Faggot carrier (1916)

The Art Nouveau tone of Remsey's painterly beginnings was combined with social compassion in the 1900s and 1910s, when he painted The Beggar of Banffyhunyad, The Doll-Making Woman, The Couples and The Wounded, which evoked the horrors of the First World War. His pictures show the fallen, the beggars and the half-wits, who, according to Arthur Elek, are like characters in a Gorky story. The influence of Mednyánszky and Rudnay was reflected in his interest in marginalised people, but his style, using strong contours and colours, differed from them and was close to Ripp-Rónai. At the same time, Remsey's figures are plastic, filling the picture space in a sculptural manner, composed in a slightly understated manner that enhances their expressive power. "The emphasis on hard figures, bones and muscles with firm contours, and the neglect of all that is soft in the human body, the abandonment of the superficial effect of the play of light and shadow, the flat painting and the ascetic dry colouring", characterises his style, according to Arthur Elek. Remsey exhibited The Baggage Carrier Woman in his 1920 collection exhibition at the National Salon.