10 Bogdányi Street, 2000 Szentendre
+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!
Ámos Imre – Anna Margit Memorial Museum
The Museum presents the lifework of tragic Imre Ámos and his wife, Margit Anna, and was opened in 1984. In 1991 the remains of Margit Anna were laid to eternal rest in the garden of the museum upon the request of the artist.
Currently, the Museum houses temporary exhibitions; the permanent collection will be returned to the Museum following its full-scale renovation.
The museum presenting the oeuvre of the artist couple Imre Ámos and Margit Anna opened its doors in 1984 in a 18th-century historic monument building downtown. The artworks featured here were donated by Margit Anna to the Directorate of Pest County Museums (today the Ferenczy Museum Center) in order to preserve the memory of Imre Ámos, disappeared during the Second World War in a forced labor camp, and to present the lifework of the couple. The remains of Margit Anna were laid to eternal rest in the garden of the museum following the request of the artist (1991).
The museum was renovated according to current demands for the 100th anniversary of Imre Ámos’s birth. The Ferenczy Museum Center created a chronological permanent exhibition of the numerous works of Imre Ámos and Margit Anna, which graphically presents the lifework of these two prominent painters of the 20th century in a comparative fashion. The collection cannot be visited temporarily as the museum hosts periodic exhibitions.
At the beginning of his career Imre Ámos (1907–1944) painted idyllic, multiple-figure compositions placed in a timeless space: the paintings are populated by melancholy women going to the well and male figures with meditative serenity. In 1936-37, partially due to Chagall’s influence, his attention turned visualizing “subjective fantasy and visions.” Ámos uses several symbols in his paintings: the rooster, the ladder, the angel, and the fire are all metaphors waiting to be deciphered. The tragic historical events of the 1940s, his sour experience in the labor camp, recalibrate his painting. The colors darken, the outlines of his objects and figures become restricting shackles. His painting shows the shocking experience of the war to dramatic effect. The Szolnok Sketchbook, including the artist’s last drawing, records the period just before his death similarly to Miklós Radnóti’s Bori’s Notebook. The drawings in the sketchbook are shocking documents of hopelessness, pain, and vulnerability presented in an artistic way.
The early works of Margit Anna (1913–1991) include sensitive ink drawings, self-portraits with contemplative countenances composed in interiors. His master, János Vaszary, considered her a promising talent,which is proven by his oft-quoted sentence referring to the dedication of the painter: “…you, madame, have paint flowing in your veins.” Her artistic language becomes more characteristic by the end of the ’30s, her self-portraits display different roles: she appears as a ballet dancer, a circus acrobat, or a woman of high society in her paintings. Margit Anna’s art changes completely as the result of the trauma caused by the Second World War and the loss of his husband. Her colors become sharp, the staring self-portraits are changed to vulnerable puppets exposed to the drift of history. Irony, sarcasm, a grotesque tone, and surprisingly surreal associations characterize her work. Her late period is defined by internalizing the motifs of “servants’ folklore” in her paintings.