Szilágyi András (szerk.): Ars Decorativa 24. (Budapest, 2006)

Magdolna LICHNER: The reception of electroplates in Hungary I. - Electroplates in the collection of the Museum of Applied Arts 1873-1884

Károly és a historizmus az iparművészeiben. In: A historizmus művészete. Ed. Anna Zádor, Budapest, 1993. pp. 249-254. and Katalin Sinkó: Die Entstehung des Begriffs der Volkskunst in den Kunstgewerbemuseen des Zeitalters des Positivismus. Ornament als Nationalsprache. Acta Históriáé Artium 2005. 1-4 . For the bills an accounts of Károly Pulszky

's Károly trips to Vienna, see: Archives of the Museum of Applied Arts 2/1873, 24/1873, final account: Archives of the Museum of Applied Arts 56/1874. 20 Preface. Kalauz a Magyar Iparművészeti Múzeum gyűjteményeihez. Budapest, 1874. p. 4. Here the change of name is accounted for with references made to the English and Austrian example. 21 Pesti Napló 1867. p. 186. p. 196. p. 240, p. 245, p. 251; Egy két szó műiparunk ízlési irányáról, AÉ. 1869. pp. 27-29; Ipar és művészet, AÉ. 1869. pp. 85; Műiparunk és rajztanodáink érdekében. AÉ. 1870. pp. 248-249. 22 He visited the collections in Vienna, Berlin, Stuttgart, Paris and London. Mudrony, 1873. The term „industrial arts" appears first in writing by Lajos Kossuth from 1843: Jelentés az első magyar iparműkiállításról (sic). Pest. 1843, Landerer and Heckenast. 21 Mudrony, 1873. p. 3 24 12. The phalanstery scene in Imre Madách's The Tragedy of Man. The play was first published in 1862 (dated 1861) and first performed in 1883. Rudolf Eitelberger, the first professor in art history in Vienna (appointed in 1852) became a committed backer of applied arts for similar reasons. Having returned from the 1862 London world exhibition, he initiated the establishment of an industrial museum on the basis of what he had seen in the South Kensington Museum. He hoped that the museum would encourage craftsmen and manufactures and preserve handicraft traditions in the period of industrialization. Eitelberger. Rudolf, Die Museen für Kunstindustrie und der Anschauungsunterricht für Kunst. In: Österreichische Revue, Bd. 1 Wien, 1863, pp. 279-297. After the 1873 economic depression handicraft traditions received more support - practically speaking, they were fled to safeguard by being 'elevated' into the notion of art - and tradesmen's instruction was given subsidy. This process can be regarded as a reaction to the spread of big industry. After 1873 the Austrian liberal government referred tradesmen's instruction to the ministry of education. Camillo Sitte, architect, a student of Eitelberger"s and organiser of the system of industrial schools, was a zealous backer and propagator of this idea in the Austro-Hungarian Monarchy. See: George R. Collins - Christiane Crasemann Collins: Camillo Sitte and the Birth of Modern City Planning. Columbia University Studies in Art History and Archaeology. Nr. 3. New York, 1965. (with bibliography) 2< Mudrony outlines the short history of the foundation, and then discusses the collection units, the curricula of schools and the monetary bases - this is the clear structure he applies when describing institutions. Also, he makes a clear distinction between the roles of the state and the associations. Even nowadays, Mudrony*s account is to be regarded as an excellent overview. It points out that the moderntimes roots of the artisitic trend of industry are to be found in the French royal manufactures. In the first part, it makes references to the I8'

h-century French applied arts, instruction in drawing coupled with technical training, introduces the national exhibitions that were regularly organised from the early 19'

h century, outlines the activity of the Conservatoire des arts et metiers and emphasizes the notion of 'education via viewing'. Next, it gives an overview of the South Kensington Museum (London) and expresses appreciation for the educational system and collection (established with the support of the royal couple after the 1861 world exhibition). 26 Mudrony 1873. p. 20. 27 Gerhard Schmidt: Die internationalen Kongresse für Kunstgeschichte. Anhang II: Der Erste Kongreß. Wiener Jahrbuch für Kunstgeschichte XXXVI (1983) 19-22. Ernő Marosi: A magyar művészettörténeti gondolkodás korszakai. In: Marosi Ernő (ed.): A magyar művészettörténet-írás programjai. Válogatás két évszázad írásaiból, Budapest. 1999. pp. 332-380. p. 336. 2

* Ferenc Pulszky: A múzeumokról. Vasárnapi Újság, 11, 18, 25 July, and 1. Aug 1875. Vols. 28-31. On reproductions: p. 470. Budapesti Szemle 8. 1875. pp. 242-243. Republished: Marosi 1999. pp. 53-65. Pulszky discussed the effect the South Kensington Museum exercised on the development of taste in a separate chapter. 2

" Károly Pulszky, Kalauz. 1874. p. 4L The exhibition (and therefore the Kalauz) followed the Semperian idea of classification based on material and technique. Electrotyping belonged to the section of metallurgy and came after bronze casting, 111 The English version of the special edition of the catalogue is one of the oldest volumes of the library of The Museum of Applied Arts. It was also published in Germany (see note 27). "Az orsz. Iparművészeti múzeum könyvtáránakjegyzéke". The Archives of the Museum of Applied Arts 2 /1878. This list contains the English and the German catalogues. 31 See note 7. and Morel n. d. (1903^1) pp. 18-19. and p. 43.. Catalogue of Art Journal. 1867. p. 217 12 Francis Joseph, emperor of the Austro-Hungarian Monarchy confirmed the nomination on 1 May 1874. Contemporary press was eager to greet this masterpiece by the creator of the Milton Shield. It was presented to Queen Victoria in the Windsor Castle and was exhibited in Elkington workshop (Regent Street) and was transported to Vienna. The success of the Helicon vase was greeted - among others - in the Art Journal and the Gazette des Beaux Arts. Morel 1903 pp. 21-22. 33 G. Semper: Der Stil in den technischen und tektonischen Künsten oder Praktische Aesthetik. Frankfurt am Main, 1860. This volume, along with other works of Semper's, was on the first list of the library of the Museum of Applied Arts. The effect that Semper's writings exercised on museum establishment and building, and on the system of collections was dealt with by numerous authors: therefore, at this point we do not give a list of their names. See: Carl E. Schorske: Fin de Siècle Vienna. Politics and Culture. (4) 1979.