Author:
Éva ForgácsArt Historian, Adjunct Professor, Art Center College of Design, Pasadena

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Abstract

The avant-gardes of the nineteen twenties are discussed in the art historical literature as the art products of a rarely upbeat decade, which featured great utopian aspirations and progressive art between the wake of World War I and the Nazi takeover in Germany, as well as the consolidation of Stalinism in the Soviet Union. This essay depicts the decade as being far from a homogenous period, demonstrating that the early internationalism and sense of unlimited possibilities gave way, in or around 1923, to less idealistic, more pragmatic views and practices in even the avant-garde. If examined in this framework, the reception of avant-garde artists and works in the late 1920s that had been enthusiastically embraced in the first years of the decade, was understandably cooler. Professional eminence was overwriting great ideas. The lack of the earlier fervor had disappeared, not because the art was worse, but on account of the new Zeitgeist that brought about the new moral idea of utilitarianism, requiring that the artists be, first of all, of use to the community. Several artists and art writers suddenly turned against those ideas and art that they had only a short time earlier held in the highest esteem.

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  • Lővei Pál (Bölcsészettudományi Kutatóközpont, Művészettörténeti Intézet)
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  • Sisa József (Bölcsészettudományi Kutatóközpont, Művészettörténeti Intézet)
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2019  
WoS
Cites
2
CrossRef
Documents
12

 

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Acta Historiae Artium
Language English
French
German
Italian
Size A4
Year of
Foundation
1953
Volumes
per Year
1
Issues
per Year
1
Founder Magyar Tudományos Akadémia   
Founder's
Address
H-1051 Budapest, Hungary, Széchenyi István tér 9.
Publisher Akadémiai Kiadó
Publisher's
Address
H-1117 Budapest, Hungary 1516 Budapest, PO Box 245.
Responsible
Publisher
Chief Executive Officer, Akadémiai Kiadó
ISSN 0001-5830 (Print)
ISSN 1588-2608 (Online)