It was the site of a victorious battle by the Honvéd army units against the Habsburg forces. – B: 1064, 1031, T: 7456. Vác, Bishopric and Chapter of
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- →Lajtha, László; Ferencsik, János; Szervánszky, Endre; Ádám, Jenő; Bárdos Lajos; Viski, János (2).
- Tompa, Mihály; Nagy, Géza. Vásárhelyi, Pál
- Széchenyi, Count István. Vásárhelyi, Sándor
- Balassi, Bálint; Flower Songs. Vásárhelyi, Zoltán
- Kodály, Zoltán. Vásáry, Tamás
- Dohnányi, Ernő; Kod ály, Zoltán; Bogányi Gergely; Érdi, Tamás. Vaskapu, Cave Inscriptions at
- Vásárhelyi, Pál; Hungarian Runic Script. Vasquez de Molina, Countess Italia
- Mahler, Gustav. Vass, Éva
Vasady Balogh, Lajos (Lewis) (Vasadi) (Budapest, 26 January 1921 - Budapest, 2002) – Conductor, composer, pianist and organist. In 1938 he studied conducting at the National Music School (Nemzeti Zenede), Budapest, under the direction of László (Ladislas) Lajtha, János (John) Ferencsik, and Endre (Andrew) Szervánszky. From 1942 he continued his studies at the Teachers’ Training Institute of the Academy of Music, Budapest, under Jenő (Eugene) Ádám, Lajos (Louis) Bárdos, and János (John) Viski. With a scholarship, he trained under Wilhelm Furtwängler and Isai Dobroven. He also studied Law, Philosophy, and History of Art. Between 1942 and 1953, he taught piano and composition at the Academy of Music of Buda. From 1953 to 1956, he led the Mávag Artists’ Ensemble. Between 1956 and 1961, he was a conductor of the State Opera House, Budapest. From 1960 to 1966, he conducted the Postmen’s Symphony Orchestra; from 1966, he was its musical director until 1981. In the meantime, he was a leading conductor for the Opera Stagione of Milan. He composed an Opera entitled Mary Stuart (Stuart Mária), Symphonic and Chamber pieces, Cantatas, Concertos and Ecclesiastical music, as well as works for solo instruments. He was guest conductor in many countries in Europe. He received the Meritorious Artist title in 1979. – B: 1445, 1679, T: 7456.→Lajtha, László; Ferencsik, János; Szervánszky, Endre; Ádám, Jenő; Bárdos Lajos; Viski, János (2). V  asarely, Victor (born: Vásárhelyi, Győző) (Pécs, 9 April 1906 - Paris, 15 March 1997) – Painter and artist. He was a Hungarian-French artist, whose work is generally seen aligned with Op-art. Vasarely grew up in Pöstyén (now Piešt’any, Slovakia) and Budapest where, in 1925, he took up medical studies at the Medical School of the University of Budapest. In 1927 he abandoned medicine to study traditional painting at the private Podolini-Volkmann Academy. In 1928-1929, he enrolled at the Sándor (Alexander) Bortnyik workshop, which existed until 1938, then widely recognized as the center of Bauhaus studies in Budapest. In 1929, Vasarely painted his Blue Study and Green Study. In 1930 he married his fellow student Claire Spinner (1908-1990). Together they had two sons, Andre and Jean-Pierre. In Budapest, he became a graphics designer and a poster artist, combining patterns and organic images.
Vasarely left Hungary and settled in Paris in 1930, working as a graphic artist and as a creative consultant at the advertising agencies Havas, Draeger and Devambez (1930-1935). He played with the idea of opening up an institution modeled after Sándor Bortnyik’s workshop, and developed some teaching material for it. Having lived mostly in cheap hotels, he settled from 1942 to 1944 in Saint-Céré. After World War II, he opened an atelier in Arcueil, a suburb some 10 kilometers from the center of Paris (in the Val-de-Marne region of the Île-de-France). In 1961, he finally settled in Annet-sur-Marne (in the Seine-et-Marne region). Over the next three decades, Vasarely developed his style of geometric abstract art, working in various materials, but using a minimal number of forms and colors. Between 1929 and 1944, Vasarely experimented with textural effects, perspective, shadow and light. His early graphic period resulted in works such as Zebras (1937), Chess Board (1935), and Girl-power (1934). The painting Zebra, created by Vasarely in the 1930s, is considered by some to be one of the earliest examples of Op-art. Between 1944 and 1947 Vasarely experimented with cubistic, futuristic, expressionistic, symbolistic and surrealistic paintings without developing a unique style. Thereafter, he said, he was on the wrong track. He exhibited his works in the Gallery of Denise René (1946) and the Gallery René Breteau (1947). Writing the introduction to the catalogue, Jacques Prévert placed Vasarely among the surrealists. Prévert creates the term “imaginoires” (images + noir, black) to describe the paintings. Self Portrait (1941) and The Blind Man (1946) are associated with this period. Between 1947 and 1951 he developed a geometric abstract art (optical art). Finally, Vasarely found his own style. Ellipsoid pebbles and shells found during a vacation in 1947, on the Breton coast at Belle-Ïle, which inspired him to the Belles-Isles works. From 1948, Vasarely usually spent his summer months in Gordes in Provence-Alpes-Côte d’Azur. There, the cubic houses led him to the composition of the group of works labeled “Gordes/Cristal”. He worked on the problem of empty and filled spaces on a flat surface as well as the stereoscopic view. From 1951 to 1955, he created kinetic images, black-and-white photographs. He developed superimposed acrylic glass panes to create dynamic, moving impressions depending on the viewpoint. In his black-and-white period, he combined the frames into a single pane by transposing photographs in two colors. Tribute to Malevitch, a ceramic wall picture of 100 m², which he co-designed in 1954 with the architect Carlos Raúl Villanueva, adorns the University of Caracas, Venezuela. Kinetic art flourished, and works by Vasarely, Calder, Duschamp, Man Ray, Jesús-Rafael Soto, and Tingzely were exhibited at the Denise René Gallery under the title “Le Mouvement” (The Movement). Vasarely published his Yellow Manifest. Building on the research of constructivist and Bauhaus pioneers, he postulated that visual kinetics (plastique cinétique) relied on the perception of the viewer who is considered the sole creator, playing with optical illusion. During 1955 to 1965, he created the Folklore planétaire, permutations, and serial art; on 2 March 1959 Vasarely patented his method of unités plastiques. Permutations of geometric forms are cut out of a colored square and rearranged. He worked with a strictly defined palette of colors and forms, which he later enlarged and numbered. Out of this plastic alphabet, he started serial art, an endless permutation of forms and colors worked out by his assistants. In 1963 Vasarely presented his palette to the public under the name of Folklore planetaire. In 1965, he created his Hommage à l'hexagone, Vega: The tribute to the hexagon series consists of endless transformations of indentations and relief, adding color variations, creating a perpetual mobile of optical illusion. In 1965 Vasarely was included in the Museum of Modern Art exhibition The Responsive Eye, created under the direction of William C. Seitz. His Vega-series plays with spherical swelling grids, creating an optical illusion of volume. In October 1967, designer Will Burtin invited Vasarely to make a presentation to Burtin's Vision ’67 conference, held at New York University. On 5 June 1970 Vasarely opened his first dedicated Museum with over 500 works in a Renaissance Palace in Gordes (closed in 1996). A second major undertaking was the Foundation Vasarely in Aix-en-Provence, a Museum housed in a distinct structure specially designed by Vasarely. It was inaugurated in 1976 by French president Georges Pompidou. Also in 1976, his large kinematic object, Georges Pompidou was installed at the Centre Pompodou in Paris. The Vasarely Museum, located in his birthplace in Pécs, Hungary, was established with a large donation of works by Vasarely. In 1982 154 specially created serigraphs were taken into space by the cosmonaut Jean-Loup Chrétien on board the French-Soviet spacecraft Sakyut 7, and later sold for the benefit of UNESCO. In 1987, the second Hungarian Vasarely Museum was established in the Zichy Palace in Budapest, with more than 400 works. One of his large murals, the Mural de Canada, has occupied the front entrance hall of the Vancouver Academy of Music in British Columbia, Canada, since 1977. His works are treasured by museums such as: Museum Foundation Vasarely in Aix-en-Provence (1976); Vasarely Museum in Gordes Palace, Vaucluse, France (1970-1996-closed); Vasarely Museum, Pécs, Hungary (1976); Vasarely Museum, Zichy Palace, Óbuda, Budapest, Hungary (1987). He received awards and prizes, among them: the Guggenheim Prize (1964), the French Chevalier de L'Ordre de la Légion d’honneur (1979), the Art Critics Prize, Brussels and the Gold Medal at the Milan Triennale. – B: 0872, 1031, T: 7617. Vásárhelyi, János (John) (Maroscsúcs, now Stina de Mures, Romania, 12 June 1888 - Kolozsvár, now Cluj-Napoca, Romania, 11 December 1960) – Bishop of the Reformed Church in Transylvania, (Erdély, now in Romania). After completing his higher studies at the Reformed Theological Academy of Kolozsvár (then in Hungary), Jena, Germany, and Basel, Switzerland, he served as an assistant minister in Beszterce (now Bistrita, Romania) in 1911 and in Dés (now Dej, Romania) in 1919. In 1921 he responded to a call from the Reformed Church in Kolozsvár, where he became a parish minister in 1923, a post he resigned in 1927, when he was elected Chief Secretary of the Transylvanian Reformed District (Erdélyi Református Egyházkerület). He was elected Bishop there in 1936. Of his numerous publications the best known are: Mihály Tompa (Tompa Mihály) (1916); I Know Whom I Believed (Tudom kinek hittem) sermons (1927); Our Faith (A mi hitünk) (1935); The Prayer Book of the Reformed Christian (A református keresztyén imádságoskönyve) (1938); The Reformed Woman (A református asszony), and The Triumphant Jesus (A diadalmas Jézus). – B: 0911, 0940, T: 7617.→Tompa, Mihály; Nagy, Géza. Vásárhelyi, Pál (Paul) (Szepesolaszi, now Spišské Vlachy, Slovakia, 25 March 1795 - Pest, 9 April 1846) – Hydraulic engineer. He completed his secondary schooling in Eperjes (now Prešov, Slovakia) and Miskolc; then he continued his studies at the Engineering School of the University of Pest, receiving a Degree in Engineering in 1816. He started his work as an engineer with the surveying of the Kőrös River tributaries; then, from 1823 he was involved in surveying of the Danube River course. The mapping of the most difficult section of the Lower Danube was carried out under his leadership between 1832 and 1834. With the guidance of Count István Széchenyi, he completed the plan of the control of the “Iron Gate” section of the river, where it cuts across the Carpathian Mountain range, and he started the construction of the Lower Danube road (later on named after Széchenyi) and the riverbed reconstruction of the Iron Gate (1834-1837). However, this construction work had to be left incomplete because of the withdrawal of government assistance. He was invited to become a member of the Hungarian Academy of Sciences in 1835. By 1843, he had completed one of his more important engineering works: the altitude determination of the river-level of the Danube and its tributaries related to the level of the Adriatic Sea. His greatest engineering achievement was the plan for the Tisza riverbed reconstruction, which he worked out in the years between 1833 and 1845. The main idea was to speed up the water-current for the down-flow of the river; which can only be achieved by cutting across the elbows and bends, thereby shortening the river’s length. While debating his plans, he suddenly died. During the second half of the 19th century, the Tisza River Regulation was carried out to completion according to his plans. By the implementation of the flood-protection, 3.26 million acres of formerly unusable land became arable. Vásárhelyi was the most significant river-water engineer of the Reform Era. His main achievements were: river-flow improvement of the lower Danube at Vaskapu (the Iron Gate), and also river-flow improvement of the Tisza River, the greatest tributary of the Danube. He was also an outstanding figure in Hungarian cartography and river-bed reconstruction. He recognized that one of the most extensive and richest reserves of medicinal mineral water, as well as thermal energy supply of aquatic origin, lies unexploited beneath the Great Hungarian Plain (Magyar Nagyalföld). In connection with all his various engineering undertakings, his studies survived partly in manuscript form, partly in print. Among these, the most significant are: (1) the mathematical formula for the average velocity of rivers given in a transverse section; and (2) his paper for his Academic Inaugural Address dealing with the regulation of the River Berettyó. In Szeged, a statue was erected for him. His works include Concerning a Permanent Bridge Over the Danube at Buda Pest (A buda pesti állóhíd tárgyában) (1838), and A Few Warning Words about the Vaskapu Subject Matter (Néhány figyelmeztető szó a vaskapui ügyben) (1838). A College, a Commercial High School, a High School in Kecskemét, and a Street in Budapest bear his name. – B: 0883, 1138, 1031, T: 7456.→Széchenyi, Count István. Vásárhelyi, Sándor (Alexander) (Felsőtárkány, 16 April 1934 - ) – Dancer and dancing teacher. Between 1954 and 1957, he worked as a dancer in the Danube Artist Ensemble (Duna Művészegyüttes), the Attila József Theater (József Attila Szinház) Budapest, and the Szigligeti Theater (Szigligeti Szinház) of Szolnok. Since 1957 he has been a lecturer for the Army (Honvéd) Artist Ensemble and, between 1968 and 1978, he was its solo dancer. In his solo roles he attracted notice for his naturally simple but technically high standard performance, as e.g. in Tibor Vadasi’s: Negro Cantata (Néger kantáta); F. Novák’s: Manly Behavior (Legényes), and Honvéd (Army) Cantata (Honvéd kantáta). In the 1980s, he was the leader of the Dancing Ensemble of Budapest University, as well as the studio-leader of the Domino Pantomime Ensemble. He was awarded the Ferenc Liszt Prize in 1975. – B: 1445, T: 7456. VásárheIyi Songbook – A manuscript songbook dating from the second half of the l7th century. The small, 340-leaf book contains love songs almost exclusively, thus being one of the most important sources of old Hungarian romantic poetry. It offers a rich selection of close to one hundred years’ collection of love and popular songs, from between the end of the 16th to the end of the 17th century. Their authors, with a few exceptions (e.g. Bálint [Valentine] Balassi), are unknown. It was compiled around 1670, and was in the possession of the Vásárhelyi family of Háromszék County (Transylvania, Erdély, now in Romania), until the middle of the 19th century. – B: 1150, T: 7617.→Balassi, Bálint; Flower Songs. Vásárhelyi, Zoltán (Kecskemét, 2 March 1900 - Budapest, 27 January 1977) – Choir conductor and composer. He studied violin and composition, the latter with Zoltán Kodály, at the Ferenc (Franz) Liszt Music Academy, Budapest. Following two years as a violinist and concertmaster in Estonia and Norway, he returned to Kecskemét, where he taught violin and choral singing at the Music School from 1926 until 1942. He staged numerous choral works during this time, and had an important role in familiarizing the public with the works of Kodály, and other contemporary Hungarian composers. From 1942, he taught at the National Music School (Nemzeti Zenede), Budapest. Between 1938 and 1948, he led a number of workers' choirs. Defying a ban, he conducted performances of the choral work The Peacock Flew Away (Felszállott a páva) by Kodály during the war years. In 1947, his own Vásárhelyi Choir won first prize at the Llangollen International Choral Competition in Wales, Great Britain. His compositions include many folk music interpretations, cantatas, popular songs, and children's choral works. He was a prominent figure of the Hungarian choral music scene. He was a recipient of the Kossuth Prize (1949), the Merited Artist, and the Outstanding Artist titles in 1965. There is a male choir named after him. – B: 0883, T: 7667.→Kodály, Zoltán. Vásáry, Tamás (Thomas) (Debrecen, 11 August 1933 - ) – Piano virtuoso and conductor. He gave his first concert, a Mozart piano concerto, at the age of eight in Debrecen. Ernő (Ernest) Dohnányi supervised his development. After completing his training at the Ferenc (Franz) Liszt Academy of Music, Budapest in 1953, as Zoltán Kodály’s assistant, who made him a gift of a Steinway grand piano, he studied solfège and theory of music. Vásáry won the Franz Liszt Competition in Budapest in 1948. He regularly gave concerts in Hungary, as well as abroad. He left Hungary for Switzerland in 1956. He made his débuts in the major cities of the West in 1960 and 1961. He moved to England and settled in London. He gave concerts in London, Berlin and the United States. His first recording of the works of Liszt in 1960 met with great surprise in musical circles. He has made many recordings with Deutsche Grammaphon, particularly of the Romantic repertoire, especially Chopin. He has made numerous concert tours and played in the best-known musical festivals of the world. After obtaining further training in Vienna and London, he debuted as a conductor in France in 1970. As a conductor, Vásáry served as joint artistic director of the Northern Sinfonia from 1979 to 1982, sharing the post with Iván Fischer. With the Northern Sinfonia, Vásáry recorded the Chopin piano concertos, directing from the keyboard. Vásáry was Principal Conductor of the Bournemouth Sinfonietta from 1989 to 1997, and Music Director of the Budapest Symphony Orchestra from 1993. He has conducted several operas by Mozart: The Marriage of Figaro (Figaró házassága) at the Sadlers Wells Theater in London and in Cambridge; Don Giovanni in Seville, and The Magic Flute (A varázsfuvola) in Budapest, where he also conducted Verdi's Rigoletto and Gluck's Orpheus and Eurydice. In 2006 he founded the Zoltán Kodály World Youth Orchestra (Kodály Zoltán Világifjúsági Zenekar). Vásáry has conducted more than 100 famous orchestras throughout the world. His remarkable qualities are his diversified use of the keys, his exquisite sense of form, and his outstanding lyrical and virtuoso performances. His numerous recordings under six different labels have further enhanced his world reputation. He is the recipient of a number of distinctions and prizes, including the Bach and Paderewsky Medals; Honorary Member of the Royal Academy of Music and the Royal College of Music in London; Chevalier des Arts et Lettres (Order of Knights of Art and Literature) in France; in Hungary the Middle Cross of the Hungarian Order of Merit of the Republic of Hungary, the Kossuth Prize, the Millennial Kölcsey Prize; the Gold Medal of the President of the Republic of Hungary (twice), and the Hungarian Heritage Prize. – B: 1031, T: 7684.→Dohnányi, Ernő; Kodály, Zoltán; Bogányi Gergely; Érdi, Tamás. Vaskapu, Cave Inscriptions at, Transylvania (Erdély, now in Romania) – Romanian archeologists, during their research in 1973, found inscriptions beside the rock face, called “Alibég”, near the Vaskapu (Iron Gate – a gorge of the Lower Danube, where it leaves Historic Hungary) and also discovered new findings in a cave 30 meters above the water level in 1974. The brief announcement of the findings describes two undoubtedly runic-ligatured pictures, delineated with ochre red paint, together with the portrayal of a human hand. The line-direction of the runic signs is more recent than the part with red paint. Considering that the writing signs are in the mouth line of the sphinx-head-like drawing, the content of the words may indicate magic spells conjuring the forces of nature. In addition to the announcement, “numerous inscriptions” are rumored, but the report says nothing about them. Supposedly, these refer to further runic inscriptions. Unfortunately, no detailed photographs were made of the locality before the construction of the weir. Thus the elevated level of the Danube River will cover the mouth of the cave with its pictures and runic inscriptions forever. – B: 1174, T: 7669.→Vásárhelyi, Pál; Hungarian Runic Script. Vasquez de Molina, Countess Italia (Italia Ucelli) (Trieste, 24 March 1869 - Budapest, 1954) – Singer of Italian origin (soprano). She was a student of András (Andrew) Jesenics. At age 21, she made her debut in the title role of Aïda at the Opera House in Budapest. The performance met with such success that Gustav Mahler, the musical director and conductor of the Opera at the time, contracted her to the Opera House without any previous training on stage, and she remained there as the leading dramatic soprano until 1912. With her relatively clearly colored soprano voice and bel canto singing technique, at first she was very successful in the Italian operas but, later in her career, she was equally successful in Wagner’s music dramas. She sang her roles in Italian; she did not learn Hungarian. Her roles included Sulamith in Goldmark’s Queen of Sheba (Sába királynője); Santuzza in Mascagni’s Cavalleria Rusticana (Parasztbecsület); Amalia in Verdi’s Masked Ball (Álarcos bál); Desdemona in Verdi’s Otello; Anna in Mozart’s Don Giovanni; Elisabeth, Venus in Wagner‘s Tannhäuser; Sieglinde in Wagner’s The Valkyrie; Elsa in Wagner’s Lohengrin, and Isolde in Wagner’s Tristan und Isolde. She was made a Life Member of the Budapest Opera House in 1917, and an honored member in 1932. – B: 1445, 1160, T: 7456.→Mahler, Gustav. Vass, Éva (Budapest, 23 July 1933 - ) – Actress and costume designer. She began her career at the Youth or PioneerTheater (Ifjúsági vagy Úttörő Színház), Budapest, in 1952. From 1954 she was a member of the National Theater (Nemzeti Színház), Pécs; from 1956 of the Petőfi and Jókai Theaters (Petőfi és Jókai Színházak) and, from 1957, the Madách Theater (Madách Színház), Budapest. In 1975 she was contracted to the Theater of Kecskemét (Kecskeméti Színház); from 1978 she was a member of the Buda Castle Theater (Várszínház) and, from 1983, of the National Theater. From 1991 she became an artist of the Independent Stage (Független Színpad). She was able to have an accurately worked-out role and true to life psychology of character, coupled with deeply felt lyricism and passion. Her roles include Catherine in A. Miller’s A View from the Bridge (Pillantás a hídról); Juliet in Shakespeare’s Romeo and Juliet; Miranda in Shakespeare’s The Tempest (A vihar), and Mrs. Clandon in B. Shaw’s You Never Can Tell (Sosem lehet tudni). Her feature and TV film roles include Lieutenant of Rákóczi (Rákóczi hadnagya) (1953); Thistle (Bógáncs) (1968); Cold Days (Hideg napok) (1960); Anthill (Hangyaboly) (1971); Torquato Tasso (1984), and Szamba (1995). She also worked as a theater costume designer. Her productions included Au Pair (1999); The New Breed (Új Faj) (2001); The Den of Lions (Oroszlánok barlangja) (2003), and 100 Feet (2008). She was awarded the Mari Jászai Prize in 1958 and 1963, received the Merited Artist title in 1983, and the Outstanding Artist title in 1988. She founded the Miklós Gábor Prize in 2000, in memory of her former husband. – B: 1445, 1742, T: 7456. Vass, Imre (Emeric) (Rozsnyó, now Rožňava, Slovakia, 4 June 1795 - Sárospatak, 20 March 1863) – Engineer. He obtained his diploma from the Institutum Geometricum of Pest in 1818. At first, he worked as a manorial engineer; later, as an official surveyor of County Borsod. Between 1826 and 1829, in the Baradla Cave of Aggtelek, he discovered a more than 15-km long passage hitherto unknown and, in 1829, he prepared detailed maps of it. Later, he moved to Pest and, in 1846, he joined the team working on controlling the River Tisza. He participated in the War of Independence of 1848-1849 as a military engineer; in 1850 he was an appointed engineer. His works include Neue Beschreibung der Aggteleker Höhle (1830), and Description of the Aggtelek Cave (Az Aggteleki Barlang leírása) (1831). There is an Imre Vass Cave at Jósvafő. – B: 0883, 1031, T: 7456. 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