Introduction
Mária Minya is one of the important and indispensable figures of contemporary Hungarian ceramic art. For almost sixty years, her artistic path has been marked by constant renewal and by ever-new experiments. Her career reflects many of the major events and developments in Hungarian industrial and design art after the Second World War, as she is an outstanding member of a pioneering generation of artists in many respects, as well as a prominent figure of a historical period rich in turning points in the post-war history of Hungarian ceramic art. At these turning points, Mária Minya was present not merely as a witness but as an active participant in the events. She was there during the great period of Hungarian fine ceramics manufacturing and design, which today appears, above all, as a glorious era; at the same time, she produced numerous monumental architectural works, while from the outset she also took part in the major events surrounding the emergence of studio ceramics in Hungary.
Her multifaceted career, spanning artistic fields within ceramic art that were often independent of one another, disproved the frequently artificially fostered, theoretical oppositions that, throughout the period, divided the profession – often under ideological influence – between the advocates and supporters of “craft,” “design,” and “architectural arts.” Mária Minya remains an active figure today, participating in professional public life and continuing to create with inexhaustible energy.
Studies: From Szeged to the Hungarian University of Arts and Crafts
Mária Minya was born in Békés on 6 November 1946 and subsequently graduated from the ceramics department of the Tömörkény István Secondary School of Arts in Szeged. She was originally admitted to the graphics department, which at the time was headed by Márta Kopasz (1911–2011), one of the defining figures of Szeged’s fine arts scene. [1] However, she soon transferred from the graphics department to ceramics, primarily owing to her remarkable talent for three-dimensional form. Her early exploration of graphic art remained a strong and enduring element and an artistic approach that shaped her work throughout her career. Her distinctive “fairy-tale world” is reflected in her figurative and abstract compositions, as well as in her graphic designs, which stand on their own as independent works of art. The teacher who had the greatest influence on her during her secondary-school years was Éva Dinnyés (1916–2001), head of the ceramics department. The daughter of the painter Ferenc Dinnyés, Éva Dinnyés was the founding artist of the department at the Szeged secondary school, and Mária Minya was among the first students of what has since become a venerable institution.
Éva Dinnyés’s intellectual and artistic outlook, her professional knowledge reflecting the ancient roots of the craft of ceramics, and her presentation of the characteristics of modern architectural and sculptural ceramics, together with the duality of her modern approach, also characterized the work of several other Dinnyés students who would later become renowned. This distinctive “Tömörkény” stylistic element can likewise be found in the art of a number of Mária Minya’s contemporaries with roots in Szeged, including Ilona Csemán, László Szalai, Béla Bükki, and Júlia Kovács (1947–2021), her closest friend and fellow artist, who also came from the Tömörkény years.
After Szeged, she graduated in 1970 from the Silicate Department of the Hungarian College of Applied Arts (today MOME), where her principal master was Imre Schrammel. Among her teachers, she was also strongly influenced by the then rector of the College of Applied Arts, the eminent architect Frigyes Pogány (1908–1976), as well as by György Jánossy (1923–1998), both of whom she also regarded as masters in many respects. Jánossy’s influence on Mária Minya was decisive, as many of her works with architectural connections bear the formal and aesthetic principles of a pure, mature modernism. During her college years, József Litkey (1924–1988) exerted a similarly significant influence on the development of her artistic outlook. Throughout her years at the college, he also continued to support Mária Minya’s ambitions in graphic art. Through Litkey, her illustrative talent developed further during these years; she became acquainted with linocut, copperplate engraving, and other graphic printmaking techniques that he taught, which she later adapted in the design of her works. With József Litkey’s assistance, she was introduced to the poet László Nagy, through whose connections several of her graphic works were published in the pages of Élet és Irodalom at the time.
The emergence of Mária Minya’s generation of artists marked the beginning of what came to be known as the “golden age of Hungarian design,” which lasted approximately until the political transition. Its first, formative phase fell within the decade between 1958 and 1968, the period to which Mária Minya’s student years belong. At the Tömörkény Secondary School, Mária Minya was likewise among the first students of the ceramics department, which was launched in 1961. The first cohort of applied artists to graduate with diplomas completed their studies in 1953; in 1955, the Department of “Industrial Design” was established at the College of Applied Arts; and in 1958, following a complete restructuring, new teachers such as Mária Minya’s master Imre Schrammel and Árpád Csekovszky joined the College.
Imre Schrammel, having previously served as an assistant lecturer, became the young head of the porcelain specialization and subsequently emerged as a defining figure of the College of Applied Arts as a whole. “Following the Second World War – now as part of the silicate industry – the ceramics industry underwent explosive development, and its internal structure changed on the basis of an entirely different approach. The penetration of scientific thinking into this millennia-old activity brought about fundamental changes, both in our knowledge of the properties of clay minerals and in the industrial structure built upon them,” Schrammel Imre writes in his text on ceramics. [2] The influence of Imre Schrammel (1933–), like that of his contemporaries, is strongly evident in Mária Minya’s oeuvre, particularly in the way her work is decisively characterized by the duality of an autonomous ceramic art conceived in sculptural terms and a material-centred approach to design.
At the College of Applied Arts, students were officially trained primarily as “industrial designer-artists” at this time, even though many of them, working in practice as “freelancers,” engaged in independent artistic studio work in the field of fine art or associated with craft. Imre Schrammel’s influence on this “duality” is indisputable: among other things, it was largely thanks to him that the first international ceramics symposium was established in Siklós in 1969, in which Mária Minya herself participated four years later, in 1973. International symposia and artists’ colonies would continue to play an important role in Mária Minya’s oeuvre in the years that followed.
Silicate-Industry Design – The Golden Age of Hungarian Design
Mária Minya’s generation of artists was the first whose careers were closely connected to the economic restructuring that began in the 1960s, which included the rapid development of Hungarian light industry. The Hungarian ceramics industry likewise underwent major development during this period, and in order to meet growing export demand, partly originating from Western countries, an entire generation of “silicate-industry designers” entered the industry to develop a competitive range of products and introduce contemporary design. Mária Minya was an outstanding representative of this generation. From 1970, she worked as an industrial designer at the Gránit Abrasive Wheel and Stoneware Factory, and subsequently served as the company’s artistic director between 1982 and 1986. The Gránit Factory, established in Kispest on 1 October 1923, had established a position for itself on the market by 1928 in the production of sanitary ware and mass-produced ceramic goods. [3] From the outset, the factory represented a more progressive outlook than other comparable large-scale industrial enterprises in Hungary. Among other things, Gránit was one of the first companies to employ an applied artist-designer in the product-design process. László Zahajszky (1913–1996), who graduated from the School of Applied Arts in 1937, spent his entire working life at the factory as an industrial designer. [4]
The Gránit Factory, rebuilt after the war, entered a period of rapid development in the 1960s and soon became the flagship of Hungarian ceramic exports, while also becoming the second-largest stoneware factory on the European continent, after Arabia in Finland. Its product range, extending from abrasive wheels and stoves and heating elements to decorative objects, competed with its English and French counterparts; at the time, the plant also held several technological patents.
Mária Minya achieved her first major success there with the 1972 Reggeltől estig (From Morning till Evening) set, for which she received a diploma of recognition in Faenza. Although the set never entered production, it was featured in numerous exhibitions, including the famous 10 kísérlet (10 Experiments) exhibition at the Fészek Club, which will be discussed in greater detail below. The From Morning till Evening set incorporated a number of technological innovations – including its distinctive storage tray – that represented the cutting edge of the period’s technical capabilities and were regarded as forward-looking solutions.
During this period, Minya was responsible for the creation of numerous commercially successful products. Her 1975 kindergarten and school set achieved widespread success. Her greatest professional achievement came after 1982, by which time she was the factory’s artistic director, with the tableware set bearing factory number 2917 and marketed under the brand name Grácia, which received a Nívó Award. [5.] The Grácia tableware set also became known in Western export markets and was marketed with considerable success in France. The form she designed for stoneware packaging for foie gras, likewise intended for Western – primarily French – export, was later also produced in black glass in Karcag. These designs earned her widespread recognition abroad as well.
Many of the products she designed remained in production until the turn of the millennium, when the Gránit Factory was liquidated, and thanks to their popularity and durability, examples can still be found in households today. These sets are also represented in the collection of the Museum of Applied Arts as emblematic objects of their era.
Even as a young designer, Mária Minya participated in several forward-looking initiatives. From the outset, she was involved in the now-famous 10 kísérlet (10 Experiments) exhibition, initiated by Sándor Borz Kovács and subsequently organised by Mihály Pohárnok following the artist’s early death. The 1972 exhibition “focused on functionalism, systems-based design, questions of manufacturability and consideration of social needs. 10 Experiments raised issues of such immediate relevance that the exhibition was followed by a professional debate in the press lasting several months; beyond this, it also brought the situation of applied art and design in 1970s Hungary to the attention of a wider public.” [6.] The exhibition influenced the subsequent development of Hungarian design and can, among other things, be regarded as a direct precursor of the Prefabricated Housing Kitchen Programme. [7.]
Early Mural Works – Collaborators and Fellow Artists
Alongside tableware design, large-scale mural works formed a defining part of Minya’s oeuvre from the outset, including during her years at Gránit. These architectural works attracted considerable attention as early as the 1970s, as her distinctive technological innovations set them apart from comparable works of the period. Three works from this early phase, all of which have since been destroyed or lost, are particularly noteworthy: her figurative Meseképek (Fairy-Tale Pictures) for the kindergarten on Visegrádi Street in Budapest’s 13th district; the ceramic wall at the reception area of the Gyula Castle Spa; and the former fountain at the Sugár shopping centre, which she created twice – first as a freestanding column and later as a group composition consisting of three columns.
The ceramic wall on Visegrádi Street was a 25-square-metre series of glazed ceramic images depicting heroes from Hungarian folk tales. [8.] Of all her works, this was perhaps the one that most clearly displayed Minya’s distinctive graphic talent, already evident at an early stage of her career. For the work, she used a modified version of the mass employed in stoneware production together with glazes developed for the Gránit Factory by chemical engineer Mária Horváth, giving the composition a distinctive warmth while retaining a rich and vivid palette. In Gyula, the technique employed on Visegrádi Street was combined with overglaze painting and screen-printing techniques, resulting in a far more abstract composition evoking the landscape, fields and meadows of the Great Hungarian Plain. This distinctive abstract world of landscapes shaped by nature and human intervention continues to recur in her work to this day. Its most monumental manifestation – and one that can still be seen today – is found in the mosaics on the façade of the Tisza Hotel in Szeged, which she created jointly with glass artist András Szilágyi in 1975.
Other works from this period that survive today include her tripartite wall composition in the waiting area of the Kecskemét hospital and the entrance cladding of the former MSZMP headquarters in Békés, now occupied by the land registry office. On the walls of the Kecskemét hospital, the technology of stoneware production reappears in the form of differently shaped elements designed in this material. On the various floors, these elements combine to form wall compositions with differing rhythms and dynamics, reflecting the fundamental atmosphere of each area: the most animated wall, for example, is located in the foyer of the children’s ward. The work in Békés can be regarded as a precursor of Minya’s later works, as here she employed a much rougher, more granular material that anticipated her subsequent use of chamotte. The wall comprises both exterior and interior sections – the composition is bisected by a glass wall – and thus forms an organic unity with the architectural concept itself. Natural forms and delicately drawn motifs are arranged into a geometric rhythm, thereby acquiring additional layers of meaning. Here too, the landscape of Békés and the distinctive world, natural diversity and characteristic features of the Great Hungarian Plain are brought together within a single work.
Over the course of her career, Mária Minya developed fruitful collaborations with several fellow artists. In 1978, she and textile designer Ilona Lovas jointly designed a table setting in which the textile and stoneware elements were conceived in close coordination. As a result of this collaborative design process, the patterns of Lovas’s textiles and the decoration of Minya’s vessels were developed according to similar principles, as were their approaches to materials and form-making. The ensemble was subsequently presented at various exhibitions, including in Kőszeg and Prague.
From the 1970s onwards, Minya also collaborated repeatedly with Júlia Kovács and András Szilágyi. In addition to the Tisza Hotel in Szeged, they worked together in 1989 on the Chemolimpex guesthouse in Verseg, renovated by architect István Ferencz. It was here that Minya created her Szörnyecskék (Little Monsters), which would later become a characteristic “signature” of her work. These were modelled salt-glazed ceramic figures constructed from slab-rolled elements, the individual pieces of which she produced at the Kecskemét artists’ colony. It was here that she began using a technique in which figures, monsters and birds were folded and constructed from ceramic relief slabs of varying thicknesses produced by slab rolling.
At Verseg, Júlia Kovács and András Szilágyi embellished the glass shades they had designed and had manufactured at the Ajka Glass Factory with sandblasted decoration. Their similarly playful figurative imagery entered into a dialogue with Minya’s salt-glazed sculptural forms reminiscent of Gothic grotesques. For these, Minya also designed colourful stoneware balustrade elements and lamp fittings produced at the Gránit Factory using techniques developed in her earlier works. These projects – particularly the one at Verseg, which was created as the political transition was approaching – illustrate the gradual transition between industrial design and architectural work on the one hand, and autonomous sculptural ceramics on the other.
The College Master
In the life of the College of Applied Arts, the institutional reforms associated with rector István Gergely (1930–2021) between 1982 and 1991 marked the strengthening of a “design-oriented approach” within the institution, initiating changes in outlook that continue to have an impact to this day. At the same time, the difficulties facing Hungarian industry became increasingly apparent during the 1980s, and representatives of Hungarian design were searching for their place in a changing world. The term “designer,” in the modern sense of the word, emerged at this time as a replacement for the increasingly outdated-sounding “industrial designer,” simultaneously indicating a change in professional role and a new phase in the search for identity. These explorations, and the debates between autonomous art and design, defined the period and, in certain respects, continued even after the turn of the millennium. In this situation, István Gergely clearly represented the spirit of reform, and many of his innovations remain part of the university to this day. As József Fülöp, a former rector, put it in 2016: “In the 1980s, the institution acquired a reform-minded rector in the person of the interior architect István Gergely, which brought about significant changes in the educational system. … The course week, credit system, and multi-level education introduced by Gergely were later not easy to reintroduce after the restoration of the former order in the 1990s, under the leadership first of Judit Droppa and then of Gábor Kopek.”
Mária Minya joined this reform process, which spanned the political transition and continued into the new millennium. From 1982, she worked as an assistant professor at the College, and from 1986 she became head of the Silicate Industrial Design Studio of the MIF (MOME). From 1984, she served as an associate professor in the Silicate Department, and between 1993 and 1997 she was head of the porcelain specialization. At the end of her more than one-and-a-half-decade career as a teacher, however, she, like so many of her contemporaries, had to face the fact that the world of Hungarian ceramics and applied arts was undergoing a fundamental transformation. During this period, the former production base of the ceramics industry was almost entirely dismantled, and this contraction has in effect continued to the present day. The opportunities that had continuously expanded from the 1960s through the 1990s were replaced by an ever-narrowing operational environment. During this transitional period, Mária Minya, as a master, exerted a decisive influence on the middle generation of contemporary porcelain artists. In light of this, it is hardly surprising that the turn of the millennium also brought radical changes to Mária Minya’s career.
The Autonomous Ceramic Artist: Murals and Sculptural Works
Following the turn of the millennium, Mária Minya’s artistic career underwent a significant transformation. From 2001, she worked for several years as a designer at the tile factory in Romhány, which has since also gone bankrupt. She designed modular elements, wall cladding, and architectural elements intended for integration into buildings, but alongside this work she turned almost entirely towards sculptural tasks and autonomous three-dimensional works. She worked primarily in her own studio and at artists’ colonies, above all in Kecskemét and Hódmezővásárhely. The mural and architectural works that had formed the backbone of her oeuvre once again became significant. From the late 1970s through the 2010s, she collaborated on several occasions with architects István Novák, Miklós Marosi, and István Ferencz, as well as with interior designer Gyöngyvér Deákné Blazsek. In her architecture-related work, a design-oriented approach is combined with sculptural and painterly solutions. She makes use of the possibilities inherent in the nature of the material and extensively employs solutions afforded by the applied technology.
Her collaboration with Gyöngyvér Deákné Blazsek, the ceramic wall of the Student Club on Kassai út in Debrecen, dated 2001, recalls the atmosphere of her earlier works, above all the wall of the land registry office building in Békés. The reliefs, composed of chamotte slabs coloured with mtallic salts and formed with geometric and botanical motifs, carved impressions, and fossil imprints, synthesize the technological aspirations of the 1980s and the sculptural pursuits of the 1990s. Following the turn of the millennium, an increasing number of bird figures shaped in a manner similar to the “Little Monsters” (Szörnyecskék) in Verseg mentioned earlier also emerged from her studio. Such birds now perch on the public fountains in Budapest’s 13th District, between Kassák Lajos Street and Gyöngyösi út.
Minya first employed the coloured-chamotte technique seen here in 1996, in two works created for the Gyula Mogyoróssy János Library. In the compositions Idő nyomai (Traces of Time) and Tudás oszlopa (Column of Knowledge), her characteristic symbols and signs appear as impressions, often embedded within a fabric of contrasting, rhythmically alternating natural and geometric textures. These quasi-reliefs subsequently became the basis for further sculptural form-making: they were used to construct the elements of sculptural bodies, figures and columns, as well as series of wall pieces and spatial installations combining sculptural forms with wall compositions, such as the Emlékeim kapui (Gates of My Memories) series. Their most monumental manifestation can be seen in the column compositions of the fountain on Fiastyúk Street in Budapest’s 13th district.
From the 1990s onwards, and definitively after the turn of the millennium, Mária Minya gradually abandoned glazed ceramics and stoneware masses in her mural works and began instead to use chamotte coloured with metal salts. In this respect, the brick cladding of the OTP building in Mezőberény, designed by István Novák and executed between 1985 and 1987, stands apart. Here, the composition consists of entrance wall surfaces and pillar cladding. The wall relief was constructed from specially shaped bricks manufactured specifically for the work at the Beledi Brick Factory. Through its use of this technology, the work simultaneously evokes the brick architecture of the Austro-Hungarian Monarchy while also relating to the characteristic abstract sculptural forms of its own period.
Ceramic Pictures and Sculptures: Works of Fine Art
From the 1990s onward, she gradually began producing an increasing number of individual works of fine art. In her ceramic wall pictures evoking the landscape of the Great Hungarian Plain, she employs a technique similar to that used for her monumental works, but in a much more intimate and richly detailed form, abundant in colours, tonal variations, and symbolic details. Following the turn of the millennium, a gradual shift in emphasis took place in her oeuvre. At the 1999 Hódmezővásárhely artists’ colony, she experimented with cordierite. In her pressed ceramic pictures, she combines finely worked surfaces with simple colouring. The porous material that became available to her during the Hódmezővásárhely artists’ colonies enabled her to create diptychs and triptychs employing finely worked surfaces and subtle positive-negative formal interplay.
Among her lyrical, personal works, particular mention should be made of the series inspired by the poetry of Miklós Radnóti and Sándor Petőfi, as well as the Alföld (Great Hungarian Plain), Kapuk (Gates), Emlékek (Memories) and Kumráni tekercsek (Qumran Scrolls) cycles, which offer glimpses into an inner artistic world woven from memories, impressions and poetic metaphors. Her message-scrolls combine literary, musical and painterly references, while their execution continues to be characterised by constant technological and formal experimentation. Her porcelain cabinet pieces and small sculptures often form a single installation ensemble, as can also be seen in the Radnóti series.
In her sculptures, surfaces, textures, and adapted natural forms create and delineate landscapes and spaces, combined with elegant historical and iconographic references. In her works, she consciously builds on the viewer’s spontaneous attribution of meaning, as when, while observing stalactite caves, rocky peaks, clouds, or landscapes, the contemplative viewer attributes figures, configurations, meanings, and narratives to seemingly random and accidental phenomena based on certain visual analogies.
From the 2010s onwards, porcelain coloured with metal salts became another defining material in Minya’s art. The facilities available in Hódmezővásárhely enabled her to explore new possibilities inherent in porcelain itself. The Kumráni tekercsek (Qumran Scrolls) series marked the beginning of her works in porcelain coloured with metal salts. In recent years, she has used these perforated, coloured porcelain scrolls to create compositions, three-dimensional sculptural works and complex installations. These scrolls, too, carry “messages” and have by now developed into a significant chapter of her oeuvre. The organising theme of the series created in 2022–23 was Egyensúly (Balance).
Mária Minya’s International Connections
Throughout her career, Mária Minya travelled abroad on numerous occasions and participated in international artists’ colonies. As a young artist, she took part in the international ceramics symposia in Siklós in 1973, Vilnius in 1975, and Kecskemét in 1978, 1979, 1980, 1989, and 1992. “Artists’ colonies and symposia provided opportunities for numerous new experiments with form and materials. In Hódmezővásárhely, I succeeded in creating series based on subtle surface effects through a new pressing technique,” Mária Minya wrote in the journal Napút in 2014. [9]
Mária Minya first took part in an Italian art tour in 1971. This journey was particularly significant because, as an artist working within the framework of socialist industry and the opportunities available in Eastern Europe, it was then that she encountered the international studio ceramics movement for the first time. The international symposium in Vilnius subsequently had a major impact on her. She participated together with Gabriella Semsey, and it was there that she encountered the history, heritage, and contemporary scene of Lithuanian ceramics.
Her 1994 journey to India was of particular significance to her career. She participated in an artists’ colony at the Goa Ceramic Center at the invitation of Primula Pandit (1931–2002), the internationally renowned Indian ceramic artist. Primula Pandit was a defining figure in Indian studio ceramics for nearly fifty years; she and Mária Minya had met at the 1992 international artists’ colony in Kecskemét.
Encouraged by the positive example of the Kecskemét symposium, Primula Pandit, as a founding member of ISPA (Indian Studio Potters Association), initiated the organization of the first international ceramics symposium in Goa in 1994, devoted to the theme of “peace and harmony.” Mária Minya participated alongside Teréz Szemereky and Zsuzsa Lőrincz, a Hungarian-born ceramic artist living in the United States, whom she had also met at the Kecskemét artists’ colony. At the invitation of ceramic artist Zsuzsa Lőrincz, following her time in India she undertook study trips to the United States, where she also taught several courses at the Pelham Art Center near New York; an exhibition of their works was also organized at the Hungarian Consulate in New York.
For Mária Minya, participation in symposia and artists’ colonies was a very important element in the development of her art. Her professional relationships, outlook, technical interests, and continuous renewal are connected in countless ways to these journeys, which span the globe, from Egypt in Africa and India in Asia, through major centres of Europe, to the United States. Following the turn of the millennium, numerous works were created in Hódmezővásárhely, where she first participated in the Hódmezővásárhely International Ceramics Symposium in 1999 and 2001, and subsequently in the Hódmezővásárhely Ceramics Artists’ Colony in 2011, 2013, 2018, 2021, and 2022.
Professional and community engagement is important to Mária Minya, and she has maintained a continuous presence in the Hungarian professional community of ceramic art since the beginning of her career. In the 1970s, she was a member of the executive board of the Artists’ Trade Union. She has held various positions on the governing bodies of the Association of Hungarian Fine and Applied Artists, the Hungarian Ceramic Artists’ Association, the National Association of Hungarian Artists, the Hungarian Designers’ Guild, KIPE 13, and the Scientific Society of the Silicate Industry; she also served as secretary of the latter organization. Mária Minya has been a corresponding member of the Hungarian Academy of Arts since 2025. She has participated, and continues to participate, in every major group exhibition.
Bibliography
[1.] Szabó, Tibor: Egy szegedi polgár-festőnő (A Bourgeois Woman Painter from Szeged). Magyar Napló, December 1998.
[2.] Schrammel, Imre: A kerámiáról (On Ceramics). Magyar Művészet, 2014/1, p. 45.
[3.] In the field of sanitary ware, the majolica factory in Hódmezővásárhely represented significant domestic competition. The Hódmezővásárhely Majolica Factory had been present on the market since 1912. (Kajári, Gyula: A hódmezővásárhelyi majolikagyár, 1912–1972 (The Hódmezővásárhely Majolica Factory, 1912–1972). Hódmezővásárhely: Tornyai János Museum, 1972.)
[4.] See the work of László Zahajszky (Kápolnai, Iván: A Gránit Gyár 50 éve (50 Years of the Gránit Factory). Budapest, 1972. Published by the Gránit Grinding Wheel and Stoneware Factory of the Fine Ceramics Industry Works.)
[5.] The tableware set was created in 1981 and earned Mária Minya several awards, including the Design Award of Excellence.
[6.] N.N.: Magyar design – 10+1 kísérlet (Hungarian Design – 10+1 Experiments). Hetedhéthatár, 25 October 2021. Accessed 12 May 2026.
[7.] Vadas, József: Hogy vagy, magyar design? A 10+1 kísérlet 50-1 év után (How Are You, Hungarian Design? 10+1 Experiments 50-1 Years Later). Artmagazin Online, 28 December 2021. Accessed 12 May 2026.
https://www.artmagazin.hu/articles/kritika/hogy_vagy_magyar_design
[8.] Szilágyi B., András: Minya Mária murális művészete (Mária Minya’s Mural Art). Budapest, 2004, p. 4.
[9.] Napút, 2014, p. 165.