Fakultät für angewandte Natur- und Geisteswissenschaften
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- Alajos Alois Unger (1814-1848) (3)
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SachComicWissen
(2018)
Klartext lesen! Unbedingt!
(2018)
Max im Comic
(2020)
Science Comics
(2021)
A New Approach to Shooting Methods for Terminal Value Problems of Fractional Differential Equations
(2023)
For terminal value problems of fractional differential equations of order α∈(0,1) that use Caputo derivatives, shooting methods are a well developed and investigated approach. Based on recently established analytic properties of such problems, we develop a new technique to select the required initial values that solves such shooting problems quickly and accurately. Numerical experiments indicate that this new proportional secting technique converges very quickly and accurately to the solution. Run time measurements indicate a speedup factor of between 4 and 10 when compared to the standard bisection method.
The present article offers new evidence on the Unger playing-card making family of Győr,Western Transdanubia, as the result of a cross-disciplinary study. Mátyás Unger the Elder (1789-1862) andhis like-named son Mátyás the Younger (1824–1878) produced various types of playing-cards from theearly to mid-19th century. In particular, their cards, their iconography, design and production process will beanalysed. The family is best known for their cards with Sopron (Oedenburg) pattern. Also discussed will bethe role of Mátyás the Elder’s second eldest son Alajos Unger as a possible designer of the later Unger cards,which were of considerably higher quality than the earlier known ones by Mátyás Unger the Elder. Thehitherto little-known Alajos Unger was trained as a draughtsman and painter first at the National DrawingSchool of his hometown and then, between 1833 and 1842, at the Vienna Academy of Fine Arts, particularlyunder Leopold Kupelwieser (1796–1862). Finally an innovative outside-in bottom-up method for gainingfurther, reliable insight into 19thcentury artisanal playing-card manufacturing will be proposed to determinethe size, output and profitability of the Unger workshop based on material-flow simulation.
Alajos (Alois) Unger, who was descended from the well-known Unger playing- card making family from Győr, is a recently rediscovered Hungarian late Nazarene and late Romanticist artist. The son and brother of the playing-card makers Mátyás (Mathias) Unger the Elder (1789-1862) and Younger (1824-78), he was originally apprenticed in this craft as well and, as could be proved for the first time, designed the family’s playing-cards. First trained at the National Drawing School of his hometown under János Hofbauer (creator of The Castle of Dévény, Hungarian National Gallery), which apprentices and journeymen of the local crafts attended, Alajos Unger enrolled at the Vienna Academy of Fine Arts first in 1833 to train there as a draughtsman and then became a pupil of Leopold Kupelwieser (1796-1862) from 1836 until 1842. Among his classmates were the famous artists Eduard von Engerth (1818-97), Franz Josef Dobiaschofsky (1818-67), Ferenc Szoldatits (1820-1916) and August von Pettenkofen (1822-1889). In an art exhibition in Győr in 1903 the quality of Unger’s genre paintings displayed there was likened to those of the latter.
It has now been possible to demonstrate how strongly his art was rooted in the late Nazarene and late Romanticist tradition of the circle around his teacher. Overall, his style not only reflects the ’’literary-musical-artistic” orientation of Kupelwieser, but also the ”fairytale-like-poetical” variety represented by Joseph von Führich and particularly Moritz von Schwind.
Alajos Unger had until recently only been known by name, but with the present article, a fuller picture of the artist’s life and work has been presented. Thus, apart from the two oil paintings, which came into the possession of the Hungarian National Gallery in the 1970s, The Recapture ofRaab (1840) and a portrait of the artist and his family (1843), a series of hitherto unknown oilworks has been discovered: a portrait of an unknown lady (1836), now part of the art collection of the University of Pennsylvania, a copy of Cesare da Sesto’s La vierge au bas-relief (date unknown), the Baptism of Vajk (1842) and a Biedermeier picture clock depicting a patriotic scene from the opera Lucia di Lammermoor set against the backdrop of a veduta of Venice (1847). The portrait of Ferenc Hergeszell, a local politician from Unger’s hometown and later member of the Hungarian Diet, from 1841, now in the collection of the Flóris Römer Museum in Győr, also bears Unger’s painterly handwriting.
Altogether, the torso of the extraordinary work of a representative of a younger generation of Nazarenes, who promoted Hungarian national art, has been unveiled in the bicentenary of his birth. In addition to this, the role of Nazarene artists and that of their networks in the development of Hungarian art generally was investigated.
This paper will deals with the Nazarene Movement and its art in Hungary
with special reference to Alajos (Alois) Unger, a recently rediscovered artist of Hungary’s Reform Era, his links to Nazarene art, the relevance of (functional) semiotics in the interpretation of Nazarene works
and the influence of the Nazarene Movement on the arts and crafts of the 19th century. This includes the design of new playing-card patterns in Hungary