DOI issue:
Nr. 1
DOI article:Abelovský, Ján: K dialektike vývinu modernej slovenskej malʹby: (vztʹah regionalizmu a historizmu v slovenskom lʹudovažánrovom maliarstve)
DOI Page / Citation link: https://doi.org/10.11588/diglit.51719#0029
23
MnpoM. M onen b HeJioBeKa h MHpa, ccnaainiaii MapTHnow
SeHKOH, yxe c uanana CBoero botiihkhobchhii craHOBHTca,
c tohkh apeiiMii pasBHTH», HeaKTyaJlbHoii. Teiifleiriinoanoe
BocxBaneHne HauHOHanbHoiî Tpa/imimi coflepxa.no b ce6e
cjihiiikom MHoro ojicmchtob peiapnauMOHHoro xapaicrepa
K noHTOMy ne Morne cnocoßcTBOBaTb nanbiieiimcMy nporpec-
CHBHOMy pan b ht Mio cnoBaiiKoä xhbohmcu.
ripnMenaTeJibHo, hto nonoÖHbie mach nposBJiaioTCH h b npo-
HSBeneHMiix Hxtpnxa Bafínepa-Kpajiíi, KOTopbiü mcxohhji H3
cK>ppeajin3Ma, ho TOTHac xe ocboôohhjich ot ero optohokchh
so mm» mmcto cneKynjiTHBHoro HaMepenna itoKaTarb TOTanbHoe
cymecTBOBaHHe cnoBauKoii 3THnaecKoii oôluhocth. H Taie,
Kaxflbiň MOMeHT ayxoBHoro ôbithm nenoBeKa KOiK|)poinyeTcn
c couHajibHbiM KOHTeKCTOM ero cyuiecTBOBaHHii. CTpeMjieHne
K CMHTesy H3o6paxeHHB BHyTpeHHeü xm3hh HcnoBexa h oô bck-
thbhoh fleficTBHTejibHocTH aKTyajibHOM oôuiecTBeHHOH nea-
TejibHocTH coBepineHHO nornaecKH BJiMBaeTca b ocoGbih bh;j
HaHBHoro no3TH3Ma, b kotopom anHHHOCTb nonnpacT ncnxo.no-
rHnecKHii aBT0MaTH3M, a nwTepaTypHbiň chmbojim3m 3aM.eHneT
HH K HeMy He o6s3biBaiomyio nrpy no_nco3HaTe.ilbhoh xh3hh
cyGbeKTa.
KpHBaH pa3BHTHH CJlOBaUKOÍÍ XHBOTIHCH H0B0T0 BpeMCHH
HeycTanHo B03BpamaeTca k STHiwecKOM npoôneMarHKC, nycTb
Kax yroflHO npo(|>aiinpoBaHHoii. /loitasaTejtbCTBOM 3Toro cny-
»ar h nepBbie npon3BefleHMa thk Ha3biBaeMoro „IIoKOJieHMa
1909“, BCTynatomero b Miip ncKyccTBa b ko h ne 30-bix roflOB.
Hx My iaiiHii TeMbi ïiBjiaerca b cuoeü cviiihocth HeraTMBHoiî.
OcoôeHHo b npoH3BeAeHHnx UnnpnsiHa MawepHHKa h Bna
>Ke.un6cKoro TeMa, Bbixo/iamasi 3a ripe/ieiibi ôopbobi 3a cytne-
CTBOBaHHB, CTaHOBHTCa 3K3HCT6HHManbH0H napOflMeft. HeJIOBCK
spěch AeTepMHHHpoBan oTopsaHHocTbio m3 CBOHCTBeHHoii cmv
Korna-To cpenbi. O/niOBpeMeinio npoH3BefleHna sthx xynoxnn-
kob BOnnomaioT CTpeMneHHa K coa/iai-imo xanpoBoro conep-
xanna KapTHHbi b couHa/ibHO-KpMTHHecKOM flyxe.
Cneim<|)niiecKoe nonoxenne H.naneKTHKH otiioiiichmsi hcto-
pnTMa h pernoHH3Ma b cJiOBauKOfi HapoAHO-xanpoBOit xhbo-
iimch b nepHOH Mexny AByMa mhpobbimh BoflHaMM Beno, cjieno-
BaTenbHo, k nporpaMHOMy npoeKTnpoBaHHio oôpasa cnoBanKon
BTHHHeCKOH oßlHHOCTH. TpaflHUMH H cj)HHOCO<|>CKMe KOpHH 3TOM
KOHuenpHH 6buiH h ho nacToamero spexteHM ocTaiOTca He-
OÔblKHOBeHHO CH.ilbHblMH M XHSHecnOCOÔHblMM. Ho, OflHO-
BpeMeHHO, aBHaeTca HecOMHeHHbiM, hto pemaiouiyio ponb
b npouecce tjiopMHpoBaHMa coBpeMeHHoň cnoBapKOň xHBonncn
nrpajin tch/ichi-Ihm, KOTopbie b naiane 30-mx toaob naxofluan
Apyrne nyTn flna floxasaTenbCTBa cymecTBOBanMa napo/ia, 3th
cTpeivtneHMJi Benn b koh6hhom htotc, k no;ianJieiiMio ceiiTHMeii-
TanbHOň TpaHcueHfleHiiHM napoflHOH mbicuh b nonb3y ee bhtm-
Te3Hca — MbimjieHna napona. Ho stot npouecc npoH3Oinen yxe
MHMO rpaHHH TpaAHHHOHHOrO BHfla HapOHHOÜ XHBOnHCH.
On Dialectics of the Delevopment of Modern Slovák Painting
The principles of transposing modern world and man into
the domain of fine arts in Slovák painting were formulated
S1multaneously in the works of artists of varions générations,
Creative views, schools and thematic interests at the turn of the
twenties and thirties of this Century. The unidirectional mode
°f assigning trends in the views on fine arts, applied thus far to
mterwar Slovák painting, does not allow for revealing the ideatio-
nal essence of the origin of modern Slovák fine arts against a back-
ground of an expressive heroization and monumentalization of
the folk-genre topic. As a matter of fact, ail existing attempts for
art historical analysis of Slovák painting of the twenties and
thirties resulted from a premise that the principles of the Creative
expression of the so-called Founding Generation derived from
an exalted atmosphère of national consciousness prevailing during
the first decade of the new Republic. As against this, the present
study in tends to show that the retarda tive influence of 19-th
Century romantic aesthetics preserved its décisive efficiency also
after the conditions that gave it birth had ceased to exist, parti-
cularly in painting motivated by the national genre. And it is
Precisely the mutual interaction of the phenomena of historicism
and regionalism that played a décisive role here. The Slovák
nation has only one real historical tradition, viz. that of the Great
Moravia. Hence, an absence of their own historical past forced
the représentatives of a romantically-oriented intelligentsia of
mid-19th Century to search arguments for their own political, but
also cultural programme in the life of the plebeian society that
had preserved its national consciousness in an unaltered form.
Therein lie the nuclei of the romantic myth about the patriarchal
continuity of lile of Slovák country folk. On the other hand, the
rigorous revolutionary puritanism of the aesthetics of Ludovit
Štúr and of his companions led to an explicitly utilitarian and
tendentious formulation of the functionality of artistic création.
Man’s disinheritance complex from history remelted into a
boundless faith in the ontological abilities of art. Hence, not even
the foremost painters of the romantic era represent the individual
as a type in a real world, but rather as an idealized phenomenon
representing the “desired” traits of the national association.
A tendencious formulation of the form of folk-genre préserves
then a considérable influence also in its modern history. It may
be seen in its most conspicuous form in numerous painters of the
interwar period (Hála, Kern, Ondreička, Ladvenica, Polkoráb,
Straka, Žabota and several others), whose premise resides in
a glorification of the folkloristic tradition. Howcver, the nonexis-
tence of objective “content-supports” under the conditions —
substantially altered by capitalism — that prevailed then in the
Slovák countryside, led these neoromantics to a gradually disillu-
sioned négation of reality. Their later works involve still lesser
realistic image of the country life; they strive to find an image of
MnpoM. M onen b HeJioBeKa h MHpa, ccnaainiaii MapTHnow
SeHKOH, yxe c uanana CBoero botiihkhobchhii craHOBHTca,
c tohkh apeiiMii pasBHTH», HeaKTyaJlbHoii. Teiifleiriinoanoe
BocxBaneHne HauHOHanbHoiî Tpa/imimi coflepxa.no b ce6e
cjihiiikom MHoro ojicmchtob peiapnauMOHHoro xapaicrepa
K noHTOMy ne Morne cnocoßcTBOBaTb nanbiieiimcMy nporpec-
CHBHOMy pan b ht Mio cnoBaiiKoä xhbohmcu.
ripnMenaTeJibHo, hto nonoÖHbie mach nposBJiaioTCH h b npo-
HSBeneHMiix Hxtpnxa Bafínepa-Kpajiíi, KOTopbiü mcxohhji H3
cK>ppeajin3Ma, ho TOTHac xe ocboôohhjich ot ero optohokchh
so mm» mmcto cneKynjiTHBHoro HaMepenna itoKaTarb TOTanbHoe
cymecTBOBaHHe cnoBauKoii 3THnaecKoii oôluhocth. H Taie,
Kaxflbiň MOMeHT ayxoBHoro ôbithm nenoBeKa KOiK|)poinyeTcn
c couHajibHbiM KOHTeKCTOM ero cyuiecTBOBaHHii. CTpeMjieHne
K CMHTesy H3o6paxeHHB BHyTpeHHeü xm3hh HcnoBexa h oô bck-
thbhoh fleficTBHTejibHocTH aKTyajibHOM oôuiecTBeHHOH nea-
TejibHocTH coBepineHHO nornaecKH BJiMBaeTca b ocoGbih bh;j
HaHBHoro no3TH3Ma, b kotopom anHHHOCTb nonnpacT ncnxo.no-
rHnecKHii aBT0MaTH3M, a nwTepaTypHbiň chmbojim3m 3aM.eHneT
HH K HeMy He o6s3biBaiomyio nrpy no_nco3HaTe.ilbhoh xh3hh
cyGbeKTa.
KpHBaH pa3BHTHH CJlOBaUKOÍÍ XHBOTIHCH H0B0T0 BpeMCHH
HeycTanHo B03BpamaeTca k STHiwecKOM npoôneMarHKC, nycTb
Kax yroflHO npo(|>aiinpoBaHHoii. /loitasaTejtbCTBOM 3Toro cny-
»ar h nepBbie npon3BefleHMa thk Ha3biBaeMoro „IIoKOJieHMa
1909“, BCTynatomero b Miip ncKyccTBa b ko h ne 30-bix roflOB.
Hx My iaiiHii TeMbi ïiBjiaerca b cuoeü cviiihocth HeraTMBHoiî.
OcoôeHHo b npoH3BeAeHHnx UnnpnsiHa MawepHHKa h Bna
>Ke.un6cKoro TeMa, Bbixo/iamasi 3a ripe/ieiibi ôopbobi 3a cytne-
CTBOBaHHB, CTaHOBHTCa 3K3HCT6HHManbH0H napOflMeft. HeJIOBCK
spěch AeTepMHHHpoBan oTopsaHHocTbio m3 CBOHCTBeHHoii cmv
Korna-To cpenbi. O/niOBpeMeinio npoH3BefleHna sthx xynoxnn-
kob BOnnomaioT CTpeMneHHa K coa/iai-imo xanpoBoro conep-
xanna KapTHHbi b couHa/ibHO-KpMTHHecKOM flyxe.
Cneim<|)niiecKoe nonoxenne H.naneKTHKH otiioiiichmsi hcto-
pnTMa h pernoHH3Ma b cJiOBauKOfi HapoAHO-xanpoBOit xhbo-
iimch b nepHOH Mexny AByMa mhpobbimh BoflHaMM Beno, cjieno-
BaTenbHo, k nporpaMHOMy npoeKTnpoBaHHio oôpasa cnoBanKon
BTHHHeCKOH oßlHHOCTH. TpaflHUMH H cj)HHOCO<|>CKMe KOpHH 3TOM
KOHuenpHH 6buiH h ho nacToamero spexteHM ocTaiOTca He-
OÔblKHOBeHHO CH.ilbHblMH M XHSHecnOCOÔHblMM. Ho, OflHO-
BpeMeHHO, aBHaeTca HecOMHeHHbiM, hto pemaiouiyio ponb
b npouecce tjiopMHpoBaHMa coBpeMeHHoň cnoBapKOň xHBonncn
nrpajin tch/ichi-Ihm, KOTopbie b naiane 30-mx toaob naxofluan
Apyrne nyTn flna floxasaTenbCTBa cymecTBOBanMa napo/ia, 3th
cTpeivtneHMJi Benn b koh6hhom htotc, k no;ianJieiiMio ceiiTHMeii-
TanbHOň TpaHcueHfleHiiHM napoflHOH mbicuh b nonb3y ee bhtm-
Te3Hca — MbimjieHna napona. Ho stot npouecc npoH3Oinen yxe
MHMO rpaHHH TpaAHHHOHHOrO BHfla HapOHHOÜ XHBOnHCH.
On Dialectics of the Delevopment of Modern Slovák Painting
The principles of transposing modern world and man into
the domain of fine arts in Slovák painting were formulated
S1multaneously in the works of artists of varions générations,
Creative views, schools and thematic interests at the turn of the
twenties and thirties of this Century. The unidirectional mode
°f assigning trends in the views on fine arts, applied thus far to
mterwar Slovák painting, does not allow for revealing the ideatio-
nal essence of the origin of modern Slovák fine arts against a back-
ground of an expressive heroization and monumentalization of
the folk-genre topic. As a matter of fact, ail existing attempts for
art historical analysis of Slovák painting of the twenties and
thirties resulted from a premise that the principles of the Creative
expression of the so-called Founding Generation derived from
an exalted atmosphère of national consciousness prevailing during
the first decade of the new Republic. As against this, the present
study in tends to show that the retarda tive influence of 19-th
Century romantic aesthetics preserved its décisive efficiency also
after the conditions that gave it birth had ceased to exist, parti-
cularly in painting motivated by the national genre. And it is
Precisely the mutual interaction of the phenomena of historicism
and regionalism that played a décisive role here. The Slovák
nation has only one real historical tradition, viz. that of the Great
Moravia. Hence, an absence of their own historical past forced
the représentatives of a romantically-oriented intelligentsia of
mid-19th Century to search arguments for their own political, but
also cultural programme in the life of the plebeian society that
had preserved its national consciousness in an unaltered form.
Therein lie the nuclei of the romantic myth about the patriarchal
continuity of lile of Slovák country folk. On the other hand, the
rigorous revolutionary puritanism of the aesthetics of Ludovit
Štúr and of his companions led to an explicitly utilitarian and
tendentious formulation of the functionality of artistic création.
Man’s disinheritance complex from history remelted into a
boundless faith in the ontological abilities of art. Hence, not even
the foremost painters of the romantic era represent the individual
as a type in a real world, but rather as an idealized phenomenon
representing the “desired” traits of the national association.
A tendencious formulation of the form of folk-genre préserves
then a considérable influence also in its modern history. It may
be seen in its most conspicuous form in numerous painters of the
interwar period (Hála, Kern, Ondreička, Ladvenica, Polkoráb,
Straka, Žabota and several others), whose premise resides in
a glorification of the folkloristic tradition. Howcver, the nonexis-
tence of objective “content-supports” under the conditions —
substantially altered by capitalism — that prevailed then in the
Slovák countryside, led these neoromantics to a gradually disillu-
sioned négation of reality. Their later works involve still lesser
realistic image of the country life; they strive to find an image of