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The Development of Art Criticism in Budapest from 1884 to 1901 Through the Works of Zoltán Ambrus, Tamás Szana and Károly Lyka By Anna Ágnes Nagyházi-Soóky Submitted to Central European University Department of History In partial fulfillment of the requirements for the degree of Master of Arts Supervisor: György Endre Szőnyi CEU eTD Collection Second reader: Angelina Buckley Lucento Budapest, Hungary 2015 CEU eTD Collection STATEMENT OF COPYRIGHT Copyright in the text of this thesis rests with the Author. Copies by any process, either in full or part, may be made only in accordance with the instructions given by the Author and lodged in the Central European Library. Details may be obtained from the librarian. This page must form a part of any such copies made. Further copies made in accordance with such instructions may not be made without the written permission of the Author. CEU eTD Collection i ACKNOWLEDGEMENTS It is pleasure to thank all of those who helped during the long and arduous journey of completing my work. I wish to thank, first and foremost, Professor Ilona Sármány-Parsons for helping me select a topic that is genuinely interesting and intriguing at the same time, and for providing me with guidelines on how to organize the results of my research. I consider it an honour to have had the opportunity to work with my supervisor, Professor Endre György Szőnyi. I would like to thank him for his continuous encouragement, as well as his valuable and constructive advice in the process of writing. Among the many professors to whom I am indebted, I share the credit of my work with my second reader, Angelina Buckley Lucento. Her guidance has greatly facilitated finding my way out of the labyrinth of documents. I am ever so thankful to Eszter Tímár for her help proofreading and editing my work. She has not only participated in deciphering my complicated sentence structures turning them into smaller, more meaningful ones with her suggestions, which contributed to my growth as a writer. Through her patient and enthusiasm, she made me realize that my project is worthwhile researching. Special thanks should be given to both Professor Carsten Wilke and Martia Siefert for their extensive commentary on my chapters in classes. Editing photos taken of the articles, I am greatly thankful to Zoltán Hasznos, Gergő Kovács and Gábor Rosta, whose work greatly facilitated the organization and readability of the pictures and periodicals. I have benefited immensely from the conversations with my former history teacher, Andrea Baranyó, whose readiness to clarify confusing terms is unrivalled. Engaging in theoretical discussions, I am grateful to Csaba Osgyáni for offering new insights into the social background of the investigated period. I wish to acknowledge the help provided by László Lengyel in helping me to approach my topic in a novel and unique manner. With respect to the writers, I was advised to seek to focus upon the primary literature in order to get a better sense of their personality, their intention or so-called agenda lingering between the lines. That approach has enabled me to arrive at a deeper and more complex understanding of my research. Helping both as external readers and editors, I am greatly indebted to Cheryn Rapp Bensing and Jelena Culibrk for their comprehensive feedback and advice provided with remarkable diligence. I cannot find words to express my gratitude to the support given by Eszter Nagy, Áron Nagy and Kata CEU eTD Collection Varsányi. With their presence and dear friendship, they reminded me that there was another way when I felt like coming to a dead end. To all those friends encouraging me and keeping the faith in me even when I could not, I owe my deepest gratitude to Kata Kővári, Nikolett Fehér, Andrea and Zita Bökönyi, Csaba Szilágyi, Henrietta Magyari, and Cheryn Rapp Bensing. I feel also particularly honoured to have had a chance to cooperate with Károly Lyka’s distant relatives, László Lukovits, Katalin Lukovits and Péter Lukovits. I feel blessed as your support, relentless spirit, and enthusiasm ii deeply inspired me during the tedious process of composing this thesis. Additionally, I feel fortunate considering that a great deal of the information accessed with your intervention would otherwise have been out of my reach. My gratitude extends to my peers for their comments in classes, and their readiness to discuss my project in great detail, also outside the classroom, if necessary: Jana Kerekretyova, Roxana Maria Aras, Jian Zhang, Thomas Bensing, Taylor Gombos, Ludmila Sharaya, Danila Kabotyanski, and Jelena Culibrk. I am infinitely grateful to Harrison King, who has always kept me going up until the last minute before submission; has always been there to provide me with feedback; sharing his thoughtful reflections on my progress over delicious meals and last but not least; with his loving support. I cannot thank my aunt, Emőke Nagyházi enough for spending days in search for books to broaden the scope of secondary literature. Finally, a special word of thanks also goes to my family for their support and assistance, my mother and father, in particular. I would like to dedicate this thesis to my father. Writing this thesis felt like conversing with you. CEU eTD Collection iii ABSTRACT The aim of the current research was to observe the development of art criticism as a separate field of expertise. The investigation entailed the search for and analysis of articles printed in the periodicals of fin-de-siécle Budapest. Within the framework of this thesis, the scope was limited to the investigation of only four publications: A Hét [The Week], Magyar Salon [Hungarian Salon], Új Idők [New Times] and Élet [Life]. Soon after launching my research, the existence of numerous critics turned out to be a problem that automatically led to narrowing down my focus on the three most prolific and diverse figures: Zoltán Ambrus, Tamás Szana and Károly Lyka. Focusing on these three critics enabled me to obtain a complex perspective assessing different approaches. The results of my research were often startling, considering that as I set out on this voyage I expected to find a more evident trajectory of development of authors and was left with a more subtle change. Boundaries are not easy to draw in distinguishing different styles in art history and marking the borderline between amateur and professional texts of criticism was no exception. In conclusion, after completing the analysis of articles on Hungarian art, between 1884 and 1901 art criticism as a distinct discipline developed while Hungarian art culture began to thrive and acquire a national tone. It is still only the initial forms that are visible in art reviews consulted, which precisely constructs the essence and peculiarity of my research: seeing a flower bud is more fascinating than merely observing the flower itself. The flush of this new growth could certainly be seen in this period, which presumably reached a true opening in the wake of the twentieth century. Art criticism is after all, analyzing elements CEU eTD Collection of a painting, meanwhile constructing meaning of its entirety, an understanding of fine art to which in some degree, Ambrus, Szana and Lyka all contribute but one of them excels. iv CONTENTS INTRODUCTION .................................................................................................................... 1 THESIS ROADMAP ............................................................................................................. 4 THE CRITICS ........................................................................................................................ 4 Zoltán Ambrus (1861-1932) ............................................................................................... 6 Tamás Szana (1844-1908) .................................................................................................. 9 Károly Lyka (1869-1965) ................................................................................................. 12 HISTORY OF THE PRESS ................................................................................................. 14 Magyar Salon [Hungarian Salon] 1884-1918 .................................................................. 16 A Hét [The Week] 1890-1924 .......................................................................................... 17 Élet [Life] 1891-95 ........................................................................................................... 19 Új Idők [New Times] 1894-1944 ..................................................................................... 20 I. ART CULTURE IN HUNGARY ...................................................................................... 21 HISTORICAL BACKGROUND ......................................................................................... 21 EDUCATION, INFRASTRUCTURE ................................................................................. 22 SOCIETY ............................................................................................................................. 24 ART ...................................................................................................................................... 26 CEU eTD Collection Audience ........................................................................................................................... 26 Institutions .......................................................................................................................
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