CEU eTD Collection
Patronizing Contemporary Painting Patronizing Contemporary In Partial Fulfillment of the Requirements for the Degree of of Degree the for theRequirements of Fulfillment In Partial Second Reader: Professor Ilona Sármány Ilona Professor Reader: Second Supervisor: Professor Su Professor Supervisor: Central European University European Central Hungary Department of History of Department Budapest, Hungary Budapest, Adrienn Adrienn Masters of Arts of Masters 2 ,1957 013
Kácsor
san Zimmermann san - 1969
in State Socialist in State
- Parsons
CEU eTD Collection an Copies Nagykanizsa. Múzeum, György Thúry Nemzeti Magyar institutions: following the with rests thesis this of illustrations the in Copyright permission ofthe Author. instructions such with accordance in made copies be may Further made. copies such any of part Detailsa form must page This librarian. the from Library.obtained University European Central the in lodged and Author the acco in only made be may part, in or full in either process, any by made Copies Author. the with rests thesis this of text the in Copyright yany circumstances,may process in any and theillustrations notbeusedcontext. in Galéria, Budapest; Budapest; Galéria,
Műcsarnok, Budapest; Damjanich János Múzeum, Szolnok; Múzeum, János Damjanich Budapest; Műcsarnok, Statement Copyright of
f h ilsrtos a nt e ae by made be not may illustrations the of
may not be made without the written the without made be not may rdance with the instructions given by by given instructions the with rdance ii
CEU eTD Collection received financing socialist instate Kádá rooms history the acquisitions, system. patronage the in participated a argues; thesis the “committed,” or “directed” became arts of patron main the as emerged state socialist the that jurors’connections social c jury the of members as involved were artists thesis The system. well a as artists with conducted Gallery,interviews National the and Ministry the of documents broad the and 1960s the painting contemporary of creation This Thesis Abstract
rist cultural policy, cultural rist
hss inv thesis s officials
and ag o atss eevd iaca spot rm h state. the from support financial received artists of range of the of
omte o Sae custos rpae b te ainl alr i 16, a 1968, in Gallery National the by replaced Acquisitions, State of Committee . Through the key institutions of the Ministry of Cultural Affairs, the Art Fund, Fund, Art the Affairs, Cultural of Ministry the of institutions key the Through .
archives illustrate the narrative of this thesis: they thesis: this of narrative the illustrate archives socialist
siae hw h Hnain oils state socialist Hungarian the how estigates of paintings
the Art Fund the Art demonstrate state’s art patronagestate’s art by the second half of the sixties sixties the of half second the by that influenced the operation of the patronage system. patronage the of operation the influenced that purchased during these years these during purchased , s
provide insight into the operationprovide into insight state's of the that in a system of evolving patronage institutions during institutions patronage evolving of system a in Hungary
along with art historians and cultural bureaucrats, cultural and historians art with along
I adto t t to addition n . . Visualmate
mite. n eea cases, several In ommittees.
rials e documentation he array wide assist a variety of styles and topics topics and styles of variety a
gathered in museum storage museum in gathered
thus ed me ed show that as a result of the of result a as that show iacal supported financially
did not mean that art art that mean not did of
in reconstructing the the reconstructing in
p rofessional eie a Besides
o te state’s the f
it patronage patronage
The fact The was the the was rchival rchival artists iii
the
CEU eTD Collection could neverappreciate enough. I which support, and love their all for parents, my and sister my to thesis this dedicate I and challenge that questions and comments his and support meat the same time. explorations, my to listening in half and one past the endlhis discussions, our all forPeterin I thank me: for invaluable been yearhas help whose Almond, O. Peter thank to like would especially I ofbeen my with art followingmyexploration whohave friends, during socialism. an Sasvári, György,Edit Péter historian Professorart for grateful am I always, As seminars led Marsha by Professor and Siefert Karl Professor Hall. semester.last the in Macreame for challenge and inspiration Ioana by led seminar, OSA the at assistant library especially and Archives, work Icould which in circumstancesstable providingandpeacefulfor Dobó, Katalin Society Open the thank to like would the I find to rooms storage through checked have I Ipaintingsthesis (and muchmore) the discussin whom with country, the around Furt researchers. their help to open always are who Kunsthalle, the of Librarians the thank to like would also I Gallery, S.Mester Csilla Péte and Százados, Petrányi Zsolt Department: Art Contemporary the of colleagues the thank also Judit I thank I now: years help. amazing their all for several Pálinkás, Réka and Kenderesi, Zsuzsanna for Orbán, Lívia Boros, me assisting kindly been have colleagues whose for opportunity provided thus and me granted he permissions of number a for Szücs György The bácsi hereJóska was thesis. still todiscussthis withus wish I years; past the during Berkes József and Koplik Judit of help the for grateful am I year.has beenthepastgreat in of inspiration for as well as work, Sármány my on feedback Ilona Professor reader, second my thank to like would also I process forward. the that questions and notes for enough grateful be cannot I work. continuous thesis my throughout support and help all for her Zimmermann, Susan Professor supervisor, my thank to like would I all, of Most my
Hungari
research. I specifically would like to thank the Archives of the National Gal National the of Archives the thank to like would specifically I research. n thorough and anGallery National
r Jakab, for their help and help their for Jakab, r emr, a gety netd o al h msus colleagues museums the all for indebted greatly am I hermore, - have challenged and challengedhave Csikyassisted me. edak rcie fo hr a we as her, from received I feedback
n pru m M suis I studies. MA my pursue and
- helped meinmanyhelped ways oa n Poesr svn é, whi Rév, István Professor and Toma Acknowledgments her art history seminars. Her endless passion for art art for passion endless Her seminars. history art her
inspired my thinking and moved the writing writing the moved and mythinking inspired
inspiring discussion. At the Office of the of Office the At discussion. inspiring .
Furthermore, I Furthermore,
for which I am gratefulIamwhichfor deeply l s o te constructive the for as ll
my my have benefitted from from benefitted have noe te Library the enjoyed - OSA Parsons, for her her for Parsons, h en great meant ch ess patience ess supervisor, . I . thank , László , d many many d iv lery, as a as
CEU eTD Collection 6. Conclusions 5.3. Conclusions 5.2. The Gallery’s 1968 in Acquisitions 5.1. 5. GalleryThe National Steps Up 4.4. Conclusions 4.3. 4.2. InaugurationThethe of Two Purchases Million 4.1. The Easel of Crisis Painting ofthe Inauguration Two Purchases Million (1 4. 3.3. Conclusions 3.2. System ofState Patronage afterthe Revolution 3.1. the After Years (1957 Revolution Consolidation World: Art Hungary’s of Reorganization The 3. 2. 1. Introduction Acknowledgments Thesis Abstract Statement ofCopyright Art Patronage:Art Some in Cases HistoryArt tt Spot o “netitd Atnmu, asoae Paintings” Passionate Autonomous, “Unrestricted, for Support State Dilemmas Diversity Styles of and Topics Re - centering LifeArt inthe Revolution Aftermath ofthe Around t
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(1968 at the Two Purchases Million ......
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111 The
95 87 86 83 65 55 50 50 46 35 24 24
iii iv
ii 9 1 v
CEU eTD Collection Bibliography Appendix IV: Institutions of List Appendix III: Illustrations Appendix Appendix Appendices II: Interviews andIntervieweesII: (by date) I:
...... Background
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141 138 130 123 119 119 vi
CEU eTD Collection of the Sixties]), 22. ofthe Sixties]), 3 67. ed. 2 Kiadó in Sixties]), the of Art Hungarian 1 to enterprise scholarly first the not was exhibition Gallery’s National the Undoubtedly, retrograde exhibition. starting1991 with this art and politicized with equated be to began former the “Western”values, as“universal” and with associated was latter the While on. 1960s the from Hungary semi and underground the from constructed post new, the socialism, Hungary. of turn communist the following art autonomous the t of sixties the years, transition the of upheaval the of midst the In ideology.regime’s Kádár the of bias aesthetic and political moral, the from freed immanent” and independent, “different, a create to was exhibition the of goal primary the essay, introductory well As history. art Hungary’s of long a had show the professionals, museum and artists, exhibition breakthrough entitled its opened Gallery National Hungarian the 1991, March In
Beke Beke László ázó ee “z 1960 “Az Beke, László
Ildikó Ildikó otnain f h Stalinist the of continuation , “Az 1960 “Az , –
Magyar Nemzeti Galéria, Ludwig Múzeum, 1991), 21. 21. 1991), Ludwig Múzeum, Magyar Galéria, Nemzeti avns évek Hatvanas Nagy (Budapest: (Budapest: Nagy , “Beszél , - as évek művészetének rejtett dimenziói” [The Hidden Dimen Hidden [The dimenziói” rejtett művészetének évek as
–
getés Németh Lajossal” [Talk with Lajos Németh], in Németh], Lajos with [Talk Lajossal” Németh getés to the point that free art had been forced to move into illegality illegality into move to forced been had art free that point the to - a Képzőművészeti Kiadó Kiadó Képzőművészeti
s évek művészetének rejtett dimenziói” [The Hidden Dimensions of the the of Dimensions Hidden [The dimenziói” rejtett művészetének évek s
Te ite] A re ietn fr Hungaria for milestone true A Sixties]. [The - oils nraie f mdr at i Hnay a mostly was Hungary in art” “modern of narrative socialist Hatvanas évek Hatvanas
- 1 Rákosist aggression that had haunted the concept of of concept the haunted had that aggression Rákosist . Introduction - nw shlr ázó ee one ot n his in out pointed Beke László scholar known
[The Sixties], ed. Ildikó Nagy (Budapest: Képzőművészeti Képzőművészeti (Budapest: Nagy Ildikó ed. Sixties], [The 1
r hsoy esetv, prpcie ht is that perspective a perspective, history art 2
– Clearly juxtapose Clearly
Magyar Nemzeti Galéria, Ludwig Múzeum Ludwig Galéria, Nemzeti Magyar - underground forms that had emerged in in emerged had that forms underground
- term impact on post on impact term
he Kádár era was framed as as framed was era Kádár he d with the “official” art of art “official” the with d Hatvanas évek Hatvanas “progression” sions of the Hungarian Art Art Hungarian the of sions n art historians, historians, art n
platform for a a for platform - 1989 politics politics 1989
[The Sixties], [The
3
as well as , 1991), 1991), ,
CEU eTD Collection B 5 4 modern versus realism socialist art, free versus censored of dichotomies the maintaining in argued Pospiszyl Tomáš As layers of politics. obvious most the beyond go we once problematic indeed seems socialism of artist or art socialist of concept verythe Still, life. art socialist in role essential anplayed politics that cens deny cannot Certainly,one production. art as well as lives their of complexity the obscures greatly artists “directed” simply as them framing that felt w often interviews conduct to I socialism, during state started the by supported financially been Ihad who artists “propagated” Once art. socialist of narratives politicized these by puzzled been have I world, art socialist Hungary’s of researcher young a As explaining howcreativepeople all became artists” “directed under socialism. employees,” and state organized of group thoroughly subdivided a rationally now are artists workers, “Like decades. preceding the Socialism book groundbreaking his War In Cold 1988. this in rhetoric of perspective critical a introduced who Haraszti Miklós sociologist and writer dissident Hungarian was It propaganda. communist for weapon critical a is art society Soviet new the of soldiers as artists socialist framed constantly had media and scholars Western War, Cold the of pressure growing the with parallel in
oá Psizl “r i Esen uoe rm 1945 from Europe Eastern in “Art Pospiszyl, Tomáš Miklós udapest, February 11, 2013. I thank Beáta Hock for her kind invitation to this lecture. this invitation to kind her for Hock thank Beáta I 2013. 11, February udapest, dicate the politicized, propagandistic nature of official socialist art. Since the 1950s, in in 1950s, the Since art. socialist official of nature propagandistic politicized, the dicate
Haraszti, Haraszti, , Haraszti advanced his theory about the new censorship of socialist countries in countries socialist ofcensorship new the abouttheory advancedHarasztihis , The Velvet Prison: Artists Under State Socialism State Under Artists Prison: Velvet The
lcue e ae n uaet n al 2013, early in Budapest in gave he lecture a - 1989: Limits of Official and Unofficial,” tranzit, tranzit, Unofficial,” and Official of Limits 1989: h Vle Pio: rit U Artists Prison: Velvet The 4
aazi rud n the in argued Haraszti (London: Penguin Books, 1989), 43. 1989), Books, Penguin (London: fact the or orship –
prop
late 1980s, 1980s, late dr State nder osing that that osing 2 5
ith by CEU eTD Collection with the aesthetics of police surveillance photographs. photographs. surveillance ofpolice aesthetics with the ins For culture. of sectors “unofficial” and “official” both 6 it ages; other of systems reward the to market of that from distinctively democracy.state’s similar socialist quite the sense, generallooks Insystem this patronage functioned world art socialism’s that obvious is prestige ofprofessional recognition the also but artists these for livelihood mean merely not did commissions and purchases of system Undoubtedly,patronage artists. the applied and designers, graphic sculptors, of year each artists three This 1968. in purchases Gallery’s National Hungarian the by replaced Acquisitions, State of Committee the and People’sthe of Repu Fund Art the Culture, Ministryof the of institutions three a in organized state were commissions 1965, and with purchases Beginning arts. fine the for system patronage designed mid the by out, lays thesis my As during Hungary socialist state in supported was painting of kind what study to seek I painters, soc Hungarian the versus investigating by dichotomy: this politicized beyond go to tries MAthesis My art. therefore free but unofficial and official of dichotomy the deconstruct to argument: Po from different greatly history.art in gapsare are creatingmyresearchweI art, in questions ask the though Even
As outlined in his lecture, Pospiszyl aims to revisit the visual anthropology of socialism by considering considering by socialism of anthropology visual the revisit to aims Pospiszyl lecture, his in outlined As the sixties. –
ialist state’s art patronage, and more specifically its patronage of living living of patronage its specifically more and state’spatronage, art ialist
for more than 200 painters annually,besides painters 200 than more for
spiszyl’s,
- fold patronage system managed to provide for hundreds of hundreds for provide to managed system patronage fold - 1960s, the Hungarian socialist state socialist Hungarian the 1960s, 6 –
the overall goal of my thesis is rather close to his his to close rather is thesis my of goal overall the
an important f an important worked as the “apparatus for rewarding creative creative rewarding for “apparatus the as worked
tance, he pairs Czech artist Jirí Kovanda’s photos photos Kovanda’s Jirí artist Czech pairs he tance, actor that we cannot dismiss evenactor ifit dismiss cannot that we - fold system through the key key the through system fold the equally high number number high equally the
established a well a established blic of Hungary,of blic - sponsored 3
- CEU eTD Collection painters in my MA thesis. thesis. myMA in painters think I Therefore, system patronage separately. their mostly together, genres functioned these showed 1966 from year each patronage art state’s socialist 8 347. Reader 7 era,Imy state’s concentrate merely thesisonthe socialist acquisitions. painting I though Even attention. media wide the acknowledge or colonies; art to admissions exhibitions; well opportunities; system arts. applied or design, graphic sculpture, as such genres other of patronage the consider not do I consequence, a state’ssocialist the p key of functioning the of study close the to thesis my of subject the Ilimit questions: research of focus specific The commissioned? t did how finally, And decisions? the made that committees the of jurors the were who system: patronage the of actors direct the were Who state? the by supported were painters contemporary Which insti patron three state’s the of examination Throughart.the socialist of formulation the therefore andpainters, for system state’spatronage socialist the of functioning the into played that factors aesthetic the describe to attempts thus thesis My moneyextraordinarily an large for notall ofthem. if artists number of honors,” and prestige, money, with artists
Although the contemporary exhibitions of the Műcsarnok [Kunsthalle] that displayed the results of the the of results the displayed that [Kunsthalle] Műcsarnok the of exhibitions contemporary the Although Pr II Dsrbto ad ead ytm: nrdcin” in Introduction,” Systems: Reward and Distribution III. “Part
, ed. Milton C. Albrecht, James H. Barn H. James Albrecht, C. Milton ed. , : I do not directly focus on prestigious state awards, nor on housing or studio studio or housing on nor awards, state prestigious on focus directly not do I : significance of these various rewards in understanding the art life of this this of lifeart understanding the in rewards various thesesignificance of - aig n rsetd ponmns ie ecig positions; teaching like appointments respected and paying
8
Furthermore, I do not explore a variety of forms of the rewarding the of forms of variety a explore not do I Furthermore,
atron institutions for the contemporary painters of the sixties. As sixties. the of painters contemporarythe for institutions atron tutions, my thesis intends to answer the following questions: questions: following the answer to intends thesis my tutions, hey decide on which paintings should be purchased or or purchased be should paintings which on decide hey
ett, and Mason Griff (London: Duckworth, 1982, c.1970), 1982, Duckworth, (London: Griff Mason and ett, this
it is legitimate to study only the patronage system of of system patronage the only study to legitimate is it 7
with the difference that it wished to provide to wished it that difference the with variety of political, social, economic, and and economic, social, political, of variety
MA thesis manifests itself through these these through itself manifests thesis MA The Sociology of Art and Literature: A A Literature: and Art of Sociology The
4
CEU eTD Collection uem ad ntttos uig y eerh rp at umr Vásá summer: last trip research my during institutions and museums 9 a museums visited have I artworks. original the for look to started I archives, the in documentation visual no have cases most in 1960s the during purchased paintings of thousands the Since thesis. this of resources crucial equally are the yet system, patronage the of functioning the about information of overload great a offer already documents official the with together interviews The art socialist of picture bigger the patronage. into them place to order in analyze and research have I continued I that which Fund, Art the documents of materials the with along primary thesis, this for processed the are these research, former my of continuation patronag direct a art As Acquisitions. State of Committee the the and Culture of Ministry of the by pursued documentation the be to out of turned piles that the documents me untouched showed first archivist, Gallery’s the then Orbán, Lívia that Gallery ex with interviews continuous my through acquisitions these in involved artists many of names the with familiar become had I Gallery, National Hungarian the of archives the in Purchases Million TwoFund’s Art the of documentation the found I time the By with ex 2009, in interviews conduct to started I research, my of step first a as Therefore, there. Arc National Hungarian the in preserved been has 1960s the from documents of abundance great A
With the help of the research grant that I received from the History Department, I visited the following following the visited I Department, History the from received I that grant research the of help the With - workers of the Art Fund, Judit Koplik and József Berkes. It was also in the National the in also was It Berkes. József and Koplik Judit Fund, Art the of workers - state employees who had participated in the organization purcha participated inthe who had state of these state employees
hive s , yet, the official documentation of the state’s art patronage is missing missing is patronage art state’s the of documentation official the yet, ,
nd a number of state institutions state of number a nd rosnamény Kulturális Központ; Központ; Kulturális rosnamény paintings themselves themselves paintings 5
two ses. ses.
to to e 9
CEU eTD Collection established), I prefer to follow Kalmár’s concept. Melinda Kalmár, Kalmár, Melinda concept. Kalmár’s follow to prefer I newly established), others while reopened, some then and 1957, in down closed were institutions art the of (most 1963 Hung Since years.” “consolidation Th [1957 Központ; Kulturális János Szombathelyi Xantus 10 Szombathely; Vaja; Múzeum, Múzeum, Nagyka Kórház; Nagykanizsai Nagykanizsa; Múzeum, Savaria Ádám Vay Győr; Kollégium; Múzeum, Vásárosnaményi Városháza; Vásárosnaményi p the of outline an offers also chapter this 1963, and 1957 between period the of changes political the examining to addition In Budapest. in years consolidation or Revolution the of aftermath the studies chapter second the ages, different in patronage art of history the explores that chapter theoretical the Following patronage. state historyof institutional my organize chronologically to inevitable seemed also it structure, institutional the with Along perspectives. different these from functioning their analyzing institutions, patron main the around thesis my Hungar the influenced that factors political economic,and social,layers aesthetic, ofcomplex the show to intention by my Motivated these ownvisual archive pieces, the art my of of building socialism. ot and historians, art curators, of country.help the Witharoundthe now, decadesall for rooms storage in languishing been have them of most far: thus artworks 1,000 around identified have I sixties. the during Acqui State of Committee the Culture, of Ministry the Fund, Art the by purchased been had that paintings fordormitory, searching school higha as mayor’swelllibraries, asas offices, hospital, such a throughoutHungary itns ucae b te eety epnd iity f utr, s el s the as well as Culture, of Ministry reopened recently the by purchased aintings Hungarian historian Melinda Kalmár suggests to conceptually frame the first period of the Kádár regime Kádár the of period first the frame conceptually to suggests Kalmár Melinda historian Hungarian -
early 1960s] as “reorganization” or “disposal” years, as opposed to the more frequently used used frequently more the to opposed as years, “disposal” or “reorganization” as 1960s] early of 1956: how art life was re was life art how 1956: of [Food and Dowry: The Ideology of EarlyIdeologyKadarism] of The Dowry: and [Food
ary’s art world was absolutely reorganized between the years 1957 and and 1957 years the between reorganized absolutely was world art ary’s narrative; thus, I employed a chronology that reflects the the reflects that chronology a employed I thus, narrative; her museum workers I managed to photograph many of of many photograph to managed I workers museum her - centered during the so the during centered iin, n te ugra Ntoa Gallery National Hungarian the and sitions, ian socialist state’s art patronage, I structure structure I patronage, art state’s socialist ian nizsai Városháza. Városháza. nizsai
niaó s hoz és Ennivaló -
(Budapest: Magvető, 1998). Magvető, (Budapest: called “reorganization” called
- omány:
institutional ú ry György György ry
6
10
CEU eTD Collection pre subthe must be comparison 12 1956 (Budapest: Kádárism] Sixties Hungarian 11 to began mechanism economic sixties.” the Overall, paintings by the thatwere acquired year.Art same Fund inthe ar rather Gallery’s the compare I Finally, 1968. in artists contemporary from bought Gallery thus National the that chapter paintings the on research focuses primarily last The acquisitions. “independent” own Gallery’s National State of a to Committee came Committee the the 1968, of March in change Acquisitions: institutional the discusses chapter fourth The 1965. in fund new the from acquired were that genres Art and styles of the diversity the demonstrate from examples of number a Through 1965. in Fund Art the by supported got who artists the of analysis broader a provides chapter the Purchases, Million Two the of operation the showing to addition In argument. my new Twoa introduced calledwhich 1965, in so Purchases Million Fund’s Art the of inauguration the on concentrates chapter third The ofStateCommittee 1959. in Acquisitions
e fr example for See akolde h iprac o cmaig h post the comparing of importance the acknowledge I - 1956 years. 1956
11
It takes 1957 as 1957 takes It
chronological scope chronological – áo M Rie, A ayr htaa évek” „hatvanas magyar “A Rainer, M. János
n prah f (po of approach an - ject of future research, given the lack of research on the patronage system of the the of system patronage the on lackof research the given research, future of ject os Intézet os
a
starting point starting
–
L’Harmattan, 2011), 149 2011), L’Harmattan, ainlz te ugra scait ytm Pragmatic system. socialist Hungarian the rationalize of this thesis falls within what scholars call scholars what within falls thesis this of litical)history] In In litical)history]
12
and ends in 1968 in ends and - 1956 period with the “fifties”; however, this this however, “fifties”; the with period 1956 eeeé a kádárizmusba a Bevezetés era in state patronage, according to according patronage, state in era - 184. 184. –
ed t b rpae b the by replaced be to end, n (politika)történeti közelítések” [The [The közelítések” (politika)történeti Fund’s purchases, I seek to to seek I purchases, Fund’s
irr aqiiin wt the with acquisitions bitrary -
69: the y the 69: ears when the new the when ears
[Introduction to to [Introduction the “long “long the 7
CEU eTD Collection obvious thatnotallof themcouldobvious actually advantages enjoy these equally. privileges social the from benefit submitte portfolios their in offered skills Fund professional Art necessary the prove the could year, who applicants each talented those Fund: for membership Art the to application direct through but Secondly,rewards. one other and thereforeand Artists, Fineof Association the andFund Art in artist professional a became socialist in artist professional a Hungary. become First,who graduated everyone fro to ways two basically were there shows, regardless ofhowfrom muchthey the benefited state’sAs myrewarding system.research all for term umbrella of patronage the about talk to proposes analytical artist “official” n today, whom, artists included cases forms and styles of terms in diverse indeed was institutions various its and ar the result, a As considerations. political or aesthetic as acquisitions the in much as counted often relations informal suggests, analysis my As years, the succeedingto uncoverabout documentsif yearsacquisitions hasavailable forF been 1957and the between 1970. period this on focus the influenced also factors
problems of the terminology of “official” versus “unofficial” artists, my thesis thesis my artists, “unofficial” versus “official” of terminology the of problems
ak then back
rit wo were who artists . Therefore, in order order in Therefore, . that he or she automatically received membership to the to membership received automatically she or he that d to the Fund. The members of these two groups could could groups two these of members The Fund. the to d
could earn professional status without proper education proper without status professional earn could cesbe to accessible at itra wud li t hv been have to claim would historian art o rfsinl artists professional
m the AcademyFinem the Applied ofArts and Art considered considered to get around the obvious obvious the around get to
te ouetto o te Ministry’s the of documentation the : their profession profession their in factpreserved they been have t supported by the socialist state socialist the by supported t professionals during socialism, socialism, during professionals access
–
hc I il s a an as use will I which
to the state’sthe to patronage –
urther researchurther has even though it is is it though even
– practical and and practical
and in many in and 8 .
an an s CEU eTD Collection Italyfascist shows. re style, and form of terms in art diverse produce did and can patronage art that show to aim I Secondly, 20 during and ages, previous to often the political totalitarian beyond point might that concepts and tools gain to theories these consult I First, twofold. is chapter this of goal main the Overall, and art in20 politics between relationship the regarding claims specific more develops that work of body a discuss I Additionally, approach. scholarly my influenced have that examples theoret my art, of history social the 19 the to antiquity from patrons their to connected inseparably been had artists that out pointing civilization, context political and social the revisited have historians on work classic now Burckhardt’s Jacob Since systems. political and ages various in art “official” of creation art, employed concepts betweenand tools the on emphasis an with politics, and society relationship the studies that work scholarly of body a discuss I history. in cases different through patronage art on perspectives explores chapter theoretical This 2. ArtPatronage:2. Hist Art in Cases Some th - centuryautho gardless of the political nature of the system, as for instance the case of of case the instance for as system, the of nature political the of gardless th
- regimes created “total,” “political,” and “controlled” art as opposed opposed as art “controlled” and “political,” “total,” created regimes century birth of the modern art market. Due to the vast literature on on literature vast the to Due market. art modern the of birth century The Civilization of the Renaissance in Italy in Renaissance the of Civilization The ritarian regimes,especially instate th ical chapter considers several of the most illuminating most the of several considers chapter ical - etr mre dmcay we at a “free.” was art when democracy, market century of visual arts throughout human throughout arts visual of - ed iw ht 20 that view held - socialist countries. socialist countries. , published in 1860, art 1860, in published , ory
to describe the the describe to
th - century
9
CEU eTD Collection letter. letter. his concluded Filippo small,” and great respect, every in want you what do always shall I deed… in so be Caexactly do see should I Francesco that to and want, with been speak have would “I he writes. said Baxandall he painting, the Martelli: decorate Bartolomeo to intended gold the about inquire to 1457 16 ‘patron’carries. the term that overtones” ac be must 15 that fact a is but art. Renaissance of perspective gender the remarkabout deplorable be may which culture now, Renaissance us the interests in most part that small very “play who poor urban and peasants towards sensitivity shows 14 1. 1988), c.1972, 13 history the in factor critical a is money that out point to also but Medici, customer the to status painter’s the inferior show art. of piece a creating of process artist’s the to presented is Lippi Filippo Fra painter obedient of case the examples numerous the Amongst clients. their and artists Renaissance between connection the of analysis his in sources as critics contemporary and painters both of con letters, uses Baxandall themselves, paintings the Besides necessarily benevolent” client agreement legal a of product fifteenth at look to proposes Baxandall history, social with Fifteenth his in states Baxandall Michael fifteenth “A FifteenthCrafting
Working on a t a on Working Ibid t granted for it takes Baxandall Baxandall, Michael , 1. The author consciously uses the term ‘client’ throughout the book in order to avoid the “many “many the avoid to order in book the throughout ‘client’ term the uses consciously author The 1. , Ibid t ue aadl’ prs, h lte big n atv, eemnn, n not and determining, “active, an being latter the phrase, Baxandall’s use to , , , 4. - Century Italy Century
- etr pitn i te eoi o a oil relationship,” social a of deposit the is painting century riptych for Giovanni di Cosiomo de’Medici, Filippo composed a letter to his client in July July in client his to letter a composed Filippo de’Medici, Cosiomo di Giovanni for riptych
- Painting & Experience in Fifteenth in Experience & Painting Century Painting . Promoting an approach to art history that is essentially engaging essentially is that history art to approach an Promoting . 15
actor in this relationship. inthis actor hat being a Renaissance painter was a male occupation. While the author author the While occupation. male a was painter Renaissance a being hat
what you wish… Giovanni, I am altogether your servant here, and shall shall and here, servant your altogether am I Giovanni, wish… you what
between painter and and painter between
of art, even in terms of how it is handed over to the artist. artist. the to over handed is it how of terms in even art, of
nleta bo entitled book influential
16 Ibid
- Baxandall deploys this case not only to only not case this deploys Baxandall Century Italy Century
, 38 ,
his provide an insight into the nature of nature the into insight an provide - 39. 14 tnat aot h gl ad ht you what and gold the about ntansanti
patron
(Oxford: Oxford University Press, Press, University Oxford (Oxford: tracts, and critical accounts critical and tracts, Painting & Experience in in Experience & Painting - century painting as the the as painting century -
r oe rcsl the precisely more or cepted,” he makes no no makes he cepted,” 13
r historian art 10
CEU eTD Collection 20 19 18 17 painters imaginations, personal own types” interchangeable unparticularized, “general, provided their on based images detailed creating than was that culture visual a within operate to had painters mind”: “public the calls Baxandall what to succumb to had spiritual certain in them help who people for images introduce to was paintings of mission main the that pinpoints Baxandall of texts, contemporary and paintings content the studying by Both history. throughout shifting been has art of function stories,” holy the of visualizer professional a was painter “The Italy. Renaissance in art of role social the influenced co real a was painting that fact The and client painter between relationship economic the to related closely indeed are painting fifteenth of forms and styles the that thesis his underscoring notes, author situa financial and wish client’s the on based requested was but taste painter’s the on depend much so Baxandall from learns one as Renaissance, early the in expensive Consequen work. the others on spent material art, and time of the to according piece service painter’s the the of costs of the calculated size the on based artist the pay would patron one While
Ibid Carcano. da Michele Fra Dominican and ofGenova John instance authorcites for The Ibid Ibid , , 46. , 45. , 2. , as well as thelatter’s budget.
in “anig ae mn ohr hns osl o eooi life,” economic of fossils things other among are “Paintings tion. l, h aon o gl o ultramarine or gold of amount the tly,
understandable and accessible for the public audience. Rather Rather audience. public the for accessible and understandable -
religious activities. religious 18
-
Baxanda authored product of the painter and the client greatly client the and painter the of product authored
could not read religious texts and therefore to therefore and texts religious read not could l ugss rmnig h rae ta the that reader the reminding suggests, ll 19
However, it also meant that painters that meant also it However, 20
that the beholders could use could beholders the that –
a color indeed rare and and rare indeed color a –
on a painting did not did painting a on Ibid - century Italian century , 40 , - 41. 41. 11 17
the CEU eTD Collection categories,” categories,” 22 necessarily not but shows, Lippi voice. theirpersonal Filippo Fra quoted the of case the as just patrons, the with relationships con were painters how show letters these Undoubtedly, patrons. their to letters 21 modern our from different indeednotions. genius” “artistic for criterions creating well, as talent’‘artistic of meaning very the impacted mediators church’svisual the as role social 15 the in painting of creationthe in role no had imagination and skills personalBaxandall’s their that narrative sens the in book the from excluded is that painters the of voice the is it However, which bepoint will understand important to theproductsofsocialist state’s patronage. basi a much as sense this in is artist’s the from Money perspective piece. a of aesthetics the greatlyimpacts moneyitself providing of way practical very the that fact the also but age, given a in art of role social is it why explain only contex not economic and social the at look to important does book His genius. artistic on focuses rather which hues even fifteenth influenced fact in painters’and money how ofnarrative experiences intriguing an providesBaxandall social art production ofItaly. Renaissance visi interior their for
It is obvious that the historian is very much limited in case no other sources are avail are sources other no in case muchlimited is very historian the that isobvious It About the the About 22
Even though I accept the author’s argument that fifteenth that argument author’s the accept I though Even Ibid, Ibid, e that they only appear in formal letters written to their clients: it seems from from seems it clients: their to written letters formal in appear only they that e – rtros f ritc aet n 15th in talent artistic of criterions
an important perspective that is often excluded from traditional art history, art traditional from excluded often is that perspective important an 109 -
153. ons, Baxandall says, explaining how society played a key role in the in role key a played society how explaining says, Baxandall ons, th
etr. n i coig hpe, aadl ly ot o a how out lays Baxandall chapter, closing his In century.
- century paintings in terms of of terms in paintings century
c need for creation and living as a source of motivation motivation of source a as living and creation for need c
- century Italy, see the chapter entitled “Pictures and and “Pictures entitled chapter the see Italy, century t of art production, which defines the the defines which production, art of t their topics, styles, forms, and and forms, styles, topics, their s cious of the politics of their their of politics the of cious - cent 21 a ury painting was painting ury , and not merely not and , ble but the painters’ painters’ but the ble 12 rtists’
–
a
CEU eTD Collection reference to the gender question of Baroque art. art. ofBaroque question gender the to reference 25 24 [c.1980]). 1998 Press, University 23 generally still were “artists clients, visiting for display to studios their in works their of pract cultural accepted an as emerged already had it Although argues. Haskell Renaissance, the since changed much not day the of end the at client, his and artist an for cooperation of modes different already were there though Even the author argues. figured inRome’sgames,a becamepowerful painting power greatly Papacy the high its rivalries, through careers artists’ political impacted inner constant of excitement the with place 17 the of days early the from patronage art generous its for famous became Papacy Roman the days, glorious enjoy more to ReformationCounter 17 in patronage BaroqueItaly in Society and Art Painters: and Patrons entitledHaskell’s Francisbook historian art clients, and artists between connections level both Focusing Art andPower inSeventeenth that wedo notthink ever canartistic fantasy eliminate thehistory art. from of I abilities, artistic individual than rather craft of product the as considered generally still
Again we are faced with the sa the with faced are we Again example: For Haskell, Francis Ibid
on the macro the on Patrons and Painters. Art and Society in Baroque Italy Baroque in Society and Art Painters. and Patrons th , 63. ,
n 18 and
th
- me issue as in the case of Mich of case the in as issue me level political situation of the Roman Church and the micro the and Church Roman the of situation political level etr Brqe tl. evn bhn te tan o the of strains the behind Leaving Italy. Baroque century -
Century Italy
- scale commissions. Since these pieces of art art of pieces these Since commissions. scale
a 23 e th l Baxandall: Francis Haskell makes no makes Haskell Francis Baxandall: l
studies the power politics of art of politics power the studies
century, Haskell says. A diz A says. century,Haskell instrument of some kept painters that ice (New Haven and London: Yale Yale London: and Haven (New
propagand
13
a zy , 25 24 -
CEU eTD Collection 28 27 26 assign could VIII Urban possess, could human that stature highest the with accordance of one as evolved it (therefore that did rarely officially very he though his others, of service the to over artist his lend could VIII power Urban artists, patroned ultimate Pope’s the and genius Bernini’s of hi appreciation for solely working Bernini keep to authority VIII’s Urban became who Bernini, Lorenzo Gian architect and artist brilliant of case the pinpoints Haskell a crucial toconsider point is which shows, book Haskell’s art, creating for money need and living their make to have who humans are stability. Artists financial their served it Rosa’sproves, position itself creation of process the before prices the setting though Even clients. their with relations their of nature the challenge patronage,” art of pattern utterly r no an had as Rosa Regarded “Salvator piece. person, eccentric his finish would he before price the set to disagreed generally he as just commissions, exciting less some refusing of option the ignore not who Rosa, sati own his example. for merely painting be to claimed incongruous an as if even out, stands Rosa Salvator painter of case the instance for Still, painting. the on deployed materials and figures of number the prices that show which period, the from contracts craftsmen,” superior as upon looked
Ibid Ibid Haskell,21. , 37. , 37. , 23.
official in all ages andin political systems.
27
akl sae, rpsn ta pitr dd o se to seek not did painters that proposing states, Haskell artist -
26
ol hv lmtd rit i ter nprto, as inspiration, their in artists limited have could hc i ti cs mat ht h Pp hd the had Pope the that meant case this in which
h ato sget. e ae hs ruet on argument his bases He suggests. author the a floes n i atmt t cag the change to attempts his in followers eal sfaction and not for the sake of money,of did sake the for not and sfaction his most valued diplomatic gestures). diplomatic valued most his were agreed in advance, according to to according advance, in agreed were s service. Both as a sign of the the of sign a as Both service. s
14 28
In CEU eTD Collection the rebuilt family palace: therefore, the new Baroque style expressed the significant power of Rome and and Rome of power significant family Barberini the and the Papacy between connection the direct also the expressed style Baroque new the therefore, palace: family rebuilt the 30 29 Baroqueemerging artists, and therefore the Baroque of style art. the influenced directly it how also but patronage, art Papacy’s Roman the insignificance,” “[it ceiling; whole the cover to fresco huge but single one painted Cortona pieces, several separate of Instead style. Baroque the with link generally historians art that invention of ceiling the cases: further several provides Haskell though here, point this prove sufficeto should style Baroque commi major provided Sforzas, the by owned previously palace, family the of reconstruction total The family. became also Cortona da prestigiousfamily. BeBesides the around running laurel VIII’sUrban of the viewers contemporary reminded immediately have should that coloumns, of leaves the and sun, the bees, the as such symbols, ident closely be should he that sure made he certainly scheme: iconographical the outlining in part direct a played “probably few Maffeo afterhisclient months TheBarberini topowerUrban as new came VIII. Pope small many so Pete St after on work to started artist; Bernini sculptures, favorite his to commissions impressive most the
Ibid Ibid s] grandeur and richness of colour awe, almost crush, the visitor withthefeeling of visitor his crush, the awe,s] almost grandeur ofcolour and richness , 35. , 35. , 48. ,
Of course, th course, Of the family palace created by painter Pietro da Cortona was a real aesthetic aesthetic real a was Cortona da Pietro painter by created palace family the
as a result of the Barberinis’high the of result a as
30
Haskell says. Overall, the author does not only describe the politics of politics the describe only not does author the Overall, says. Haskell e well e sos o te ot rcos rit, h were who artists, precious most the for ssions
officially - known bees and laurel leaves were also incorporated into the new pieces of pieces new the into incorporated also were leaves laurel and bees known
rnini, painters Andrea Camassei, Andrea Sacchi, and Pietroand Sacchi, Andrea Camassei, Andrea painters rnini,
associated with the Pope and the influential Barberini influential the and Pope the with associated ified with it,” with ified r’s gigantic baldachin in July 1624, only a only 1624, July in baldachin gigantic r’s - 29 scale assignments. One typical example example typical One assignments. scale
the author argues, pointing out several out argues,pointing author the , in this case. in case. , this
raig h new the creating aesthetics of aesthetics 15 - scale scale
CEU eTD Collection Duckworth, 1982 [c.1970]) 1982 Duckworth, Reader A Literature: & Art 32 31 chur the or aristocrats, monarchs, kings, byages’ previous patronage to opposed as patronage, Nineteenth The patron 19 the of beginning the patron” as state the of “concept the of birth The The Emergence ofFrench State Patronage artists’yet works, mixingwithout hisaesth the Pope’sand the propaganda between connections undeniable the out pointing arts, and politics between relationship the investigate to manages thus Haskell results. aesthetic problematic the separates it as statement, essential indeed an is This opinion. his offers Haskell achievements, artistic these beyond politics the of morality low the family, despite Barberini the and VIII Urban of patronage the to achie greatest its of some creativity. owes and “Rome genius Bernini’sunique emphasizes much very Haskell works, Pope’shis the through propagandain participating VIII, Urban for exclusively almost and directly worked Bernini Although patron. and between connection the of quality the to also but production artist’s the of nature politicized the to refer merely not does Haskell artist, official an as Bernini framing By
Daniel M. Fox, “Artists in the Modern State: The Nineteenth The State: Modern the in “Artists Fox, M. Daniel Ibid h ifune ats oil oe Fx os o ivsiae o ti “patronage this how investigate not does Fox role. social art’s influenced ch, , , 31. age, art historian Daniel M. Fox argues. His article, “Artists in the Modern State: Modern the in “Artists article, His argues. Fox M. Daniel historian art age,
- etr Bcgon, dsrbs o te mrec o government of emergence the how describes Background,” Century , 371. , 371. th , ed. by Milton C. Albrecht, James H. Barnett, and Mason Griff (London: (London: Griff Mason and Barnett, H. James Albrecht, C. Milton by ed. ,
century in France meant a real milestone in the history of art art of history the in milestone real a meant France in century
etic evalua
32
around the end of the 18 the of end the around moral - tion withmoraltion judg Century Background,” in in Background,” Century
questio s f politics of ns ments. The Sociology of Sociology The th
century and century vements”
rm its from 16
artist artist
31
CEU eTD Collection 37 36 35 24. 1984), Watson, W. H. and Ro Robert attitude. revolutionary David’s Rosenblumdescribes Robert historian, art another faith,” a alone; delectation as aesthetic of those than important more far needs human serve could work his of power the that believe… to act merely not 34 did they 33 commodities, producing were they that understood explains. Fox state, modern the to artists connected closely it effects: stat systems, rewarding previous of limitations the without art create to artists of thousands helped system patronage government new the Although in the necessity supportfor ofpublic artists,” the ideas: revolutionaryru long the in art’srole of public announcement David’s in originate patronage government contemporary consent,” on based government a under arts the artist an statement public by first “This the speech was assign would which Arts, the of Commune governing self a of inauguration the encouraged he Assembly, which the in at David’s speech 1790 administrator” and politician able an also was [who] David, Louis Jacques period, the of artist famous most “the of influence preciselythe moreand Revolution, Frenchthe of impact the Itwas modern societies. in recognition gain and live artists which in ways the impacted changes these how on 19 of aesthetics the influenced revolution”
Ibid, 371, Ibid, Ibid 375. Fox, came David artist, committed a is that engage,” “artiste an call French the what of example perfect “The Ibid , , 375. , , 371.
376.
33
nd after 1789, he painted primarily to propagate first Republican, and then Napoleonic, Napoleonic, then and Republican, first propagate to primarily painted he 1789, after nd that the system of patronage underwent cri underwent patronage of system the that Art of the Nineteenth Century: Painting and Painting Century: Nineteenth the of Art
th - century French art; rather, he merely focuses merely rather,he art; French century 36
Fox concludes.Fox n resulted in the development of a “belief “belief a of development the in resulted n 35
Fox states. In this sense, the values of values the sense, this In states. Fox
Sculpture of the political and social utility of political and of the public commissions commissions public e patronage also had negative had also patronage e tical changes. tical
(London: Thames and Hudson, Hudson, and Thames (London: 37 34
hl artists While Fox refers to refers Fox o artists. for s 17 enblum
- CEU eTD Collection 38 ofHungariancontext socialism. state the in meant actually ‘recognition’ what finally, and recognition, gained they how and wor artistic their from living their make could they how state, the from expecting were artists what at look to patronage: art socialist of study the for Fox’s of tools some borrow u pejorative utterly his Fox’s Despite argument. to according regimes, totalitarian these of interest the served only propagandathat merepolitical Nazi patronagecreated obviouslyand Soviet consent, democr that needs public’s the to refers official case, former the in While term. same the for meanings different assigns he though even regimes, political totalitarian Westernand both democracies of patronage t the employs Fox that interesting is It the Soviets, whoseofficial art patronage could ofpropaganda. produce onlytools disappointments.” arts official liberal a for fight their “won there artists as argues, Fox States, United the and Europe Western in problems detrimental cause not did state the from freedom and stability both expecting of conflict basic This in the about argument essential very a makes he deploys, Fox’s that terminology the of problems obvious the “middle r and trade, free freedom, creative for fighting “businessmen”
Ibid , , 385. - class American farmers,” who required financial stability from the state. the from stability financial required who farmers,” American class
38 sage of “official” patronage in the latter case, I think it is important to important is it think I case, latter the in patronage“official” of sage
This is, according to Fox, contrary to the practices of the Nazis and and Nazis the of practices the to contrary Fox, to according is, This - ul cnrvris f rit’ at artists’ of controversies built
tc oenet hv t poet n h nm o public of name the in protect to have governments atic
erm “official” art to describe the government government the describe to art “official” erm
policy, …after much frustration and many many and frustration much policy,…after iue o oenet patronage. government to titude cgiin bt lo as also but ecognition,
Despite Despite 18
k CEU eTD Collection 42 41 40 4. Stone, 1998), Press, University 39 assistance,” “material of forms other to addition in prizes, and exhibitions their also but institutions state’s cultural the of commissions and purchases official the only not studies Stone system, reward official state’s Fascist the of policies and practices different the culture.” official of showcase the “be to designated wi along Artists, and Professionals of Syndicates Fascist of Confederation National the as such visibility” and distribution money, to both The Fasciststate emerged1920s, offeringItaly the arts as ofthe in themainpatron during author states. representation,” of “means the over only but representation official of aesthetics the aest promoted dominant its as that pluralism policy cultural Mussolini’s from emerged forms and styles best contradictions,ambiguities,” defined bydiversities, and its culture official “the aesthetics, Fascist as style single no Promoting entitled book her in argues Stone Susan Marla Union, Soviet Stalin’s and Germany Nazi both of aesthetics official from different radically was Italy Fascist Mussolini’s of art official The Aesthetic as Pluralism Authentically Fascist Style
Ibid Ibid Ibid Marla Susan Stone, Stone, Susan Marla professional presprofessional , , 71. , 23. , 23.
h t rgoa isiuin, r h Vnc Benl, hc ws specifically was which Biennale, Venice the or institutions, regional its th
h Pto Sae Clue Pltc i Fsit Italy Fascist in Politics & Culture State: Patron The tige
discourse. and
The financial assistance financial
arn tt: utr & oiis n acs Italy. Fascist in Politics & Culture State: Patron
Thus, the Fascist sta Fascist the Thus, 41
hog svrl etaie clua institutions, cultural centralized several through
for artists. The state provided “access provided state The artists. for 42
Thoroughly taking into account all account into taking Thoroughly te did not exercise control over control exercise not did te 39
Stone suggests. Various
of Italian Fascism is Fascism Italian of (New Jersey: Princeton Princeton Jersey: (New
the anti the - modern modern 19 40 hetic hetic
the
CEU eTD Collection 46 45 44 43 hi position to Maraini enabled positions overlapping These 1930s. the by VeniceBiennale secretary became such cultural “state of importance the impresarios,” describes author the spectators, and politicians, poin by factors different these of functioning complex the shows Stone priorities. economic and political simply on based not were exhibitions even and prizes, for language aesthetic firm a find Fascism. to attempt obvious an was which Revolution, 1932 the was pluralism for openness its through policy cultural ra the of One state who were notdirectly Fascism. against purse,” open an with “benevolentpatron as itself presenting By says. Stone language,” “representational its as pluralism aesthetic year. each piece one least at show to member each allowing exhibitions, provincial as well as national organized and 1939 by members 4,500 than more had Syndicates National the show, documents old payments, relief loans, as such
Ibid Ibid Ibid Ibid mself as a real “czar” of the artists: while he workedartists’hethe forwhile artists: the real“czar”aof as mself economicsocial and
, 54. , 54. “Fascist , Self , 67. , 27. successful bureaucrat was for instance influential artist Antonio Maraini, who who Maraini, Antonio artist influential instance for was bureaucrat successful ting out the diverse actors of the Fascist patronage system. In addition to artists, to addition In system. patronage Fascist the of actors diverse the out ting 45
Still, d Still, 46 e ae o ecpin hn h Iain acs rgm dd o dfn its define not did regime Fascist Italian the when exception of cases re
h atd s idee, eitn bten l te te atr. One actors. other the all between mediating middlemen, as acted who - Representation,” 133 Representation,” - uring the 1920’s and ‘30s, the Fascist state’s purchases, commissions, purchases, state’s Fascist the ‘30s, and 1920’s the uring eea bt o te ainl no o fn atss n te prestigious the and artists fine of union national the of both general
43
etil, h Fsit tt hd neet n imp in interest had state Fascist the Certainly, - 176. - g pnin, n rtrmn homes retirement and pensions, age
44
the Fascist state could tie all those artists to theto thoseartists all tie could state Fascist the
- aesthetic but also social also but aesthetic Mostra
f h Fascist the of A archival As . lementing 20
CEU eTD Collection 49 c.1987). 1989, 48 47 a by replaced was embrace.” mutual a in entangled are alike artists VelvetPrison Hungary, socialist in politics and arts between relationship the on Concentrating title the Hungaryunder in samizdat Socialism State Under Artists Prison: Velvet book cult his published Haraszti Miklós sociologist and writer dissident 1987, In State inSocialist Artists Hungary the functioningreward the socialist system. of comple the as well as actors, this different the account into from take gain could sides both that claim relationship. the supports patronage art of actors as artists and state considers that approach author’s Undoubtedly,the relationship,” the from benefited mutually and together worked modernism of variants and “Fascism political own his to according Biennale the transform to tried also he syndicate, the at interest
Ibid Mikl Haraszti, Ibid , , 5. , 8.
- artistic vision, stronglyartistic vision, careeras well, hisown promoting Stone
For the study of the of study the For
47 ós describes the emergence of a new aes new a of emergence the describes
. Stone reflects on the relationship between art and politics in Fascist Italy.Fascist in politics and art between relationship the on reflects Stone The Velvet Prison. Artists Under State Socialism State Under Artists Prison. Velvet The less visible new censorship, new visible less
socialist state socialist A cenzúra esztétikája Acenzúra
48 ’s patronage system too, system ’spatronage which has become the “common spirit of spirit “common the become has which
n Englis in 49
thetic culture in which “censors and and “censors which in culture thetic h old The
[The Aesthetics of Censorship]. Censorship]. of Aesthetics [The (London; New (London; , rvosy icltd s a as circulated previously h, - x factors, which influenced influenced which factors, x ye prsie censorship oppressive type
York: Penguin York: equally significant equally
it is important to important is it argues.
21 Books, Books, The The The CEU eTD Collection 56 55 54 53 52 51 50 prove, history of cases several as fiction, mere a is art of “freedom” and “independence” two fascinating a makes thus Haraszti practice,” says. to license a also is Haraszti state, the by works commissioned therefore and status professional guaranteeing which diploma, a “At profession. receive this students to belongs graduation, colleges art the from graduates who everyone and employees. state all are professions, other all with along artists, therefore workforce, total the of employer only the is state key a play by self new the anti necess is socialism in produced often the regimes,” totalitarian within even flourishes, “Art that our culture volu is produced accept must we is, it as “Painful explains. author the relationship, symbiotic a in are state censorship, ruled.” and rulers the both
Ibid Ibid Ibid Ibid Ibid Ibid Ibid - authoritarian art that is independent from the state, would be considered as “anti as considered be would state, the from independent is that art authoritarian , , 12. , 70. , 8 , , 132. , 129. , 18 , 68.
.
-
- 19, and 68 and 19, held “fiction” that art by definition must be “free” and “true.” However, all art all However, “true.” and “free” be must definition by art that “fiction” held
role in the creation of “committed art,” Haraszti states. During socialism, the socialism, During states. Haraszti art,” “committed of creation the in role
which is based on the interests of both sides, artists and the modern socialist socialist modern the and artists sides, both of interests the on based is which - censorship systemcensorship - 69.
50
ic te tt co state the Since arily “directed art,” “directed arily ntarily,” .
The economic context and institutional structure of art art structure andinstitutional economiccontext of The 54
“State artist, too, is an organized professio organized an is too, artist, “State - 51 od ruet O oe ad h sae ta the that states he hand, one On argument. fold
Haraszti concludes ironically. tos hog ti nw ye of type new this through ntrols 53 52
the author argues, given the fact thatfact the given argues,author the
aazi ons u, deconstructing out, points Haraszti
nal,” 22 - self art”
56 55 -
CEU eTD Collection században 58 c1992). Press, University Princeton Groys, Boris 57 shows. acquired the artworks, commissioning directly of Instead support. financial its with artistforpreferred oftopics list a became artists “thereare nonwriters,writers.” and nota writers only varietyof socialism, in therefore and “directed,” or “committed” is socialism during produced art hand, other the On such. as art for criterion a not is “truth” therefore think I
Ibid Gábor Andrási, Gábor Pataki, György Szücs, and András Zwickl, Zwickl, András and Szücs, György Pataki, Gábor Andrási, Gábor , 78. I think this statement is rather similar to what Boris Groys calls the total art of communism. See: communism. of art total the calls whatGroys Boris to similar israther think statement I 78. , this
by definition were all part of the state’s institutional net state’sinstitutional the of part all were definition by
“committed” artists. As artists. “committed”
that [Hungarian Fine Arts in the 20th Century] (Budapest: Corvina, 1999): 136. 136. 1999): Corvina, (Budapest: Century] 20th in Arts the [HungarianFine a great variety of styles, of great variety a The Total Art of of Art Total The Haraszti’s
ttmns require statements
Stalinism: avant Stalinism:
compared 58 forms , by t - , and topics and , he garde,
sixties, the sixties, to the to
rtcl eiin ee though even revision: critical
aesthetic dictatorship, and beyond and dictatorship, aesthetic Rákosi era Rákosi
throughout the sixties, as my research research my as sixties, the throughout
st ate offeredalongfreedom relative
when the the when , it , 57 Magy
did not mean that they that mean not did ar képzőművészet a 20. 20. a képzőművészet ar
state had announed announed had state he believes that all all that believes he
(Princeton, N.J. : N.J. (Princeton, Kádárist p rofessional 23 state state
CEU eTD Collection 60 59 out laid Kádár speech, his of section last the In past. the of mistakes the correct to ready was and situation, political era: new 1st May first the at secretary “counterrevol party the since new celebration the to listen and see to gathered people 400,000 around reports, press contemporary to According Square. Heroes Budapest’s a for significant outstandingly 3.1. Re Arts Fine Ministry’s the institutions, De patronage two state’s the examines it years: these during patronage art of system the on specifically more focuses chapter the of part changes institutional of number a explores section first The Revolution. 1956 the of aftermath the in reorganized was world art Hungary’s how studies chapter the 1957, with Starting I eiv ta… oa’ My 1 May today’s that… believe “I
The spatial symbolism is also quite striking: at the May 1 May the at striking: quite isalso symbolism spatial The János Kádár, “Népünk, barátaink örömére, ellenségeink bánatára szabadon ünnepli május elsejét,” [Our elsejét,” május ünnepli szabadon bánatára ellenségeink örömére, barátaink “Népünk, Kádár, János cross of Heroes Square and today’s and Square ofHeroes cross street. Andrássy f but March], of [Square tér Felvonulási the of pedestal usual the o for and happiness, Népszabadság friends’ our for nation, partment ofState Committee andthe andfrom their functioning1957. Acquisitions, ConsolidationYears After theRevolution (1957
- that occurred in Hungary’s art life during the consolidation years. The second The years. consolidation the during life art Hungary’s in occurred that 60 centering Art Life Aftermath in the of Revolution the 3. The3. Reorganization H of
t en t so ta te e lae mngd o tblz te disastrous the stabilize to managed leader new the that show to meant it
May 3 (1957): 1. May(1957): 3
his priorities for the future; as the fourth point, he expressed he point, fourth the as future; the for priorities his
long time,” long ution.” Kádár’s speech signaled the beginning of a a of beginning the signaled speech Kádár’s ution.” st te a 1 May the , 59 ur enemies’ sadness is freely celebrating May 1st] 1st] May celebrating freely is sadness enemies’ ur
János Kádár said in his milestone speech at speech milestone his in said Kádár János
st ungary’s World:Art ungary’s
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I will provide a few examples for ordered commissions later in this chapter, when I analyze the the analyze I when chapter, this in later commissions ordered for examples few a provide will I akolde h iprac o te o ald brhzss ukk [omsin fr newly for [commissions munkák” “beruházásos called so the of importance the acknowledge I - scale, decorative genres that could fit thatcould genres decorative scale, tion years: the reorganized Ministry of Education and Cultural Affairs, through Affairs, Cultural and Education of Ministry reorganized the years: tion
96 newly constructed buildings. constructed newly h rnwd iity f dcto ad Cultural and Education of Ministry renewed The 97 - : instead of assigning the topic or the or topic the assigning of instead : juried by the juried by the Fund.Art ued acquisitions at exhibitions exhibitions at acquisitions ued
patronage, the the patronage, 36
try
CEU eTD Collection Végvári, Végvári, 100 20. Zwickl, András and Szücs, György Pataki, Gábor iskolája Andrási, Gábor in Nagybánya] természetlátás új „Az Szücs, with experiment to began historicism, academic 99 Adattára. Nemzeti Galéria Magyar keret. Minisztériumi 98 Zeb village, provincial small the graphic three with along Ministry, the by acquired were them of sixteen only however, displayed, were paintings 300 than policy,mo Makrisz’s liberal reflecting case, this In budget. Ministry’scentral the from purchase for works graphic and sculptures, paintings, chose Arts Fine of Ministry’s Department the where exhibitions first the of one was Kunsthalle, the at Agamemnon show documents archival As
23010/1989. III/1957. Minisztériumi vásárlások, vásárlások, Minisztériumi III/1957. 23010/1989. t h tr o te etr, ayáy bcm te etr o toe rit wo i opsto with opposition in who, artists those for center the became Nagybánya century, the of turn the At
See for example: Dénes Pataky, Pataky, Dénes example: for See Picture Picture században században Szőnyi István Szőnyi 5 : AtMoonlight the [Hungarian Fine Arts in the 20th Century] (Budapest: Corvina, 1999), 12 1999), Corvina, (Budapest: Century] 20th Arts the in [HungarianFine Sz ő
nyi -
Bernáth Aurél Aurél Bernáth .
by István István by
98 Bernáth Aurél Aurél Bernáth , the controversial Spring Show, organized by Makrisz Makrisz by organized Show, Spring controversial the , [ egény in the 1930s. There he developed his well his developed he There 1930s. the in egény István Szőnyi –
works and a single sculpture. Although it would be would it Although sculpture. single a and works Nagybánya” [The School of the New Vision of Nature Nature of Vision New the of School [The Nagybánya” ol b bs lbld s iuaie u not but figurative as labeled best be could movemen or style single one into paintings purchased these all fit to impossible István Szőnyi’s piece entitled entitled piece Szőnyi’s István Nagybánya post lyrical as term modernism. naturalistic Nagybánya Hungary’s in originating primarily works, realistic necessarily Károly Ferenczy and István Réti, settled down indown settled Réti, István and Ferenczy Károly as masters luminary such with Nagybánya in studied had himself who Szőnyi, Moonlight]. the
open air, naturalistic depictions. See for instance György György instance for See depictions. naturalistic air, open Nyilvántartás a képzőművészeti alkotások vásárlásairól, vásárlásairól, alkotások képzőművészeti a Nyilvántartás [Aurél Bernáth] (Budapest: Corvina, 1972) and Lajos Lajos and 1972) Corvina, (Budapest: Bernáth] [Aurél -
Aurél Bernáth] Aurél - st yle, 100
(Miskolc: Well (Miskolc:
s et xmlfe hr by here exemplified best is - mrsins, r post or impressionism, 99 -
tld plein styled ht r historians art What Magyar képzőművészet a a képzőművészet Magyar Holdvilágnál - Press Kiad Press - 21. 21. t, most of them them of most t,
- air and and air ó, - known
37 2003).
[At re re – -
CEU eTD Collection 2010. 2010. 103 102 101 Nagybánya the 1949 his on retrospectively born in apoor family.Iwas the Academy] [to admitted was I that fact the from benefited I too, me good… own their for opportunities available the used people “Many Academy. the for application the during status social their from talent if policy,era’s Rákosi the to according who, artists those peasant a in Born Ministry. télen graduate, recent the by work the was example typical older A masters. the with along well, as generations younger of artists for topics recurring been had peasants of lives the and life rural paintings, acquired the of topic the of terms In paintings. averag the of price triple than more for Ministry the by bought was piece the Finally, the identified had Bernáth Aurél master respected of attractions main the of one was piece Undoubtedly,the landscape. real a than fog mystic a like looks rather background the blurry,her,while is behind impressionistic, cow the as Moonlight the instead. impression an into vision the turning paint, white of layer extra an with vision landscape realistic his covered he creation, the of stage last the at painting: of method
Interview with Sándor Vecsési and hi and Vecsési Sándor with Interview forints. 15,000 for was purchased the piece documentation, the Ministry’s to According ‘1476/6 the painting section of the Spring Show: already a few weeks before the opening, the the opening, the before weeks few a already Show: Spring the of section painting the
[The Village in Winter], which was also purchased at the Spring Show by the the by Show Spring the at purchased also was which Winter], in Village [The - 38. IV.8. 20.00h.’ TAVASZI TÁRLAT, Műcsarnok, 1957 Jelzet: X1957 Tavaszi (22.dob.) Tavaszi X1957 Jelzet: 1957 Műcsarnok, 20.00h.’TÁRLAT, IV.8. TAVASZI 38. 102
shows - ae mse, svn sks ok The work. Csók’s István master, based
a young girl, whose figure is clearly recognizable; yet, the girl, just just girl, the yet, recognizable; clearly is figure whose girl, young a
- - admission. At the Academy he felt stimulated primarily by primarily stimulated felt he Academy the At admission. okr aiy n poica vlae Vcéi a oe of one was Vecsési village, provincial a in family worker
s wife, Arany Bazsonyi at their apartment in Budapest. June 24, 24, June Budapest. in apartment their at Bazsonyi Arany wife, s Moonlight as aworker…,” ilg i Winter in Village
ed enough, could benefit could enough, ed s ra masterpiece. real a as
Sándor Vecsési, Sándor 103
Vecsési reflects
s n o the of one is 38 Falu
101 At e
CEU eTD Collection Catalog was edited by edited was Catalog exhibi [Retrospective 106 (Veszprém 1976)] 105 Bizottság. Állami Vásárló vásárlásairól, 104 Margaret with background,a as o series thelastpiece of isconsidered Danube, the of riverside the on sitting men of portrait Rakpart works new his of two display could Csernus Show, Spring Petőfi. Sándor poet of painting historicist his for Award 1953 Munkácsy prestigious his before year A generation. his of painter consider was Csernus Tibor Show, Spring the of time Szentendre entitled o by represented was century, the of beginning the at Paris avant and Fauvist Hungarian the Czóbel, collection. Gallery’s National the to ways their found also Csernus Tibor the besides purchases: Ministry’s the postimpressionist from different slightly only Gallery. is National acquisitions new the for them of all works, nin paintings,purchased thirteen Committee the Infact, exhibition. the from works buyup also Statecould of Acquisitions Committee the patron: state only the not was Department Arts Ministry’sFine the 1957, of Show Spring the At early pieces of Vecsési’srealistic
sru Tibor Csernus Kratochwill, Mimi
23010/1989. III/1957. Minisztériumi vásárlások, Nyilvántartás a képzőművészeti alkotások alkotások képzőművészeti a Nyilvántartás vásárlások, Minisztériumi III/1957. 23010/1989.
Kertben [Riverside in Újpest], was acquired by the Committee. This postimpressionistic postimpressionistic This Committee. the by acquired was Újpest], in [Riverside - period: he painted it after the end of World of War1946. end in II,the after it painted he period:
- etmvs rtopkí kiállítása retrospektív festőművész Budapest: Magyar Képek, 2001), 2001), MagyarKépek, Budapest:
- I te adn a ti exhibition. this at Garden] the [In auait adcps n vlae genres, village and landscapes naturalist in f ane T Painter of tion Czóbel Béla (1883 Béla Czóbel Mimi Kratochwill Mimi
-
garde artist who had exhibited his works with Matisse in Matisse with works his exhibited had who artist garde -
naturalistic depinaturalistic br Csernus, ibor . -
1976) élete és élete 1976) Képek Képek .
Budapest, Budapest, Budapest, Budapest, művészete ction of thevillage. [Images] n h Garden the In - f realistic landscapes whichhe f realistic landscapes had Műcsarnok the received had he graduation, 104 e sculptural work, and ten graphic ten and work,sculptural e ed by many as the most talented most the as many by ed Kunsthalle (1883 Czóbel Béla of Art Life and [The –
h ls o te Committee’s the of list The no page number. number. page no ics y éa zbl and Czóbel Béla by pieces oe f hc, the which, of one , ne of his earlier paintings, paintings, earlier his of ne , , March 2 2 March , 1989. 1989.
eog t Czóbel’s to belongs
március 2 2 március 105
Already by the by Already - – bridge in the the in bridge pi 9 1989 9, April 106 –
pii 9. április Újpesti
At the At 39
] - .
CEU eTD Collection roughly 500 works purchased by the Ministry each year served the creation of a top top a of creation the served year each Ministry the by purchased works 500 roughly mill 2 around spend could Department Arts Fine performed Ministry’sthe period, consolidation the of acquisitions years other in as just 1959, In duties. different their because separately budgets their managed Committee questions. these exploring for value great of is thus and institutions two the of functioning the into insight essential Departmentprovides The 1959 have patron twodistinct institutions? acquisiti Committee’s the and Ministry the between difference the then was What styles. aesthetic same, the not if similar, Acquisitions very supported State basically of Committee the and Department Arts Fine Ministry’s the Both potentially challenging realist boundaries the of therefore and strong too surrealism, with experimentation the his signal already may However,picture this of colors unrealistic 1957. in Paris to traveled he before made Picture 6: 6: Picture Riversidein Újpest -
by Tibor Csernus Tibor by documentation of theMinistry’s Arts Fine aesthetics.
o frns o is omsin. The commissions. its for forints ion It shows that the Ministry and the the and Ministry the that shows It
ons and why did the state the did why and ons 40
CEU eTD Collection contemporary artworks, however, the latter formed the majority of the Committee’s acquisitions. Committee’s ofthe majority theformed the latter however, artworks, contemporary 108 107 state occasions. different rare by on only ordered however, specifically institutions, been had that works few a the bought earlier, Ministry mentioned As decisions. purchasing its at arrived Ministry the which by and economic, social, personal, of variety a that indicate documents the Department: Arts Fine Ministry’s the of acquisitions the about deciding of process very the for explanation an offers also documentation archived The Ministry’sacquisitions traveled abroad torepresen the Hungary, in display on were thus and collections main country’s the of part became Committee the by purchased works the while destination: final the differedin they styles, ba and art, contemporary purchased institutions both though works contemporary quality and fresh with Museum, Historical Latest the and Arts, Applied of Museum Gallery,National the new the namely museums, between budgeted 500,000 Acquisitions State of Committee the time, same the in At works Hungary. new show to capacity real no had Ministry the why explaining letter, 1959 display,”for works purchased our sent had we if art, contemporary exhibiting of duty our fulfill only could we that high so been have abroad from requests The abroad. shows in displayed the by acquired artworks “The primarily. abroad, exhibitions at showed be could which art, Hungarian contemporary of collection quality
MOLXIX
h Cmite f tt Aqiiin as prhsd al 20 early purchased also Acquisitions State of Committee The -
- 0,0 frns ah er i odr o prov to order in year, each forints 600,000 I 107 - m
- the head of the Fine Arts Departme Arts Fine the of head the 4 9.doboz 2.t 9.doboz 4
étel,Vásárlások
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t a te ae o isac wt two with instance for case the was It aesthetic factors influenced the process process the influenced factors aesthetic t contemporary art. Hungarian nt, art historian Nóra Aradi wrote in a in wrote Aradi Nóra historian art nt, iity n 98 n 15 ae all are 1959 and 1958 in Ministry ide merely the country’s key key country’s the merely ide th - sically the same aesthetic aesthetic same the sically etr msepee be masterpieces century 108 I ti sne even sense, this In .
41 sides sides
CEU eTD Collection vásárlásairól, 113 (ed.), Lajta 21. 1973): Kiadó, Akadémiai Edit See: realism. plebeian 112 111 Museum. Historical Latest 110 Garányiné 109 works acquiring officially of responsibility the take also could Jakuba post and Kurucz D. István as managed Aradi’s tofit In taste. therealist between t then surprise no is ideas. incomprehensible their with audience” the of most “exclude forms abstract as non that wrote Aradi when later,1964, decade in a Almost preferences. aesthetic her reveal precisely scholar a as published Aradi that textbooks history art and articles day. numerous the The of exhibitions the from artworks then From 1957. in Ministry reorganized the in Department Arts Fine the of head the became and 1953, in Culture People’s of Ministry the at work to started Aradi 1950, in graduation her Following period. the of scholars eme who Aradi Nóra was Department the of head The visited. they that exhibitions at acquisitions pursued who Arts, Fine of Department the of members staff by purchased got artworks cases, most in exceptions: rather were entitled Meeting]. painting realist socialist Szervánszky’s Jenő Youth,of Assembly Global the at Hungary represented had that works ceramic
Realistic painters who depict peasants. Contemporary art historians often labeled often historians art Contemporary peasants. depict who painters Realistic Aradi, Nóra XIX MOL O XIX MOL
23010/1989. III/1959. Minisztériumi vásárlások, Nyilvántartás a képzőművészeti alkotások alkotások képzőművészeti a Nyilvántartás vásárlások, Minisztériumi III/1959. 23010/1989. , wide range of artists were purchased under Aradi. under purchased were artists of range wide , - . figurative art was simply incompatible with the values of the socialist countries, socialist the of values the with incompatible simply was art figurative
110
Minisztériumi keret. Magyar Nemzeti Galéria Adattára. Galéria Magyar Nemzeti keret. Minisztériumi - - I I
- Absztrakt képzőművészet Absztrakt tl, t s motn t epaie tha emphasize to important is it Still, - m m - - 4 9.doboz 2.t 9.doboz 4 9dbz 2.t 9.doboz 4 hat mainly artworks of post of artworks mainly hat
étel, Vásárlások étel, tl Vásárlások étel, -
impressionist
[Abstract Art] (Budapest: Kossuth Könyvkiadó, 1964): 73. 1964): KossuthKönyvkiadó, Art](Budapest: [Abstract űézt kislexikon Művészeti
: 73197. Ceramic works by by works Ceramic 73197. : her first account of abstract art, she still believed still she art, abstract of account first her : 30. Szerv 73906. - realist artists, like Simon Sarkantyu or János János or Sarkantyu Simon like artists, realist on, in many cases she personally picked picked personally she cases many in on, - impressionism, realism, and naturalism and realism, impressionism, - naturalist Alföld drn te eid icse, these discussed, period the during t gd s n o te ot influential most the of one as rged á
nszky’s piece was commissioned by the the by commissioned was piece nszky’s [Abridged Lexicon of Art] (Budapest: (Budapest: Art] of Lexicon [Abridged
113 zrj megbeszélés Sztrájk
Aradi’s deputy, József CzéhAradi’sdeputy, József – János
as for instance the case the instance for as - style painters
Majoros and Katalin S. S. Katalin and Majoros
this painting style as as style painting this 109
112
or withor [Strike
42 , such 111
It CEU eTD Collection 117 worksErnst Museum. the at their displayed who 116 2. 2. Doboz 115 114 1959 in acquisition each of documentation depu Ministry’s the of the of approval the to subject was hierarchy Czéh, or Aradi by inner executed acquisition, new Each Ministry. the about information contain also documents archival The Sikuta’s painting entitle 1959 the As from in1959,may painter Sikuta as Gusztáv anexample here. serve help. financial Ministry’s the for asked who artists, from letters several received also Aradi requests, satisfy. to willing mostly was Aradi which Gallery, National the of name the in demands specific with her addressed often Pogány Ö. Gábor requests. outsiders’ for open also was Aradi that show letters shows. 1959 of exhibition arts applied annual the of
tétel, Vásárlások: tétel,
MOLXIX XIX MOL instance: for See XIX MOL exhibition: Miháltz’s Pál painter from requests special Pogány’s instance for See MOLXIX expectations.” situation financial fierce my De the asknow... Iyears two for patronage state from benefited not have I burial. his of costs financial serious the afford cannot I ago. week a died father My exhibition. the at Pécs kindly “I tétel, Vásárlások: tétel, - - I I - - - documentation of the Ministry’s purchases shows, the Department acquired Department the shows, Ministry’spurchases the of documentation m m 116 - - 4 9.Doboz 9.Doboz 4 2.t 9.doboz 4
73986.
ask the Department to acquire my works that are currently installed in installed currently are that works my acquire to Department the ask A very personal and desperate letter, which arrived to the Department the to arrived which letter, desperate and personal very A 117
73957; or regarding or 73957; y Gög Azl I i srkn ta Azls intr mrs the marks signature Aczél’s that striking is It Aczél. György ty, d
2. Duna Kismarosnál Tétel, Vásárlások: Tétel, - étel,Vásárlások I - m
- 4 9.Doboz 2. 9.Doboz 4 115 partment to include me in your purchases with respect to respect with purchases your in me include to partment
oee, ln wt te uem ietr’ specific directors’ museum the with along However, – : 74077. : 74077. painter Lajos Luzsicza’s works: MOL XIX MOL works: Luzsicza’s Lajos painter
73181. tétel, Vásárlások: tétel, n ae h qaiy f y ok et the meets work my of quality the case in –
[The Danube[The for 4,000forints. at Kismaros]
he thoroughly supervised everything going going everything supervised thoroughly he
114
Y et, archived personal notes personal Yet,archived
73379 –
letter from a group of artists artists of group a from letter
- I - m - 4 9.Doboz 9.Doboz 4 - I - 43 m -
and 4 9. 9. 4
CEU eTD Collection 119 118 Arts Applied of Academy the of rector the been had who Hincz, Gyula artist applied and painter the Ék; Sándor painter realist socialist the Committee: the of members temporary point and post of master Hungarian the and post Cézanne master, French the impressionist on monographs first his published just had who Genthon, István respected ne the of director Pogány,the Ö. Gábor dominant the historians: art several and Domanovszky; Endre painter, realist and rector new the Bortnyik; Sándor painter, and Academy the of anatomy,of Jen Committee, eachwork’s destiny. juro were these Who about decided they and jury, the to submitted works the all discussed historians art the and artists the fact, In meetings. jury the of most at present not was he decisions, final the Al granted. also were memberships temporary members, permanent the besides Committee; the of members jury the assign to duty Minister’s the meetings. these at deputy his as functioned Aradi while committee, budget annual the about decided historians art and artists several of jury a Committee’scase, the Ministry.In the in procedure the from different was Acquisitions State of Committee the at artworks purchasing of process The Department andthe the between disagreement document not does material archival The Ministry. the in on
MOLXIX MOLXIX w National Gallery; the expert of orientalism, Aladár Dobrovits; and the greatly greatly the and Dobrovits; Aladár orientalism, of expert the Gallery; National w lim Jze Rippl József illism, - - 119 I I - - m m
the list ofpermanentthe list the members and painter professor respected included - - 4 9.Doboz 2. 9.Doboz 4 2. 9.Doboz 4 ő Barcsay; the post the Barcsay; ő deputy in that year.deputy inthat
Tétel, Vásárlások: Tétel, Vásárlások: Tétel,
- óa. n 99 h floig rit priiae as participated artists following the 1959 In Rónai. - impressionist master, Aurél Bernáth; the retired rector rector master,retired impressionist the Bernáth; Aurél
rs? According to the 1959 Accordingthe to rs? 73799. 73090.
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even though Aczél himself headed the the headed himself Aczél though though Aczél had to approve all approve to had Aczél though - documentation of the of documentation 118
Each year it was it year Each - impressionism 44
- CEU eTD Collection 120 old The Csáky. József by works sculptural two are acquisitions of only list the the in surprises probably style, of terms In artworks. applied and works graphic of amount purcha Committee the 1959, In the as Pogány, collection, directorGallery, of the certainly primary these had in interest purchases. Gallery’s the in up ended works, acquired the of most as Com the fit could basket] works displayed Alföld the of four purchases Committee’s the for recommended Pogány several b with works example graphic for case the was This Committee. the by commissioned be to pieces and artists about advice professional his sending by work extra even did often He documents Gá the that suggest Furthermore, participants. reliable most the certainly were members meetings jury the at up show not did regularly members the of many meet the of summaries only however, together, worked scholars and artists diverse of group this how of dynamics the understand us help would meetings Committee the of minutes The Applied A of Museum the of director Domanovszky,György historian art the Schubert; Ernő artist applied the 1956; in demolished was that Stalin huge his for known best is who Mikus, since
MOLXIX 98 te re supo Mkiz gmmó; h fgrtv supo Sándor sculptor figurative the Agamemnón; Makrisz sculptor Greek the 1958; ns ae en rsre i te rhvs Yt ee te umre so that show summaries the even Yet, archives. the in preserved been have ings rts; the celebrated ceramist, Margitrts; the celebrated Gerő. Kovács;László andthe architect - I - m - 4 9.doboz 2.t 9.doboz 4 bor Ö. Pogány had the most active role at the Committee’s acquisitions. Committee’s the at role active most the had Pogány Ö. bor Gög Khn wo ed n xiiin t h Kntal i 1959. in Kunsthalle the at exhibition an held who Kohán, György y –
t h ed oe rpi wr, the work, graphic one end, the at
mittee’s taste and budget. and taste mittee’s étel,Vásárlások
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73935.
120
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CEU eTD Collection vásárlásairól, Minisztériumi keret. Magyar Nemzeti Galéria Adattára. Galéria Magyar Nemzeti keret. Minisztériumi vásárlásairól, 122 121 differ aesthetic substantial the no and was Ministry’s there First, the purchases? Acquisitions’ of State study of Committee parallel the from draw we can conclusions What 3.3. Conclusions the National Gallery. 1959 the gyermekével of list final the on visible is result the preserved, been has meeting extra this about document no Although present. were Sá only where meeting,” Committee “small a organized Ministry the letter, the on notes Aradi’s to According Ministry. the to letter his in wrote Connections Cultural of Institute the at official Kerékgyártó, Elemér Connections]. Cultural of [Institute Intézete Kapcsolatok Kulturális the by invitation an to due 1959, t left had who master, cubist
MOLXIX
31/99 III/195 23010/1989. ence between the commissions pursued by the two institutions. Between 1957 and and 1957 Between institutions. two the by pursued commissions the between ence o h Pry vn uig i emigration, support,” his during even Party the to loyal been always has and man old Csáky, an that is believe who Institute our and Hungary in stay be would he that times several mentioned has Csáky József that Embassy Paris our from know We “ - I
- [Mother with Child] and the and Child] with [Mother m
- 4 9.doboz 2.t 9.doboz 4 121
9. Minisztériumi vásárlások, Nyilvántartás a képzőművészeti alkotások alkotások képzőművészeti a Nyilvántartás vásárlások, Minisztériumi 9.
–
which means that he wants us to buy the piece… The Embassy Embassy The piece… the buy to us wants he that means which étel,Vásárlások o Paris by foot in 1908, spent three weeks in Hungary in in Hungary in weeks three spent 1908, in foot by Paris o
pleased if his sculpture titled titled sculpture his if pleased dr iu, áo Ö Pgn, n Aai herself Aradi and Pogány, Ö. Gábor Mikus, ndor
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122 Táncosnő
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CEU eTD Collection as well, as the example of Sikuta’s case demonstrates. The Ministry’s and the the and Ministry’s The demonstrates. case Sikuta’s of 123 example the as well, as acquisitio the that face to Additionally, had jurors the abstract asand herarticles art, books demonstrate. Department, skeptical scholarshe apassionate about while realism, was about was indeed nature art,” with mixed be not should they but democracy, destroy not do they anyone, hurt not do they works], [abstract things these to opposed ab separating suggested already have realist a as emerged had Committee, the of painters’the instance, members permanent the ofmaster,respected one was who Bernáth, prefe aesthetic personal, their had Arts, Fine of Ministry’s Department the of members staff the with along Acquisitions, State of post par also historians art and artists of circle a demonstrates), case Aradi’s as just professionals, sometimes were fact in (who officials state Besides into insightprovides Secondly, thestate’s functioning of of examination the detailed the i twopatron Csákyinstance, ofsculptor thecubist works József Committee. were by the purchased post the of followers were realist either shows work the art: figurative making were who artists supported primarily Committee the and Ministry the both 1963,
Wehner (2002): 335. (2002): Wehner - impressionist, naturalist canon of socialist art. Certainly, the jurors of the CommitteeCertainly,the art. ofsocialist jurorsof canonthe naturalist impressionist, - based, realistic art in 1963. in art realistic based,
how
the socialist state supported the creation of modern socialist art. socialist modern of creation the supported state socialist the - Nagybánya
Similarly, Aradi, the head of the Ministry’s Fine Arts Arts Fine Ministry’s the of head the Aradi, Similarly, - tat rs rm h nature the from arts stract style. Of course, exceptions occurred as well; for for well; as occurred exceptions course, Of style. ecs ete a atss r s coas For scholars. as or artists as either rences, - - post
naturalist or postimpressionist style; they they style; postimpressionist or naturalist -
impressionist master by the 1940s. “I “I 1940s. the by master impressionist ns had social had ns 123
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CEU eTD Collection approximate calculation approximate impressionistic post paintings, displayed 300 the of the There, calculations. approximate some 1957 the of data the Yet, help. financial state’s the without left were professional not were who thus Association, 125 those the even nor calculated Fund, survey Art art. frommoney their somemade but painters the the that of out members point not to were important who is painters it Yet, 1963]. in Salaries Artists’ about 124 encounter state socialist the employment, full of policy official support. financial state’s the from excluded post also of were artists many naturalist painters, abstract with along Thus, year. same the acquisitio state from forints 200,000 almost made Ridovics László realist the 1963, during state the from forints 4,000 got Korniss Dezső master, abstract post graduated, freshly artist the between imbalance financial the of sense a provide might examples following the painters; Hungary. the in between inequality living severe a reveals survey make the not Furthermore, could painters the of 45% roughly that means it fo 10,000 than earnedless 460 painters altogether955 the of out documents, private Aczél’s György in preserved been has that survey the to According artists. fine arti of number limited a for provide only could Committee the and Ministry the yet, And could enjoy state’s the assistance. fiscal artists more budgets extensive more from essential: was similar,institutions senses many then, artists the of needs economic the of perspective the From artists. many for income of source significant a were Committee’sacquisitions
It is a real methodological challenge to make correct judgments about the number or style of artists who who artists of style or number the about judgments correct make to challenge methodological real a is It sts. It is interesting to look at the Ministry’s1963 the at look to interesting is It sts. O XIX MOL - mrsins ad auait canon. naturalist and impressionist - - I
naturalistic works were acquired by the state. state. the by acquired were works naturalistic - 4 - a 6.oo, 3.osi (kaaln na) öeeekmtts 93érl [Sur 1963.évről. Jövedelemkimutatás anyag) (iktatatlan 137.dosszié 64.doboz, aaa , which I made based on the catalog ofthe 1957 theon catalog made based I which , - impressionist Mária Gánóczy received less 1,500 forints, and the and forints, 1,500 less received Gánóczy Mária impressionist
which
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Yet, it still meant that “only” between 15 and 2 and 15 between “only” that meant still it Yet, almost without exception, as we have seen have we as exception, without almost
Ministry and the Committee together could purchase roughly 30 30 roughly purchase could together Committee the and Ministry
I would like to emphasize that this is only an an only is this that emphasize to likewould I - data about the financial situation of situation financial the about data
the existence of two, even if in in if even two, of existence the -
Spring Show might be useful to make make to useful be might Show Spring - Spring Show. Spring ns and commissions in commissions and ns d ifclis with difficulties ed - mrsins and impressionist
-
all belonged to the to belonged all 125 % f h post the of 0% rints in 1963: in rints
s. While the While s. ept the Despite 48
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49 of the the of
CEU eTD Collection current stage of my research. myofresearch. current stage d analysis, my in Company large ARTEX the include I can these Neither (yet, murals for only paintings, no do as nicknamed often buildings], constructed newly 127 30, November 30 1965.november Testületének Tanácsadó Alap Az XIX MOL Committee. Advising 126 the post in state’sthe from were excluded who painters those living their couldmake Howpatronage 4.1. The Crisisof EaselPainting yearthat wereacquired duringthe thefirst of Two Purchases, Million in paintings Million the of Two description a presents the chapter the of of section last the Finally, operation Purchases. the studies chapter the of half in second involved the painters purchases, and officials state with conducted have I that interviews for and documents, system archival available the funding on Based Purchases. state Million Two called painters, new a of inauguration the to Fund ho Art examines the led thus discussions chapter research second The painting. easel of genre the of crisis the about debate professional a with intertwined become had chapter, previous mid the By 4. State4. “Unrestricted,for Support Autonomous,Passionate vn huh akolde h iprac o te so the of importance the acknowledge I though Even
ut fo pitr ri Tmss omn at comment Tamás’s Ervin painter from Quote écank Vállalat Képcsarnok t consider this commission system in my current thesis, as it did not provide money for easel easel for money provide not did it as thesis, current my in system commission this consider t - Paintings” 1956 Hungary? 1956 -
1960s, the problem of financial inequality among painters, as discussed in the in discussed as painters, among inequality financial of problem the 1960s, 1965 Meeting of the Art Fund’s Advisor Committee]. Advisor Art of Fund’s the Meeting 1965 126 127
: Inauguration The Two the of Million
Cmay o [Company Besides the state’s patron institutions, the socialist art market, art socialist the institutions, patron state’s the Besides - I - 4
- m 45.doboz, 2.tétel. Képzőművé2.tétel. m45.doboz, Purcha - scales murals were essential sources for several painters). painters). several for sources essential were murals scales Pcue al i sot Cmay hd growing had Company] short: in Hall, Picture f
“2‰” h Nvme 3 November the - n att üéée jegyzőkö ülésének tartott án ses - commissions, controlled by the Art Committee, I I Committee, Art the by controlled commissions, called “beruházásos munkák” [commissions for for [commissions munkák” “beruházásos called ue to the lack of sufficient information at the the at information sufficient of lack the to ue
szeti Alap szeti 0, 1965 meeting of the Art Fund’s Fund’s Art the of meeting 1965 0, ,
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Zsuzsa D. Fehér, Fehér, D. Zsuzsa a as 1949 in life to came Artworks] of Company [National Vállalata Nemzeti Alkotások Művészeti The Boglárka Debreczeni, Debreczeni, Boglárka György Horváth, Horváth, György 11.
decorate aworker theapartmentsimple of now by article this illustrate that paintings collectors…The art rich of privilege the been had previously what inherited have people simple thus and Company, pre “The
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style Painting and about the Company’s Function in the Hungarian Society] Society] Hungarian the in Function Company’s the about and Painting style - csarnok: értekezés a Képcsarnok Vállalat megalakulásáról, működésének működésének megalakulásáról, Vállalat Képcsarnok a értekezés csarnok: Jdt olk o saig ih e h eetoi fr o te td] As study] the of form electronic the me with sharing for Koplik Judit k -
planned prices, which were controlled by the Art Fund, the the Fund, Art the by controlled were which prices, planned the by replaced been have galleries picture exclusive s 129 , the Company f Company the , ”
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Art] inexpensive prices at the Company.average, the On at prices inexpensive Művészet űézt Aktsk ezt Vállalata Nemzeti Alkotások Művészeti
and a primary teacher.” school
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- I - 4 - Képző m. 45.doboz, 2.tétel. Képzőművészeti Alap, 101881. 101881. Alap, Képzőművészeti 2.tétel. m.45.doboz, ér’s information from her 1960 her from information ér’s
Judit Koplik. Debreczeni does not discuss in her dissertation how much money artists artists money much how dissertation her in discuss not does Debreczeni Koplik. Judit -
és Iparművészeti Lektorátus, 2001): 15. 2001): Lektorátus, és Iparművészeti rian Museums and State Acquisitions, 1945 Acquisitions, State and Museums rian m,1965 as this
134 - survey shows. shows. survey
l
[Survey of the Company’s Unsold Paintings]. Despite Despite Paintings]. Unsold the Company’s of [Survey - - 1999 article, even though it is not possible to check this data data this check to possible not is it though even article, e rs eatet ad anes between painters paid Department Arts ne reczeni points out. As no other data was available, I I available, was data other no As out. points reczeni
[Contemporary Art in Museum Collections, 1988 Collections, Museum in Art [Contemporary
136
Fehér argued. As some of the artiststhe of some argued.As Fehér
rtás a képzőművészeti alkotások alkotások képzőművészeti a rtás 1965.nov - 1980 ]
in Ferencné Keszthelyi (ed) (ed) Keszthelyi Ferencné in ember 11. 11. ember 135 lled, cheap prices prices cheap lled,
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Interview with Lajos Kántor on June 17, 2010, in his 2010, studio June17, on Kántor Lajos with Interview inBudapest. in his 2010, apartment June10, on Bartl with József Interview the meantime, Ithe meantime,I myexperiment and read.” could ownlife, could live four or three for piece a on worked I reality, In probably. dreams, months three for piece a painting was I living: the my made I answer how question to Company…So the through paintings 100 or 90 least at sold “I these Company.” wereat popular the and lifes, still at good was I do, could I what is this So level… same the on was maki in better was painter] Kokas, [Ignác Náci Kokas only think I week. each them of four or three bought always Company] [the they 5 made and Duna, river of bank the to down went“I ed during the interview I made with him. Thus, his best option was to was option best his Thus, him. with made I interview the during ed out - painter.’ how he workedfor theCompany.
137
- apartment on Alkotm on apartment
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á ny street, Budapest. street, ny
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iue o te r Committee’s Art the of Minutes 3. Chapter in Art Committee ofthe my description See brief artic Fehér’s Besides 2): - 1999
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e se o isac te ogr ril witn by written article longer the instance for see le, - - - urals. György Szilárd, the director of the Art Fund and the leader of leader the and Fund Art the of director the Szilárd, György urals.
1980] in Ferencné Keszthelyi (ed) (ed) Keszthelyi Ferencné in 1980] style painting], which had gained pejorative painting],by which 1960s. had style overtones the style painting]. Therefore, in addition to the Company’sthe there to work, addition in Therefore, painting]. style Ö .
Pogány, gány’s article is also quoted in György Horváth, Horváth, György in quoted also is article gány’s
etn hl o Spebr 4 16. In: 1962. 24, September on held meeting
“ etseük problémái Festészetünk ceto o a oe rfsinl utr o easel of culture professional more a of creation e - 198 0” [Contemporary Art in Hungarian Museums and and Museums Hungarian in Art [Contemporary 0” K -
1999] (Budapest: (Budapest: 1999] ortárs művészet múzeumi gyűjteményekben gyűjteményekben múzeumi művészet ortárs ” [The Problems of Our Painting Culture] Culture] Painting Our of Problems [The ”
- Képző quality genre [as compared to to compared [as genre quality Gábor -
és Iparművész és Tibor Tibor
Képző Ö - . 1966 Pogány “ otr mvse a művészet Kortárs Wehner -
[Data and Details Details and [Data és Iparművészeti Iparművészeti és eti Lektorátus, Lektorátus, eti , 140 139 th , e
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Interview with József Baska, Katalin Rényi, and Judit Koplik at Rényi’s and Baska’s apartment, on July July on apartment, Baska’s and Rényi’s at Koplik Judit and Rényi, Katalin Baska, with József Interview February on held meeting ofthe Minute (p.43); 1962 24, September (2002): Wehner in published as meetings following the of minutes the See O XIX MOL
a te ny esr tee Eey ok ht one ws ogt t h Two PurchasMillion the at bought was counted that work Every there. measure only the was quality as art, of development the for support absolute an as served that funding a “The‘Two Purchases’ Million was it Hungarian painting… tosupport tolife came se ws ged y h Cmite n eray 1963. February in Committee the by agreed was ystem by step how György Szilárd, with the active participation of the members of of members the of participation active the with Szilárd, György how step by - I - 4 - 4.oo, .ée. Képzőművé 2.tétel. 45.doboz, m es.”
144
4, 1963, reprinted in Wehner (2002): 419 in(2002): reprinted Wehner 1963, 4, - n att üéée jegyzőkö ülésének tartott án 145 - 420); April 1, 1963(pp.515 April 1, 420); , managed to guarantee annual two million two annual guarantee to managed , zt Alap szeti
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” [Announcement] [Announcement] ” 146 3 for more information about the funding system of the Ministry’s Fine Arts Department Department Arts Fine Ministry’s the of system funding the about information more for 3 ad h de Bsa aog ay te atss w artists other many among Baska, does why and ,
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MOLXIX 3. Chapter see ArtCulture, and Instituteof ofthe foundation About the Ac ofState Committee the and ofthe Ministry system acquisition About the Baska, with József Interview submi open fourth a been have would there plan, initial the to According
149 - painter Baska recalls, emphasizing how liberating the Million P emphasizing theMillion painter howliberating recalls, Baska uid y h At Fund. Art the by juried - I - 4 - m 48.doboz, 1965. 3.tétel, Vásárlások. Vásárlások. 3.tétel, 1965. m48.doboz, - án tartott ülé tartott án
148 zt Alap szeti
Katalin Rényi, and Judit Koplik, on July 1, 2010. Julyon 1, Koplik, Judit and Rényi, Katalin
sének jegyzőkö sének
“There was no given topic or anything… I myself selected myself I anything… or topic given no was “There
150 ,
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Interview with József Baska, Katalin Rényi, and Judit Koplik, July 1, 2010, Budapest. Budapest. 2010, July 1, Koplik, Judit and Rényi, Katalin Baska, with József Interview Fund Art the by [Letter festőkhöz” a körlevele Alapjának Képzőművészeti Népköztársaság Magyar “A MOLXIX favorites.” figu as it ideologize could they selection, realist the fit always somehow could works abstract total painter] Kokas [Ignác Kokas’s then but work, realist accepted only They ridiculous. quite anyway was fourth the at accepted were works figurative only that rule this kept Fund] Art [the they years, first the “In
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Art historian Judit Koplik, Judit historian Art
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XIX still created realist paintings with direct political messages; and the the and messages; political direct with paintings realist created still - I - - 9. r ös állami képzőművészeti vásárlások bemutatásáról” [Information about the the about [Information bemutatásáról” vásárlások képzőművészeti állami ös 4 - ate Acquisitions in 1965], 3. In Az 1965 Az In 3. 1965], in Acquisitions ate m 48.doboz, 1965. m48.doboz,
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I n Brsy wo a as eegd s h professor the as emerged also had who Barcsay, enő f - rno vásárlá orintos 4 - . 5dbz 2ttl Képző 2.tétel. 45.doboz, m. - impressionist master of painting, Aur painting, of master impressionist - 3.tétel, Vásárlások, 100390. Vásárlások, 100390. 3.tétel, 15 artists as members; the jurors could only could jurors the asmembers; artists 15 s keret i 158 A Szövetsé A :
Additionally, an official from the from official Additionally,an - ös állami képzőművészeti vásárlások, vásárlások, képzőművészeti állami ös - jury list with the jurors of the of jurors the with list jury
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s prűézt Szövetsé Iparművészeti és 156 g
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CEU eTD Collection nldd s n o te uos hwvr h hd rbby led lf te onr b thi by country the left already probably had he clarify to point. this is required research however, jurors, the of one is Csernus as Tibor painter included that fact the is list final the was it whether skeptical be to reason One meantime. cor further any was there whether know not do we However, list. Association’s the accepted Ministry the that says Szilárd György to Gádor by written double to advises that note handwr Gádor’s Endre see can we 1965 document archived the on proposal: a as the Association, the by created about information further provide would that documents would I Artists] Applied and Fine of Association the “Kétmillió 162 161 personal manyartists. with connections had who Kmetty, János painter respected of wife the Elzuska, as Kmettyné about talked them of Koplik 160 159 Óv László Bér, Rudolf Breznay, decorative more the to jury,addition in the of majority the formed Miháltz) Pál or Iván, Szilárd Tamás, (Ervin impressionism Szint Gábor and Mácsai István neorealist the instance for or Balogh, András Szurcsik, János Vecsési, Sándor Ridovics, (László Bernáth. Aurél master, impressionist Arts, Fine of Academy the of rector the by headed were committees rotating two the 1965, In budget. forints million Fund’stwo painters thirty Mi the from excluded were Szilárd) György exception, one (with Artsofficials state and Fine historians art Ministry’sthat striking seems the it Department, and Acquisitions State of Committee the to compared As whichhadexhibitions, been pre Kmettyné Elza deputy, jurors two of decisions the on
MOLXIX worthnoting is It Judit and Berkes József as well as 2010], 17, June [Budapest, Kántor Lajos interviewees, my of Some MOLXIX
[Budapest, June 25, 2010], talked about Kmettyné’s involvement in the Ministry’s acquisitions. All All acquisitions. Ministry’s the in involvement Kmettyné’s about talked 2010], 25, June [Budapest,
f orintos vásárlá orintos - - I I - - 4 4 - - 161 m 48.doboz, 1965. 1965. m48.doboz, m. 45.doboz, 2.tetel. Képző 2.tetel. m.45.doboz, that no single female painter participated in the Two Million Purchases’ juries in1965. juries Purchases’ Million in the Two participated painter female single no that
hrd h rsosblt o aqiig ae pitns rm h Art the from paintings easel acquiring of responsibility the shared si keret si - 160 hc te it A ae lte fo Fbur 16 ( 1965 February from letter later A list. the check
I ms css tee w ofcas ikd rwrs from artworks picked officials two these cases, most In . : A Szövetsé A :
3.tétel, Vásárlá 3.tétel, - 159 ju r, yry oesi msl kon o hs political his for known (mostly Konecsni György ári,
ried by the Institute of ried by the Art andCulture. te ed f h Dprmn, nr Gdr ad his and Gádor, Endre Department, the of head the : respondence between the Ministry and the Association in the in Association the and Ministry the between respondence - 162
és Iparművészeti Szövetsé és Iparművészeti g - realist painter Endre Domanovszky,post Endre the painter and realist
and sometimes expressive sometimes and Javaslata” [Two Million Forints Purchases: Proposal by Proposal Purchases: Forints Million [Two Javaslata”
e, and the socialist realist Sándor Ék) and post and Ék) Sándor realist socialist the and e, Undoubtedly, painters of realism realism of painters Undoubtedly, sok.
like to note here that I could not identify any other other any identify not could I that here note to like lo Prhsss uy Ised altogether Instead, jury. Purchases’s llion
- jurors. The list I reference here was was here reference I list The jurors. g , 100.041/1965. 1965.januá 100.041/1965. , -
100 painters, like József like painters, . 2. Ko400/1965. 321.
s time. Further Further time. s – naturalism 60 r 9. r itten
), - -
CEU eTD Collection 2010. 1, 164 lexicon. art online ofartportal.hu (ed.), 163 master,its István works: submitted juried describes Csók, the howhe fo a been Vecsési,Sándor juror has and who Painter Purchases. Million the at styles of equality the enforce to necessary was painters of diversity the therefore explains; Koplik preferences, quality high if Even system,” clever a such was It chance. same the has trend and artist every that ensure to order in styles, jury the over say final the had Ministry the show, documents archival Yet,as committees. jury the to painters of range wide this delegate to right the had who Artists Applied andFine of Association the Itwas L abstractIgnác and Kokas lyrical the or Patay, László and Duray Tibor symbolist the Gerzson, Pál abstract more constructivist Barcsay,the Jenő abstract geometric Istvánposters), Blask Eigel, János
Interview with József with Interview Lajta Edit used mostly I categorizations. stylistic these of character preliminary the acknowledge must I Művészeti kislexikon Művészeti
choose between an old master from Szentendre or a piece with an experimenting an with piece a or Szentendre from master old an between choose to had I if But perspective. my from interesting not was to…It belonged it style th saw I as long As hell… the what or naturalist, a as Or right? painter, realist a as considered am “I llower of the early 20th early the of llower 164
ui Kpi, fiil f h At ud ad n n neve i 2010. in interview an in said Fund Art the of official Koplik, Judit
Baska, Katalin Rényi, and Judit Koplik at Rényi’s and Baska’s apartment, on July July on apartment, Baska’s and Rényi’s at Koplik Judit and Rényi, Katalin Baska,
[Abridged Lexicon of Art] (Budapest: Akadémiai Kiadó, 1973), and the articles the and 1973), Kiadó, Akadémiai (Budapest: Art] of Lexicon [Abridged a te e ciein atss etil hd hi on aesthetic own their had certainly artists criterion, key the was
at a painting had no talent, it did not matter at all what kind of kind what all at matter not did it talent, no had painting a at ászló Bartha also Barthaparticipatedinthe jury.ászló
list. “The committees represented different movements and and movementsrepresenteddifferent committees “The list. - century naturalist Nagybánya school, and an admirer of admirer an and school, Nagybánya naturalist century i, Jenő Béres, Sarkantyu,i, Jenő Simon Tibor Yet, Csernus. the - expressive Géza Fónyi, the more and more the Fónyi, Géza expressive 163
61
CEU eTD Collection Gánóczy’s apartment. Gánóczy’s 166 Bazsonyi’sapartment. 165 stage on was picture wife’s my and jury the at often was I 1965, “When situation. controversial from this experienced jury Purchases’ Million Two the of member a was and, Bazsonyi sp their about example for vote to had jurors many that fact the was hypocritical Equally works. the with along displayed being names the without even identified, easily be could Yet,certain specified byonly a number, Kopliktells: name, painter’s the without displayed were works submitted the All paintings. the about second the in then, only and vote, clandestine a had first jurors the Twothe qualityof Purchases, high and Million equality the that ensure further to order In
ouses’ work. Painter Sándor Vecsési, who has been married with painter Arany Arany painter with married been has who Vecsési, Sándor Painter work. ouses’ Interview with József Breznay, Mária Gánóczy, and Judit Koplik on June 3, 2010, in Breznay and and Breznay in 2010, 3, June on Koplik Judit and Gánóczy, Mária Breznay, József with Interview Interview with Sándor Vecsési, Arany Bazsonyi, and Judit Koplik, June 24, 2010, in Vecsési and and Vecsési in 2010, 24, June Koplik, Judit and Bazsonyi, Arany Vecsési, Sándor with Interview high a was that then fifteen the from votes six least at got picture a if that was idea main The jurors. the by debate open an in discussed then was votes six than more thei collected I then and liked, they pictures the of numbers the down put all would members jury “The Istvánwho doesof like theart not Csók!” the choose did I well, style, - styles and unique features, not to mention artists’ signatures on the canvas, the on signatures artists’ mention to not features, unique and styles quality work.”
at the debate, then I automatically left the room…but sometimes the others others the sometimes room…but the left automatically I then debate, the at
166
r notes to count the votes… every painting that received that painting every votes… the count to notes r former… But I anyway would like to slap everyone slap to like would anyway I But former…
165
round, an open debate open an round, 62
CEU eTD Collection 169 168 Bazsonyi’sapartment. 167 work. their of acquisition the in detected be can dynamic special a committees: jury the werein membersartistswho those documents of acquisition the at look interestingto Itis the Company, sourceessential meant many for ofliving painters, an including himself. with along Purchases, Two Million the that emphasizes Sváby Lajos painter expressivist had always work the course, of But other each to attention paid really we time, that “At fellows. their for help financial provide artist the well: as a aspect social had significant Purchases Million Two the that admit interviewees my of many Furthermore, letmeleave…did not howabsurd isthat?” but
Interview with Lajos Sváby in his Budapest apartment and studio, April 2009. April 2009. studio, and apartment Budapest his Sváby in Lajos with Interview Ibid. neve wt Sánd with Interview –
. Bt a tee vr en n g we al f the of all ones?” when age an been ever there has But ... paintings. their acquire to not impossible been have would it works, their for vote to decision my question even not did I time, that at then, But thinking. of way no would I whom lists these on painters some are there Undoubtedly, position… public or situation social artists’ living must certain were there thus and painters, for this was there course, “...Of if someone was in desperate need of financial support, we tried to help eachother.help to tried we support, financial of desperate need in wassomeone if 169
or Vecsési, Arany Bazsonyi, and Judit Koplik, June 24, 2010, in Vecsési and and Vecsési in 2010, 24, June Koplik, Judit and Bazsonyi, Arany Vecsési, or
role for the Two Million Purchases to provide money provide to TwoPurchases the Million for role
o e f od quality,” good of be to - juror 167 t purchase today, according to my present my today,to purchase according t tid o s te r Fn’ bde to budget Fund’s Art the use to tried s
- buys for the jurors, because of the the of because jurors, the for buys 168
aoe atss r good are artists favored
e ss sy. Similarly, says. Vecsési
63
CEU eTD Collection “Kétmillió 172 himself. actually bought juror meanthe that never I turns, year.Howe same the during juror as served also painter a when 171 170 c this of members as served Assocation the of secretaryPlesznivy, Károlymain as the well as Association’sDepartment, the Painters of secretary and painter Tamás, Ervin Department, Arts Fine Ministry’s the of head the Instit the of director the Ormos, Tibor committees, jury two the of heads the Domanovszky, Endre Control and Bernáth the Aurél painters of Committee, leader the therefore and Fund Art the of director the Szilárd, György double to appeared Committee] [Control so the Purchases’budget, Two Million the from acquire to wanted painter the Once János Kokas, Ignác Breznay, LászlóIstván Szurcsik, Óvári and Mác József Balogh, András Miháltz, Pál others amongst tendency; this show cases Numerous documents. the to according accepted, committee cou they submission second the at Purchases: Million Two the of support financial generous the from excluded not were Yet,they submissions. third the and first the in participate not did committee first purchasin at turns took they that seems members current the of any by made paintings bought never juries rotating Konecsni. György and Barcsay, Jenő Domanovszky, Endre of exceptions the InFund one theArt purchased t 1965,
MOLXIX out point I 1965, in purchased paintings the of some show I which in chapter, my of section next the In 1 22915/1989/I. MNG
f orintos vásárlá orintos - I - 4 - m. 45.doboz, 2.tetel. Képző 2.tetel. m.45.doboz, - jurors managed to come to a final decision about the works that they they that works the about decision final a to come to managed jurors - 361. A Művészeti Alap vásárlásai. Magyar Nemzeti Galéria Adattára. Galéria Nemzeti Magyar Alapvásárlásai. A 361. Művészeti si keret
” [Two Million [Two ” ld offer more paintings for acquisition, which the second second the which acquisition, for paintings more offer ld
o four paintings from each member of the paintings jury, of eacho four member from with - sai could serveassai examples. here
g each others’ work. For instance, the jurors of the the of jurors the others’ instance, each For g work. és Iparművészeti Szövetsé és Iparművészeti
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170 64 r 9. r
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CEU eTD Collection used these personal documents to reconstruct the annual lists of the Art Fund’s acquisitions. acquisitions. Artof Fund’s the lists annual the reconstruct to documents personal usedthese writtensource further any discover to able been not have I Since 1980. and 1965 between works acquired Fund Art the whom from painter each for documents personal preserved 176 175 174 173 her idealized, the to similarity a bears exception, one with images, these of from images none peasants, and workers show paintings genre the of manythough Even everyday life. depict which well, as paintings genre bought Fund Art the landscapes, work. the of size the piece, on each depending for primarily forints 16,000 and 2,000 between paid and paintings 305 purchased jury the Altogether, Purchases. Million the through budget Fund’s Art the from bought p contemporary 144 of paintings 1965, Million In the of operation? result unique aPurchases’ as Fund, Art the by supported were styles and artists Which 4.3. wereacquired at the Two paintings Bálint’s prove, also documents the as said; Berkes case, single and unique a emigration.Paris his from 1962 returnedin had who Bálint, Endrepainter on Szilárd Purchases, Million jury’sfirmlythe Committee objected yearsthe casewhen the oneearly of the in decision: remembered Department, Arts Fine Fund’s Art the of head the was who Berkes, claims. agai go not did he gentleman, real a was he But decision. every approve to had Fund’sdirector] Art [the “Szilárd paintings. József and Koplik
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ce opposed to purchase a piece by surrealist surrealist by piece a purchase to opposed ce Topics s te rfsin te anes juries],” painters’ [the profession the nst Nemzeti Galéria Adattára. Adattára. Galéria Nemzeti
at Purchasesthe Two Million 176
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CEU eTD Collection and the and onl (ed), Lajta Edit Art: 179 format digitalized Purchases] Szövetség Képzőművész “A Perneczky, [Géza expert outsider an as Purchases Million Two Géza by article an to (according Unpublished was Dávid Perneczky, pages, 20 1966, 1, March Art], Hungarian Contemporary of version an local shapes; from vision distinctively decorativism. realist finally, a a constructs cubism, movement; masters’ older Fauves’ to opposed the as which, from constructivism, derived had which colorism, Hungarian dom that styles main four described She Purchases. Dá a untitled used I sketch. as a serve to intends only description my of brief Purchases; Million theTwo ofmovements and box a preserved have 178 archives Gallery’s materia relevant use the National the will I documents. Purchases’ Million Two the of help the with identify could I which of some Furthermore, photographs, museums. in the during find disappeared have works pa the with the work primarily could ofI Thus 1990s. early most the of years transition orphanages, state or offices Party Communist instance around all museums 177 Landscapes andCityscapes well as artists’ differentgenerations. Withinidentify above.I to listed aseach seek theme,themes, to according Purchases Million Two the of year first the of paintings the analyze will fourty the on based secti last this In well. as years consolidation the during represented naturalism and postimpressionism besides works, these influenced constructivism and cubism, expressionism, Instead, fifties. early the of rt historian rt
vid gave a general overview of contemporary Hungarian art and and art Hungarian contemporary of overview general a gave vid To gather basic information about the artists, I mostly used the 1973 the used mostly I artists, the about information basic gather To analysis historical art and research Further to as well as institutions, party and state different to works purchased the all away gave Fund Art The ine articles of artportal.hu. Further sources are noted. noted. are sources Further ofartportal.hu. articles ine ayr Nemzet Magyar Katalin Dá Katalin of Dávid’s original stencil study. originalstencil ofDávid’s
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ugr. vn huh hv be loig o pitns ht ee ie t for to given were that paintings for looking been have I though Even Hungary. aai Dvd “ krás ayr etse aauááó” Aot h Drcin of Directions the [About alakulásáról” festészet magyar kortárs “A Dávid, Katalin requested by the head of the the of head the by requested ls from this photo collection as well. well. as collection fromphoto this ls vid’s 1966 vid’s - i anig ta Ihv aae o iulyietf tu far, thus identify visually to managed have I that paintings six ” [The Fine Artists’ Association Discussed the Exhibition of the [Million] [Million] the of Exhibition the Discussed Association Artists’ Fine [The ” szeti kislexikon szeti
September 30 (1966)]). I thank Judit Koplik for kindly sharing with me the the me with sharing kindly for Koplik Judit thank I (1966)]). 30 September
- essay about the Two Million Purchases as Purchases Million Two the about essay
[Abridged Lexicon of Art] (Budapest: Akadémiai Kiadó, 1973) Kiadó, Akadémiai (Budapest: Art] of Lexicon [Abridged 179
is
required to examine the formation of the different styles styles different the of formation the examine to required
inated the 1965 the inated Art Fund to write her professional analysis of the 1965 the of analysis professional her write to Fund Art
- els, hc hd en strongly been had which realism,
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styles and movements and styles intings that I have managed to to managed have I that intings
a guideline for my analysis. analysis. my for guideline a n f h chapter, the of on
at the Two Million Million Two the at - impressionism; impressionism; 66 178 177
, as,
d I - CEU eTD Collection kornel 182 181 30, May accessed: 180 co a for Prize Kossuth the with awarded been Szentgyörgyi 1940s. early the in class Szőnyi’s István master Nagybánya the during Academy the at masters had air plein Nagybánya’s with studied who artists of Lajos generation jurors, the Szentiványi of One for thefirst Two Pu Million lake the painted generations and of different landscapes:artists styles forrecurringa topic was region its and LakeBalaton Picture 8: 8: Picture
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. http://artportal.hu/lexikon/muveszek/szentivanyi
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featured by the work of Sándor Bakky Bakky Sándor of work the by featured mid The bed. reed the is forints, of color green intense the by dominated 6,000 for purchased in1965. Szeles piece,entitled colored,postimpressionist strongly a submitted Szentiványi 1930s. uhrd oils rait ok n 1953, in work realist socialist authored
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see: Gábor Andrási, et al. al. et Andrási, Gábor see: 185 Táj .
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MNG 22915/1989/I./79. Deim 22915/1989/I./79. MNG Verba, Andrea [Title: Hajógyári táj] Kóka III.295./1965. Ferenc. 22915/1989/I./183. MNG lió Nagy, Ildikó
is still ratherpost is still
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nta o te le pitr’ li ar auaim ihrtd from inherited naturalism, air plein painters’ older the of Instead the of landscape Kóka’s Ferenc by represented is generation 1956 189
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- impre http://artportal.hu/lexikon/muveszek/deim . http://artportal.hu/lexikon/muveszek/koka ő Barcsay’s influence. Pál raduate (1960), chose a scenery in which nature contrasts contrasts nature which in scenery a chose (1960), raduate
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Picture 11: Landscape of the Shipyard Island by Ferenc Ferenc by the Island Shipyard of Landscape 11: Picture
in 1965, which was purchased at purchased was which 1965, in Kóka. - pal - ferenc - 60
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12 : Pál Deim, Housing Project in Lágymányos. Project Pál Deim,: Housing
- graduate of theAcademy,graduate of László Pataywas one
Birkózás 191
Illustrating a mountain or rock, this rock, or mountain a Illustrating
[Fight] for the first Two first the for [Fight] Million
70
of of
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Picture Picture
in 1951 from Szőnyi’s class, following his return from return his Szőnyi’sfollowing from class, 1951 in László juror by painted realist the on work their of result the examine Peasants lifestyle. rural of image idyllic an made Jakuba colors, pale of usage H painted 1931, in the Academy from graduated had who Jakuba, János in 1965. Fund Art the by purchased were that paintings genre the of many on appear peasants and Workers 13 ouse] : Fight 192
by László Patay. László by with two faceless men. With his distinctive his With men. faceless two with
spé után Cséplés
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My calculation, based on the 1965 the on based calculation, My Budapest 2010, July 1, Rényi, Katalin and Baska József Kopik, withJudit Interview Interview with Sándor Vecsési, Arany Bazsonyi, and Judit Koplik, June 24, 2010, in Vecsési and and Vecsési in 2010, 24, June Koplik, Judit and Bazsonyi, Arany Vecsési, Sándor with Interview sapartment
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CEU eTD Collection 235 http://www.mng.hu/kiallitasok/allando/177/oldal:11/242 234 233 36 January(2008), neo Hungarian the of Strategies Pressure? 232 (105.doboz). Kondor Ungheria 1968 Pavilion: Hungarian the of Catalog Hungary. represented Kondor Béla designer, non lyrical ind the the and Vilt, where Tibor sculptor, event, important an was Biennial non on discussion unintentionally, probably public still, a was grounding book the art, abstract of account critical indeed 231 overview comprehensive this of failure the at dismay their to voice gave historians art Numerous profession. the by severely attacked was interpretation, historical or concept coherent any of lack the accurately the of opening the Following aimed1957: Makrisz torepresentall styles ofthe and time. movements 1969 the regard, this In Kunsthalle. entitled piece, inclusive be Lajos Vayeryet, catalog. the And intheexplained exhibition pop non or abstract while significantly:
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CEU eTD Collection have page numbers]. numbers]. have page Pá Vörös Kmetty, Géza Goebel, János Paizs Galéria Halápy, Nemzeti Jenő János Patkó, Károly Fónyi, by C., Géza Molnár pictures Pál Domanovszky, with Miháltz, Endre concludes Dénes, which Diener exhibition, Rudolf the Burghart, in status important have also era, the of masters leading István fascism, of victims the Farkasof some by works them, with along content; socialist their with viewer the Gyula period, interwar the “From 1970. in changes, director, the by written 238 237 clipping, Press (1969). Postscrip opportunity: missed 236 Műcsarnok (109.doboz), története” kritikátlan esztendő Gallery’s the 1970, permanent basicallystill show in later, decade a than more time: with change not did situation post the represented works few a only yet, prepared had Gallery National established recently then the 1957, of fall the history.By art Hungarian of representation the in gap this for responsible mostly was Gallery National the it, state not did critics permanent a offered museums the of none abou narrative, accepted an thus and 1969, exhibition, in even that fact the of light in post about study thorough a of opportunity” “missed of liberation,” our of days the since appeared has that talent that all with dealt we how about report to opportunity lucky this use not did an we done, such miss to mistake W a here. happened ‘simply’ what all but is sin, This opportunity. a not is “It Kunsthalle. the of walls crammed the in resulted policy, which goes” Makrisz’s “anything of instead examination
About the National Gallery’s first permanent exhibitions, see Sink see exhibitions, first permanent Gallery’s National About the Horváth, György hs ecito o te ainl Gal National the of description This ayr Nemzet Magyar , Imre Ámos
[The Hungarian National Gallery] (Budapest: 1965, and 1970) [The publications do not do publications [The 1970) and 1965, (Budapest: Gallery] National Hungarian [The Gög Kno, Jenő Kondor, György , “
Egy elszalasztott lehetőség: Utószó a „Magyar Művészet 1945 „MagyarMűvészet a Utószó lehetőség: elszalasztott Egy X1969 Magyar (109.doboz), Műcsarnok Magyar(109.doboz), X1969
. Hnain ain conc Nation] [Hungarian Gábor
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concluded in1945. a permanent exhibition on the 20 the on exhibition permanent a ugra At 1945 Art Hungarian - Novák, Aurél Bernáth, József Egry, István Szőnyi, János Vaszary Vaszary János Szőnyi, István Egry, József Bernáth, Aurél Novák, eys emnn ehbto o 20 on exhibition permanent lery’s
himself, Szabados, are displayed on the walls of the last rooms. The The rooms. last the of walls the on displayed are Szabados,
October 8 (1969), 7. 7. (1969), 8 October
Derkovits was first published in 1965, and then, without any any without then, and 1965, in published first was ue. ht perd s fac, r the or fiasco, a as appeared What luded. - 95 eid there. period 1945 t the art of the socialist era. Although the the Although era. socialist the of art the t e did not pursue what we should have have should we what pursue not did e
238 - 1969
’s and and ’s .
-
1945 Hungarian art, has to be read read be to has art, Hungarian 1945
Exhibition] 236 ó István
(2009): 85 (2009):
György Horváth, the art criticart the György Horváth, Press clippings, clippings, Press .”
th Dési Huber Dési Gábor th - century Hungarian painting, painting, Hungarian century ayr Nemzet Magyar
- century history of art, of history century - 237 87. 87.
- Ö 1969” kiállításhoz” [A [A kiállításhoz” 1969”
Jenő Barcsay, Rezső Rezső Barcsay, Jenő troublesome This . Pogány ’s pict ’s
16 Magyar X1969 ures impress impress ures
, coe 12 October Magyar A 91
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CEU eTD Collection 242 1962 1964/65] in Gallery in Gallery National (1965),161 Hungarian [The évben” Gallery’s Nag possible the discuss Acquisitions. to State had of Committee Gallery the at the purchase limit, this Above forints. 10,000 than less were prices the as long onl could curators Gallery’s the budget, limited this from However, 241 1975. in October, Castle,opened Nemzeti “A Sinkó, (2 Hills] Castle: Buda the of Castle the the in Gallery National to Gallery Hills] the Buda moving the of of politics Castle the in Gallery közleményei National Galéria Hungarian the of Placement [The t of author the as chosen was240 Aradi Gallery, the 83. (1969): Sinkó See: Sciences. Academyof of topics and interest academic the to between relationship 239 1967, in notes: Sinkó 1960s, mid the from preparation its and 1968 in Mechanism Economic New the of inauguration shows curate to ability collecti their in their circumscribed for purchased was what in say no had Gallery the of curators and historians art that meant Gallery’sThis collection. Acquisitions State of Committee non through collection its expanded mostly socialism, during museums Hungarian all as Gallery, just National the thus, acquisitions; budget adequate possess not did Museums collection. Gallery’s patrona state of system overall the argues, Sinkó solution. a promise could Castle Buda the to up Gallery the moving of plans the only collection, Gallery’s the for insufficient be to out turned of shortage real a from suffered Gallery the hand, one post a of creation the prevented that problems administrative and practical faced also Gallery the challenges, political Besides
About the Committee of State Acquisitions, see again Chapte again see Acquisitions, ofState Committee About the out. points Sinkó 1957, since budget “independent” but small a possessed had Gallery National The Márffy Albin Sinkó suggests that this was also also was this that suggests Sinkó y’s official official “ - w acquisitions own 167.; and “A Magyar Nemzeti Galéria az 1964/65 az Galéria Nemzeti Magyar “A and 167.; , dr, and Erna Rukavina, “ Rukavina, Erna and dr, , umre aot h Gleys e aqiiin, n hc she which in acquisitions, new Gallery’s the about summaries Magyar Nemzeti Galéria Évkönyve Nemzeti Évkönyve Magyar Galéria
Pogány
V ( V 1965
.” and art historian N historian art and
), 153 ), sza sneyé Nagy Csengeryné Zsuzsa
- the 160. 160. 242 a real professional dilemma, due to the supposedly conflicting conflicting supposedly the to due dilemma, professional real a rzgs Mú Országos
A Magyar Nemzeti Galéria elhelyezése a Budavári Palotában Budavári a elhelyezése Galéria Nemzeti Magyar A had been responsible for acquiring artworks for the for artworks acquiring for responsible been had See also Sinkó’s chapter, in which she explains in details the the details in explains she which in chapter, Sinkó’s also See - World War II narrative of Hungarian art. Hungarian of narrative II WarWorld
ó ra Aradi. Even though the study of post of study the Even though Aradi. ra Sinkó (2009): 89 (2009): Sinkó 009), 95 009), - museu - n Snó rus ad hs a been had thus and argues, Sinkó on, 1963] 1963] 1 (1970), 240 (1970), 1 , em Ta zeumi . A ayr ezt Glra z 1962 az Galéria Nemzeti Magyar “A - 107. The new National Gallery, located in the the in located Gallery, National new The 107. oe hne ocre de o the to due occurred changes Some m, state institutions. Since 1957, the 1957, Since institutions. state m, ge caused serious problems for the the for problems serious caused ge ayr Nemze Magyar - r 3. r ös esztendőben” [The Hungarian National National Hungarian [The esztendőben” ös - y purchase works without restrictions as as restrictions without works ypurchase
space: as the old Kúria building building Kúria old the as space: 90, 97 90, - 240 Galéria 246. ná
c On the other hand, Katalin hand, other the On -
98. of Committee [National s
a Budavári Palotában” [The [The Palotában” Budavári a
See also Zsuzsa Csengeryné Csengeryné Zsuzsa also See 241 i aéi közleményei Galéria ti
o use hi own their pursue to las ons to points always - 1945 art belonged belonged art 1945 ayr Nemzeti Magyar e oi a the at topic he 239
- On the On 1963 92
the - as as V ” -
CEU eTD Collection 1968] in privilege absolute had le Gallery György National the years, previous limitati specific any without in Purchases, Million Two the from as paintings selecting 1968, in that stated Szilárd letter, by 1968 a preserved Office Gallery’s National The Purchases. Million Two the organizing for 245 244 121.dosszié/7. 24.400/2006, Gallery: National ofthe Archives in the preserved Museums, 243 Yet, with these even privileges collection. its for works purchased freshly Fund’s Art the the from choose amongst first could that was institutions Gallery The acquisitions. Fund’s Art the from paintings selecting 1965 Committee. the through wanted he what Gallery the for get to position his use to trying was he how show Department Ministry’s Arts the Fine to Pogány Pogány Ö. Gábor Ministry by appointed organization was Committee the Undoubtedly, Department. off the of one with along members, its art as historians and artists several invited Acquisitions State of Committee the previous showed, As chapters museums. the of rest the to compared as situation, privileged relatively stil would I collection, Gallery’s the and patronage state of system the between connection the about statement Sinkó’s mind in Bearing collections. their shaping in autonomy greater have could museums whether discussed Museums]
Interview with József Berkes, the head of the Art Fund’s Fine Arts Department, which was responsible responsible was which Department, Arts Fine Fund’s Art the of head the Berkes, József with Interview Ac State of ofthe Committee the and operation 3 Chapter againSee György Szilárd, the head of the of head the Szilárd, György ik (09: 9 Snó ees o h mnts f 1967 a of minutes the to refers Sinkó 89. (2009): Sinkó
- Magyar Nemzeti Galéria, Iroda. Iroda. Galéria, MagyarNemzeti nuuain f h To ilo Purchase Million Two the of inauguration
had a prominent role in the Committee’s the acqu in role prominent a had vele Pogány elvtársnak, 1968. jú 1968. elvtársnak, Pogány vele 245 243
, the head of the National Gallery, was a permanent member since 1957. 1957. since Gallery, member National permanent the a of was head the ,
, it is certainly true that up until 1968,theNationalGallery, upuntil iscertainly, it that true Art Fund to Gábor Ö. Pogány, the National Gallery’s director. In the In director. Gallery’s National the Pogány, Ö. Gábor to Fund Art
lius 29. lius
[ György Szilárd György s, the Gallery also had a privilege in in privilege a had also Gallery the s, isitions: the several letters he wrote he letters several the isitions: age ht h Gley a i a in was Gallery the that argue l - cas f h Mnsr’ Fn Arts Fine Ministry’s the of icials meeting of the National Committee of of Committee National the of meeting ’s Letter to Comrade to Letter ’s 244 quisitions. quisitions.
diinly floig the following Additionally, on. on.
863 -
673/1968 Pogány, July 29, 29, July Pogány, - letter, written letter, . 93 Szilárd –
yet, CEU eTD Collection Ministry of Cultural Affairs’ Chief Department, to Gábor Ö. Pogány Ö. Gábor to ChiefDepartment, Affairs’ Cultural ofMinistry 1968. 28, [March Gáborhoz. Ö. Pogány dr. levele helyettesének 250 functioning 249 ofMuseums] CentralDirectorate Notificationfrom the 6,1968. 248 Purchases. Million Two ofthe system thejury about 4 Chapter See choices. double Committee Control the end, the at and submissions; the from purchase to what 247 246 the as acquisitions, future Gallery’s the for guidelines basic set to wished Ministry The committee.” internal own its through acquisitions organize “to Gallery National the 4 March on Acquisitions State of Committee the dissolved had it that declared Ministry the 1968, March, In Gallery. acquisitions.” arts 3 of budget extra an received Gallery Ministry’sthe with directorthat museum Nationalthe the department,informed approval, Directorate’sthe of financialheadPogány’sprobably the (most spouse), Pogány Gáborné Igazgatóság the from letter short a received Gallery National the of director the Pogány,Ö. February,Gábor late 1968, In 1968. in however,changed situation, latter The the Gallery for artworks acquiring of responsibility the shared he members: other the over hegemony already.twice least at selected w it as pieces many as choose could Gallery the Purchases, Millions Two the From itself. by acquisitions new the about decide fully to right the have not did museums, other the all with along
Further research is required to learn about the the about learn to required is research Further secondl acquisition; for submit to what about decided themselves artists First, Ibid.
863 863 - - 222/1968. 1968. március 6. 6. március 1968. 222/1968. 2/98 16. ácu 2. eő áo, űeőéüy Mnstru főosztályvezető Minisztérium Művelődésügyi Gábor, Verő 28. Március 1968. 320/1968. .
with other art historians and historians art artists. with other
Cnrl ietrt o Mus of Directorate [Central 248 ished
on nuh te iitys fiil oiiain lo ece the reached also notification official Ministry’s the enough, Soon
246
–
but only from a collection of new works that had been pre been had that works new of collection a from only but 247 , 1968 , Központi Múzeumi Múzeumi Központi
And in the Committee’scase, the in And 249 00,000 forints in 1968 for “direct execution of fine of execution “direct for 1968 in forints 00,000 , and assigned the Committee’s former budget for budget Committee’s former the assigned and , circumstances of how or why the C the why or how of circumstances us. h nt, hc ws rte b dr. by written was which note, The eums].
gzaóá étstj [863 értesítője Igazgatóság
Magyar Nemzeti Galéria, Iroda. Iroda. Galéria, Nemzeti Magyar
Letter by Gábor Verő, the deputy at the at deputy the Verő, Gábor by Letter ] Magyar Nemzeti Galéria, Iroda. Iroda. Galéria, Nemzeti Magyar ]
Pogány y, the artist jury selected selected jury artist the y, Központi Múzeumi Központi
did not have total have not did ommittee ceased its its ceased ommittee - - checked the jury’s jury’s the checked 2/98 March 222/1968.
94
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CEU eTD Collection 255 years1966 the during Gallery National 254 Iroda. Galéria, Magyar Nemzeti 1968] AffairsJulyon 12, ofCultural theMinistry Állami 1969], 12 július 1968. Osztályának December, Acquisitions, Arts 253 Fine State’s 252 the K Archívum. és Könyvtár of IV. Exhibition Vásárlások Képzőművészeti Fourth the about 251 gifts. as Purchases Million TwoFund’s Art the from arrived 73 which of out paintings, new collection. the expanded also Fund ArtMinistry, the the or artists, from museum’sgifts the acquisitions, budget. the from acquired were medals and designs, graphic sculptures, different museum’s The budget? independent t shared new, departments its use Gallery the did How 5.2. The Gallery’s Acquisitionsin 1968 archival demonstrate documents pos Gallery National the for change significant “independent” new this of inauguration the Yet, results. preserve year.purchasesatwice its aboutreport overall still an thus DepartmentMinistrywith The Ministry’sArts Fine the provide to had Gallery the hand, other the on artists; living from one the On proves. letter
Ibid: 215. According to the system of the Two Million Purchases, the Art Fund bought the paintings paintings the bought Fund Art the Purchases, Million Two the of system the to According 215. Ibid: Nagy Csengeryné Zsuzsa below. as referenced Office, Gallery’s National ofthe Archives in the Documentspreserved Release [Press 1969.december” Kiállitásáról, IV. Vásárlások Képzőművészeti Állami az “Tájékoztató 863 to a drco o te ainl alr, a te ia wr oe aqiiin, as acquisitions, over word final the had Gallery, National the of director as ition 255 - 2/98 D. oáy . áo lvl a űeőéüy Mnstru önál Minisztérium Művelődésügyi a levele Gábor Ö. Pogány Dr. 320/1968.
ic te r Fn ol aqie pitns rm iig rit, l te 3 gift 73 the all artists, living from paintings acquired only Fund Art the Since d the right to control the Gallery’s acquisitions at least by checking the final final the checking by least at acquisitions Gallery’s the control to right the d 254
o isac, n 98 te ainl alr’ cleto ge b 160 by grew collection Gallery’s National the 1968, in instance, For
he 300,000 forints amongst themselves: contemporary paintings, paintings, contemporary themselves: amongst forints 300,000 he - “ , én. [dr. Gábor Ö. Gábor [dr. én.
hand, the available budget could only be spent on acquisitions on spent be only could budget available the hand, A M A
agyar agyar álts, 16 Álm (1.oo) 1708/5 (115.doboz), Állami X1969 iállitása, 252 - 1970] 1970] . N
emzeti emzeti Magyar Nemzeti Galéria Nemzeti Magyar
Pogány’s letter to the Independet Fine Arts Department of Department Arts Fine Independet the to letter Pogány’s G –
al or at least for least at or é ria
az 1966 az - 70
Évkönyve Gábor Ö. Pogány Ö. Gábor - es 251
esztendő
ud etil mat a meant certainly fund
2 (1974), 213 2
k ben - , 5 1, 253 ló Képzőművészeti Képzőművészeti ló ” [The Hungarian Hungarian [The ”
In addition to addition In - , who, in his in who, , 2. Műcsarnok Műcsarnok 2.
- 225. 225. 95
CEU eTD Collection 259 648 2002): Kiadó, 258 257 three. the from source mosttrustworthy the considered be can it as register, accession Department’s Contemporay analysi my For number. correct the is which clarify to required is research 863 Ministry. the a to according Finally, 1968. in acquisitions painting 15 identify could I where Gyűjtemény], [Jelenkori Department Art Contemporary Gallery’s National the of register accession the checked also I paintings. 18 lists document This Archívum. 170 (115.doboz), Állami X1969 Kiállitása, IV. Vásárlások Képzőművészeti 256 b own fromits a Paris Tornyai János master Alföld the with exhibited and studied and 1883 in born was Kovács Mária instance, much a to Ministry,or the Purchases, Million Two Fund’s Art the by supported not was work whose painters state. the by financed not were who artists several are there painters fifteen the amongst answer: patronage. sought Gallery the 1972, in Ministry the to response Pogány’s to According notes. Sinkó Ministry, the of order Gallery,by the at place took inspection general a when 1972, in question same Actuall budget? own its from Gallery National the by acquired was work whose painters living the were Who own budget, the Galleryonly bought around 15paintingsfromartists. living wer paintings
Ibid. Ibid. Sink ks zb Adá, dr. András, Szabó Ákos “N mei aéi fsmn vásárlásai festmény Galéria emzeti
ó L d ae ak o ugr i te ae 1920s late the in Hungary to back came nd
(2009): 93. 93. (2009): - ZsII.
Mária Kovács, István Kun, János Bozsó, Zoltán Bertha, and Klára Róna were were Róna Klára and Bertha, Zoltán Bozsó, János Kun, István Kovács, Mária 257 older generation who had been mostly active during the 1920s and 1930s (for (for 1930s and 1920s the during active mostly been had who generation older udget, and then provided the acquired pieces as free gifts for museums. for gifts as free pieces the acquired provided then and udget, - : 334
e added to the Gallery’s contemporary painting collection. From its new new its From collection. painting contemporary Gallery’s the to added e before 1968 before h ls o te alr’ 1968 Gallery’s the of list The
- - to purchase works from artists who were otherwise not supported by state state by supported not otherwise were who artists from works purchase to 2/98 16. úis 8 [ue 8 16] ayr ezt Glra Ioa Further Iroda. Galéria, Nemzeti Magyar 1969] 28, [June 28. június 1968. 320/1968. 649. -
335.
y, Gábor Ö. Pogány, the director of the Gallery, had to answer the answer to had Gallery, the of director the Pogány, Ö. Gábor y, 258
,
; Klára Róna, who was born in 1901, had finished her studies in studies her finished had 1901, in born was who Róna, Klára ;
letter written in June, 1968, Pogány reported about 14 painting acquisitions to acquisitions painting 14 about reported Pogány 1968, June, in written letter ayr etk s rfksk ltaz lxkn. A lexikona. életrajzi grafikusok és festők Magyar
-
the Committee of State Acquisitions. Some of them belonged belonged them of Some State Acquisitions. of Committee the ” [The Painting Acquisitions of the National Gallery] Állami Állami Gallery] National the of Acquisitions Painting [The ” - custos atal cnim Pogány’s confirms partially acquisitions
259 . diinly te alr also Gallery the Additionally, ). s below, I used the data of the the of data the used I below, s 8/6 - 1 - I. K . Műcsar .
(Nyíregy
nok Könyvtár és Könyvtár nok 256
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CEU eTD Collection Iroda 264 263 the 262 notes register accession own 261 Office’s The Mester S. thankCsilla hereI documents. acquisitions Archive. Office’s the the into it make not did themselves documents the yet, of acquisitions, all of documentation out find rest to the necessary is to research Further happened Molnár. József Duray, Tibor Bencze, László Bényi, each 260 position, director his to due decision: final the made who Pogány Ö. Gábor ex living still the sell to acquisitions request. Solymár’s István historian art director, deputy the at purchased was piece Duray’s Tibor Painter G Csók István the at seen had she which Molnár, József painter of exhibition shows. letter Pogány’s as Gallery, the at colleague and Lász friend intimate his painter also was who from Bényi, purchase a of details the arranged personally Pogány Ö. ways. Gábor different in acquisitions its pursued Gallery the that seems it Office, Gallery’s t required is research further Gallery,however, the of policies purchase the about sources crucial be would acquisitions Gallery’s the record that documents further and Letters Endre Fenyő, also becamepartA. Gallery’s of the collection. Barany Tiboras Duray, Sándor such Bencze,László artists popular rather by pieces Furthermore, 1968. in Félegyházi László or Pogány Géza like painters represented rarely purchased o identify these documents. these identify o
863 863 863 863 László Office: Gallery’s the of Archives the in all far, so cases four for documents identify could I .
- - - - 414/1968 k című Duray 257/1968. Dózsa Iroda. Galéria, MagyarNemzeti Józseftől. Molnár Vétel 552/1968. ügye vételiés ajándékozási Bényi László 352/1968. 261 ó, László Bényi, László Ridovics, Sándor Bortnyik, József Csák József Bortnyik, Sándor Ridovics, László Bényi, László ó,
Dr. Éva Bodnár, art historian of the Gallery, initiated an acquisition from the from acquisition an initiated Gallery, the of historian art Bodnár, Éva Dr. –
. Bencze László Öregasszony c. f c. Öregasszony László Bencze . in painter László Bencze’s case it was in fact his former spouse w spouse former his fact in Bencze’swasLászlópainter it in case 263 -
- Csiky’s hel Csiky’s ial, rit cud ot rbby fe ter ok for works their offer probably most could artists Finally, husband’s piece to the Gallery.the to husband’spiece
260
Yet, based on the sources that I could find in the National the in find could I that sources the Yet,on based ép vétele a művésztől. Magyar Nemzeti Galér Magyarművésztől.Nemzeti a vétele ép p at the Office. Office. the at p estményének vételi felajánlása. Magyar Nemzeti Galéria, Galéria, Nemzeti Magyar felajánlása. vételi estményének
. Magyar Nemzeti Galéria, Iroda. Iroda. Galéria, MagyarNemzeti . 264
At the end of each case, it was it case, each of end the At
ia, Iroda. ia, y - Maronyák, or or Maronyák,
ho hoped ho allery. what has has what 97
262 ló
CEU eTD Collection paintings, and portraits. acquisitio Gallery’s1968 the Amongst possible. when work, their of genre the to according artists these group will I Department. Contemporary Gallery’s National the at identify could secti following the In acquisition had togo throughfinal his control. s I ae dniid itrcl anig, adcps n ctsae, genre cityscapes, and landscapes paintings, historical identified have I ns, on, I will try to describe these artists based on their paintings that I that paintings their on based artists these describe to try will I on,
Picture Picture 33:
Dózsa
by Tibor Duray. Tibor by
98
- CEU eTD Collection 267 1968. and 1965 between Purchases 266 Department. theContemporary Department. 265 1960s. M the as well as 1965), in jurors the of one was he showed, chapter Fund Art the by both acquired regularly been had works His artists. dismissed of category the into fit not did surely Duray though even artist, 9,50 for purchased was piece The impact. surrealistic painting’s the strengthen rather background the of hues green and purple strong However,the peasants. 2 a is painting Duray’s 1514. up peasants’ the in role leading his for praised was he socialism: during figures (1912 Duray Tibor 1968, theGallery a large acquired In paintings. historical as labeled best be could Gallery’sacquisitions the fifteen of Three Painting Historical
MNG Minisztériumi vásárl Minisztériumi MNG Contemporary Gallery’s National the of catalogues card the from come prices about information All N 22915/1989/I. MNG
I thank László Százado László thank I - 1988). Certainly, György Dózsa was one of most popular historical historical popular most of one was Dózsa György Certainly, 1988). /88. Duray Tibor. Eleven of his paintings were acquired at the Two Million Million Two the at acquired were paintings his of Eleven Tibor. Duray /88.
ások. 1989. VI/2., III. III. VI/2., 1989. ások.
- s, Zsolt Petrányi, and Péter Jakab for their help during my research at at research my during help their for Jakab Péter and Petrányi, Zsolt s, meter high, full high, meter - scale picture of scale picture of Kötet - size depiction of the 16 the of depiction size , 23010/1989./1957 , Dózsa , painted by the symbolist master, painted by symbolist the 266
- wee a te previous the as (where, 1969. 0 forints 0 inistry
th - century hero of of hero century 267 265
during the during
from the from rising of rising 99
CEU eTD Collection Gallery’s underground storage room. storage underground Gallery’s 271 176. 270 communist party. non (often progressive of group a as 269 268 for 1966 This camp. concentration landscapes: his from 1968,differs in bought Gallery paint the that mostly piece the he However, Balaton. state; Lake about the landscapes by acquired regularly been had work his Finland and Sweden in 1947. lived and 1938 between he 1930s; late the in decade a almost for country the Artists’ Socialist in the Group of founders the of one been had Fenyő 1968. and 1965 between paintings his of sixteen bought itself Fund Art the 1960s: (1904 Fenyő A. Endre Similarly,
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Művészeti kislexikon Művészeti - and - white photo illustration of the original painting, painting, original the of illustration photo white 270
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-
Auschwitz figurative) artists figurative)
- - 34: [Abridged Lexicon of Art] (Budapest: Akadémiai Kiadó, 1973 Kiadó, Akadémiai (Budapest: Art] of Lexicon [Abridged anig a prhsd rm h ats fr 8,000 for artist the from purchased was painting 91 ws n o te ot upre atss y the by artists supported most the of one was 1971)
Endre
hw a ru o mn n wmn n the in women and men of group a shows A. Fenyő, Fenyő, A. , who sympathized with the socialist, and the illegal illegal the and socialist, the with sympathized who , Auschwitz .
which is located in the National National in the located is which
the 1934 the
ed expressive expressive ed 269 , but leftbut , 100
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CEU eTD Collection 274 thelat would prove that document any wenot find could (however, building state a decorates it or lost, either is It itself. painting the detect not could I however, acquisitions, 273 withportraits. historicalalong 1969, and 1965 between 272 Marx A painting. 1875 famous Marx’s to similar is Karlrealistic ofMarx. of the portrait themis state often by acquired were fishermen with genres and portraits realist whose painters the of one still Csáky József Fenyő, or Duray than popular less Certainly
The document that would provide information is not preserved in the National Gallery’s Office. Gallery’s National in the not preserved is information wouldprovide document that The Csáky C 22915/1989/I./66. MNG - otat n 1968 in portrait -
Maronyák lthough we do not know why the Gallery spent 10,000 forints for acquiring a acquiring for forints 10,000 spent Gallery the why know not do we lthough ’s other pai other ’s patrons. Picture 274
sáki Maronyák József Maronyák sáki w mgt sue ht h drco o te alr, áo Ö. Gábor Gallery, the of director the that assume might we , 35 272 nting, entitled entitled nting, :
Image of Karl Marx of Image In 1968, the Gallery purchased two of his paintings his of two purchased Gallery the 1968, In
- photo: only the hands’ position seems to differ on the the on differ to seems position hands’ the only photo: Este fele Este . The Art Fund bought three of his fishermen pictures pictures fishermen his of three bought Fund Art The . Marx KárolyMarx képmása
by József Csáky József by
[Around the Night], is listed in the Department’s Department’s the in listed is Night], the [Around ter option). option). ter - - aoyk (1910 Maronyák Maronyák.
[Image of Karl Marx] of Marx] Karl [Image
- 2002) was was 2002)
273 101 : one :
CEU eTD Collection such bad quality, suchbad an documents. Gallery’s National the to according now, decades for Republic the decorating been have paintings 277 276 37. ?): Központ, Művelődési 275 Genre Paintings paintings. forints 3,000 paid Gallery The paintings. these purchase to decided do Lexicon Art the 1973 the Hungary; of towns provincial in lived who artists, known less been had they that seems It institutions. state’s patron the of any by previously supported been (1914 Bertha Zoltán (1908 Kun István by landscape a acquired Gallery the 1968, In Landscape andCityscape monograph about in1975. the painter a models, painter’s the of one previously been had himself Pogány purchase. this supported Pogány
The Contemporary Department only has only Department Contemporary The Gábor Ö. Ö. Pogány, Gábor ósf Csáky József s Csáky s
-
Maronyák, Maronyák,
analysis analysis - Csáky Maronyák’s 1953 Maronyák’s s o ee mnin hm I i ukon h o hw h Gallery the how or why unknown is It them. mention even not es - 2003). -
is impossible in these cases. in these impossible is Maronyák József Maronyák
oáy . Gábor Ö. Pogány 277
Constitutional Court of Hungary of Court Constitutional
It is interesting that they were both painters who had not had who painters both were they that interesting is It -
painting proves painting 276 black
(Budapest: Képzőművészeti Alap Kiadóvállalata, 1975). 1975). AlapKiadóvállalata, Képzőművészeti (Budapest:
- 15, in: 1953, , and - white reproductions of these works these of reproductions white
275 ósf Csáky József ; furthermore, Pogány published a published Pogány furthermore, ;
and the Office the and - - 1980) and a cityscape by by cityscape a and 1980) Since the reproductions have have reproductions the Since Maronyák of the President of the the of President the of
for each of the the of each for (Orosháza: Petőfi Petőfi (Orosháza: , as t as , - version of version he original original he 102
CEU eTD Collection 1967. 279 in Nagy, Zoltán piece 278 Market the For curator. a as Gallery National the at worked Bényi Supka, Magdolna historian well a well as 1967 and 1966 in Acquisitions State of Committee the by purchased been had works (his painter respected a just not was Bényi background. the at house green the by figuremiddle a tree:purple (1909 Bényi László painter by entitled piece the is them of paintings several bought Gallery The
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–
ht ilsrto o te rgnl paintin original the of illustration white
Piac [László Bényi] (Budapest: Képzőművészeti Alap Kiadóvállalata, 1982). 1982). AlapKiadóvállalata, Képzőművészeti (Budapest: [LászlóBényi]
s decorate both sides, yet, isprobably part striking themost bothsides, decorate s Állami Vásárló Bizottság. Bizottság. Vásárló Állami - 2004).
or Picture Kecskeméti Piac Kecskeméti in 1968 that show peasants and rural lifestyle rural and peasants show that 1968 in 278
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36 : Market
by László by Bényi. 1989. VI/2. 1989.
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, 23010/1989./1966 ,
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CEU eTD Collection h Ntoa Gley n 98 o 600 oit. ny black a Only quality. bad withquite forints. 6,000 for 1968 in Gallery National the 281 280 Bencze László by woman peasant a of portrait the to addition In Po 8,000 forints showsa in1968, peasant front couplewhitehouse. of at their the entitled painting His 1945. in stud had (1920 Alföld of generation younger the Baranyó to belonged Baranyó Sándor was them of one Alföld: the of painters prominent In
Bencze László, Bencze Gábor rtraits 98 Gbr . oáy te ietr f h Gley pbihd bo aot five about book a published Gallery, the of director the Pogány, Ö. Gábor 1968, Ö. Ö. Pogány, ied with the post the with ied
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Picture
- imressionist master István Szőnyi, and graduated from his class his from graduated and Szőnyi, István master imressionist
[Old Woman]. The piece was originally painted in 1948 and acquired by acquired and 1948 in painted originally was piece The Woman]. [Old
Parasztpá
37 : Sándor Baranyó, Baranyó, Sándor :
[Five Hungarian Painters ofthe Painters [FiveHungarian r
[Peasant Couple], acquired by the Gallery for for Gallery the by acquired Couple], [Peasant Peasant Couple Peasant - an - d style painters: at the Academy,the he at painters: style - white photo illustration was available, available, was illustration photo white
. Alföld] (Budapest: 1968). 1968). (Budapest: Alföld]
281 , the National Gallery National the ,
- 2001). 104
280
CEU eTD Collection accessed: May 26, 2013. 2013. 26, May accessed: 1950. from Factory] Furniture 283 2002 Kiadó, 282 (1893 Bortnyik Sándor painter by paintings two purchased Gallery National the 1968, In Further Paintings period inthe fifties. impressionists. post the and Bonnard of art the by inspired mostly was 1930s, the during Paris visited had who Félegyházi, forints. 6,000 for Gallery the by acquired was which 1968, from entitled piece, Félegyházi’s (1907 Félegyházi’s László added
ks zb Adá, dr. András, Szabó Ákos See for example his photorealist painting entitled entitled painting photorealist his example for See ): ): 312. 282
He had returned to this early inspiration by the 1960s, the by inspiration early this to returned had He 283
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by László Félegyházi. László by úogái sztaha Bútorgyári novista
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Last Last - - CEU eTD Collection Exhibition catalog. catalog. Exhibition március 1969. 286 1912. in published isHow Write], You [That 285 1968. in theby Gallery wereacquired that pieces two the instance for series, this to works new several added had Bortnyik 1969, By year. following 284 devoted a larger Bortnyik’sfor show art. Paint” You How 20th of style the in them recreated and history art from works classical revisited Bortnyik paintings satiric of so XX.század Lisa between Arts Fine of Academy the of rector the 1976),
- Bortnyik Sándor kiállítása. Rendezte: N. Pénzes Éva és Pogány Ö. Gábor. Magyar Nemzeti Galéria, Galéria, Nemzeti Magyar Gábor. Ö. Pogány és Éva Pénzes N. Rendezte: kiállítása. Sándor Bortnyik referred Pogány ed first The called oseűíet klasszikusok Korszerűsített - ition of the Contemporary Classics was shown in Budapest in shown was Classics Contemporary the of ition
április. [ április.
[Mona Lisa 20th Century] and the and LisaCentury] 20th [Mona to Hungarian writer Frigyes Karinthy’s famous literary parodies, entitled „Így írtok ti” írtok „Így entitled parodies, literary famous Karinthy’s Frigyes writer Hungarian to
285
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on Bortnyik’s 1959 Bortnyik’s on , which he had painted in1963. , which he -
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- up. At the backgrou the At up. rnh ane, enr Bfe’ (1928 Buffet’s Bernard painter, French - Buffet haired woman haired - Rembrandt The Anatomy Lesson of Lesson Anatomy The nd, skyscrapers and a a and skyscrapers nd, who poses in the in poses who .
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- CEU eTD Collection 287 a naked modelinthe middle. The Gallery designs. kompozíció Figurális set created later he where House, Opera the at fro removed was Pogány 1950 However,in post the with studied and 1947 in Arts Fine of (1927 Pogány Géza by painting decorative a is Gallery’sthe from piece last Finally,the mourning her for loss. GalleryThe Bortnyik’s purchased forints.for painting 7,000 white the Amongst goose. dead
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41
: Géza Pogány, Pogány, Géza :
1968 bought Pogány’sbought forints. piece for 2,500 m the Academy; he still managed to get a job job a get to managed still he Academy; the m - - acquisitions that I would like to highlight to like would I that acquisitions 2001). Pogány had entered the Academy the entered had Pogány 2001). - impressionist master Aurél Bernáth. Bernáth. Aurél master impressionist Figurative Composition Figurative 287
i 1963 His .
- ic, entitled piece, 108
CEU eTD Collection first choose paintings for itsfor collection. paintings first choose pain 288 entitle piece abstract non surrealist Bálint’s Endre Purchases. several TwoMillion the through well bought as pictures figurative Fund Art the paintings, decorative and colorist, impressionist, t of acquisitions 1968 the from gifts as received Gallery the that paintings the at look to interesting is It magazine Gallery, National the of head the as positions parallel Pogány’s how manifest acquisitions Gallery’s the sense, this In Gallery. National the of director Pogány, the Ö. Gábor of interest the with equaled often latter Certainly,the acquisitions. in academic Gallery’s the between connections detect can we cases several in exhibitions, and collection Gallery’s the to unrelated arbitrary, rather seem choices painter well and older popular from works purchased Gallery often and unknown rather with Along picture. mixed absolutely 1968 Gallery’s the of list the Overall,
As mentioned earlier, the Gallery, as the most prominent public collection, had a privilege in selecting selecting in privilege a had collection, public prominent most the as Gallery, the earlier, mentioned As tings from the Art Fund’s fresh acquisitions: the National Gallery was one of the institutions that could could that institutions the of one was Gallery National the acquisitions: fresh Fund’s Art the from tings Art , and as ascholar ofart history were intertwined. e w Mlin Purchases. Million Two he d Picture Picture bztl Szente Ibizától
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n 98 bsds h rait post realist, the besides 1968, In
the chief editor of the the of editor chief the .
terest and and terest 109 , the s,
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Bten ad :0 n h mrig, as morning], the in 7:30 and 7 [Between , 1968. ,
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- CEU eTD Collection might assume that the other half of the Committee’s budget was assigned directly to the Museum of of Museum the to directly assigned was budget Committee’s the of clarify details. to these necessary is research Further Arts purchases. for Applied half other the that assume might 290 to opposed as state, the from got they whatever with worked thus Museums themselves. di latter the since state museums, of at building system collection of the process explain, the influenced to directly patronage sought chapter this of part first the As years. these contex the in change institutional this see to suggest I research, my of Gallery.stage Yet,current the at budget former its of half assign instead and Acquisitions exact the us explain circumstance would that documents identify to required is research Further 5.3. Conclusions
ic te omte o Sae custos or Acquisitions State of Committee the Since nt oss sfiin idpnet ugt t mng ter custos for acquisitions their manage to budgets independent sufficient possess not d o wy h Mnsr dcdd o isle h Cmite f State of Committee the dissolve to decided Ministry the why of s t of general professional dilemmas that the National Gallery faced during faced Gallery National the that dilemmas professional general of t
Picture Picture
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Ignác Kokas, Ignác iginally purchased both fine and applied artworks, we we artworks, applied and fine both purchased iginally About Water and Plants and Water About 290
iety o h National the to directly .
111
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National Gallery: without professional independence over their collection their over independence professional without Gallery: National - acquisitions suggests that personal connections, and and connections, personal that suggests acquisitions
112
CEU eTD Collection 2013] ruytenburch distric http://www.googleartproject.com/collection/rijksmuseum/artwork/officers 292 291 Fund Art the into Marching famous Rembrandt’s master, Dutch the with Playing entitled the of part As
About the Contempo About the
See the painting and information about the piece on the Google Art Project: Project: Art Google the on piece the about information and painting the See
t - ii - A művészek bevonulá művészek A of - - amsterdam known Picture Picture - otmoay Classics Contemporary as - the - rary Classics series, see Chapter 5, 5, Chapter see series, Classics rary under - 45 night :
-
Sándor Bortnyik, Bortnyik, Sándor the - watch -
command sa az Alapba az sa
s n o te ot neetn pee o Brni’ satiric Bortnyik’s of pieces interesting most the of one is - rembrandt 6. Conclusions6. - of - captain
- Artists Marching Into the Fundthe Art Into Marching Artists series harmensz
[Artists Marching into the Art Fund] in 1959. in Fund] Art the into Marching [Artists - frans 291
- Sno Brni pitd h piece the painted Bortnyik Sándor , van - banninck - rijn/326424/ ih Watch Night
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- other [Last accessed: May 30, 30, May accessed: [Last 292
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CEU eTD Collection 294 293 constructivist the scene: the at present also is Barcsay Jenő phylosophical always The discreetly Gallery, National the of director the Pogány, Ö. Gábor historian art is it them Behind hand. his in booklet red bold his with and costume theatrical outdated, his in posing Ék, Sándor painter realist socialist is Domanovszky in Arts Fine of Academy the of rector the as Bortnyik replaced had who Domanovszky, Endre painter is canvas the of middle the In acknowledgment. Company the represents background u unknown, this that assume might we air; the in up high flowers Behind time. the at flag the with artists for for primarily. money sculptors, extensive provided which buildings, constructed newly for commissions it. on request artists’ hug a with marching Mikus, Sándor sculptor figurative is back her at Art palette. a dress; yellowish a in floor the and on sitting is Fehér D. Zsuzsa critic prominent and historian brush large a with armed red, in Kádár György designer graphic the colleagues, professor his of one is him to next apron; blue his in standing post the is left description own Bortnyik’s to According painting? the of characters the yearshow artists since theconsolidation werefinancial demanding support. state Bortnyik’s A series.
See myfootnote See iswhich att description, an explanatory Bortnyikprovided lthough today’s art historians generally do not attribute high aesthetic quality to quality aesthetic high attribute not do generally historians art today’slthough Contemporary Classics Contemporary
- 127 impressionist master and professor of the Academy, Aurél Bernáth, Bernáth, Aurél Academy, the of professor and master impressionist
Sándor Sándor 294 in Chapter 4. 4. inChapter
h sg o te flag, the on sign The On the picture, it is Mikus who is promoting more more promoting is who Mikus is it picture, the On –
of course, he was one of the regularly commissioned sculptors commissioned regularly the of one was he course, of Mikus is an unnamed painter who is holding his still life with life still his holding is who painter unnamed an is Mikus
, this piece offers an acid yet quite accurate picture of of picture accurate quite yet acid an offers piece this - style painters’ struggle for money and professional and money for struggle painters’ style “2‰” refers to the state’s generous art art generous state’s the to refers “2‰” ached to the back of the piece. piece. ofthe back to ached
tnig n i eeat suit elegant his in standing nimportant figure at the the at figure nimportant 1956. On the side of of side the On 1956. fa, ih the with flag, e 293 , on the very the on ,
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About the 1959 About the Spiró women. with relationships open and life personal stormy Makrisz’s about writes Spiró György
Domanovszky,Pog - members of the Committee of State Acquisitions, see again Cha again see Acquisitions, ofState Committee members ofthe onsolidation years, primarily supported realist and post and realist supported primarily years, onsolidation é, hs atss n at itras a spee oe n h state the in role supreme had historians art and artists these zél,
á ny,
quisitions quisitions 295 296
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r patronage. art
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Thus, the characters who are demanding money in the moneyin demanding are who characters the Thus, Hincz, Mikus, Makrisz, and Aradi were all members all members and Makrisz, Aradiwere Mikus, Hincz, –
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this group of scholars and and scholars of group this In the same year, same the In pter 3. pter z, whosez, figure is
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Two Million Purchases, organized Purchases, Two Million found dless of form, style, or topic. topic. or style, form, of dless ’ turn to push changes in the in changespush ’to turn
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CEU eTD Collection Lajos Vayer as “s sixties the of end the by state socialist the state’swereat inminoritythe financed acquisitions. Still,was by great ofstyles a mixture message political direct with realism, socialist both sense, sixties; the throughout supported financially state the what of core the at were post Undoubtedly, non even sixties late art abstract but art socialist of category broadthe into fit could everything fifties, late the During form. and movement, style, method, topic, of freedom the announced supp state the 1958, June, in published Committee Central the which Education, and Culture of Policy Party’s Workers’ Socialist Hungarian the for Guidelines the to According sixties? the th did how Overall, director 1980. in position Gallery’the from retired finally he decade: further a for position his in remained Pogány interests. social and scholarly own Pogány’s supported often which policy, acquisitions The 1968. primary from obtained acquisitions Gallery these the for of responsibility director the Pogány, Ö. Gábor revealed, chapter research last my As committee. outsider any of involvement the without independently, its pursue could Gallery the on, then From 1968. “As an experiment with terminology, we might call it socialist universalism, the waythe universalism, socialist it terminology, call with might experiment we an “As orted the creation of socially committed art. Within this category, the state state category,the this Within art. committed socially of creation the orted ocialist universalism” in1969: ocialist - impressionism, realism, constructivism, and expressive decorativism decorativism expressive and constructivism, realism, impressionism, e socialist state’s patronage system of living painters evolve during evolve painters living of system patronage state’s socialist e - iuaie r cud cainly et hs udfnd criteria. undefined these meet occasionally could art figurative
–
this varie this
w aqiiin fo lvn artists living from acquisitions own ty is what appeared to art historian historian art to appeared what is ty s attached to it to attached s result was a rather arbitrary arbitrary rather a was result , and abstract art art abstract and , – 117
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e CEU eTD Collection Budapest. 1969 297 state officials. and historians, art selection asprocessbyartists, well as on, 1965 from PurchasesMillion sixties of idea the challenges “offi the of reinterpretation the supports it Instead, art.official committed, production, art their in topics and styles of latitude the and period, this during supported painters professional of array wide The during period. this non basically a for support financial adequate provided institutions, patronage financed generously its through state, socialist non and figurative for support Certainly, Vayer’s state’s between wasaboutthe uncritical the proportions optimism overt
Lajos Vayer, Introduction to the exhibition catalog: exhibition the to Introduction Vayer, Lajos . September 20 September . iuaie r non or figurative energies and talents its of country’swell: bynow, boundariesas Hungary’s allmobilize to able art has life been the outside and within understood be can it that so word nice too this define Let’sfurther state]. the [by provided is production art free of work artists’ our which in Hungarian people’s arts.”culture of[visual]
s rae truh rit’ pn umsin ytm as system, submission open artists’ through created as
- October 5, 1969, Kunsthalle. 1969, 5, October
- iuaie fn at o apid arts applied or arts fine figurative,
- - fi e t niiul r olcie mnmna o intimate or monumental collective, or individual it be gurative art, which were far from balanced. Yet, the the Yet, balanced. from far were which art, gurative - defined approach to the styles and topics of painting of topics and styles the to approach defined
[No page numbers] Műcsarnok Könyvtár és Archívum, Archívum, és Könyvtár Műcsarnok numbers] page [No
Magyar művészet, 1945 művészet, Magyar 297
- , which can move forward forward move can which , n h cs o te Two the of case the in - 1969/ L’art hongrois, 1945 hongrois, L’art 1969/ tt controlled, state cial art” of art” cial 118
the the - , CEU eTD Collection in2009. 299 Art Fund. with the correspondence Ministry’s the of part as Affairs, Cultural of Ministry the of fonds archival the in preserved 298 preserved, if even sources, written that details such into insight provide often memories respo was Koplik 1980, and 1965 Between Purchases. Million Two the of functioning the about source crucial a become has she first, ways: multiple in me helped has Koplik 2009. early since her with touch become has 1963, since Fund Art the at worked had and 1960s early the in historian art an as graduated had who Koplik, co elder an of networks the through Koplik, Judit Fund’sacq Art the in participated had who people sources, other for look to decided I Purchases, Two Million the about written documents to access no With process. dissolution the of part been have should it legally Hu the to submitted not was archive Fund’s Art The system. socialist the with along disappeared have to seems archive institution’s the result, a As successor. legal any without functioning its ceased Fund Art the 1990, Hu Fund’sof Art midst Twothe In Purchases. Million Lorándthe University,Eötvös historyofat the I research beganto 2008, late in Budapest: journalism BAof a student as state’spatronage socialist art the study Initially,to started I t BackgroundI: Appendix for
I thank here Hédi Szepes, the co the Szepes, Hédi here thank I I that documents relevant the All
-
worker of the Ministry of Ministry the of worker have identified in the National Archives in the meantime have been been have meantime the in Archives National the in identified have nsible for organizing the Two Million Purchases; her her Purchases; Million Two the organizing for nsible one of the key figures of my research; I have been in been have I research; my of figures key the of one Appendices he Interviews uisitions. This is how I first got in touch with touch in got first I how is This uisitions. gra Ntoa Archives National ngarian -
worker of the Ministry of Culture. of Ministry the of worker Culture, who contacted me with Judit Koplik Koplik Judit with me contacted who Culture,
ngary’s political transition in 1989 in ngary’s transition political
298 ee though even , 119
299 -
CEU eTD Collection through him, the official documentatio thehim, official through 1980 (between Culture of Ministry the at Department Arts Finethe of head the as known had shewhom Horváth, György historian th gave and documentation the took She Purchases. Million Two the of documentation the least at 300 interview them before Mr.awayDecember passed Berkes 2012. in purcha Fund’s Art the of functioning the about source unique a still is interview the Purchases, Purchases.Bearing that they inmind deeply involved bothhadbeen withthe Two Million sp I time, this camera; video a with 2010 25, June on meeting our recorded I beforehand, agreed been had it As recorded. I that meetings our of one to refer I Purchases, Two Million the t been has provided they information The socialism. during life art of logic the understand to and artists about learn to me for help invaluable meant discussions these yet, end; the by personal indeed b paintings acquired Fund Art the whom from artists the details in discussed we time the of Most month. a times three or two apartment, Berkes’s on them of two the met regularly I 2010, of summer Depar Arts Fine Fund’s Art the of headthe been had positions, other with along who, Berkes, József boss, former importantly, her most with connections; me further connected she build to me helped also what about learned docume official the I to happened that Koplik through was it Furthermore, for. allow not would
While the Art Fund was in the process of dissolution during the late 1980s, Judit Koplik decided to save to decided Koplik Judit 1980s, late the during dissolution of process the in was Fund Art the While ses, and I am more than grateful that I had had a chance to get to know them and them know to get to chance a had had I that grateful than more am I and ses, ecifically asked them about details of the operation of the Two Million Million Two the of operation the of details about them asked ecifically - 1988). Since 1988, Horvath had been the deputy director of the National Gallery Gallery National the of director deputy the been had Horvath 1988, Since 1988). he basis for further research. In the chapter about the functioning of of functioning the about chapter the In research. further for basis he mn drn te ite. ewe te pig f 09 n the and 2009 of spring the Between sixties. the during tment
etween 1965 and 1980. Undoubtedly, our meetings became became meetings our Undoubtedly, 1980. and 1965 etween
n reached the National Gallery’s Archives. Gallery’s the National nreached ntation of the Two Million Purchases. Million Two the of ntation
300
Finally,Koplik em to art to em 120
–
CEU eTD Collection 301 complicated further were interviews these of dynamics The spouses. the between debate d these couples, of cases In nostalgia. absolute with Purchases Two Million the remembered others while position, past own their about remarks ironic utterlymade some points: certain Fund’satdiffered Art purchases the and narrat Yet,their on. 1965 from Fund Art the by supported greatly been had all 1951, in born was who Rényi Katalin of exception the with painters, These Rényi. Katalin and Baska József Bazsonyi; Arany and Vecsési Sándor Kántor; 2010 of summer the during painters following the with interviews make to IWithnetworks.managed their help, their from artists with me contacting in help supreme offered Koplik and Berkes Furthermore, Picture 46: The Fine the of Department Fund, Arts Art
See exact dates and places under Appendix II section. Appendix II under places and exact dates See
301
: József Breznay and Mária and Breznay József : Judit Ko Judit plik (third fromplik(third right).
ifferent views sometimes even triggered triggered even sometimes views ifferent 1970s . József Berkes (second from right) and and from Berkes József (second . right)
ives about their socialist past socialist their about ives Gánóczy; József Bartl; Lajos Bartl; József Gánóczy;
121
CEU eTD Collection Imemories withme, andwhich reflections recordedonaudio recorder. actively and meetings these grateful Iam discussions. the participatedin all for me joined who Koplik, Judit of presence the by for all my interviewees that they shared their their shared they that myinterviewees all for
122
CEU eTD Collection cdm o Fn At bten 94 n 13; rm 98 h bcm te post the became he 1938, from 1939; and 1934 between Arts Fine of Academy J Painter Br in Gánóczy’s 3,2010). (June apartment Budapest, Koplik. Judit and Gánóczy, Mária Breznay, József Tape the after Academy transition. He retired in1995. the of rector first the became Sváby 1990, In 1975. in Academy Affairs. painting atthe ofacquisitions Ministry pursued Cultural toteach began by the He mid the from Additionally, Purchases. Million Two the through work his purchased regularly Fund Art the 1980 and 1965 Between graduate. young a as years three for living his for provided which style expressive in paints Sváby’s Kokoschka, Oscar artist Austrian by inspired Primarily Kmetty. János and Pór Bertalan of guidance the under 1960, and 1954 between Hungary, Budapest, Arts, Fine 1935 in Born Lajos Sváby. Appendix - recorded. butthe transcript tape original has remainsavailable.The deteriorated, ózsef Breznay ózsef II:
Budapest, studio his n Abáds in InterviewsIntervieweesand (by date):
aó, ugr, atr ao Sáy tde a te cdm of Academy the at studied Sváby Lajos panter Hungary, zalók, was born in 1916 in Budapest, in 1916 in born was H rcie te rsiiu Drois coasi i 1963, in scholarship Derkovits prestigious the received He . -
19 0 hs ae fe apas n h ana lss of lists annual the on appears often name his 60s - apartment
(April, 2009). (April, Hungary. Breznay studied at the the at studied Breznay Hungary.
za and eznay 123
- CEU eTD Collection islto o te nttto; fe 18, h wre i te mrig market emerging the system her r until in worked she 1989, after institution; the of dissolution the until Fund Art the at stayed She 1980. and 1965 between Purchases Million Two the at worked had she 1963 From 1960s. early the in graduated and Budapest, University, Loránd Eötvös Hungary.at Újpest,history artin studied 1939 She in born was Koplik Judit historian Art She mostlygrotesque, weird depicts situations. paintings her of two or Purchasesone regularlyacquired Million children. have Although didnot muchtime she topaint,as the recalls, thejuryTwo of seven to birth gave and 1954, in Breznay married She Bortnyik. Sándor and Bernáth, theand 1950,under post Fine betweenAcademy 1945 Arts of Painter purchased the bothby FundArt and theMinistry. wo art the of figure public important an as emerged he career, painter his with Along topics. biblical historical, painted often He symbolic. and surrealist, decorative, more became work his and times, several Europe depictions. impressionist into changed gradually then which paintings, naturalist realist, made mostly he 1930s, the during first, life; his throughout shifts significant through went Breznay’s2011. style in Breznay’s death until in Gánóczy Mária painter married he wives, two losing After 1946. in opened Szőnyi’sIstván exhibition first master NagybányaHis assistant. teaching Mária Gánóczy Mária etirement. isthewidow of She well Art Fund; as part of her duties, she was responsible for organizing the the organizing for responsible was she duties, her of part as Fund; Art
was born in 1927 in Budapest, Hungary. Gánóczy studied at the at studied GánóczyHungary. Budapest, in 1927 in born was l fo te 90. i wr ws regularly was work His 1950s. the from rld
From the 1950s, he traveled to Westernto traveled he 1950s, the From - known painter Ervin Tamás. - impressionist master impressionist 1954; they lived together together lived they 1954;
between 1 between 965 and 1972.and 965 124
-
based based Aurél
CEU eTD Collection cdm bten 99 n 15, ih atr sc a Ede oaosk, A Domanovszky, Endre as the such masters at with studied 1954, and He 1949 Hungary. between Vajdácska, Academy in 1922 in born was Kántor Lajos Painter 2010 studio Kántor’s in Budapest, Koplik. Judit and Kántor Lajos Audio see Koplik: Judit above. are paintings his decorative lifes. still of Many Purchases. Million Two the through supported primarily washe on, 1965 From Hall. Picture of Companythe through paintings sellingfrom living graduati his after years first the in Additionally, 1966. and 1964 between scholarship Derkovits the received Bartl masters. influential his as Papp Gyula and Fónyi Géza Bernáth, Aurél names He 1959. in graduated and 1952 in Arts Fine of Soroksár,Hungary.in enrol 1932 became He in born was Bartl József József Audio ). - -
recording and available. transcript record Bartl and Judit Bartl’s Koplik.Budapest,Bartl in and apartment ing available.ing
on, he mostly made his his made mostly he on, ( - June 10, 2010 10, June apartment led at the Academy Academy the at led ( June 17, June ). 125
urél urél
CEU eTD Collection Purchases. His work was purchased both by the Art Fund and the Ministry from the late late the from Ministry the and Fund Art the by both purchased was work His Purchases. F life. public in participant active and Derkovits artist the known well a with become had he awarded sixties the By was 1961. and 1959 He between scholarship inspiration. chief his as Csók István painter Fóny Géza with studies He 1954. in graduated and Kántor, Lajos as year same the in 1949, in Arts Fine of Academy the in Painter in Budapest, Bazsonyi’s Koplik. Judit and Bazsonyi, Arany Vecsési, Sándor Audio see Koplik: Judit above. geometric, abstract forms. its for known been has work his seventies, the Since pieces. decorative painted mainly portr realist with Along sixties. the during work his purchased regularly Ministry the and Fund Art the Both life. art of members known well became all they time, years few a in failed group the Although style. progressive modern, a into realism socialist called group a in paintings Kántor his 1964 exhibited and 1958 Between Hall. Picture of Companz the through sell could he that paintings the from living his made he years, early the In Hincz. Gyula and Bernáth, - recording and available. transcript Sándor Vecsési Sándor apartment (
was born in 1930 in Nyergesújfalu, Hungary. He became enrolled enrolled became He Hungary. Nyergesújfalu, in 1930 in born was
June 24,2010 June
i and Aurél Bernáth, however, he names Alföld names he however, Bernáth, Aurél and i rom 1965 on, he regularly juried at the Two Million Million Two the at juried regularly he on, 1965 rom ).
Hatak
Te i] wo ihd o transform to wished who Six], [The Vecsési and and Vecsési 126 aits, he aits, - style
CEU eTD Collection Million Purchases. He had close relationship with both the leader the both with relationship close had He Two Purchases. Million the organized which Department, Arts Fine Fund’s Art the of had head he sixties the the become by 1950s; the since Fund Art the at worked had He world. art the througho himself trained he history, art in education university 193 in born was Berkes József József BerkesJudit B Koplik. and Audio see Koplik: Judit above. her works Arany from Bazsonyi the sixties. away passed acquired inOctober regularly also Ministry the Fund, Art the with Along Purchases. Millio educational insufficient her a was despite She background. known became work her sixties, the By 1954. in Vecsési Sándor painter married She villages. rural in teacher art an became Bazsonyi Aft background. family kulak her to due graduate, not could she however, 1948, in Arts Fine of Academy the in enrolled became She Hungary. Gyulaj, in 1928 in born was Bazsonyi Arany Painter of peasants. marrie He portraits and life village of paintings genre naturalist realist, painted mainly He on. fifties - recording an d transcript available.d transcript d and lived withpainterd and AranyBazsonyi 2011. in her death until er Sándor Bortnyik, the rector of the Academy fired her in 1951, 1951, in her fired Academy the of rector the Bortnyik, Sándor er
member of the Art Fund and could submit works for the Two the for works submit could and Fund Art the of member 0 in 0 udapest, Berkes’s in ( apartment Kisterenye, Hungary. Although Berkes did not have have not did Berkes Although Hungary. Kisterenye,
ut the decades he spent in in spent he decades the ut 2011. ship of the Art Fund, Fund, Art the of ship June 25,2010 June 127 ).
CEU eTD Collection and graphic design at the Academy of Applied Arts, where she graduated i graduated she where Arts, Applied of Academy the at design graphic and painting studied had She Hungary. Budapest, in 1951 in born was Rényi Katalin Artist in Szentendre, Hungary. married been has He sixties. the from Fund Art the by purchased regularly was work His example. participated he held life the lateseveralAssociation inart from sixties, for at the positions Academy. the at teaching real years initial his Following 45 spent he Altogether teacher. as then assistant, 196 in Arts Applied of Academy the Painter apartment József Video See Koplik: above.Judit Berkesaway passed 2012. inDecember time his of much devoted he art; about passionate remained He retirement. his until Szentendre, Museum, Ferenczy the at worked and seventies, artists. and Szilárd, György director the with specifically and - recording available. ak, aai éy, n Jdt olk Bdps, n éy’ ad Baska’s and Rényi’s in Budapest, Koplik. Judit and Rényi, Katalin Baska, József Baska József
( July 1,2010 July
with artist Katalin Rényi. For decades now he had been primarily working primarily been had he now decades For Rényi. Katalin artist with
was
ist period he turned towards geometric abstraction. He actively He abstraction. geometric towards turned he period ist ) .
born in 1935 in 1935 in born 0, and stayed there, first as Gyula Hincz’s teaching Hincz’s Gyula as first there, stayed and 0,
Dernő (Drnava), Slovakia. He graduated from from graduated He Slovakia. (Drnava), Dernő to visiting exhibitions. exhibitions. visiting to He left the Art Fund in the the in Fund Art the left He n 1975. She 1975. n 128 József
CEU eTD Collection Audio see Koplik: Judit above. painter. She Baska has with married painter been for József thanthree decades. more and designer graphic as both active is She 1985. since Academy the at teaching been has - recording available.
129
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