Mattis Teutsch and the Romanian avant-garde Mariana Vida and Gheorghe Vida
Notes 1 ENESCU, Theodor. Momentul 1910 în istoria artei moderne româneşti. In: Studii şi Cercetări de Istoria Artei, Seria Arta Plastică, 1991.vol. 38.58-66. 2 BREZIANU, Barbu. Brâncuşi în cultura şi critica românescă 1898-1914. In: Pagni de artă modernă românească. Editura Academiei RSR, Bucuresti, 1974. 78-86. 3 DAVIDESCU, Cătălin. Arthur Segal en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV. 1987. 59-68. See also LISKA, Pavel. Arthur Segal – Leben und Werk and PAVEL, Amelia. Arthur Segal – Lebensperiode und Schaffen in Rumänien. In: Arthur Segal 1875-1944. [Cat. Wulf HERZOGENRATH and Pavel Lisˇka], Argon, Berlin, 1987. 25. and 81-82. 4 It was Iser who suggested the pseudonym Maxy to Max Herman in 1918. Both of the prominent figures of Modernism worked in Iser’s studio. See Cu Marcel Iancu despre el şi despre altii. [Al. ROBOT’s interview]. Rampa, August 1933. No. 4680. and Cu pictorul Maxy despre el şi despre altii. [Leandru POPOVICI’s interview]. Rampa. 27 July, 1947. 5 See VLASIU, Ioana. Le Futurisme en Roumanie avant la premiere guerre mondiale. Ligeia, No. 21-24. October 1997-June 1998. 172-180. 6 SZABÓ, Júlia. Avant-garde Visitors in Central Europe, 1913-1931. [Extract, Brno, 1996], 176. 7 Das Ziel. Kultur und Satyre, Kronstadt, 1919. Issue 1. Publishing owners: Emil Honigberger, Hermann Frätschkes, Hans Bening and R. Weber. 8 SZÉKELY, Erzsébet. Az “én emberem” – a mi emberünk. A Hét, 20 September, 1984. Vol. XV. No. 39.5. The interview of Erzsébet Székely with the painter, Irén Lukász. In fact, Irén Lukász wrote an excellent paper on the topic, containing an appropriate suggestion about the division of Mattis Teutsch’s oeuvre into periods, in the yearbook of the Museum of Sepsiszentgyörgy (LUKÁSZ, Irén. Mattis-Teutsch. Aluta.1969. 327-338.). 9 Kunstausstellungen. Das Ziel, 1919. [May] Vol. I., Issue 4, 50. The room in the Redut was provided by Kronstädter Sparkasse. 10 HEVESY, Mattis Teutsch (Vorbesprechung). Das Ziel, 1 July, 1919. Vol. I. Issue 6.91. 11 M.T., Kollektiv-Ausstellung Ernst Honigberger. Das Ziel, 15 July, 1919. Vol. I. Issue 7.111. 12 Kollektiv-Ausstellung Mattis Teutsch. July 1919. [Catalogue] 13 - g -, Kollektiv-Ausstellung Mattis Teutsch. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 140. 14 M.T., Kollektiv – Ausstellung Tutsek Gyula. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 141. Gyula Tutsek published a review of Mattis Teutsch’s exhibition in the 159. (16 July, 1919) issue of Brassói Lapok, in which he asserted that: “As far as the painting of Expressionistic impressions is concerned, we find ourselves on the threshold of a new world.” 15 Das Ziel, 15 August, 1919. Vol. I. Issue 9., 155. 16 ROTH, Hermann, Der Schein der Wirklichkeit und seine Ueberwindung durch die Erscheinung der Kunst. Das Ziel, 15 August, Vol. I. 1919. Issue 9. 154-160. 17 See BOIS, Yves-Alain, L’Aveuglement. In: Henri Matisse. 1904-1907. [Cat.], Centre Georges Pompidou, 5e étage Grande Galérie, Paris, 25 February – 21 June, 1993. 14-16. 18 HERFURTH SACHSENHEIM, Edith, Weihnachtsausstellung. Das neue Ziel, 1 January, 1920. Vol. I. Issue 6, 104. 19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
1 ENESCU, Theodor. Momentul 1910 în istoria artei moderne româneşti. In: Studii şi Cercetări de Istoria Artei, Seria Arta Plastică, 1991.vol. 38.58-66. 2 BREZIANU, Barbu. Brâncuşi în cultura şi critica românescă 1898-1914. In: Pagni de artă modernă românească. Editura Academiei RSR, Bucuresti, 1974. 78-86. 3 DAVIDESCU, Cătălin. Arthur Segal en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV. 1987. 59-68. See also LISKA, Pavel. Arthur Segal – Leben und Werk and PAVEL, Amelia. Arthur Segal – Lebensperiode und Schaffen in Rumänien. In: Arthur Segal 1875-1944. [Cat. Wulf HERZOGENRATH and Pavel Lisˇka], Argon, Berlin, 1987. 25. and 81-82. 4 It was Iser who suggested the pseudonym Maxy to Max Herman in 1918. Both of the prominent figures of Modernism worked in Iser’s studio. See Cu Marcel Iancu despre el şi despre altii. [Al. ROBOT’s interview]. Rampa, August 1933. No. 4680. and Cu pictorul Maxy despre el şi despre altii. [Leandru POPOVICI’s interview]. Rampa. 27 July, 1947. 5 See VLASIU, Ioana. Le Futurisme en Roumanie avant la premiere guerre mondiale. Ligeia, No. 21-24. October 1997-June 1998. 172-180. 6 SZABÓ, Júlia. Avant-garde Visitors in Central Europe, 1913-1931. [Extract, Brno, 1996], 176. 7 Das Ziel. Kultur und Satyre, Kronstadt, 1919. Issue 1. Publishing owners: Emil Honigberger, Hermann Frätschkes, Hans Bening and R. Weber. 8 SZÉKELY, Erzsébet. Az “én emberem” – a mi emberünk. A Hét, 20 September, 1984. Vol. XV. No. 39.5. The interview of Erzsébet Székely with the painter, Irén Lukász. In fact, Irén Lukász wrote an excellent paper on the topic, containing an appropriate suggestion about the division of Mattis Teutsch’s oeuvre into periods, in the yearbook of the Museum of Sepsiszentgyörgy (LUKÁSZ, Irén. Mattis-Teutsch. Aluta.1969. 327-338.). 9 Kunstausstellungen. Das Ziel, 1919. [May] Vol. I., Issue 4, 50. The room in the Redut was provided by Kronstädter Sparkasse. 10 HEVESY, Mattis Teutsch (Vorbesprechung). Das Ziel, 1 July, 1919. Vol. I. Issue 6.91. 11 M.T., Kollektiv-Ausstellung Ernst Honigberger. Das Ziel, 15 July, 1919. Vol. I. Issue 7.111. 12 Kollektiv-Ausstellung Mattis Teutsch. July 1919. [Catalogue] 13 - g -, Kollektiv-Ausstellung Mattis Teutsch. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 140. 14 M.T., Kollektiv – Ausstellung Tutsek Gyula. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 141. Gyula Tutsek published a review of Mattis Teutsch’s exhibition in the 159. (16 July, 1919) issue of Brassói Lapok, in which he asserted that: “As far as the painting of Expressionistic impressions is concerned, we find ourselves on the threshold of a new world.” 15 Das Ziel, 15 August, 1919. Vol. I. Issue 9., 155. 16 ROTH, Hermann, Der Schein der Wirklichkeit und seine Ueberwindung durch die Erscheinung der Kunst. Das Ziel, 15 August, Vol. I. 1919. Issue 9. 154-160. 17 See BOIS, Yves-Alain, L’Aveuglement. In: Henri Matisse. 1904-1907. [Cat.], Centre Georges Pompidou, 5e étage Grande Galérie, Paris, 25 February – 21 June, 1993. 14-16. 18 HERFURTH SACHSENHEIM, Edith, Weihnachtsausstellung. Das neue Ziel, 1 January, 1920. Vol. I. Issue 6, 104. 19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
2 BREZIANU, Barbu. Brâncuşi în cultura şi critica românescă 1898-1914. In: Pagni de artă modernă românească. Editura Academiei RSR, Bucuresti, 1974. 78-86. 3 DAVIDESCU, Cătălin. Arthur Segal en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV. 1987. 59-68. See also LISKA, Pavel. Arthur Segal – Leben und Werk and PAVEL, Amelia. Arthur Segal – Lebensperiode und Schaffen in Rumänien. In: Arthur Segal 1875-1944. [Cat. Wulf HERZOGENRATH and Pavel Lisˇka], Argon, Berlin, 1987. 25. and 81-82. 4 It was Iser who suggested the pseudonym Maxy to Max Herman in 1918. Both of the prominent figures of Modernism worked in Iser’s studio. See Cu Marcel Iancu despre el şi despre altii. [Al. ROBOT’s interview]. Rampa, August 1933. No. 4680. and Cu pictorul Maxy despre el şi despre altii. [Leandru POPOVICI’s interview]. Rampa. 27 July, 1947. 5 See VLASIU, Ioana. Le Futurisme en Roumanie avant la premiere guerre mondiale. Ligeia, No. 21-24. October 1997-June 1998. 172-180. 6 SZABÓ, Júlia. Avant-garde Visitors in Central Europe, 1913-1931. [Extract, Brno, 1996], 176. 7 Das Ziel. Kultur und Satyre, Kronstadt, 1919. Issue 1. Publishing owners: Emil Honigberger, Hermann Frätschkes, Hans Bening and R. Weber. 8 SZÉKELY, Erzsébet. Az “én emberem” – a mi emberünk. A Hét, 20 September, 1984. Vol. XV. No. 39.5. The interview of Erzsébet Székely with the painter, Irén Lukász. In fact, Irén Lukász wrote an excellent paper on the topic, containing an appropriate suggestion about the division of Mattis Teutsch’s oeuvre into periods, in the yearbook of the Museum of Sepsiszentgyörgy (LUKÁSZ, Irén. Mattis-Teutsch. Aluta.1969. 327-338.). 9 Kunstausstellungen. Das Ziel, 1919. [May] Vol. I., Issue 4, 50. The room in the Redut was provided by Kronstädter Sparkasse. 10 HEVESY, Mattis Teutsch (Vorbesprechung). Das Ziel, 1 July, 1919. Vol. I. Issue 6.91. 11 M.T., Kollektiv-Ausstellung Ernst Honigberger. Das Ziel, 15 July, 1919. Vol. I. Issue 7.111. 12 Kollektiv-Ausstellung Mattis Teutsch. July 1919. [Catalogue] 13 - g -, Kollektiv-Ausstellung Mattis Teutsch. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 140. 14 M.T., Kollektiv – Ausstellung Tutsek Gyula. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 141. Gyula Tutsek published a review of Mattis Teutsch’s exhibition in the 159. (16 July, 1919) issue of Brassói Lapok, in which he asserted that: “As far as the painting of Expressionistic impressions is concerned, we find ourselves on the threshold of a new world.” 15 Das Ziel, 15 August, 1919. Vol. I. Issue 9., 155. 16 ROTH, Hermann, Der Schein der Wirklichkeit und seine Ueberwindung durch die Erscheinung der Kunst. Das Ziel, 15 August, Vol. I. 1919. Issue 9. 154-160. 17 See BOIS, Yves-Alain, L’Aveuglement. In: Henri Matisse. 1904-1907. [Cat.], Centre Georges Pompidou, 5e étage Grande Galérie, Paris, 25 February – 21 June, 1993. 14-16. 18 HERFURTH SACHSENHEIM, Edith, Weihnachtsausstellung. Das neue Ziel, 1 January, 1920. Vol. I. Issue 6, 104. 19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
3 DAVIDESCU, Cătălin. Arthur Segal en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV. 1987. 59-68. See also LISKA, Pavel. Arthur Segal – Leben und Werk and PAVEL, Amelia. Arthur Segal – Lebensperiode und Schaffen in Rumänien. In: Arthur Segal 1875-1944. [Cat. Wulf HERZOGENRATH and Pavel Lisˇka], Argon, Berlin, 1987. 25. and 81-82. 4 It was Iser who suggested the pseudonym Maxy to Max Herman in 1918. Both of the prominent figures of Modernism worked in Iser’s studio. See Cu Marcel Iancu despre el şi despre altii. [Al. ROBOT’s interview]. Rampa, August 1933. No. 4680. and Cu pictorul Maxy despre el şi despre altii. [Leandru POPOVICI’s interview]. Rampa. 27 July, 1947. 5 See VLASIU, Ioana. Le Futurisme en Roumanie avant la premiere guerre mondiale. Ligeia, No. 21-24. October 1997-June 1998. 172-180. 6 SZABÓ, Júlia. Avant-garde Visitors in Central Europe, 1913-1931. [Extract, Brno, 1996], 176. 7 Das Ziel. Kultur und Satyre, Kronstadt, 1919. Issue 1. Publishing owners: Emil Honigberger, Hermann Frätschkes, Hans Bening and R. Weber. 8 SZÉKELY, Erzsébet. Az “én emberem” – a mi emberünk. A Hét, 20 September, 1984. Vol. XV. No. 39.5. The interview of Erzsébet Székely with the painter, Irén Lukász. In fact, Irén Lukász wrote an excellent paper on the topic, containing an appropriate suggestion about the division of Mattis Teutsch’s oeuvre into periods, in the yearbook of the Museum of Sepsiszentgyörgy (LUKÁSZ, Irén. Mattis-Teutsch. Aluta.1969. 327-338.). 9 Kunstausstellungen. Das Ziel, 1919. [May] Vol. I., Issue 4, 50. The room in the Redut was provided by Kronstädter Sparkasse. 10 HEVESY, Mattis Teutsch (Vorbesprechung). Das Ziel, 1 July, 1919. Vol. I. Issue 6.91. 11 M.T., Kollektiv-Ausstellung Ernst Honigberger. Das Ziel, 15 July, 1919. Vol. I. Issue 7.111. 12 Kollektiv-Ausstellung Mattis Teutsch. July 1919. [Catalogue] 13 - g -, Kollektiv-Ausstellung Mattis Teutsch. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 140. 14 M.T., Kollektiv – Ausstellung Tutsek Gyula. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 141. Gyula Tutsek published a review of Mattis Teutsch’s exhibition in the 159. (16 July, 1919) issue of Brassói Lapok, in which he asserted that: “As far as the painting of Expressionistic impressions is concerned, we find ourselves on the threshold of a new world.” 15 Das Ziel, 15 August, 1919. Vol. I. Issue 9., 155. 16 ROTH, Hermann, Der Schein der Wirklichkeit und seine Ueberwindung durch die Erscheinung der Kunst. Das Ziel, 15 August, Vol. I. 1919. Issue 9. 154-160. 17 See BOIS, Yves-Alain, L’Aveuglement. In: Henri Matisse. 1904-1907. [Cat.], Centre Georges Pompidou, 5e étage Grande Galérie, Paris, 25 February – 21 June, 1993. 14-16. 18 HERFURTH SACHSENHEIM, Edith, Weihnachtsausstellung. Das neue Ziel, 1 January, 1920. Vol. I. Issue 6, 104. 19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
4 It was Iser who suggested the pseudonym Maxy to Max Herman in 1918. Both of the prominent figures of Modernism worked in Iser’s studio. See Cu Marcel Iancu despre el şi despre altii. [Al. ROBOT’s interview]. Rampa, August 1933. No. 4680. and Cu pictorul Maxy despre el şi despre altii. [Leandru POPOVICI’s interview]. Rampa. 27 July, 1947. 5 See VLASIU, Ioana. Le Futurisme en Roumanie avant la premiere guerre mondiale. Ligeia, No. 21-24. October 1997-June 1998. 172-180. 6 SZABÓ, Júlia. Avant-garde Visitors in Central Europe, 1913-1931. [Extract, Brno, 1996], 176. 7 Das Ziel. Kultur und Satyre, Kronstadt, 1919. Issue 1. Publishing owners: Emil Honigberger, Hermann Frätschkes, Hans Bening and R. Weber. 8 SZÉKELY, Erzsébet. Az “én emberem” – a mi emberünk. A Hét, 20 September, 1984. Vol. XV. No. 39.5. The interview of Erzsébet Székely with the painter, Irén Lukász. In fact, Irén Lukász wrote an excellent paper on the topic, containing an appropriate suggestion about the division of Mattis Teutsch’s oeuvre into periods, in the yearbook of the Museum of Sepsiszentgyörgy (LUKÁSZ, Irén. Mattis-Teutsch. Aluta.1969. 327-338.). 9 Kunstausstellungen. Das Ziel, 1919. [May] Vol. I., Issue 4, 50. The room in the Redut was provided by Kronstädter Sparkasse. 10 HEVESY, Mattis Teutsch (Vorbesprechung). Das Ziel, 1 July, 1919. Vol. I. Issue 6.91. 11 M.T., Kollektiv-Ausstellung Ernst Honigberger. Das Ziel, 15 July, 1919. Vol. I. Issue 7.111. 12 Kollektiv-Ausstellung Mattis Teutsch. July 1919. [Catalogue] 13 - g -, Kollektiv-Ausstellung Mattis Teutsch. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 140. 14 M.T., Kollektiv – Ausstellung Tutsek Gyula. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 141. Gyula Tutsek published a review of Mattis Teutsch’s exhibition in the 159. (16 July, 1919) issue of Brassói Lapok, in which he asserted that: “As far as the painting of Expressionistic impressions is concerned, we find ourselves on the threshold of a new world.” 15 Das Ziel, 15 August, 1919. Vol. I. Issue 9., 155. 16 ROTH, Hermann, Der Schein der Wirklichkeit und seine Ueberwindung durch die Erscheinung der Kunst. Das Ziel, 15 August, Vol. I. 1919. Issue 9. 154-160. 17 See BOIS, Yves-Alain, L’Aveuglement. In: Henri Matisse. 1904-1907. [Cat.], Centre Georges Pompidou, 5e étage Grande Galérie, Paris, 25 February – 21 June, 1993. 14-16. 18 HERFURTH SACHSENHEIM, Edith, Weihnachtsausstellung. Das neue Ziel, 1 January, 1920. Vol. I. Issue 6, 104. 19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
5 See VLASIU, Ioana. Le Futurisme en Roumanie avant la premiere guerre mondiale. Ligeia, No. 21-24. October 1997-June 1998. 172-180. 6 SZABÓ, Júlia. Avant-garde Visitors in Central Europe, 1913-1931. [Extract, Brno, 1996], 176. 7 Das Ziel. Kultur und Satyre, Kronstadt, 1919. Issue 1. Publishing owners: Emil Honigberger, Hermann Frätschkes, Hans Bening and R. Weber. 8 SZÉKELY, Erzsébet. Az “én emberem” – a mi emberünk. A Hét, 20 September, 1984. Vol. XV. No. 39.5. The interview of Erzsébet Székely with the painter, Irén Lukász. In fact, Irén Lukász wrote an excellent paper on the topic, containing an appropriate suggestion about the division of Mattis Teutsch’s oeuvre into periods, in the yearbook of the Museum of Sepsiszentgyörgy (LUKÁSZ, Irén. Mattis-Teutsch. Aluta.1969. 327-338.). 9 Kunstausstellungen. Das Ziel, 1919. [May] Vol. I., Issue 4, 50. The room in the Redut was provided by Kronstädter Sparkasse. 10 HEVESY, Mattis Teutsch (Vorbesprechung). Das Ziel, 1 July, 1919. Vol. I. Issue 6.91. 11 M.T., Kollektiv-Ausstellung Ernst Honigberger. Das Ziel, 15 July, 1919. Vol. I. Issue 7.111. 12 Kollektiv-Ausstellung Mattis Teutsch. July 1919. [Catalogue] 13 - g -, Kollektiv-Ausstellung Mattis Teutsch. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 140. 14 M.T., Kollektiv – Ausstellung Tutsek Gyula. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 141. Gyula Tutsek published a review of Mattis Teutsch’s exhibition in the 159. (16 July, 1919) issue of Brassói Lapok, in which he asserted that: “As far as the painting of Expressionistic impressions is concerned, we find ourselves on the threshold of a new world.” 15 Das Ziel, 15 August, 1919. Vol. I. Issue 9., 155. 16 ROTH, Hermann, Der Schein der Wirklichkeit und seine Ueberwindung durch die Erscheinung der Kunst. Das Ziel, 15 August, Vol. I. 1919. Issue 9. 154-160. 17 See BOIS, Yves-Alain, L’Aveuglement. In: Henri Matisse. 1904-1907. [Cat.], Centre Georges Pompidou, 5e étage Grande Galérie, Paris, 25 February – 21 June, 1993. 14-16. 18 HERFURTH SACHSENHEIM, Edith, Weihnachtsausstellung. Das neue Ziel, 1 January, 1920. Vol. I. Issue 6, 104. 19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
6 SZABÓ, Júlia. Avant-garde Visitors in Central Europe, 1913-1931. [Extract, Brno, 1996], 176. 7 Das Ziel. Kultur und Satyre, Kronstadt, 1919. Issue 1. Publishing owners: Emil Honigberger, Hermann Frätschkes, Hans Bening and R. Weber. 8 SZÉKELY, Erzsébet. Az “én emberem” – a mi emberünk. A Hét, 20 September, 1984. Vol. XV. No. 39.5. The interview of Erzsébet Székely with the painter, Irén Lukász. In fact, Irén Lukász wrote an excellent paper on the topic, containing an appropriate suggestion about the division of Mattis Teutsch’s oeuvre into periods, in the yearbook of the Museum of Sepsiszentgyörgy (LUKÁSZ, Irén. Mattis-Teutsch. Aluta.1969. 327-338.). 9 Kunstausstellungen. Das Ziel, 1919. [May] Vol. I., Issue 4, 50. The room in the Redut was provided by Kronstädter Sparkasse. 10 HEVESY, Mattis Teutsch (Vorbesprechung). Das Ziel, 1 July, 1919. Vol. I. Issue 6.91. 11 M.T., Kollektiv-Ausstellung Ernst Honigberger. Das Ziel, 15 July, 1919. Vol. I. Issue 7.111. 12 Kollektiv-Ausstellung Mattis Teutsch. July 1919. [Catalogue] 13 - g -, Kollektiv-Ausstellung Mattis Teutsch. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 140. 14 M.T., Kollektiv – Ausstellung Tutsek Gyula. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 141. Gyula Tutsek published a review of Mattis Teutsch’s exhibition in the 159. (16 July, 1919) issue of Brassói Lapok, in which he asserted that: “As far as the painting of Expressionistic impressions is concerned, we find ourselves on the threshold of a new world.” 15 Das Ziel, 15 August, 1919. Vol. I. Issue 9., 155. 16 ROTH, Hermann, Der Schein der Wirklichkeit und seine Ueberwindung durch die Erscheinung der Kunst. Das Ziel, 15 August, Vol. I. 1919. Issue 9. 154-160. 17 See BOIS, Yves-Alain, L’Aveuglement. In: Henri Matisse. 1904-1907. [Cat.], Centre Georges Pompidou, 5e étage Grande Galérie, Paris, 25 February – 21 June, 1993. 14-16. 18 HERFURTH SACHSENHEIM, Edith, Weihnachtsausstellung. Das neue Ziel, 1 January, 1920. Vol. I. Issue 6, 104. 19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
7 Das Ziel. Kultur und Satyre, Kronstadt, 1919. Issue 1. Publishing owners: Emil Honigberger, Hermann Frätschkes, Hans Bening and R. Weber. 8 SZÉKELY, Erzsébet. Az “én emberem” – a mi emberünk. A Hét, 20 September, 1984. Vol. XV. No. 39.5. The interview of Erzsébet Székely with the painter, Irén Lukász. In fact, Irén Lukász wrote an excellent paper on the topic, containing an appropriate suggestion about the division of Mattis Teutsch’s oeuvre into periods, in the yearbook of the Museum of Sepsiszentgyörgy (LUKÁSZ, Irén. Mattis-Teutsch. Aluta.1969. 327-338.). 9 Kunstausstellungen. Das Ziel, 1919. [May] Vol. I., Issue 4, 50. The room in the Redut was provided by Kronstädter Sparkasse. 10 HEVESY, Mattis Teutsch (Vorbesprechung). Das Ziel, 1 July, 1919. Vol. I. Issue 6.91. 11 M.T., Kollektiv-Ausstellung Ernst Honigberger. Das Ziel, 15 July, 1919. Vol. I. Issue 7.111. 12 Kollektiv-Ausstellung Mattis Teutsch. July 1919. [Catalogue] 13 - g -, Kollektiv-Ausstellung Mattis Teutsch. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 140. 14 M.T., Kollektiv – Ausstellung Tutsek Gyula. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 141. Gyula Tutsek published a review of Mattis Teutsch’s exhibition in the 159. (16 July, 1919) issue of Brassói Lapok, in which he asserted that: “As far as the painting of Expressionistic impressions is concerned, we find ourselves on the threshold of a new world.” 15 Das Ziel, 15 August, 1919. Vol. I. Issue 9., 155. 16 ROTH, Hermann, Der Schein der Wirklichkeit und seine Ueberwindung durch die Erscheinung der Kunst. Das Ziel, 15 August, Vol. I. 1919. Issue 9. 154-160. 17 See BOIS, Yves-Alain, L’Aveuglement. In: Henri Matisse. 1904-1907. [Cat.], Centre Georges Pompidou, 5e étage Grande Galérie, Paris, 25 February – 21 June, 1993. 14-16. 18 HERFURTH SACHSENHEIM, Edith, Weihnachtsausstellung. Das neue Ziel, 1 January, 1920. Vol. I. Issue 6, 104. 19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
8 SZÉKELY, Erzsébet. Az “én emberem” – a mi emberünk. A Hét, 20 September, 1984. Vol. XV. No. 39.5. The interview of Erzsébet Székely with the painter, Irén Lukász. In fact, Irén Lukász wrote an excellent paper on the topic, containing an appropriate suggestion about the division of Mattis Teutsch’s oeuvre into periods, in the yearbook of the Museum of Sepsiszentgyörgy (LUKÁSZ, Irén. Mattis-Teutsch. Aluta.1969. 327-338.). 9 Kunstausstellungen. Das Ziel, 1919. [May] Vol. I., Issue 4, 50. The room in the Redut was provided by Kronstädter Sparkasse. 10 HEVESY, Mattis Teutsch (Vorbesprechung). Das Ziel, 1 July, 1919. Vol. I. Issue 6.91. 11 M.T., Kollektiv-Ausstellung Ernst Honigberger. Das Ziel, 15 July, 1919. Vol. I. Issue 7.111. 12 Kollektiv-Ausstellung Mattis Teutsch. July 1919. [Catalogue] 13 - g -, Kollektiv-Ausstellung Mattis Teutsch. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 140. 14 M.T., Kollektiv – Ausstellung Tutsek Gyula. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 141. Gyula Tutsek published a review of Mattis Teutsch’s exhibition in the 159. (16 July, 1919) issue of Brassói Lapok, in which he asserted that: “As far as the painting of Expressionistic impressions is concerned, we find ourselves on the threshold of a new world.” 15 Das Ziel, 15 August, 1919. Vol. I. Issue 9., 155. 16 ROTH, Hermann, Der Schein der Wirklichkeit und seine Ueberwindung durch die Erscheinung der Kunst. Das Ziel, 15 August, Vol. I. 1919. Issue 9. 154-160. 17 See BOIS, Yves-Alain, L’Aveuglement. In: Henri Matisse. 1904-1907. [Cat.], Centre Georges Pompidou, 5e étage Grande Galérie, Paris, 25 February – 21 June, 1993. 14-16. 18 HERFURTH SACHSENHEIM, Edith, Weihnachtsausstellung. Das neue Ziel, 1 January, 1920. Vol. I. Issue 6, 104. 19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
9 Kunstausstellungen. Das Ziel, 1919. [May] Vol. I., Issue 4, 50. The room in the Redut was provided by Kronstädter Sparkasse. 10 HEVESY, Mattis Teutsch (Vorbesprechung). Das Ziel, 1 July, 1919. Vol. I. Issue 6.91. 11 M.T., Kollektiv-Ausstellung Ernst Honigberger. Das Ziel, 15 July, 1919. Vol. I. Issue 7.111. 12 Kollektiv-Ausstellung Mattis Teutsch. July 1919. [Catalogue] 13 - g -, Kollektiv-Ausstellung Mattis Teutsch. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 140. 14 M.T., Kollektiv – Ausstellung Tutsek Gyula. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 141. Gyula Tutsek published a review of Mattis Teutsch’s exhibition in the 159. (16 July, 1919) issue of Brassói Lapok, in which he asserted that: “As far as the painting of Expressionistic impressions is concerned, we find ourselves on the threshold of a new world.” 15 Das Ziel, 15 August, 1919. Vol. I. Issue 9., 155. 16 ROTH, Hermann, Der Schein der Wirklichkeit und seine Ueberwindung durch die Erscheinung der Kunst. Das Ziel, 15 August, Vol. I. 1919. Issue 9. 154-160. 17 See BOIS, Yves-Alain, L’Aveuglement. In: Henri Matisse. 1904-1907. [Cat.], Centre Georges Pompidou, 5e étage Grande Galérie, Paris, 25 February – 21 June, 1993. 14-16. 18 HERFURTH SACHSENHEIM, Edith, Weihnachtsausstellung. Das neue Ziel, 1 January, 1920. Vol. I. Issue 6, 104. 19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
10 HEVESY, Mattis Teutsch (Vorbesprechung). Das Ziel, 1 July, 1919. Vol. I. Issue 6.91. 11 M.T., Kollektiv-Ausstellung Ernst Honigberger. Das Ziel, 15 July, 1919. Vol. I. Issue 7.111. 12 Kollektiv-Ausstellung Mattis Teutsch. July 1919. [Catalogue] 13 - g -, Kollektiv-Ausstellung Mattis Teutsch. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 140. 14 M.T., Kollektiv – Ausstellung Tutsek Gyula. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 141. Gyula Tutsek published a review of Mattis Teutsch’s exhibition in the 159. (16 July, 1919) issue of Brassói Lapok, in which he asserted that: “As far as the painting of Expressionistic impressions is concerned, we find ourselves on the threshold of a new world.” 15 Das Ziel, 15 August, 1919. Vol. I. Issue 9., 155. 16 ROTH, Hermann, Der Schein der Wirklichkeit und seine Ueberwindung durch die Erscheinung der Kunst. Das Ziel, 15 August, Vol. I. 1919. Issue 9. 154-160. 17 See BOIS, Yves-Alain, L’Aveuglement. In: Henri Matisse. 1904-1907. [Cat.], Centre Georges Pompidou, 5e étage Grande Galérie, Paris, 25 February – 21 June, 1993. 14-16. 18 HERFURTH SACHSENHEIM, Edith, Weihnachtsausstellung. Das neue Ziel, 1 January, 1920. Vol. I. Issue 6, 104. 19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
11 M.T., Kollektiv-Ausstellung Ernst Honigberger. Das Ziel, 15 July, 1919. Vol. I. Issue 7.111. 12 Kollektiv-Ausstellung Mattis Teutsch. July 1919. [Catalogue] 13 - g -, Kollektiv-Ausstellung Mattis Teutsch. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 140. 14 M.T., Kollektiv – Ausstellung Tutsek Gyula. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 141. Gyula Tutsek published a review of Mattis Teutsch’s exhibition in the 159. (16 July, 1919) issue of Brassói Lapok, in which he asserted that: “As far as the painting of Expressionistic impressions is concerned, we find ourselves on the threshold of a new world.” 15 Das Ziel, 15 August, 1919. Vol. I. Issue 9., 155. 16 ROTH, Hermann, Der Schein der Wirklichkeit und seine Ueberwindung durch die Erscheinung der Kunst. Das Ziel, 15 August, Vol. I. 1919. Issue 9. 154-160. 17 See BOIS, Yves-Alain, L’Aveuglement. In: Henri Matisse. 1904-1907. [Cat.], Centre Georges Pompidou, 5e étage Grande Galérie, Paris, 25 February – 21 June, 1993. 14-16. 18 HERFURTH SACHSENHEIM, Edith, Weihnachtsausstellung. Das neue Ziel, 1 January, 1920. Vol. I. Issue 6, 104. 19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
12 Kollektiv-Ausstellung Mattis Teutsch. July 1919. [Catalogue] 13 - g -, Kollektiv-Ausstellung Mattis Teutsch. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 140. 14 M.T., Kollektiv – Ausstellung Tutsek Gyula. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 141. Gyula Tutsek published a review of Mattis Teutsch’s exhibition in the 159. (16 July, 1919) issue of Brassói Lapok, in which he asserted that: “As far as the painting of Expressionistic impressions is concerned, we find ourselves on the threshold of a new world.” 15 Das Ziel, 15 August, 1919. Vol. I. Issue 9., 155. 16 ROTH, Hermann, Der Schein der Wirklichkeit und seine Ueberwindung durch die Erscheinung der Kunst. Das Ziel, 15 August, Vol. I. 1919. Issue 9. 154-160. 17 See BOIS, Yves-Alain, L’Aveuglement. In: Henri Matisse. 1904-1907. [Cat.], Centre Georges Pompidou, 5e étage Grande Galérie, Paris, 25 February – 21 June, 1993. 14-16. 18 HERFURTH SACHSENHEIM, Edith, Weihnachtsausstellung. Das neue Ziel, 1 January, 1920. Vol. I. Issue 6, 104. 19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
13 - g -, Kollektiv-Ausstellung Mattis Teutsch. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 140. 14 M.T., Kollektiv – Ausstellung Tutsek Gyula. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 141. Gyula Tutsek published a review of Mattis Teutsch’s exhibition in the 159. (16 July, 1919) issue of Brassói Lapok, in which he asserted that: “As far as the painting of Expressionistic impressions is concerned, we find ourselves on the threshold of a new world.” 15 Das Ziel, 15 August, 1919. Vol. I. Issue 9., 155. 16 ROTH, Hermann, Der Schein der Wirklichkeit und seine Ueberwindung durch die Erscheinung der Kunst. Das Ziel, 15 August, Vol. I. 1919. Issue 9. 154-160. 17 See BOIS, Yves-Alain, L’Aveuglement. In: Henri Matisse. 1904-1907. [Cat.], Centre Georges Pompidou, 5e étage Grande Galérie, Paris, 25 February – 21 June, 1993. 14-16. 18 HERFURTH SACHSENHEIM, Edith, Weihnachtsausstellung. Das neue Ziel, 1 January, 1920. Vol. I. Issue 6, 104. 19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
14 M.T., Kollektiv – Ausstellung Tutsek Gyula. Das Ziel, 1 August, 1919. Vol. I. Issue 8., 141. Gyula Tutsek published a review of Mattis Teutsch’s exhibition in the 159. (16 July, 1919) issue of Brassói Lapok, in which he asserted that: “As far as the painting of Expressionistic impressions is concerned, we find ourselves on the threshold of a new world.” 15 Das Ziel, 15 August, 1919. Vol. I. Issue 9., 155. 16 ROTH, Hermann, Der Schein der Wirklichkeit und seine Ueberwindung durch die Erscheinung der Kunst. Das Ziel, 15 August, Vol. I. 1919. Issue 9. 154-160. 17 See BOIS, Yves-Alain, L’Aveuglement. In: Henri Matisse. 1904-1907. [Cat.], Centre Georges Pompidou, 5e étage Grande Galérie, Paris, 25 February – 21 June, 1993. 14-16. 18 HERFURTH SACHSENHEIM, Edith, Weihnachtsausstellung. Das neue Ziel, 1 January, 1920. Vol. I. Issue 6, 104. 19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
15 Das Ziel, 15 August, 1919. Vol. I. Issue 9., 155. 16 ROTH, Hermann, Der Schein der Wirklichkeit und seine Ueberwindung durch die Erscheinung der Kunst. Das Ziel, 15 August, Vol. I. 1919. Issue 9. 154-160. 17 See BOIS, Yves-Alain, L’Aveuglement. In: Henri Matisse. 1904-1907. [Cat.], Centre Georges Pompidou, 5e étage Grande Galérie, Paris, 25 February – 21 June, 1993. 14-16. 18 HERFURTH SACHSENHEIM, Edith, Weihnachtsausstellung. Das neue Ziel, 1 January, 1920. Vol. I. Issue 6, 104. 19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
16 ROTH, Hermann, Der Schein der Wirklichkeit und seine Ueberwindung durch die Erscheinung der Kunst. Das Ziel, 15 August, Vol. I. 1919. Issue 9. 154-160. 17 See BOIS, Yves-Alain, L’Aveuglement. In: Henri Matisse. 1904-1907. [Cat.], Centre Georges Pompidou, 5e étage Grande Galérie, Paris, 25 February – 21 June, 1993. 14-16. 18 HERFURTH SACHSENHEIM, Edith, Weihnachtsausstellung. Das neue Ziel, 1 January, 1920. Vol. I. Issue 6, 104. 19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
17 See BOIS, Yves-Alain, L’Aveuglement. In: Henri Matisse. 1904-1907. [Cat.], Centre Georges Pompidou, 5e étage Grande Galérie, Paris, 25 February – 21 June, 1993. 14-16. 18 HERFURTH SACHSENHEIM, Edith, Weihnachtsausstellung. Das neue Ziel, 1 January, 1920. Vol. I. Issue 6, 104. 19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
18 HERFURTH SACHSENHEIM, Edith, Weihnachtsausstellung. Das neue Ziel, 1 January, 1920. Vol. I. Issue 6, 104. 19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
19 Mattis Teutsch’s exhibition in Bucharest. Brassói Lapok, 18 November, 1920. Vol. XXVI. No. 243.4. It is also mentioned in the article that the exhibition was visited by Octavian Goga, Minister of Culture. 20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
20 See Cronici fanteziste neliterare. Editura I. Brănisteanu, Bucuresti [1927]. 21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
21 TONITZA,Nicolae: Expozitiile Ştefănescu-Arephy-Burcă--Ginsberg-Mattisteutsch [sic]. Expoziţia colectivă “Banatul”. Avântul, 6 November, 1920. Vol.I.No. 311.1 22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
22 Lucifer [MAUR, Sigmund]: Expozitia expresionistului Mattis Teutsch. Rampa, 3 December, 1920.Vol. IV.No. 933.1.Sigmund Maur published articles under the pseudonym of Lucifer (mainly in the Rampa, where his cousin, Faust Mohr was the editor). 23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
23 BRODIER,I.: Expozitiile săptămânii. H.Maxy – Dra M. Vrabie – Bunescu – Canisius – Vermont – Mattis Teutsch. Chemarea, 15 November, 1920. Vol.II.No. 515.1. 24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
24 MACEDONSKI, Nikita: Casa de Artă (Maison d’ Arts). Vermont, Canisius, Bunescu, Ştefănescu Arephy si Mat[t]is Teutsch. Universul literar, 21 November, 1920. Vol.XXXVI. No. 41.654 25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
25 For the re-evaluation of Maxy’s personality in the context of the European avant-garde, with special reference to the pre-avant-garde (1918–1921) period, see Krisztina PASSUTH, The key figure of 20th century Romanian painting: M.H.Maxy and international avant-garde. Bulletin du Musée Hongrois des Beaux-Arts, Budapest, 1996. No. 85. 61-92. 26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
26 See Der Sturm. Leitung Herwarth Walden. [Cat.], Hundertachtzehnte Ausstellung.M.H.Maxy/Bucharest. Gemälde.Gesamtschau.Berlin, April 1923. Inside, Maxy’s paintings can be found numbered from 1 to 23 including three reproductions (No.10.: Stilleben, No.11.: Stilleben, No.23.:Konstruktion).The exhibitors include among others Archipenko, Sándor Bortnyik, Serge Carchoune, Robert Delaunay, Albert Gleises, Paul Klee, Oskar Kokoschka, Fernand Leger, Louis Marcoussis, Moholy-Nagy, Peri, Kurt Schwitters, William Wauer, Osip Zadkine and under number 76 we can find Mattis Teutsch with just one work: Komposition 12. In fact, two years earlier Mattis Teutsch already had the opportunity to exhibit in Der Sturm in the company of Paul Klee, with his own works given due prominence. See Der Sturm. Leitung Herwarth Walden. [Cat.], Neunundneunzigste Ausstellung Paul Klee – Hans Mattis Teutsch – Gesamtschau, July-August 1921. The catalogue numbers of Mattis Teutsch’s works are 26, 27, 35, 36, 38, 40. It is a less well-known fact that Mattis Teutsch was present at the 100th anniversary exhibition. Der Sturm. Leitung Herwarth Walden Hundertste Ausstellung. Zehn Jahre Sturm. Gesamtschau, September 1921 (Mattis Teutsch was featured with a work entitled Komposition 36). Participants included Rudolf Bauer, Marc Chagall, Robert Delaunay, Tour Donas, Albert Gleizes, Jacoba van Heemskerck, Kandinsky, Fernand Léger, Franz Marc, Louis Marcoussis, Johannes Molzahn and Kurt Schwitters – just to mention those whose works were reproduced. See also VIDA, Gheorghe, Hans Mattis Teutsch und der europäische Dialog der Formen. Rumänische Rundschau, 1984. No. 12. 96. 27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
27 In an interview made in 1971 Maxy gives a detailed account of the period of his Berlin studies spent in Segal’s studio (1922-1923) and his acquaintance with Herwarth Walden. DRISCU, Mihai, Retrospective.M.H.Maxy.[Interview]. Arta, April – May 1971. No. 4-5. 52-54.:”The room was big and there were about 7-8 side-rooms where the unsold works were on display. Every month one painter exhibited alone and in the following month there was a collective exhibition. And you could feel actual continuity. I sold about seven pictures. Then I was invited to exhibit with the Novembergruppe”. 28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
28 See MAJOROS, Valéria, Mattis Teutsch. Budapest, 1998.48. Arthur Segal op.cit.313. The two works by Arthur Segal on display at the exhibition are mentioned. 29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
29 Bun găsit. Contimporanul, 3 June, 1922. Vol. I. No. 1. 1. 30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
30 Expozitia lui Marcel Iancu la Maison d’Art 31 decembrie 1922. Contimporanul, 30 December, 1922. Vol. I. No. 24. 16. See also HERBAY, Dana, Marcel Iancu. Expoziţii în România. In: Centenar Marcel Iancu 1895-1995, Editura Simetria, Bucuresti, 136. The actress Dida Solomon–Callimachi gave a remarkable rendering of the role of ’Miss Julie’. On this occasion Marcel Iancu made a portrait for her. See also SOLOMON CALLIMACHI, Dida, Amintirile domnisoarei Iulia. Editura Cartea Românească, Bucuresti.1974. 54-77. 31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
31 COSTIN, Jacques, Arta lui Marcel Iancu. Contimporanul, 13 January, 1923. Vol. II. No. 26.4. 32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
32 MAXY, M. H., Cubismul. Adevărul literar si artistic, (1) 21 October, 1923. (II) 28 October, 1923. (III.) 4 November, 1923. 33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
33 MAXY, M. H., Prefată la expozitia mea. In: Maxy [Catalogue], Maison d’Art, November 1923. 34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
34 Contimporanul, September 1924. Vol. III. No. 47. 2. 35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
35 Contimporanul, April 1924. Vol. III. No. 46. 2. 36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
36 BOGZA, Geo, Exasperarea creatoare. Unu, 1931. Vol. IV. No. 33. 37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
37 Salonul Oficial. [Cat.] Ministerul Artelor, Bucuresti, 1924. Mattis Teutsch is present in the paintings, watercolours, drawings etc. section under Number 176.:Kompozíció (’Composition’) and Number 177.: Hegedű-ritmus (’Violin rhythm’), and in the Sculptures section under Number 237.: Színezett plasztika (’Coloured sculpture’) (wood), under Number 238.: Plasztika (’Sculpture’) (wood) and under Number 239.: Mama (’Mummy’) (wood). 38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
38 IGIROSANU, Horia, Salonul Oficial. Plastica. Clipa, 1 June, 1924. Vol. II. No. 51.3. 39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
39 VORONCA, Ilarie, Victor Brauner. 75 HP, October 1924. 13-14. 40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
40 Punct, 6 December, 1924. No. 3. (Vinea, Ion, Miez de noapte, [Midnight] 1912; Callimachi, Scarlat, Tăcerea, [Silence] Petrograd, 1918.); See also Punct, 9 January, 1925. No. 8. (Vinea, Ion, Ev [Age] 1918; Zero, [Zero] 1919.); Punct, 3 January, 1925. No. 11. (Callimachi, Scarlat, Le Fou [‘Clown’] Paris, 1919.) 41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
41 IANCU, Marcel, Dialogue entre le bourgois mort et l’apoˆtre de la vie nouvelle. Punct, 31 January, 1925. Vol. II. No. 11. 3. and Pour le métier. Punct, 14 February, 1925. Vol. II. No. 13. 1. See also SEIWERT, Harry, Marcel Janco. Dadaist – Zeitgenosse – wohltemperiert morgenländischer Konstruktivist. Frankfurt-am-Main, Berlin, Bern, New York, Paris, Wien. 1993. 113-115. 42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
42 The address of the exhibition hall was the same as the address of the Maison d’Art. (now Gabriel Péri Str.), see PANĂ, Sasa , Născut în 02. Editura Minerva, Bucuresti, 1973. 174. The Fine Arts Union was established in 1921 and we assume that the change of name is connected to this event. The catalogue of the exhibition was published in No 50-51 of Contimporanul. See STERN, Radu, 50 de ani de la prima expozitie a ‘Contimporanului’. Arta, 1974. No. 12. 43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
43 CSAPLÁR, Ferenc, Lajos Kassák. [Cat.], Teatrul National, Galeriile Etaj 3, 22 April – 15 May, 1999. The introductory essay of the catalogue gives a detailed analysis of Lajos Kassák’s cooperation with the periodical Contimporanul and with the Romanian avant-garde in poetry and the fine arts in general. 44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
44 PANĂ, Sasa, op. cit. 174- 175. 45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
45 T.[udor] V.[ianu], Prima expozitie internationala Contimporanul. Miscarea literară, 6 December, 1924. Vol.I. No. 4.2. 46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
46 Al. ROBOT, op. cit., 1.: “The impenetrable darkness, which was accompanied by strange and intangible music, the continuous roll of a drum accompanied by an African pipe. Like his regular visitors, the owner of the music hall took a journey into Africa and was fascinated by the illusions of novelty, learning music and poems from the Negroes. See also MEYER, Raimund, Dada in Zürich. Die Akteure, die Schauplätze. Luchterhand, Frankfurt am Main, 1990. 205.: the evening in the Voltaire Music Hall on 31 May, 1916. 47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
47 PANĂ op. cit. 175. 48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
48 Mattis Teutsch, Văd si acum rotita palmă – Látom most is az elforgatott tenyeret [“I still can see the rotated palm”], (repr.), Cuvântul liber, 8 November, 1933. No. 2. and Gravură – Metszet [’Engraving’], (repr.), Cuvântul liber, 6 October, 1934. No.48. See Cuvântul liber [Anthology], Editura Eminescu, Bucuresti, 1982. 750, 773. 49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
49 E.(ugen) F[ilotti], Expozitia Contimporanului. Cuvântul liber, 13 December, 1924. No. 47. 20. 50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
50 T.(udor) V.[ianu] op. cit. 51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
51 Ibid. 52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
52 S[carlat] C[allimachi], Expozitia ”Contimporanului” (insemnări). Punct, 6 December, 1924. 53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
53 Ibid. 54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
54 Mattis Teutsch, Linoleum. In: Punct, 17 January, 1925. No.9. 24 January, 1925. No. 10. 31 January, 1925. No. 11. 28 February, 1925. No. 15. 55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
55 BLAGA, Lucian, Abstractie si constructie. (1925) The ideas reappear in: Stiintă si creatie. (1924) In: Scrieri despre artă [Preface: Dumitru MICU. The author of the anthology, the introductory essay and the notes was Emil MANU]. Editura Meridiane, Bucuresti, 1970. 86-89. 56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
56 BLAGA, Lucian, O expozitie pe care nu am văzut-o. (1924) In: op. cit. 80. It is interesting to note that Mattis Teutsch used the same words (’colouristic symphonies’) to characterise Kandinsky in an interview which he gave to Stefan Ilarie CHENDI for the newspaper Pe drumuri noi. (Brasov, 1929.) 57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
57 MAJOROS, op cit. 50. 58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
58 For the study of the symbolic meanings of this motif - together with its literary, philosophical, anthroposophical and Far Eastern meditative connections, see SZABÓ, Júlia, Blaue Seele/Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus. Acta Historia Artium, (39) 1997. 165-196. 59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
59 Invitation to the Contimporanul’s Session on Modern Art at the International Exhibition on Art Nouveau in the Hall of the Fine Arts Union, 6 Corăbiei Street. Conferences/Lectures/Music: with the participation of Beatrice Arta, Ion Barbu, F. Brunea, Callimachi, I. G. Costin, Ciprian, Marcel Iancu, M. H. Maxy, Dida Solomon, Corina Sfetea, Siden, I. Tâlvan, I. Vinea and I. Voranca. Muzeul National de Artă al României, Sector Documentare, inv. 4739. 60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
60 Mattis Teutsch, Plastică în lemn – Faplasztika [’Wooden sculpture’], Compozitie – Kompozíció [’Composition’], In: Contimporanul, 1924. Vol. III. No. 50-51. 1. and 12. Mattis Teutsch, Compozitie Kompozíció [’Composition’], In: Contimporanul, May 1924. Vol. III. No. 46. 14.; Linoleum [’Linoleum’], In: Contimporanul, September 1924. Vol. III. No. 47.3. Cocosul Rosu – A vörös kakas [’Red cock’], In: Contimporanul, 1924. Vol. III. No. 49. 7. Presumably it is in some way related to Brancusi’s sculpture (’Cock’, first version from 1922.). BACH, Friederich Teja, ROWELL, Margit, TEMKIN, Ann, Constantin Brancusi. [Cat.] Philadelphia Museum of Art, 8 October – 31 December, 1995. 220-221. 61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
61 Integral. Modern synthetic perodical, the organ of the modernist movement at home and abroad. Editors in Bucharest: F. Brunea, Ion Călugăru, M. H. Maxy, Ilarie Voronca. Editors in Paris: B. Fondane, Mattis Teutsch. Published monthly. Editor’s office and administration: M H. Maxy. – Comedia Passage. 62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
62 On the role of the periodical Integral see POP, Ion, Revista “Integral’ în contextul mişcării româneşti de avangardă. In: Studii literare. Editura Dacia, 1987. 201-218. VLASIU, Ioana, Soarta ideilor constructiviste in arta românească a anilor ’20: integralismul. In: Bucuresti anii 1920-1940: intre avangardă si modernism. Editura Simetria, 1994. 38-47., PINTILIE, Andrei, M. H. Maxy un clasic al modernismului. Chapter entitled Perioada integralistă. In: Studii si Cercetări de Istoria Artei, Seria Artă Plastică, Vol. 44. 1997. 63-66., PASSUTH, Krisztina, Avantgarde kapcsolatok Prágától Bukarestig 1907-1930. ’Avantgarde connections from Prague to Bucharest 1907-1930’. Balassi Kiadó, Budapest, 1998. 223-224. 63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
63 See LANG, Lothar, Konstruktivismus und Buchkunst. Edition Leipzig, 1990. Chapter entitled Zeitschriften des Konstruktivismus. 39-77. 64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
64 See Integral, 1 March, 1925. No. 1.2. and 25 October, 1925. No. 6-7. 65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
65 “Here [in Bucharest] there was an academy of applied arts led by a designer, Vespremie and his wife. Their work was financed by a person called Fischer-Galati. There were workshops for bookbinding, leatherwork and metalworking there”, Maxy recalled. Driscu, Mihai, op. cit. 53. 66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
66 “I was in Dessau, Germany; I was shown their organisation; I saw and investigated the potentials of modern decorative art developing from the cooperation of artists and craftsmen. After coming back from Germany, I had the idea of proposing cooperation with the Vespremie couple; so I made my first proposal to Integral, [regarding] the relevant sections, exhibition halls and events in 1925.’ Ibid. 67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
67 [IANCU, Marcel?], Academia de arte decorative. Contimporanul, January 1925. No. 52. 7.: “Art and life form a unity. A generation of devout young people group themselves around masters in the workshops, so that the common work of generations should create a new tradition. Leaving pride and social advantages aside, the masters fall in love with the living material and the pleasure of working with it, and descend on the plants and factories for new ideas.’ See M. H. Maxy. Expozitie retrospectivă. [Cat.], Dalles Hall, Bucharest, October – November 1965. Chapter entitled ’Cronologie’. DRISCU, Mihai, op. cit. 53. 68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
68 Expozitia Academiei Artelor Decorative [Cat.] 17 Câmpineanu Street, Bucuresti, October 1926, [opening]. 69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
69 See also ISPIR, Mihai, L’Art déco en Roumanie. Revue Roumaine d’Histoire de l’Art, Série Beaux Arts, Vol. XXIV., 1987. 69-83. 70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
70 “As in those flourishing periods of art, when the craftsman was not only a mechanical executor but also a creative artist, both the ’craftsman’ leaving the academy and the artists giving him instruction want to give lovers of art and aestheticians the opportunity of finding .... something that matches their personalities […].” 71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
71 “Objects exhibited after the designs of Mr Andrei Vespremie: Obiecte în metal. Made in the workshop of the Academy, workshop leader: B. Cofariu/ Cărti legate. Workshop leader, E. Bonyhay/ Lampi. Lucrări în fildes, etc. After the drafts and designs of M. H. Maxy, painter: Mobilă Modernă de Boudoir. Made by M. Dumitrescu, master joiner./ Perne. Made by Master Didina Stefănescu/ Batik. Made by Mrs A. Vespremie/ Dagowert Peche: Covoare, etc. / Dantelă Modernă/ M. Marigo Brăila, Ceramică Modernă / Cristaluri. From ’Primavera’ workshop in Paris /Stella Serbănescu – Săineanu, Lucrări in piele/ After Mr Mandel’s designs: Mobilă Modernă pentru dormitor si sufragerie/ Grafica. Litografie, aqua-forte, gravuri in lemn, monotype. Authors: Jean Al. Steriadi, Cecilia Cutescu-Storck, Maria Manolescu-Bruteanu, Lucia Bălăcescu–Demetriade, Sigmund Maur and others/ Pictură, sculptură, desenuri si obiecte de arta decorativă. Authors: Nina Arbore, L. Bălăcescu–Demetriade, Arhitect W. Beck, C. Cutescu-Storck, Olga Greceanu, M. H. Maxy, C. Medrea, Corneliu Mihăilescu, Serova Medrea, S. Maur, Arhitect Nămescu, N. Pfeiffer, Merica Rămniceanu, Jean Al. Steriadi, Mattis Teutsch, A. Vespremie and others /The furnishings of the exhibiton were done after the designs of the painter M. H. Maxy. 72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
72 Calea Victoriei, opposite Biserica Albă, permanent sale and exhibition of modern decoration, furniture and objects, see M. H. Maxy cat. cit., chapter entitled ’Cronologie’. 73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
73 The cooperation betweeen Maxy and Mattis Teutsch in the field of industrial and applied art is also proved by a letter from Maxy, dating probably to 1926 and preserved in the Brassó archives of the family: “Dear Mr Teutsch, Please, forgive my thoughtlessness. I will send you the four paintings as soon as possible. We have sold a lamp and I have sent the money to you. I am negotiating to sell another one, I will get an answer by next week. The others think that you should leave them here for some time, especially as they are installed and because I am now in charge of the Academy and will be making plans for it. If you would like to organise an exhibition on friendly terms, I can give you a room (which means, you would only pay if you sold something, when I also get a percentage). Please, write about what you were doing in Berlin, what the conditions are like for the arts there and about anything you can share with me. Give my regards to your wife, Maxy”. Published in facsimile by MAJOROS, op. cit. 57. She also quotes two letters addressed to Mattis Teutsch by Andrei Vespremie about the sales of the lamps, one dated the 7th of August, 1926, the other the 26th of October. 74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
74 MINULESCU, Ion, Constantin Brâncuşi. Integral. 1 April, 1925. No. 2, 10-11. 75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
75 MAJOROS op. Cit. 55. He attempts to make a comparison with Brancusi’s oeuvre, assuming that Mattis Teutsch got to know him in 1906 when they both stayed in Paris. This shows the influence of the latter, especially in certain works of applied art. Mattis Teutsch recalls Brancusi’s figure in a late portrait made from memory in the 1950s. See BREZIANU, Barbu, Un portret de Mattis Teutsch. Arta, No. 5, 21, 1976. 76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
76 Integral, 1 May, 1925. No. 3. 14. For the copy of the invitation see MAJOROS op. cit. 51. On page 52 the author remarks that Mattis Teutsch participated in the exhibition entitled ‘Exposition d’Art roumain ancien et modern’, organised by Musée du Jeu de Paume in May, 1925. However, the catalogue of the exhibition does not contain his name. 77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
77 Integral, December 1926. Vol. II. No. 9. 2. 78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
78 M. H. MAXY, Politica plastică. Integral, December 1926. Vol. II. No. 9. 3. 79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
79 Integral, December 1926. Vol. II. No. 9. 4. 80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
80 Integral, January 1927. Vol. III. No. 10. 7. 81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
81 See MAJOROS, Valéria, Mattis Teutsch János és Mattis János Nagybányán. ’János Mattis Teutsch and János Mattis in Nagybánya’. In: Arts in Nagybánya. [Cat.] Hungarian National Gallery, 14 March – 20 October, 1996. 349-352. 82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
82 OLBRICH, Harald, János Mattis-Teutsch. In: Revolution und Realismus, [Cat.], Alte Museum, Berlin, 8 November, 1978. – 25 February, 1979. 63. Mattis Teutsch probably visited Sándor Bortnyik in the Weimar Bauhaus in 1925. For the impact of the ideas of the Weimar and Dessau Bauhaus on Hungarian artists exhibiting at ’Der Sturm’ see PASSUTH, Krisztina, Der Sturm/A Sturm. In: BARTHA, Miklós–LÁSZLÓ, Carl, Die ungarischen Künstler am Sturm/Magyar művészek és a Sturm. [Hungarian Artists and the Sturm]. Budapest, 1998. 10. 83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
83 PANĂ op. cit. 284-285. This recollection was originally published in Number 13 (November 1969) of the international poetic journal entitled ’Mele’ published in Hawaii by Stefan Baciu (1918-1993), who came from Brasov. This issue was dedicated to Mattis Teutsch. Some bibliographies quote the place and year of publication incorrectly as ’Melc’ (sic), 1924. 84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
84 A 2-a expozitie a Grupului de Artă Nouă. 1929. Bucuresti. Milita Petrascu, Marcel Iancu, M. H. Maxy, Corneliu Mihăilescu, Mattis Teutsch, Victor Brauner, L. Bratasanu. [catalogue]. 85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
85 The interview given by Irén Lukász (see SZÉKELY, Erzsébet, art. cit.) mentions Mattis Teutsch’s intensive anatomy studies. 86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
86 Mattis Teutsch [Catalogue, Kolozsvár, 1929] printed by Cultura press, Hosszú utca, Brassó. 87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
87 A Saxon pioneer of modern painting in Kolozsvár. Hans Mattis Teutsch’s interview on the principles of painting. Ellenzék, 20 October, 1929. Vol. 50. No. 240. 8. 88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
88 F[elix] ADERCA, Expozitia de artă nouă. Bilete de papagal, 6 April, 1929. Vol. II. No. 357. 4. 89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
89 JIANU, Ionel, Expozitia grupului de artă nouă. Vremea, 11 April, 1929. Vol. II. No. 58. 4. 90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
90 Roll [ROLL, Stephan], Scurt-circuit. Expozitia grupului de artă nouă. Unu, May 1929. Vol. II. No. 13. 3-4. 91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
91 i.v., Grupul de artă nouă. Neamul Românesc, 17 April, 1929. Vol. XXIV. No. 83. 1. 92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
92 N. B., Expozitii: Mattis Teutsch. Rampa, 17 November, 1929. Vol. XIV. No. 3549.3. 93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
93 Steven Mansbach analyses a piece that is important in this respect: Muncitorii manuali si intelectuali – Fizikai munkások és az értelmiség [’Physical workers and intellectuals’] (Museum of Arts Brasov, inventory number: 1883., oil on canvas, dated: 1927): “Mattis Teutsch brought his heaven-gazing intellectualised figures (rendered in ’philosophical blue’) down to earth by means of the downward-driving medial section that contains the earthen red physical workers. The ’spiritual’ colours, geometrised forms, and attenuated figures demonstrate the visual vocabulary actively employed in Romania to communicate the partisan image of the international avant-garde”. S. MANSBACH, The ’Foreignness’ of Classical Romanian Modern Art. Art Bulletin, September 1998. Vol. LXXX., No. 3.542. 94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
94 N. B. op. cit. 95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
95 JEBELEANU, Eugen, Mattis Teutsch. Ultima oră, 20 November, 1929. 20.2. Cuvinte inaintea unei expozitii. Gazeta Transilvaniei. (Brasov) 1 October, 1930. Vol. XCIII. No. 102.2. 96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
96 JEBELEANU, Eugen, Pictorii sasi din Brasov. Rampa, 7 June, 1931. Vol. XVI. No. 4011. 1-2. 97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
97 JEBELEANU, Eugen, Cuvinte înaintea unei expozitii. Ibid. 98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
98 The family archives preserve a letter of invitation by the management of the Curentul Artistic Românesc (Romanian Artistic Current) addressed to Mattis Teutsch requesting that he join the association and participate in the Autumn Salon. 99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
99 See NICOLAU, Titus, Salonul de foamnă [Curentul artistic]. Neamul Românesc, 4 November, 1931. Vol. XXVI. No. 5. 248. 100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
100 BOZ, Lucian, Plastica la Brasov. Hans Eder, Hermann Morres, Fritz Kimm, Heinrich Schunn, Mattis Teutsch, M. Iordache. Vremea, 11 January, 1931. Vol. IV. No. 158. 5. 101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
101 See PINTILIE, Andrei, Eugène Ionesco, critique d’art. Revue Roumaine d’Histoire de l’Art, 1993. Vol. XXX. 66-69. 102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
102 IONESCU, Eugen, Cronica plastică. România literară, 2 April, 1932. Vol. I. No. 7.3. 103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
103 Without signature: Expozitia Mattis Teutsch. Rampa, 23 March, 1932. Vol. XV., No. 4253. 1. 104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
104 F., Expozitia Math. Teutsch. Viforul, (Brasov) 22 October, 1933. Vol. I. No. 12. 4.; probably the same author published a similar text: I. F., Pictură si sculptură modernă de Mattis Teutsch la Brasov. Vointa, (Brasov) 25 October, 1933. Vol. I. No. 20. 2. 105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
105 See VANCI-PERAHIM, Marina, Surréalisme et renouveau de l’image plastique (1928-1948). In: Bucuresti anii 1920-1940. Catalogue cited. 48-49. 106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
106 F.s., Perahim, az ifjú bukaresti Daumier. [Perahim, the Young Bucharest Daumier] Brassói Lapok, 18 March, 1936. Vol. XLII. No. 64. 7.
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