DOI Heft:
No. 162 (September, 1906)
DOI Artikel:Melani, Alfredo: Hungarian art at the Milan exhibition
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20715#0322
Hungarian Art at the Milan Exhibition
the Italian section, which was the subject of an
article in the July number of The Studio.]
One observes with satisfaction that the decorative
artists exhibiting at Milan have resolutely aban-
doned the old style in favour of the new and the
personal—a remarkable thing in Italy, that rock
of classicism and tradition where decorative art
finds the greatest obstacles placed in the way of
its attaining to modern methods and results. It is
not in the pavilion of Italian decorative art, how-
ever, that one can discover the most significant
expression of the present artistic evolution. To
discover signs of conscious enthusiasm we must
turn our gaze beyond the Peninsula. The visitor
will be profoundly interested in the work of two, or
perhaps three, foreign States—Hungary, Belgium,
and Holland, and of these, the country to arouse
the greatest interest is Hungary. For, while the
Belgian decorators at Milan make a strong im-
pression, the Hungarians
rise to their full height, and
display the genius of their
race in an exhibition which
expresses not only the
artistic force of that nation,
but affirms its splendid
ambitions; and this affirma-
tion is sympathetic and
modern in the highest de-
gree, relying on beauty in
all its branches, from
statuary to furniture, from
jewellery to draperies and
pottery.
It is to be regretted that
England—holding as she
does the foremost place in
the artistic and industrial
revival—should be but in-
adequately represented.
She has taken no interest
in the Milan International
Exhibition; accordingly her
co operation is altogether
unworthy of her capabilities.
Apart from a magnificent
series of etchings, some
bearing the signature of
Mr. Frank Brangwyn, a
remarkable case of Ruskin
pottery, some decorative
paintings by Mr. Walter
Crane and Mr. Anning
Bell, England displays very little capable of ena-
bling one to realise the inspiration and the beauty
of her artistic creations.
As much, but in a different sense, may be said
of France, which, alas ! displays furniture, etoftes,
ivories, bronzes, carpets, pottery and glass, with an
object commercial rather than artistic. Even scents
and ladies’ dresses in great numbers are exhibited
here, so that we have more of fashion than of art.
A failure, from the aesthetic point of view, is the
display given by Japan, which is fated henceforth
to listen to the voice of the commercial persons by
whom it has been controlled, so that now we are
in danger of forgetting the harmonious delight of
its serene and imperishable art. We must protest
with all emphasis against this method of presenting
Japanese art in our exhibitions. Much the same
thing was to be seen at Turin.
Hungary, on the other hand, has formally asserted
herself at Milan, and the display is one of lofty
VESTIBULE TO GRAND COURT, HUNGARIAN DESIGNED BY
SECTION, MILAN EXHIBITION GEZA MAr6tHI
3°I
the Italian section, which was the subject of an
article in the July number of The Studio.]
One observes with satisfaction that the decorative
artists exhibiting at Milan have resolutely aban-
doned the old style in favour of the new and the
personal—a remarkable thing in Italy, that rock
of classicism and tradition where decorative art
finds the greatest obstacles placed in the way of
its attaining to modern methods and results. It is
not in the pavilion of Italian decorative art, how-
ever, that one can discover the most significant
expression of the present artistic evolution. To
discover signs of conscious enthusiasm we must
turn our gaze beyond the Peninsula. The visitor
will be profoundly interested in the work of two, or
perhaps three, foreign States—Hungary, Belgium,
and Holland, and of these, the country to arouse
the greatest interest is Hungary. For, while the
Belgian decorators at Milan make a strong im-
pression, the Hungarians
rise to their full height, and
display the genius of their
race in an exhibition which
expresses not only the
artistic force of that nation,
but affirms its splendid
ambitions; and this affirma-
tion is sympathetic and
modern in the highest de-
gree, relying on beauty in
all its branches, from
statuary to furniture, from
jewellery to draperies and
pottery.
It is to be regretted that
England—holding as she
does the foremost place in
the artistic and industrial
revival—should be but in-
adequately represented.
She has taken no interest
in the Milan International
Exhibition; accordingly her
co operation is altogether
unworthy of her capabilities.
Apart from a magnificent
series of etchings, some
bearing the signature of
Mr. Frank Brangwyn, a
remarkable case of Ruskin
pottery, some decorative
paintings by Mr. Walter
Crane and Mr. Anning
Bell, England displays very little capable of ena-
bling one to realise the inspiration and the beauty
of her artistic creations.
As much, but in a different sense, may be said
of France, which, alas ! displays furniture, etoftes,
ivories, bronzes, carpets, pottery and glass, with an
object commercial rather than artistic. Even scents
and ladies’ dresses in great numbers are exhibited
here, so that we have more of fashion than of art.
A failure, from the aesthetic point of view, is the
display given by Japan, which is fated henceforth
to listen to the voice of the commercial persons by
whom it has been controlled, so that now we are
in danger of forgetting the harmonious delight of
its serene and imperishable art. We must protest
with all emphasis against this method of presenting
Japanese art in our exhibitions. Much the same
thing was to be seen at Turin.
Hungary, on the other hand, has formally asserted
herself at Milan, and the display is one of lofty
VESTIBULE TO GRAND COURT, HUNGARIAN DESIGNED BY
SECTION, MILAN EXHIBITION GEZA MAr6tHI
3°I