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Summary

The importance of the decorated artefacts of folk culture was first emphasized by positivitic theories of the mid 19thcentury. Gottfried Semper stated a straight connection between the genesis of arts and the evolution of civilisation. Due to his impact, ornaments were often considered as a medium of a peculiar „language“or „grammar“for ethnic contents, the primary forms of which were supposed to be stable and not subject to temporary changes. According to this theory, Folk art keeps this primary state of ornaments and evolution means a process towards individualisation in the sense of national styles. This theory has been influential in the raising of taste for ethnographic objects. Following the 1851 World Exhibition in London the institutions of decorative arts were created first in England and than on the continent. The Museums for Arts and Crafts collected among others models and patterns for embroidery and other arts. In the course of this process separate museums were founded for collecting popular artefacts. In the first ethnographic museums the dychotomy of urban and rural civilization was first expressed. The present essay analizes on the exemple of Hungarian decorative art the process of collecting national ornaments, beginning with the first publication by Károly Pulszky (1878) conceived in Semper's terms. The following discussion was determinated by an early influence of the theory of Alois Riegl, represented by the drawing teacher József Huszka, who elaborated an approach to Hungarian folk ornaments as a genuine prehistoric tradition not influenced by historical styles and interpreted as symbols. The artistic interpretation of the folk culture was widespread by the volumes on Hungarian Ethnography edited by Dezsõ Malonyay. In the same time, the system of Gottfried Semper also determinated the foundation of the Hungarian Museum of Applied Arts and the separation of an ethnographic collection in the Department of Antiquities of the Hungarian National Museum. Plans for an autonomous Museum of Ethnography during the 1870–1880-s were realized in 1898 as the collection of the Ethnographic Museum comprising universal ethnologic and Hugarian materials as well were located in a separate building. Since the early 20thcentury ethnographers began to interpret folk artefacts not as objects of aesthetic value but on the basis of their systematic situation in scholarly ethnography.

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Abstract

The architect Lipót Baumhorn (1860–1932) is known far and wide in Europe as a specialist of synagogues. 22 synagogues were built and several buildings – already completed, old ones – were transformed and extended by him. Additionally, mansions, two postal savings banks and different kinds of club-houses in Szeged, Temesvár and Újvidék are typical of his work. The architect was educated at the polytechnic of Vienna, after which he came home to Hungary and worked next to Ödön Lechner, pioneer architect of the Hungarian national style. Formally influence to his work was the Islamic architecture (transmitted by Ludwig Förster) and the return to the instruments of the middle-age art. Baumhorn's masterwork, the new synagogue of Szeged was built between 1899 and 1903 in the spirit of the late-historicism. Several kinds of decor elements are characteristic of this building: Byzanz, romanic and gothic style, renaissance as well as Islamic motifs. Profan buildings of Baumhorn are also rooted in late-historicism, but turn of the century-elements of Vienna (Secession) and Germany (Jugendstil) are present there too.

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György (Đuro) Arnold (1781-1848) the composer, teacher, conductor, lexicographer and founder of the first music school in Subotica, was the regens chori of the Subotica's Sv. Terezija church (1800-48). He was a prolific composer, writing in a variety of genres, from compositions for the church of Sv. Terezija, choral and chamber works to operas, melodramas, songs, overtures, and verbunkos (the complete list of his works is included in the appendix). Arnold's style was influenced by Viennese Classical church music and the emerging Hungarian national style. In his early sacred pieces, he used quotations from popular operas, but in later compositions he was closer to Haydn, and the Te Deum Solenne dedicated to the Zagreb Bishop Aleksandar Alagović shows possible influence of early Beethoven. In many aspects, Arnold was a composer on the periphery. He liked large ensembles which could impress audiences with the brightness of the orchestral sound altough, as far as we know, he never attempted to build a large symphonic form which would match the richness of such a sound. He ususally set the text in short sentences, quickly exhausting its possibilities, undermining the expectations raised by the large-scale gradations which open his compositions. In 1819, Arnold published Pismenik, a collections of texts (without tunes) of Croatian Roman Catholic hymns collected in Bačka (western Vojvodina); the preface to Pismenik and its complete table of contents are reprinted in an appendix. In 1839-40, he completed the hymnal Valóságos egyházi kántori fontos énekeskönyv with 186 church compositions intended for Hungarian and Transylvanian chuch musicians, which remained unpublished. In 1826, Arnold began working on the Historisch-musikalisch bibliographisches Tonkünstler Lexikon, which expanded to four manuscript volumes in length, but remained unpublished and seems to be lost today. 

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2002 Dénes Komárik (2002) ’A Note on Frigyes Feszl’s Romantic Search for a Hungarian National Style’, Centropa, A Journal of Central European

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elements 28 of the ethnic dress of the lower classes had found its way into Hungarian national style used by the bourgeoisie and the nobility. 29 The temporary recrudescences through various epochs can be connected with each other. National clothing

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