség veletek – “Pax vobiscum”), which show the influence of Rembrandt.

After 1900, Thorma’s work turned toward realism (Kocsisok között – “Among the Coachmen”, 1902; Október elsején – “On the First of October”, 1903; Kártyázók – “The Card-Players”, 1904). In 1906-07 he was under Spanish influence (Cigányutca – “The Gypsies’ Street”, 1907), while for a brief period around 1910 Paul Gauguin inspired him (Húsvéti kenyérszentelés – “The Blessing of the Bread”, Templombamenők – “People Going toward Church”, both ca. 1910). After 1920 he developed his own en plein air style, based on his substantial knowledge of painting and employing certain elements of neo-classicism (Tavasz – “Spring”, ca. 1920; Fürdés után – “After Bathing”, 1928). In the last decade of his life, he painted very beautiful impressionistic landscapes and portraits without restrictions

In 1918 he took his historical works to Hungary expecting the Romanian invasion at the end of World War I and stored them in Debrecen, Hungary afterwards. After the Treaty of Trianon, only he remained in the region, all other Hungarian painters left. He had to continue the “official Nagybánya school” that he had never represented before.

In September 1929, Thorma, aged 59 and until then a bachelor, married his disciple and distant relative Margit Kiss. He died in Baia Mare eight years later
Sursa: http://en.wikipedia.org/wiki/J%C3%A1nos_ThormaThorma_Janos_Vara Thorma_Janos_Sfintirea pâinii de Pasti Thorma_Janos_Femeie in rochie japoneza Thorma_Janos_Peisaj la malul S_sarului cu figur_