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Modern and Contemporary Art
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Photo credit: Yale University Art Gallery
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Photo credit: Yale University Art Gallery
Artist: Sándor Bortnyik, Hungarian, 1893–1976

Red Locomotive (formerly) Train Leaving Tunnel


Tempera on paperboard

124.3 × 88.8 cm (48 15/16 × 34 15/16 in.)
Gift of Collection Société Anonyme
Not on view
20th century

Societe Anonyme, by 1922; Yale University Art Gallery, New Haven, Conn.


Collection of the Société Anonyme: Museum of Modern Art 1920 (New Haven, Conn.: Yale University Art Gallery, 1950), 195, ill.

Lajos Nemeth, Modern Art in Hungary (Budapest: Corvina, 1968).

Sandor Bortynik, exh. cat. (Budapest: Hungarian National Gallery, April–May 1969).

László Borbély, Sandor Bortnyik (Budapest: Corvina, 1971).

Sandor Bortnyik: Ölbilder, Gouachen, Zeichnungen, exh. cat. (Cologne, Germany: Galerie Gmurzynska, 1972).

Eva Korner, Ungarische Avantgarde 1909–1930, exh. cat. (Munich: Galleria del Levante, 1972).

Krisztina Passuth, Magyar Muveszek as Europai Avantfarde–Ban (Budapest: Corvina, 1974).

Erzsébet Schaár, Kunst in Ungarn 1900–1950, exh. cat. (Lucerne, Switzerland: Kuntsmuseum, 1975).

Eva Korner, Sandor Bortnyik (Budapest: Corvina, 1975).

Ungarische Avantgarde, exh. cat. (Zurich: Galerie Schlégl, 1975).

László Borbély, Sandor Bortnyik, exh. cat. (Budapest: Hungarian National Gallery, 1977).

Krisztina Passuth and Júlia Szabó, The Hungarian Avant Garde: the Eight and the Activists, exh. cat. (London: The Arts Council of Great Britain, February–April 1980).

Robert L. Herbert, Eleanor S. Apter, and Elise K. Kenney, The Société Anonyme and the Dreier Bequest at Yale University: A Catalogue Raisonné (New Haven, Conn.: Yale University Press, 1984), 81, no. 57, ill.

Krisztina Passuth, The Avant-Garde in Eastern Europe (Toronto: Corvina, 1992).

John E. Bowlt and Nicole Misler, Twentieth-Century Russian and East European Painting: the Thyssen-Bornemisza Collection (London: Philip Wilson Publishers, 1994).

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.