Studio: international art (38.1906)

Hungarian Art at the Milan Exhibition

JARDINIERE

DESIGNED BY GEZA MAR6THI

abroad—Munckasy and Paal to Paris,
Wagner to Munich, Bohn to London,
and Tilgner to Vienna. Those who
remained at home, half understood or
not understood at all by a public which
could not interest itself in art at a time
when social problems were to the fore
either remained unheeded or went in for
industrial art, which was a very different
thing from the young, fresh industrial art
of to-day.

To find the starting point of modern
Hungarian art we have only to go back
to 1890. I refer, of course, to that art
which has definite confidence in its
destiny, which claims the right to aim
at a great future, and has the pride and
the strength befitting its mission. More-
over, the Magyar race already boasted
its artistic merits and traditions; and
around Horovitz, head of a national
school of painting, whose source of in-
spiration is the “ Hungarian Fatherland,”
there'arose a number of young decorative
artists who, by delving deep into the
history of the people and into the rich
treasure of its soul, gave to the world
the fruits of their genius.

This Hungarian spirit, as is well known,
vibrates with_special force in landscape
work; many Hungarian master land-

expression -— aesthetically,
politically, and nationally :

In a word, it is a revelation
of grace and pride.

Modern Hungarian art
has its own modest history
which dates back but a few
years. The historical evo-
lution of the country ex-
plains this short artistic
story, which followed the
economic restoration of
Hungary resulting from the
compromise of 1867 with
Austria. At that period
the tranquility and the
prosperity necessary for
the expansion of art were
wanting, therefore those
artists who could not com-
mand success in their own
land were compelled to go panther (marble)

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BY LOUIS STOBL