1 Vastagh György Street, 2000 Szentendre
Entrance from Görög street.
Monday–Sunday: 10 am – 6 pm
Ticket office is open until 5.30 pm
+36 20 779 6651
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!
Group tickets cannot be purchased to the Kovács Margit Ceramic Museum.
Kovács Margit Ceramics Museum
The Kovács Margit Ceramics Museum courtyard is under reconstruction which may cause some noise effects. The exhibition is open to visitors in the usual opening hours.
We are apoligizing for the inconvenience and thank you for your understanding!
One of Szentendre’s most popular museums, opened in 1973, presents the lifework of Kossuth Prize-laureate ceramic artist Margit Kovács (1902–1977). The collection was donated in 1972 by the artist, who is considered to be the innovator of Hungarian ceramic art. The over 300 works, embracing the entire lifework of Kovács, are figural compositions. The second-floor gallery of the new wing presents the reconstruction of Margit Kovács’s home on Pozsonyi Road with her potter’s wheel.
The official copies of her most well-known ceramics are on display, too, so that the blind and visually impaired can also touch these in one of the first rooms.
The collection presenting the oeuvre of the Kossuth-prize laureate master of Hungarian ceramic art Margit Kovács was opened in 1973. Originally built as a salt office, the 17th-century Baroque building of the museum later functioned as a post station, then as a trading house before it became the home of the Vastaghs. The Görög Street facade is adorned by a row of trellised windows. In 2008, as a result a of a successful grant, the building was expanded with a new 110-square meter multifunctional wing based on the plans of Szentendre architect József Kocsis. The motifs in the ceramic cladding of the Greek Street facade—the work of Szentendre artists Tamás Asszonyi, Róbert Csíkszentmihályi, Tamás Szabó, and Zoltán Szentirmai—hint at Kovács’s work and the Renaissance corner ornament of the neighbouring historic monument building.
The collection consists of works donated to the Directorate of Pest County Museum by the artist in 1972. The over 300 works, embracing the entire lifework of the artist, are figural compositions.
Margit Kovács started her studies in the private school of János Jaschik and went on to the School of Applied Arts. She practiced her ceramic skills in the ceramic workshop of Herta Bucher in Vienna from 1926. In 1928 and 1929 she was a student at the Munich-based Staatsschule für Angewande Kunst. She went on study trips to Copenhagen and Sèvres in the early 1930s.
Roll Girl (1933–1934), which is related to the figure ideal of medieval sculpture, is a typical example of the expressive treatment of surfaces that marked her work in the early 1930s. Alongside a geometricizing trend (Kugelhopf Madonna, 1938), her figures became more and more slender, pillar-like in the 1940s (The Good Shepherd, 1942). By this time her Biblical, moralizing, or folk poetry-inspired works featured matte, colored engobe (clay coating) besides the colour glazes. Some of her Biblical works made in the ’30s and ’40s are wall panels in a Byzantine mood (Annunciation, 1938; Last Supper, 1935), the rest are statutes made on the potter’s wheel (Corpus, 1948, King with Lamb, 1944).
She modeled her functional objects (jugs, bowls, vases) with unique ingenuity. Her Wedding Day Stove (1953) fuses figurative scenes with the folk ornamental heritage. In the 1950s peasant genre scenes dominate her work. Adjusting to the cultural political expectations of the era, in addition to the tile compositions and genre scene reliefs (Apple Harvest, 1952; Peasants’ Wedding, 1955), in this period she also made large-scale realist figures made on a potter’s wheel (Spinner, 1953).
The rustic statues and reliefs she created in the 1960s and 1970s from coarser clay evoke Greek mythology, archaic stories, and folk legends (Cantata Profana, 1969).
The first and second rooms of the museum present smaller sketches and the early years of Kovács’s work. The third room features pieces the 1950s, while the fourth has art from her mature period. The vaulted basement of the old building with its pseudosacred space (which, following the artist’s wish, evokes the atmosphere of chapels), has been supplied with work of art inspired by the Christian iconographic tradition. The second-floor gallery of the new wing presents the reconstruction of Margit Kovács’s home on Pozsonyi Road with her potter’s wheel. The room overlooking Görög Street offers an overview of the last period of Margit Kovács’s art. The official copies of her most well-known ceramics are on display in the last room. The blind and visually impaired can also touch these.
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