Art Nouveau in Hungary

Fülszöveg

The discovery of West-European Art Nouveau and its renaissance took place in the 1960's and 70's. But while English, Scottish, French and Belgian Art Nouveau, Viennese Secession and Germán Jugendstil developed a significant literature, the essential discovery and evaluation of Hungárián Art Nouveau was still to come. Already by the turn of the century it had become obvious that certain streets in Budapest showed the strong influence of Art Nouveau, but it was alsó clear this did not constitute a generál trend, as it did in Brussels or Vienna or, indeed, Glasgow. And so the question arose: did Hungárián Art Nouveau exist at all? The wide rangé of work discussed in Judit Szabadi's richly illustrated book supplies the answer to this question. This new expanded edition of the work, which was originally published in 1979, has deepened the theoretical foundations and extended the evaluation of specific subjects by seeking further international analogies. The author adapts herself to the... Tovább

Fülszöveg

The discovery of West-European Art Nouveau and its renaissance took place in the 1960's and 70's. But while English, Scottish, French and Belgian Art Nouveau, Viennese Secession and Germán Jugendstil developed a significant literature, the essential discovery and evaluation of Hungárián Art Nouveau was still to come. Already by the turn of the century it had become obvious that certain streets in Budapest showed the strong influence of Art Nouveau, but it was alsó clear this did not constitute a generál trend, as it did in Brussels or Vienna or, indeed, Glasgow. And so the question arose: did Hungárián Art Nouveau exist at all? The wide rangé of work discussed in Judit Szabadi's richly illustrated book supplies the answer to this question. This new expanded edition of the work, which was originally published in 1979, has deepened the theoretical foundations and extended the evaluation of specific subjects by seeking further international analogies. The author adapts herself to the extreme and heterogeneous nature of Hungárián Art Nouveau painting in devoting a special chapter to those who may be called transitionalists (those to whom Art Nouveau was of temporary interest), and another to those whose commitment to Art Nouveau was altogether deeper and more lasting. Among the latter we find both communities and somé outstanding individual artists. Members of the Gödöllő Colony, based their ideas on the teachings of Ruskin and Morris, and attempted a blend of painting and applied arts with the newly rediscovered folk art. Special sections of the book are devoted to József Rippl-Rónai, Tivadar Csontváry and Lajos Gulácsy. Rippl-Rónai was member of the Nabi movement during his fifteen years' residence in Paris, and was a friend of Gauguin and Maillol. Although he was inspired by the decorativity of the Pont Aven School and the lyrical painting of Whistler, his exotic figures of women, garden scenes and interiors show him to be a master of great originality. Vissza