21 Main Square (Fő tér), 2000 Szentendre
Tuesday–Sunday: 10 am – 6 pm
Ticket office is open until 5.30 pm
+36 20 779 6657
Full-price: HUF 1400 Ft | 1700 Ft*
Reduced: 700 Ft | 800 Ft*
*Combined ticket: all FMC exhibitions can be visited with the combined ticket. For further ticket information, please click here!
The permanent exhibition featuring János Kmetty’s lifework was opened in 1981 in a former 18th-century Dalmatian trading house on the southern part of quare. The artist’s widow donated his husband’s legacy to the museum. It holds primarily graphics, atelier sketches, oil paintings from the ’60s, glass window designs and stained glass windows as well as some exceptionally valuable contemporary paintings.
The renovated Kmetty Museum re-opened on 11th December 2018 with the opening of the János Kmetty – An Unceasing Search exhibition.
The permanent exhibition featuring the lifework of János Kmetty (Miskolc, 1889–Budapest, 1975) was opened in 1981 in an 18th-century building in the southern part of Main quare, a once Dalmatian trading house reconstructed in 1850. After the death of the artist his widow passed his husband’s 275-piece legacy with the request of founding a Kmetty Museum dedicated to him, which, in addition to some exceptionally valuable contemporary paintings, primarily holds drawings, atelier sketches, oil paintings from the 1960s, glass window designs and stained glass windows, as well as some exceptionally valuable contemporary paintings. The greater part of the collection consists of the paintings that had been brought forth from the painter’s atelier since the 1950s, and a smaller part of them became the property of the Museum through acquisitions in auctions.
Kmetty started his fine arts studies in Kassa (Kosice) at Hollósy student Elemér Halász-Hradil, then continued in Ferenc Szablya-Frischauf’s painting school in Budapest. In the early 1910s he also attended the night courses of Károly Ferenczy in Epreskert. He travelled to Paris for the first time in 1911 where he studied Cézanne and Picasso besides the museums’ classics. At the beginning of the 1910s he also made it to the art colony of Kecskemét, where the Neos leaving Nagybánya were in operation, such as, among others, Csaba Vilmos Perlrott, who earlier studied in Matisse’s school. The two became friends for a lifetime. His drawings were published in the most prestigious journal of the Hungarian avant garde, MA, before the end of the First World War, and he also participated in its demonstrative exhibition in 1918. After the defeat of the Hungarian Soviet Republic Kmetty retired, having been forced to carry out intellectual emigration. From 1924 he was a founding member and later vice chair of the left-wing KUT (Képzőművészek Új Társasága or Artists’ New Association) collecting progressive artists. János Kmetty, together with Csaba Vilmos Perlrott and his wife, Margit Gráber, discovered Szentendre and its surroundings in the early 1920s during an excursion. After 1945 Kmetty lived an active public life as a member of the Hungarian Council of Art. He was selected to be a member of Szentendre Painters’s Society and the Artists’ Colony. He worked as teacher at the College of Fine Arts and was appointed head of Faculty of Painting, which he remained until he retired in 1969.
In the outskirts of Szentendre’s protected downtown a memorial museum and sculpture park was opened in 1978 in a newly built, modern pavilion and the surrounding park, showing a selection of 40 works representing the oeuvre of sculptor Jenő Kerényi (Budapest, 1908–Budapest, 1975). As the building did not meet certain security standards, the collection that was purchased from the sculptor’s widow, who was very much attached to the town, was finally placed in the vaulted medieval cellar of Kmetty Museum in 2008.
Jenő Kerényi, a prominent figure of post-1945 Hungarian sculpture, was Jenő Bory’s student at the College of Fine Arts. The young sculptor’s burgeoning talent was fostered by the capital’s scholarship, after which he could spend a year in Italy in 1937. Kerényi was a successful sculptor in the ’50s, he was also a Munkácsy- and Kossuth-prize laureate. Several of his works were displayed on public squares throughout the country. His sculpture Dancers, created together with József Somogyi for the Hungarian Pavilion of the 1958 Brussels World Expo, won Grand Prix. Temporarily the Kmetty and Kerényi collections cannot be visited, but the museum has temporary exhibitions.
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