Béla Iványi Grünwald and István Csók arrived to Károly Ferenczy's painting of view and status. This tendency was followed by the other, slightly less gifted painters of Nagybánya as well. The common characteristic of their art was their naturalism.
Oszkár Glatz arrived to Nagybánya with the founders. In the spring of 1897 he moved to the mountains for five month to research the natural motifs of the mountains. He turned back from there with twenty seven paintings, with the huge canvas of Evening in the Snowy Mountains among them. Later on, he was inspired by the surroundings of Szilágyság, then the lake Balaton. At the beginning he was strongly related to the Nagybánya idea which accentuated the painterly relationship of man with nature. This stand is reflected by his masterpiece, the Wrestling Boys, which has an original, dynamic composition. In what considers the interpretation of the colours of the landscape, he never broke up with Nagybánya, but he was more interested in the idyllic genre-paintings, like in the case of the Carrying wood. Between 1914 and 1938 he was the teacher of the Academy of Fine Arts in Budapest. In this period he grew independent from the immediate effects of Nagybánya and his pictures began to have only commercial value.
Sándor Nyilasy was strongly influenced by Károly Ferenczy first of all. The cahracteristics of impressionism are obvious on his pictures painted in Nagybánya: Sunday. Their atmosphere is defined by colour and the strong brightness of the sun. The years spent here had an influence on his whole oeuvre.
Jenő Maticska, who died of tubercolosis at the age of 21, became a student of Hollósy when he was a child. In spite of this, his honest style, dynamic view of nature, sense of colour was formed instinctively and was not influenced by the master: On the Banks of Zazar, Landscape, Frost.
In his monography written on the art colony, István Réti referred to Samu Börtsök, János Krizsán and András Mikola as to "the faithful ones from Nagybánya". The three of them settled at Nagybánya in 1902 and followed the typical view of nature and style of Nagybánya until the end of their lives. The main theme of Samu Börtsök is the natural motif reflecting intimate atmosphere. The Haystacks painted in an early period, betrays the influenece of Hollósy. The later ones suggest a thorough study of Pál Szinyei-Merse's artistical oeuvre. János Krizsán painted almost exclusively landscapes, most often he chose motifs from the mountains: Landscape, View of Nagybánya. András Mikola's whole oeuvre was built on the Nagybánya traditions, which were influenced by Károly Ferenczy. A light scale of colours, concentrated, mainly horizontal motifs of nature make up his landscapes, which are finished after long preceding studies: Early Spring, Landscape at Nagybánya, On the Banks of Zazar. Besides this, he was a founding member of the Nagybánya Painters' Association (NPA).
For Valér Ferenczy, the art of his father was the only example, but he was less gifted and had other interests. This is why he couldn't reach the artistical level of his idol: Landscape at Nagybánya, Flowers in a Vase. Nevertheless his family prepared him deliberately for the profession of an artist. As a highschool student, he was a pupil of Hollósy. Beginning with the age of eighteen he attended a separate art academy every semester. After the First World War, he settled in Nagybánya, where he became a teacher later.
Besides this, some of the former students are worth mentioning as well. The career of Gyula Rudnay, József Koszta, Ferenc Szablya-Frischauf, Ernesztin Lohwag, László Kandó, Béla Horthy, János Kubinyi, Viktor Belányi, Ágost Benkhard, Jenő Ferkai, Cézár Herrer has been decisively influenced by Nagybánya as well.
The necessity of a typical conservatism appeared in the first decades at the art colony, which defined its character for the next decades as well. The appearance of the "neos", the young artists who showed an affinity towards the avant-garde European tendencies, served as a contrast.