Őriné Nagy Cecília (szerk.): A népművészet a 19-20. század fordulójának művészetében és a gödöllői művésztelepen (Gödöllői Múzeumi Füzetek 8. Gödöllői Városi Múzeum, 2006)

Folk Art as Reflected in the Art at the Turn of the 19,h and 20th Centuries and in the Art Colony of Gödöllő. Abstracts in English / Angol nyelvű összefoglalók

Abstracts in English 213 Little is known of the presence of folk art in the every-day life of the town people. All I could do in my study was to call the attention of those interested in the subject and to mention a few characteristic objects. Gábor BELLAK art historian, Hungarian National Gallery FOLK ART AND HOME-INDUSTRY Upon reading more and more of the articles, studies, summaries written at the turn of the century, which deal with home-industry, we will have a growing impression that these writings have only partly something to do with the group of phenomena we consider today as folk art. For, the term of home-industry appeared principally as a notion of economy in the common talks of the period. This wider meaning of home-industry, related mainly to the history of economics, comprised that very wide-spread small industry productive work pursued in the broader or narrower family circle which was commonly referred to as the alternative of industrial mass production in factories. Alois Riegl published his fundamental study entitled Folk Art, Domestic Diligence, and Home-Industry in 1894. His statement that classical folk art was bom when it was carried out in the frame of the so called domestic diligence, consequently in a relatively closed social community, primarily meant for their own use, is correct and precise. In the frame of the domestic production which is nothing else but decentralized industrial production, folk art will inevitably suffer qualitative deterioration, and the domestic producer in his turn will be unable of self-supporting on the long run by this type of work alone. The concept of home or domestic industry - whether for ethnography or for museology - started to be filled with a content becoming more and more definite which could also be handled by art history on the occasion of the World's Fair of Paris in 1867. "National domestic industry" as used in 1870 by Jakob Falke, the director of Museum of Applied Arts of Vienna or by Flóris Römer is, as a matter of fact, identical with folk art in its modern interpretation. Both of them have meant by the concept the ornamental and object culture prevalent primarily in specifically rusticrural communities, far away and isolated from the centres of civilisation. The world exhibitions with their more and more competently selected ethnographic sections gave newer and newer inspiration to that sort of research dealing with home-industry, which meant the classical folk art by the notion. The study describes three home-industry formations each with different content and profile. Although there have been original elements in each, efficiently exploited, none of them could exert any steady influence or even reach any steady presence in cultural history. They could not do so perhaps because each of them could get only as far as the first stage of folk art cultivation: "collecting-presenting-doing". Until folk