Barki Gergely et al.: Czóbel. A French Hungarian painter - ArtMill publications 5. (Szentendre, 2014)
Dr. János Lázár: Dear Reader
DEAR READER, The volume in your hands and the exhibition behind is a memorial of Béla Czóbel, who was Hungarian, and at the same time was a real European figure of twentieth-century art. This seemingly strange double identity, however, did not exclude one or the other, quite the opposite, they were just strengthening one another, and this attachment is so self-evident today, setting us an example. The route of the painter is a specific European route, starting in Nagybánya (then in Hungary, today Baia Mare in Romania), getting to Paris, the capital of contemporary art, with a Munich bypass, then to the next stations of his art, Amsterdam and Berlin. Czóbel considered as an outstanding painter of European avantgarde made Nagybánya, Nyergesújfalu, and Szentendre the relevant stages of modern Hungarian art. Czóbel is primarily known in the world as a member of the group of the Fauves, together with Matisse and Derain, while in Hungary as attached to the first group of artists of Modernism, “The Eight” When he returned to Paris in 1925, his art was revived by the city, never turning again to any of the trends, being unique and universal, Hungarian and European at the same time. During the years in Paris, he did not break away from Hungary, where studies and monographs were dealing with his works, regularly sent back to the home exhibitions. He enjoyed the hospitality of the Hatvany family and the charm of Szentendre. His attachment to Hungary did not vanish during the years spent abroad, he remained a Hungarian citizen, never having the French. Although his works were exhibited in the best galleries in Paris, appreciated by outstanding critics, and Picasso and Braque were his friends, he remained a Hungarian painter in Europe. In a most natural way did he stay in the Netherlands, then in Germany, he left France at the breakout of World War I without complaining, and his works left there were auctioned. He was always firm, preserving his human and artistic dignity, reaching a special state for himself and his art. This international recognition ensures him the freedom of creation following the 1949 Communist takeover in Hungary. He was not forced to leave his country to stay in Paris, he did not have to settle for less to remain a free citizen in Europe. Nevertheless, Béla Czóbel’s fate is Hungarian in its European character. Displaying together with the greatest contemporaries, being a friend of outstanding artists, the price of his works was never up to theirs. This is why we have to do our best to let the nation’s prominent artists be known for Europe and the world, in order that their esteem should reach that of the more fortunate European contemporaries. Hoping, that the exhibition and its catalogues would contribute to this, I strongly believe that art in Hungary is bound to that of Europe, as European art could not be complete without Hungarian culture. Dr. János Lázár State Secretary leading the Prime Minister’s Office CZÓBEL, A FRENCH HUNGARIAN PAINTER 7
