As readers of this blog know, I hold László Mednyánszky to be among Hungary's best if not the best landscape painter, but the Wandering Baron also created many portraits, studies, and scenes. As is the case with many painters, Mednyánszky was particularly interested in death and addressed the theme in a great many sketches, studies, and finished pieces.
His treatment of the subject ranges from the macabre to the mournful. Nevertheless, his depictions of these aspects do not appear to reflect his own views of death and seem instead to focus on the common emotions and beliefs people generally display or attribute to death. At the risk of brandishing an unintended pun, I would say some of his paintings of corpses exude the tranquility of still life; others inspire a deep sadness, perhaps even dread. All the same, I do not believe Mednyánszky's personal interest in death as a subject centers upon a morbid fascination or grim loathing. On the contrary, I feel the Wandering Baron understood that death was a transition - one which revealed the possibility of resurrected life (as his study, Allegory of Death and New Life - see final image below - clearly shows).
Note: Mednyánszky was a master of light in his landscapes, so much so they could be referred to as lightscapes rather than landscapes. By contrast, the light in his death paintings is diffuse and drab. The appearance of any light beyond that must be 'revealed'. Also, note the dull browns and earth tones - the very opposite of the vivid, striking palates he employed in most of his landscapes.
His treatment of the subject ranges from the macabre to the mournful. Nevertheless, his depictions of these aspects do not appear to reflect his own views of death and seem instead to focus on the common emotions and beliefs people generally display or attribute to death. At the risk of brandishing an unintended pun, I would say some of his paintings of corpses exude the tranquility of still life; others inspire a deep sadness, perhaps even dread. All the same, I do not believe Mednyánszky's personal interest in death as a subject centers upon a morbid fascination or grim loathing. On the contrary, I feel the Wandering Baron understood that death was a transition - one which revealed the possibility of resurrected life (as his study, Allegory of Death and New Life - see final image below - clearly shows).
Note: Mednyánszky was a master of light in his landscapes, so much so they could be referred to as lightscapes rather than landscapes. By contrast, the light in his death paintings is diffuse and drab. The appearance of any light beyond that must be 'revealed'. Also, note the dull browns and earth tones - the very opposite of the vivid, striking palates he employed in most of his landscapes.
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