International studio — 15.1901/​1902(1902)

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If Hungarian art and Hungarian artists are
not generally known and appreciated, as from
their inherent qualities, they deserve to be, it may
be attributed to two causes. The first of these is
the extreme newness of Hungarian art. It is true
that as far back as the
eighteenth century there
were two fine painters of
Hungarian nationality —

Johann Kupeczky (1667 —

1740) and Adam Manyoky
(1673 —1757) — but both
employed their talents
abroad. Kupeczky died
in Niirnberg, after living
for twenty-two years in
Rome; while Manyoky
was Court painter to Augus-
tus II. of Poland, and
subsequently to Augustus
III., King of Saxony, and
breathed his last in Dres-
den. Both were primarily
portrait painters, and were
largely influenced by Rem-
brandt and Van Dyck.

At the beginning of the
nineteenth century there
were practically no artists
in Hungary, the only one
of note being Miklos
Barabas, who died at a
great age a few years since
in Budapest. As for the
remaining two, they lived
and laboured abroad. One
of these was Karoly Marko,
a delicate landscapist of the
Claude type, whose home
was in Florence, where he
became a professor and
an honorary member of

XV. No. 57.—November, 1901.

the Academy. He died in the year i860. The
other was Karl Brocky, who went to England at
an early age as Court painter to Queen Victoria,
and died in London in 1855.

There were then few art schools and art associa-
tions in Hungary. In 1836 the picture gallery
of what is now the National Museum was started
by Ladislaus Pyrker, then Archbishop of Eger
(Hungary), who presented to the State his little
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