{"id":407,"date":"2020-04-24T10:00:00","date_gmt":"2020-04-24T10:00:00","guid":{"rendered":"http:\/\/blogs.rollins.edu\/cfam\/?p=407"},"modified":"2020-05-20T15:17:23","modified_gmt":"2020-05-20T15:17:23","slug":"american-art-collection-part-4","status":"publish","type":"post","link":"https:\/\/blogs.rollins.edu\/rma\/2020\/04\/24\/american-art-collection-part-4\/","title":{"rendered":"Research Highlights, Part 4: Tibor Pataky, Florida Artist"},"content":{"rendered":"\n
\"\"
Tibor Pataky (American, born Hungary 1901-1978)
Allegorical Portrait of Ellen Pataky<\/em>
1931
Oil on canvas
60 x 38 in.
Gift of Mrs. Tibor Pataky, 1985.14<\/figcaption><\/figure><\/div>\n\n\n\n

For me, one of the great pleasures of museum work is getting to know an individual collection. At institutions like CFAM, which are tied to specific communities of alumni, donors, students, faculty, and local visitors, collections grow organically, reflecting the interests of all the people who make a community like Rollins and Winter Park special. At CFAM, we are fortunate to include 217 works by the Hungarian-American painter Tibor Pataky in the collection, a result of a generous gift by his widow, Ellen, in 1985. Born in Budapest, then one of the two capitals of the Austro-Hungarian Empire, Pataky was trained at the Royal Academy there, eventually becoming an instructor.1<\/sup> In 1929, he was in Paris to study, when he happened to meet an American visitor named Ellen Swayne. Though she spoke no Hungarian and he spoke no English, they carried on a two-year courtship via letters, which were translated by relatives. In 1931 Pataky moved to Florida, leaving behind his comfortable life as an art professor to marry Ellen. Rural Central Florida must have been quite a change for the cosmopolitan Pataky, and the couple supported themselves at least in part with the income from an orange grove.2<\/sup> By the 1936-37 school year, he was a professor at Florida Southern in Lakeland, where he would spend the rest of his teaching career, though he also directed the Center Street Gallery in Winter Park.3<\/sup> <\/p>\n\n\n\n

\"\"
Tibor Pataky (American, born Hungary 1901-1978)
Diagonal Block Study<\/em>
1952
Charcoal on paper
25 x 19 in.
Gift of Mrs. Tibor Pataky, 1985.31.23<\/figcaption><\/figure><\/div>\n\n\n\n

Allegorical Portrait of Ellen Pataky<\/em>, one of the works in the CFAM collection, dates from his first year in Florida. It is a fine example of Pataky\u2019s early style, which used an expressive realism to capture the lives of Hungarian\u2014and later Mexican\u2014peasants.4<\/sup> The painting depicts Ellen as a rosy-cheeked beauty proudly displaying her wedding ring while she gazes dreamily into the sky. She stands on a white Florida beach, the deep blue water of the ocean, Gulf, or perhaps Tampa Bay spreading out to the low horizon behind her. She is surrounded, curiously, by a field of tulips, a European flower that does not grow in Florida (the bulbs require freezing winter temperatures to develop properly). In addition to Pataky\u2019s obvious love for his wife, whose floral print top unifies her visually with the flowers, the painting seems to show him making sense of his new surroundings, incorporating them into the more familiar visual world of his Central European home.<\/p>\n\n\n\n

Pataky would go on to achieve regional and national renown for his depictions of daily life, exhibiting frequently at the All-Southern Art Association; at galleries in Boston, New York, and San Francisco; and even in the American Pavilion at the 1939 New York World\u2019s Fair.5<\/sup> In 1952, however, his career took on a sudden new direction, as he fell under the influence of German \u00e9migr\u00e9 Hans Hoffman, who had established a summer art colony in Provincetown on Cape Cod in Massachusetts. Hoffman, who had come to the United States in 1932, was a huge influence on the American art world\u2019s turn to abstraction in the 1940s and 1950s.6<\/sup> Pataky quickly adopted Hoffman\u2019s abstract style, as a 1952 drawing (really more of a student exercise), entitled Diagonal Block Study<\/em>, shows. Pataky has replaced the lyrical realism of his earlier work with a spare linearity, working out the relations of pure rectangular forms with a series of bold and decisive strokes of his charcoal. Writing in the lower right indicates that it is from his first summer with Hoffman, who has left a note indicating he has reviewed the exercise.<\/p>\n\n\n\n

\"\"
Tibor Pataky (American, born Hungary 1901-1978)
Untitled<\/em>
1960
Oil on canvas
23 \u00bc x 19 in.
Gift of Mrs. Tibor, 1985.13<\/figcaption><\/figure><\/div>\n\n\n\n

These exercises would result in a new style in Pataky\u2019s finished paintings, as well. Untitled<\/em>, signed \u201cTibor \u201860\u201d in the lower left, is one of the best examples in the collection. Compared to the riot of color seen in Allegorical Portrait of Ellen Pataky<\/em> this painting is downright severe, using only shades of gray and yellow, as well as a few patches of pure white, to present an abstract vision of rectangular forms held in dynamic tension with one another. Whether you prefer his earlier Regionalist-inflected realism or his spare late abstractions, Tibor Pataky presents a fascinating case of a local artist who followed the wider trends of American art in the middle of the twentieth century. We are fortunate to have such a rich collection of his work here at the Cornell Fine Arts Museum.<\/p>\n\n\n\n

1<\/sup>Most of my information about Pataky\u2019s biography comes from the Tibor Pataky Papers. Florida Southern College Archives.
2<\/sup>Bishop, Phillip E. \u201cThe Paintings of Tibor Pataky.\u201d 3<\/sup>The Orlando Sentinel<\/em> July 22, 2001.
4<\/sup>A copy of Pataky\u2019s CV is found in the Florida Southern archives.
5<\/sup>\u201cHungarian Depicts Mexico.\u201d The Art Digest<\/em>. (April 1, 1936), 15.
6<\/sup>Pataky CV, Tibor Pataky Papers, Florida Southern Archives.
Bishop, Phillip E. \u201cThe Paintings of Tibor Pataky.\u201d The Orlando Sentinel<\/em> July 22, 2001. 
<\/p>\n","protected":false},"excerpt":{"rendered":"

For me, one of the great pleasures of museum work is getting to know an individual collection. 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