Významné osobnosti

    Notable Personalities

Ján Nepomuk Koniarek (Konjarek, Konyarek, Koňarek, Koňárek) Ján Nepomuk Koniarek was born on January 30, 1878, in Voderady, into a respected family of teachers. He had three siblings, although two of his brothers passed away. His father’s name was František, and his mother was Mária, née Sčasná. His godparents were Anton Sčasný and Emília Manigatová.      

In his recollections, Koniarek mentioned how his father had early recognized his artistic talent: “It’s certain—he’ll become an artist.” As a boy, he enjoyed sculpting small figures out of clay and sometimes used remnants of melted wax from church candles, which he brought home from serving as an altar boy. At one point, he aspired to become a sailor. “I thought being a sailor would be a fine profession. But then my father read in the newspapers about a shipwreck, and that discouraged me from the sea.”

As a child, he often spent time with local Roma people who lived on the outskirts of the village, in areas known as Kandie and Hliníky. His mother was deeply upset by this. Even as a budding sculptor, he wittily remarked, “On one end of the village is the rectory and church, opposite is the Jewish tavern, and at the other end are the Roma.” He openly admitted, “The Roma are the most fascinating. As a boy, I spent entire days with them, even sharing meals. My mother was furious with me and punished me, but I couldn’t stop visiting them. Even when I was older, a strong young man, I still went.”

Koniarek attended primary school in Voderady. After beginning his secondary education at a gymnasium in Trnava, he transferred to the School of Applied Arts in Budapest, where he studied from 1894 to 1897. He briefly pursued further studies in Rome before continuing at the Budapest Academy from 1898 to 1900, studying under Alois Stróbl, a sculptor from Kráľova Lehota in present-day Slovakia. Between 1903 and 1904, he studied in Munich in the sculpture department led by W. Rühman. During his time in Munich, he befriended several Serbs, who facilitated an invitation from their government for him to work in Serbia as a sculptor and portraitist at the royal court.

Koniarek also taught drawing at a gymnasium in Čačak and, from 1908 to 1914, at the School of Fine Arts in Belgrade. He created numerous works, many of them for the Karađorđević royal family. Serbian art historian Uglješa Rajčević, in his study The Noble Serbianization of Ján Koniarek, noted that during this period, the artist adopted the names Jovan or Janko Konjarek, as well as Koniarik. A Belgrade critic commented on his artistic sensitivity: “Clay in his hands comes to life, and one feels that, as this inert mixture transforms into form, it tears at the artist’s heart.”

Notable works from this period include sculptures such as The Sower, The Mower, The Last Breath, the head of John the Baptist, and dozens of other pieces now housed in the museum in Belgrade. “Mr. Koniarik is currently working in the spacious studio of the late Đoka Krstić. The studio walls are covered with sketches and paintings by the late artist, including costume studies, landscapes, a portrait of Josif Pančić, The Old Enlightenment, The Blind Woman, and others.” A detailed description of Koniarik’s works follows: “The bust of Karađorđe is nearing completion. It portrays Karađorđe in 1813, capturing his failures and shattered hopes. Also noteworthy is the bust of Jovan Dučić, meticulously crafted down to the finest details. The sculptor has succeeded in expressing the subject’s personality through subtle touches even beyond the eyes. Further works include the busts of Karakašević and Duse, the study The Dead Worker, and a sketch of Pietà, depicting Mary cradling Christ after His removal from the cross, kissing His forehead. On the table lies another impressionistic study, The Mischievous Child, along with sixteen drawings of various figures and a particularly striking sketch of a high relief for the monument to Vasa Čarapić. The sketch captures Čarapić as he emerges from the trench, struck in the chest by a bullet. His dying words, 'Forward!' seem to echo from his lips.”

In 1912, Koniarek volunteered to fight in the Serbian army during the war for liberation from Ottoman rule, earning commendations for bravery.

In 1914, he spent his summer vacation in his native village. The Ministry of the Interior in Budapest received an anonymous report claiming that a Serbian spy was hiding in a village near Trnava. Following fabricated accusations of espionage for Serbia, he was sent to fight on the front lines. In 1915, he was wounded near Sambor, and frostbite left his legs permanently disabled. In his memoirs, he wrote: “The authorities welcomed me as a spy. They incriminated me for my social connections with members of the Belgrade government. They initiated an investigation, imprisoned me in Bratislava, stripped me of my officer rank after prolonged incarceration, and sent me with a penal battalion to the front lines.”

Later, he ended up in a military hospital in Bratislava, where he was allowed to sculpt. He recuperated at a convalescent home near the Dynamit factory, where he was visited by Member of Parliament Ferdiš Juriga, an advocate for Slovak autonomy. During his visit, Juriga asked him to create a Slovak Pietà. However, the secret police took note of Juriga’s visit, and Koniarik was sent to the front in Transylvania, where he was assigned to work on exhumation efforts near Brașov. Later, he was transferred to a cement factory to produce tombstones.

During the war, his studio on Dušanova Street in Belgrade was destroyed, along with numerous works and designs.

After the establishment of Czechoslovakia, he declined an invitation from the Yugoslav Ministry to become a professor and refused the pension they offered. He described this period in his own words: “In 1918, despite having great opportunities to attain a prominent position in my field in Serbia, I returned home to lay the foundations of Slovak sculpture. My return marks the actual beginning of Slovak sculptural art.”

He settled in his native village, staying with his sister, and worked in the studio his father had built for him during his studies. In Voderady, he sculpted a bust of his father, the group sculpture The Kiss of Suffering, a marble relief of a woman (Eve), and completed a bust of the botanist Jozef Ľudovít Holuby. He also created sketches for tomb monuments of Andrej Halaša, Pavol Mudroň (later realized by Czech sculptor Franta Úprka), and Svetozár Hurban Vajanský for the cemetery in Martin, as well as a design for the decoration of the Bar Association in Martin. However, none of these designs were realized.

In 1924, due to a lack of opportunities, he moved to Trnava, where the owner of the Sessler malt house provided him with a studio and living quarters (1924–1927). On Sasinkova Street, he later built a studio with a small apartment, where he created his major works.

Two accounts published in periodicals provide a glimpse into his studio in Trnava and bear testimony to his artistic creations. “Next to the house with the studio is a beautiful little garden, like something out of a fairy tale. As soon as you step in, you immediately sense that you are in an artist’s garden, the garden of a sculptor. You’ll find a miniature magical pond as well as sculptural works, trees, and flowers of all kinds. Among the many works in the studio, the Slovak Pietà stands out. The Virgin Mary cradles her divine Son in her lap. Christ’s head gracefully tilts onto Mary’s shoulder. On one side, a Slovak girl in traditional dress kneels, holding Christ’s hand, while on the other side, a Slovak young man, also in traditional attire, kisses the Savior’s lifeless hand. Nearby is a model of a statue of Our Lady of Lourdes, a model for the statue of General Štefánik, a bust of Dr. J. Ľ. Holuby, and a proposal for a Hviezdoslav monument for Bratislava. The studio is filled with many of the artist’s ideas recorded in sculptural form, distinguished by their originality and Slovak spirit.” This description of the studio following a visit in 1932 was written by journalist Števo Schultz.

In 1937, journalist Ján Ebringer, visiting the artist’s studio, noted: “On the shelves above the writing desk in the studio are neatly arranged studies such as The Birth of Eve, Meteor, The Death of Genius, Slave Girl, Dolce Far Niente, Incarnation, Jánošík, Revolutionaries, and many others.” He further remarked: “One is struck by the sketch The Wounded, depicting a fighter falling to the ground in a spasm after being shot in the heart. Above the couch hangs the excellent Study of Štefánik’s Head, adorned with a fresh laurel wreath. Nearby are The Bust of John the Baptist, an expressive bust of Andrej Hlinka, the study The Convalescent, a bronze plaque of Pribina, titled Rex Slovacorum, a circular relief of Dr. Pavol Blaho, the relief My Mother, the bust Patermeus, large albums containing photographs of the master’s works, sculptural literature, modeling tables, anatomical models. In short, this cozy studio leaves a lasting impression.”

In 1937, an article titled The Sculptor and the Nation, published in Slovenské pohľady, presented Ján Koniarek’s reflections on his aspiration to create, together with other Slovak sculptors, a monumental depiction of Slovak national history in stone. “There is no nobler mission in the world than the artist’s role within a nation. Providence itself has chosen him to immortalize his people in their pain, joy, and suffering, to reveal their inner essence, to penetrate the most hidden folds of their higher existence, and, in a word, to become the living conscience of his nation. Wherever we look—be it London, Berlin, Paris, Rome, Vienna, Budapest, or Belgrade—we see monumental memorials rooted in national history. These captivate us with the enchanting power of sculptural art; they are tangible, drawing us to them. We touch the cold stone, bronze, or marble, and at that moment, we fully realize the profound significance of national sculpture, which, in all cases, imparts an unforgettable mark to these world capitals.” Speaking of his passion for sculpture, he stated: “From clay emerge groans, songs, clamor, and music, pain and pleasure. It is a great privilege to be a sculptor.”

In 1939, he became an associate professor of modeling at the Department of Drawing and Painting at the Slovak University of Technology in Bratislava. On March 7, he was proposed for appointment as an extraordinary professor, described as “a man who, despite misfortune and illness, laid the foundational groundwork for the department of sculpture.” The rationale noted that “he is the only Slovak sculptor-artist with the highest qualifications, especially as a teacher, as evidenced by his work abroad, where he was honored with the Order of St. Sava and other distinctions. He worked artistically in the former Austria-Germany-Belgium, and after the revolution, he demonstrated his artistic abilities and qualities in Slovakia as well.” On August 29, 1943, he left the university due to health reasons.

In 1938, he was named an honorary citizen of the city of Trnava. In a public poll conducted in 2000, Trnava residents ranked him among the most prominent figures of the 20th century. He is considered the founder of the Slovak national school of sculpture, and his work is regarded as a cornerstone of Slovak sculptural tradition. In 1938, the city of Trnava conferred honorary citizenship upon him, and in 1942, he received a state award for his artistic achievements in sculpture. From 1951, he was a member of the Union of Visual Artists.

Sculptor, art teacher, and editor Fraňo Štefunko published a book of memories about Ján Koniarek in Bratislava in 1955. Reflecting on his mentor, he wrote: “Ján Koniarek is unofficially considered the founder of the national school of sculpture. Despite the lack of societal interest and adverse working conditions, he became a pioneer of modern art. Even though his teaching conditions were less than ideal, his legacy was carried forward by forty younger sculptors.” Koniarek himself spoke of his challenges: “A land still shaken by the tremors of war was not fertile ground for art, and I became a victim of these times, constantly facing misunderstanding.” He was the official portraitist of Andrej Hlinka, and his portrait studies and completed busts continue to serve as the basis for new memorials today.

On April 3, 2012, the Slovak Post issued a postage stamp honoring Ján Koniarek (1878–1952). The stamp features a bronze bust of John the Baptist, created by the founder of Slovak modern sculpture during his long residence in Serbia before World War I. The accompanying coupon depicts, in line-drawing technique, Koniarek’s Monument to the Fallen of World War I, located in Trnava. The top of the sheet bears the inscription “JOINT SLOVAK-SERBIAN ISSUE,” with the same text in Serbian at the bottom.

Ján Koniarek’s works include the Monument to the Fallen of World War I in Trnava, the Statue of M. R. Štefánik in Trnava, the Monument to A. Bernolák in Trnava, the Well of Saint Francis (in the courtyard of the Franciscan Monastery), the  Memorandum Relief  in Martin, the Monument to  Ján Hollý  in Borský Mikuláš, the  Monument to P. Blaho  in Skalica, memorial plaques, tombstones, and many other works. Among his early works are the portrait reliefs Head of a Monk, Girl’s Head, and Head of John the Baptist. He collaborated with the Saint Adalbert Society in Trnava, for which he executed numerous commissions—reliefs for the entrance hall of the Saint Adalbert Society, tombstones of national figures, and memorial plaques. In Voderady, his works include a  tomb monument for his parents  and several other tombstones in the local cemetery, as well as the statue of Saint Anthony of Padua in the church. He also dabbled in medal-making, creating two pieces: the Jubilee Celebrations in Nitra – Prince Pribina 1933 medal and the Bedřich Smetana plaque.

He was a member of the Section of Fine Arts, Music, and Art History of the Slovak Catholic Academy and served on the board of the František Richard Osvald Museum Society. He remained active in Trnava until his death on May 4, 1952. He was buried on May 6 at the new cemetery in Trnava.

In honor of this significant figure in Slovak sculpture, the Ján Koniarek Gallery was established in Trnava in 1976. Since 2002, it has featured a permanent exhibition titled The Artistic Legacy of Ján Koniarek, showcasing a selection of his works.

Memorial stone honoring J. Koniarek

Gallery of Ján Koniarek in Trnava

    Ján Gabriel Valentín Kenrai (1724 – 1797)

Ján Gabriel Valentín Kenrai was born on February 14, 1724, in Voderady, Slovakia. He pursued his studies in Trnava and, in 1739, joined the Society of Jesus (the Jesuit Order). As a missionary and administrator of religious estates, he served in Banská Bystrica, the Hungarian city of Eger, and from 1770 in Trnava and Šaľa. After the dissolution of the Jesuit Order in 1775, he continued his work as a priest in Šaľa, where he eventually passed away on January 18, 1797.

Kenrai was the author of an elegiac poetic work inspired by biblical themes and a historical publication about military leaders who fought in Eastern Slovakia during the 17th century.

    Published Works

• ● Exercitatio poetica de Jonatha mel gustante et a Saul interficiendo nisi eum milites liberassent (1748)

  ● Bellici Cassoviae simul et per superiorem Hungariam sub Principibus Austriacis Praetores seu Generales Saeculo XVII. (1749)

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    Štefan Jakubec (1896 – 1944)

Štefan Jakubec was born on September 1, 1896, in Voderady, Slovakia. He studied in Bratislava and became one of the first sports journalists in Slovakia. Jakubec was a co-author of the first Slovak book on football and compiled a publication about the XI Olympic Games held in Berlin.

    Published Works

• ● Football Sport and Its Organization in Slovakia

  ● Specialized Sports Book

  ● Bratislava 1933

  ● Bratislava 1936

  ● Sports Book

  ● The XI Olympic Games in Berlin

    PhDr. Henrich Pifko, CSc.

Henrich Pifko was born on October 14, 1932, in Voderady, Slovakia. He attended high school in Trnava, Senica, and Kremnica, where he graduated. From 1953 to 1958, he studied at the Faculty of Arts at Comenius University in Bratislava. Pifko worked as an editor for the publishing houses Tatran and Mladé Letá. Starting in 1973, he served as a research fellow at the Institute of Slovak Literature of the Slovak Academy of Sciences in Bratislava.

His research focused on Slovak prose for young readers, and he authored several academic studies. Pifko published reviews and critiques in journals such as Slovenské pohľady, Zlatý máj, and Slovenská literatúra, with a particular focus on works of children's literature, especially prose for adolescents by authors like H. Zelinová, E. Čepčeková, E. Gašparová, J. Bodenek, and J. Horák. After 1989, he concentrated on the work of J. C. Hronský and analyzed the status and characteristics of Slovak children's literature in the 1930s and 1940s.

Pifko contributed to the development of two editions of the Dictionary of Slovak Writers for Children and Youth, the Dictionary of Slovak Writers, and the Encyclopedia of Slovak Writers. He also organized numerous events dedicated to children’s literature.

    Stanislav Hanus (1935 – 2013)

Stanislav Hanus was born on March 22, 1935, in Voderady, Slovakia. He was an accordionist, singer, and folk storyteller. Hanus was one of the founders of the folklore group Cífer, with which he participated in over 400 folklore events both at home and abroad. For a time, he also performed in entertainment programs with the Košice humorist Ander.

Throughout his extensive folklore career, Stanislav Hanus received several district honors and festival awards for his contributions to culture.

  Source: Čambálová, Daniela a kol. Voderady 1243–1993. Voderady: Obecný úrad 1993. The Editors Voderady Info. Archive Voderady Info.