Ervin Marton

Ervin Marton (known as Marton Ervin in Hungarian; 17 June 1912 – 30 April 1968) was a Franco-Hungarian artist and photographer who became an integral part of the Paris art culture beginning in 1937. An internationally recognized photographer, he is known for his portraits of many key figures in art, literature and the sciences working in Paris, as well as for his candid "street photography". His work was regularly exhibited in Paris during his lifetime, as well as in Budapest, London and Milan. It is held by the Hungarian National Gallery, the Bibliothèque Nationale in Paris, and the Hungarian Museum of Photography, as well as by major corporations and private collectors in Europe and the United States.

Together with numerous other Hungarians and immigrants, Marton joined the French Resistance during the Nazi occupation of Paris in World War II. Artists and intellectuals participated in projects of aiding refugees, printing clandestine communications to keep up morale, and forging passes to aid people trying to escape the Nazis. Afterwards, Marton was awarded the Médaille de la Libération (French Liberation Medal) by the French government.

Renewed interest in the Hungarian artists of 20th-century Paris has generated major 21st-century exhibits of Ervin Marton and his contemporaries. These include exhibits in Vienna, Austria (2004); and Kecskemét (2004) and Budapest, Hungary (2007 and 2010). Marton's street photography of Paris was exhibited in California (2009) together with that of the 20th-century photographers Inge Morath and Max Yavno. In 2010–2011, Marton's photos of female nudes were exhibited with those of other Hungarian artists at the Institut hongrois in Paris.

Early life and education Ervin Marton was born in Budapest, Austria-Hungary, in 1912 to István Preisz and his wife Janka Csillag, a Hungarian-Jewish couple. He had two sisters. Marton started drawing as a child; and as a teenager, he began to work in photography, although he never studied it formally.

A cousin-in-law by marriage was Lajos Tihanyi (1885–1938), one of the Hungarian artists' circle known as The Eight (Nyolcak) (1909–1918 in Budapest), who became a renowned painter and lithographer. In 1919, after the fall of the short-lived Hungarian Soviet Republic, Tihanyi emigrated to Vienna. He went on to Berlin, where he became friends with Brassaï and other younger Hungarian artists and writers. After the Hungarian and Russian revolutions, many artists and intellectuals migrated to Berlin from Eastern and Central Europe. In the early 1920s, there was a "short-lived" synthesis here of the international avant-garde with artists and intellectuals of Western Europe.

Lastly, Tihanyi emigrated to Paris in 1924, along with many other Hungarian artists, , including Brassai and André Kertész. After Ervin Marton went to Paris in 1937, Tihanyi introduced him to many of the friends in his large émigré circle.

After completing his Baccalaureate, Marton continued his studies at the Omike Drawing School in Budapest, under the artist Manó Vestróczy. He also studied at the Budapest Arts and Crafts Institute (1934–1937). During the summers from 1935 to 1937, he regularly spent time in Kalocsa, about 90 miles south of Budapest. Marton was fascinated by the Roma, whom he drew, painted and photographed there.

Career In the 1930s, Marton had his first exhibit at galleries in Budapest, when he was in his early 20s. His graphic art exhibit in 1936 at the Műterem (Studio) Gallery with Aladár Farkas was praised by the critic Artur Elek of the Nyugat, and the writers Mária Dutka and Ödön Gerő. Edit Hoffman purchased several of Marton's works from the exhibit for what became the Hungarian National Gallery (Magyar Nemzeti Galéria). Until 1946 and his father's death, Marton frequently signed his work using his father's name Preisz as a surname (Ervin Preisz), or sometimes using Paal (Paul).

Marton became intrigued by the growing Esperanto movement and its concept that using one language would bring people together. He accepted a commission for a series of stamps that celebrated Esperantist ideals.

War years in Paris In 1937, Marton moved to Paris, a centre for artists and writers from across Europe and a refuge for Jews suffering anti-Semitism in their native lands of Germany and eastern Europe. He became part of the vibrant circle of Hungarian émigré artists. Marton continued to study as well. He took classes in painting and sculpture at the École des Beaux-Arts.

Through his cousin, the painter Lajos Tihanyi (who died in 1938), Marton became part of an older circle of established artists and writers. He got to know the photographer Brassai and the writer György Bölöni. Marton also became connected to the writer Andor Németh and the painter Bertalan Pór. The latter was one of The Eight with Tihanyi in Budapest before World War I, and both men were also friends of Brassaï. In 1954, a catalogue was published in Paris that showed the significance of the widespread, but clandestine communications by the FTP-MOI and other groups.

Marton also took part with Lajos Papp in several high-risk actions to prepare false documents for wanted persons and help them hide from the Nazis. Among those aided were a German writer and deserter, and the Hungarian artist Ferenc Varga. (A friend of Marton, Varga was the nephew of the noted novelist Zsigmond Móricz.)

Numerous young Jewish Hungarian artists and intellectuals were part of the Resistance, including the painter Sándor Józsa, sculptor István Hajdú (Etienne Hajdu), journalists László Kőrösi and Imre Gyomrai, the photographers Andras (André) Steiner and Lucien Hervé (by then a French citizen), and the printer Ladislas Mandel. The Germans distributed posters to publicize their capture, which described them as criminals; citizens used the posters as rallying symbols for the opposition, marking them "Mort pour France!" (Died for France!) after the executions of the group. Marton made a graphic image for the Phenix, an underground pamphlet published in April 1944 by the Magyar Szemle (Revue Hongroise), to commemorate the three Hungarians killed from the Manouchian Group. Jorge Semprún, a Spanish writer who also served in the Résistance, referred to Marton's group in a postwar novel about that period.

Marton was able to protect much of Tihanyi's and his own early work through the war, helped by his friendships with Brassai and Bölöni, who arranged for storage. Their support of Hungarian art continued after the war. In 1965, Kertész, Brassai and de la Frégonnière helped transfer the work of Tihanyi, Marton and other Hungarian artists to the Hungarian National Gallery, founded in 1957.

(Although Marton's parents survived The Holocaust in Budapest, they were weakened by deprivation and died of pneumonia soon after the end of the war. His two sisters were saved by Raoul Wallenberg, but the baby of one died during the war.)

Post-war years

Artistic activity in Paris rapidly revived in the years after the war. From 1944 to 1946, Marton worked with Bölöni and Por in the reorganization of the Hungarian House, a cultural centre for émigré artists. The community organized their own exhibits and discussions. "Camus by Marton" – Cover photograph by Ervin Marton for André Nicolas, Une Philosophie de l'Existence, Albert Camus, Presses Universitaires de France, 1964.

Marriage and family After the war, Marton met his future wife, Martha Rudas, who had immigrated to Paris from Budapest.

Marton and Martha married and had two sons together. Pier is a video/new media artist, professor and writer; "Interrupted Conversation, Place de la Bastille, Circa 1950" – Cover photograph by Ervin Marton on Routledge's 2018 English edition of Jean-Paul Sartre's L’Être et le Néant.

Commissions and recognition Marton's artistic recognition led to many work opportunities. His photograph commissions included: In addition to his photography, the National Gallery holds one of his paintings and works in graphic art. Marton's work has been collected by the Hungarian National Gallery, the Bibliothèque Nationale, private collectors and major corporations.

Since the Hungarian Museum of Photography (Magyar Fotográfiai Múzeum) opened in 1991, it has also collected Marton's work. In 2004, the museum featured the photographer in a solo retrospective exhibit. The museum is particularly interested in the Hungarian photographers such as Marton, who made international reputations while working in other countries.

Following Marton's death, his family donated his sculpture to the Szombathely Képtár in Szombathely, Hungary. Founded in 1985, the gallery features mostly 20th-century artists and later. In 1992 it had two exhibits of Marton's photographs, 80 Eves and Afterimages.

Legacy and honours Médaille de la Libération (French Liberation Medal) Marton's work has continued to be exhibited internationally and recognized for his contributions, especially for his portraits and street photography. Twenty-first-century exhibits are noted below.

21st century exhibits 1945 – Galerie Arts, Paris 1947 – School of Paris, Bussy Gallery, London 1947 – Surrealist exhibitions, Galerie Maeght, Paris 1948 – Ervin Marton: solo exhibit, Galerie Palmes, preface to catalogue by Louis Cheronnet 1956 – Art et Résistance, Salon d’Hiver, Paris 1965 – Circolo Fotografia Milanese, Italy – solo exhibit 1971 – Ervin Marton: Memorial Exhibition, Hungarian National Gallery. The catalogue included the following exhibits of his work: Jun 2004 – Ervin Marton: Life-Work Exhibition, Hungarian Museum of Photography, Kecskemét Nov 2004 – Double voyages: Photographies hongroises du monde entier (Hungarian Photographs of the Whole World), Collegium Hungaricum (Hungarian Cultural Institute), Vienna, Austria. 2007 – Paris en hongrois (Paris in Hungarian) – Maison Mai Manó, Hungarian House of Photography, Budapest. 2009 – 20th Century Photography: Selections from the Wachovia Securities Art Collection (now Wells Fargo Collection), Center Art Museum, Escondido, California 2010 – Art in Exile series: Belated Homecoming, 17 April to 15 August 2010, Holocaust Museum (HDKE), Budapest, group show of many Hungarian artists working abroad in the 20th century 2015 — Ervin Marton: Paris, the Post-War years, 14 May to 3 July 2015, Gallery Cohen, Los Angeles 2016 — Emeric Feher et ses amis (Emeric Feher, Stephen Deutsch, Ervin Marton et André Steiner), 2 June to 16 July 2016, Institut Hongrois, Paris, France.

Partial listing of publications Sous la direction de Laure Beaumont Maillet, Françoise Denoyelle et Dominique Versavel, La photographie humaniste 1945–1968, Autour d'Izis, Boubat, Brassaï, Doisneau, Ronis... BnF, Bibliothèque Nationale de France, Paris, 2006 Károly Kincses, Double voyages: photographies hongroises du monde entier , Vienna: Collegium Hungaricum, 2001 (included Ervin Marton among noted 20th-century Hungarian photographers), published in Hungarian and English Edith Balas, Joseph Csáky: A Pioneer of Modern Sculpture, Philadelphia, PA: American Philosophical Society, 1998, cover and frontispiece, photo by Ervin Marton; plus four of his photos inside Maurice Fombeure, Paris m’a souri, with photos by Ervin Marton, Paris: Alpina, 1959 Jean Mistler, l’Autriche (Austria), with photos by Ervin Marton, Les Guides Bleus, Paris: Hachette, 1958 Peintres Témoins de leur Temps (Painters Witness of Their Time), with photos by Ervin Marton and others, Paris Lucien Lorelle: "l'Esthètique du Nu", with photos by Ervin Marton, Le Monde