She was born on September 13, 1904, as the only child of Antal Horváth, a printing press owner. Her mother had a paper and stationery shop but also worked as a photographer. Ibolya later continued the photography profession. She had a kind heart but was a bit eccentric. She divorced her husband, Rudolf Szántó, shortly after their marriage, but there was always a man in her life. She had a son named István from her marriage, who was affectionately called Pintyő. In his teenage years, she sent him to a boarding school in Balassagyarmat. She only brought him home during summers, but there were years when he couldn’t even come home then.
Ibolya’s behavior often scandalized people. She painted herself and smoked cigarettes on the street. In those days, only “bad girls” smoked publicly.
Despite all this, people liked her because she had a very kind heart. If a customer couldn’t pay for the photograph with money, she accepted eggs or fruits instead. When someone passed away and had previously had their picture taken by her, she displayed the deceased’s old photograph in the shop window with a small mourning ribbon.
The studio was set up beneath a large arched gate, and those who wanted to have their photographs taken came here. It often happened that she called people from the street or the neighborhood to come in for a photo session.
During Christmas, the studio had a beautifully decorated Christmas tree with many treats. Anyone who visited Ibolya at that time could take anything they wanted from the tree. However, the beautiful colorful silk ribbon had to be placed in a small crib placed under the tree, and no one could take it.
If someone owed her money or didn’t pick up their finished photograph, Ibolya would display the photo in the shop window, turned upside down. This way, everyone in the village knew who had a debt to Ibolya.
When a fire broke out at the Hengermalom, she was one of the first to rush and help with the firefighting. When she returned home, her clothes were soaked with water and covered in soot. Her hair was singed, and her eyelashes were burnt, but she stayed through the entire firefighting operation.
The Horváth family was a peculiar one. They loved good wine, and the decanter was always within reach. The family was surrounded by servants and helpers who ate with the family. On one occasion, the women kneaded and cut noodle dough. Some preferred thread noodles, while others liked cutting the dough into leaf shapes or other forms. The dough had already been cut on the kneading board, divided into separate little piles of different types, when Mr. Horváth returned home. He swept all the piles together, saying, “This is fine like this.” His wife, without saying a word, started separating the dough again.
The family’s favorites were the songbirds kept in cages. They fed the birds with split oat grains, as Mrs. Horváth would cut every oat grain in half so that the birds could easily eat them. In winter, they warmed apples for the goats before feeding them.
When Antal Horváth passed away, his wife went to the church. She soon returned home and told the neighbor woman that, unfortunately, the church was closed. “I held the doorknob, leaned against it, cried a little, and came back home.” That’s how she mourned her husband.
On September 26, 1965, Ibolya collapsed and died on the street. Her last words were “Pintyő”
How Ibolya managed to earn a living through photography is an enigma to me, particularly considering her style, which was deemed remarkably progressive for that era. Mindszent, situated in Southern Hungary, is a petite town that now resembles more of a village due to the absence of employment prospects, the closure of the high school, and the prevailing atmosphere of discord and animosity. The town’s leaders embody true boorishness, serving as local uneducated despots.
Nevertheless, Ibolya’s body of work becomes even more precious, as she confronted incessant hurdles, mockery, and lack of comprehension daily. I hold great admiration for her capacity to produce artistic creations amidst such a challenging environment.
Ibolya’s photography stood out due to the peculiarity of her mind, which translated into her unique visual representations of her subjects. Her unconventional perspective allowed her to capture the essence of her subjects in a way that transcended traditional portraiture. Ibolya delved deep into the human psyche, unearthing hidden emotions and intricate details often overlooked by others. This ability to expose the true nature of her subjects gave her photographs a captivating and thought-provoking aesthetic value.
Moreover, Ibolya’s understanding of composition and lighting played a crucial role in enhancing the aesthetic value of her photographs. She fearlessly experimented with unconventional angles, shadows, and contrasting elements, resulting in visually arresting images. By defying conventional norms and embracing her distinctive style, Ibolya carved a niche for herself in the world of portrait photography.
One of the defining aspects of Ibolya’s work was her total stylistic eclecticism. She did not confine herself to a single photographic style or technique, instead embracing a diverse range of approaches. Ibolya seamlessly transitioned between various artistic styles, such as modernism, surrealism, and even elements of traditional portraiture. This eclectic mix allowed her to capture the complexity and diversity of human emotions and experiences in her photographs.
Ibolya’s stylistic eclecticism enabled her to push the boundaries of traditional portraiture, challenging viewers to see beyond the surface and discover new layers of meaning. Her ability to fuse different styles and techniques resulted in visually captivating and intellectually stimulating photographs. Each image was a testament to Ibolya’s versatility as an artist and her dedication to continually exploring new creative avenues.
While Ibolya’s work may have been produced decades ago, its relevance in contemporary times remains striking. In an era where individuality and self-expression are increasingly celebrated, Ibolya’s progressive personality and unconventional approach to photography resonate deeply with modern audiences. Her work serves as a reminder that embracing one’s uniqueness and challenging societal norms can lead to groundbreaking artistic creations.
Ibolya, the portrait photographer from South Hungary, remains an enigmatic figure whose work continues to captivate and inspire. Through her progressive personality and enormous individuality, she created photographs that possessed a distinct aesthetic value. The total stylistic eclecticism present in her pictures showcases her ability to seamlessly blend various artistic styles and techniques, resulting in visually striking and intellectually engaging portraits. In today’s world, where embracing peculiarity and breaking free from stylistic constraints is celebrated.
Written by Geza Csosz