Studio: international art (53.1911)

The Turin International Exhibition

ideboard
ihibited b

traditions. Italy has already
bestowed her praise upon Hun-
garian art. I myself in The.
Studio at the time of the Milan.
Exhibition in 1906 referred to'
the successes achieved by such
men as Geza Marothi, Ed..
Farago, Ed. Teles, Rappaport,
not to mention Paolo Horti,
who at Turin in 1902 received
princely honours; and now to-
day viewing again the triumph
of Hungary, I feel an almost
personal satisfaction. I have
always prognosticated a bril-
liant future for Hungarian art,
which possesses such excep-
tional vitality and which takes
everything, even exhibitions,
seriously.

Hungary, accepting Italy's
invitation to exhibit in the
Valentino, set to work to sur-
pass itself. The pavilion

the case, for uniformity is often apt
to result in weariness.

A rather pleasing note is struck,
however, by some oi the foreign
buildings. Russia's neo-Greek
pavilion, designed by the architect
A. Sciuco, forms, with its massive
walls, an interesting feature; the
Servian building, in Byzantine style,
would, I think, have been still more
successful if its architect, Branko M.
Tanasevic, had 'given his decorator,
Ch. Inchiostri, a freer hand. Turkey
also has a pleasing pavilion designed
by the architect Leon Gurekian, but
the real, the indisputable success at
the Valentino is unquestionably the
Hungarian section, and the palm must
be awarded to the architects of the
pavilion, and to the various exhibitors
from this semi-oriental land. I say
semi-oriental, speaking in an artistic
sense, bearing in mind, the history of
Hungary, remembering the incessant
assaults by the peoples of the East it
has withstood, and reflecting upon the
prodigious activity of this country, so
bold in its art, so modern in resthetic

," • , ... • , figures flanking entrance to hungarian pavilion, turin

expression and so jealous of its national exhibition, nicolas ligeti, sculptor

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