Ferenc Joachim
Ferenc Joachim | |
---|---|
Hungarian | |
Education | Budapest, Vienna, Munich and Paris |
Known for | Painting |
Movement | Impressionism |
Ferenc Joachim (May 21, 1882 – September 16, 1964) was a Hungarian painter of portraits and landscapes in oil, watercolors and pastels on canvas, board and paper. He studied and painted in Budapest and Western Europe. As an untitled member of the minor nobility, Joachim was entitled to bear the honorary prefix Csejtei, so prior to the Communist abolition of honorifics in 1947 his name might be found in the form "Csejtei Joachim Ferenc" (or "Cs. Joachim F.") in Hungarian, or in German "Franz Joachim von Csejthey".
Early life
Joachim's parents were Ferenc Joachim and Emilia Metz of Szeged, Hungary. He had two brothers, Jozsef and Károly, and four sisters, Gizella, Mariska, Jolán, and Mici. The family was Roman Catholic. Some of his siblings were also artists in their own right: Jozsef[1][2] was a sculptor and painter while Gizella became a stage actress.
Ferenc Joachim was born in
Little is known about the first 30 years of Joachim's life. It appears that Joachim was married twice. He married Margit Gráf (1892–1965) around 1912. They had three children: one daughter, Piroska (1913–2007), and two sons, Ferenc Gabriel (1920–1989) and Attila (1923–1947).[3]
Joachim studied painting in Budapest (Hungary), Vienna (Austria), Munich (Germany), and Paris (France).[4] He studied with Hungarian art educator Simon Hollósy at his private school in Munich,[5] and periodically visited Hollósy's Nagybánya artists' colony in Transylvania.
Painting career
While his principal residences and studios were in his birthplace of
Joachim was a proponent of the late 19th-century concept of leaving the studio and painting in nature. One of his most productive periods was during one of his stays in Marseilles and along the Mediterranean coast, where he painted over a hundred canvases.
In Szeged he was active in promoting the arts in the region. Articles from Művészet in both 1910[7] and 1913[8] show him with other local artists. A publication from Hódmezővásárhely dated 15 April 1910 reports the annual spring exhibition of artists in Szeged, with Joachim Ferenc cited as the most modern of them, with a first-class sensibility for colors. Joachim's paintings were exhibited at the Salon d'Automne (1911) and Salon des Indepenedents (1913) in Paris, and at the Nemzeti Szalon (National Salon) in Budapest.[9] His paintings were also exhibited at the Szépműveszeti Múzeum or Museum of Fine Arts (Budapest).[citation needed]
An article documents that in April 1919 Joachim was a member of the committee of the Szeged Museum trying to save and catalogue the museum's collections following the ravages and chaos of
Today a small collection of his paintings (partly owned and partly on loan) is preserved in the repository of the "Móra Ferenc Múzeum" in Szeged. One painting, "Kőbánya Albániában" (Stone Quarry in Albania), is owned by the Hungarian National Gallery.[5] All other paintings are in private hands, occasionally appearing at public art auctions in Hungary and the US.
Family difficulties
During the years of the Great Depression the family was reduced to poverty; in an interview in 1935 Joachim attributed his daughter's attempted suicide to their financial straits.[12]
During the
Later life
The final 20 years of Joachim's life, from 1944 to 1964, were spent in
In their old age, Joachim and his wife were moved to separate old age homes: Joachim went to
References
- ^ "Joachim József - artportal.hu". artportal.hu (in Hungarian). Retrieved 2018-10-25.
- ^ "Joachim József | Magyar életrajzi lexikon | Reference Library". www.arcanum.hu. Retrieved 2018-10-25.
- ^ Photographs of Piroska, Ferenc Gabriel, and Attila are available on Wikimedia Commons. Accessed 8 January 2008.
- ^ Éber László, ed. (1935). "References to JOACHIM Ferenc, and to his brother JOACHIM József". Művészeti Lexikon – Épitészet, Szobrászat, Festészet, Iparművészet (in Hungarian). Társszerkesztő: Gombosi György. Budapest: Gyözö Andor. Volume I on page 513 – via Wikimedia.
[Éber László, ed. (1935). "References to JOACHIM Ferenc, and to his brother JOACHIM József". Arts Lexicon - Architecture, Sculpture, Painting, Industrial Arts. Associate Editor: Gombosi György. Budapest: Gyözö Andor. Volume I on page 513.]
Hans Vollmer, Allgemeines Lexikon der bildenden Künstler des XX. Jahrhunderts (Leipzig, 1953), vol. 2, p. 551. - ^ a b "JOACHIM FERENC, Csejtei" (in Hungarian). VISUART Galéria. Archived from the original on 2007-10-10. Retrieved 6 January 2008.
- ^ "Szegedi festőmûvész sikere" [The success of a painter from Szeged]. Szinhazi Ujsag (in Hungarian). 1925. Retrieved 8 January 2008 – via Wikimedia. An article reviewing a solo exhibition of Joachim's paintings in Budapest, in 1925, states that Joachim's work had been well-received in Paris, Rome, Munich and Venice, and that this particular exhibition had already received favourable notices in other Budapest newspapers, Pesti Hirlap and 8 Orai Ujsag, and in the Vienna newspapers Die Stunde and Neue Freie Presse.
- ^ "HAZAI KRÓNIKA". Mûvészet – Szerkesztõ: LYKA KÁROLY (in Hungarian). Retrieved 6 January 2008.
- ^ "KRÓNIKA". Mûvészet – Szerkesztõ: LYKA KÁROLY (in Hungarian). Retrieved 6 January 2008.
- ISBN 978-0-1997-7378-7– via global.oup.com.
- ^ Lengyel András (June 2004). "A Forradalmak "Furcsa Párosa". Móra Ferenc és Zadravetz István" (PDF). Holmi. p. 676. Retrieved 6 January 2008.
- ^ "ALFÖLD – PARASZTOK" (PDF) (in Hungarian). Archived from the original (PDF) on 2015-09-23.
- ^ "Scan". Esti Kurir. March 15, 1935. p. 9. Retrieved 6 January 2008 – via Wikimedia.
- ^ "A Magyar Képzőművészeti Egyetem hallgatói 1871-től a mai napig" [Students from the Hungarian University of Fine Arts from 1871 to this day]. Magyar Képzőművészeti Egyetem (in Hungarian). Archived from the original on 16 June 2016. Retrieved 6 January 2008.
- ^ Private communication from Mrs. Piroska Porkoláb, Joachim's daughter, aged 92, in conversations during July, August, September, October and November 2005: "He had a voracious intellectual curiosity which he fed incessantly by avid reading of literature, history, science, newspapers. He had many friends and acquaintances amongst his contemporaries and colleagues in the arts including painters, sculptors, writers, and musicians. He had never renounced anyone for any reasons. He had always protected anyone seeking his assistance. The last twenty-five years of his life, from the onset of World War II to his death, he lived under extreme adversity and hardships due to the German Nazi and then Russian communist occupations causing deprivations of basic human rights, human dignity, jobs, income, livelihood, artistic supplies and materials, artistic integrity."