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 217 workshop called "Grabóka" with great enthusiasm and perseverance as the teacher of the Hungarian Royal State Main College "Saint Ladislas". The most important element in his toys made of wood is the decorating function and overwhelming presence of simplified ornaments; a lot of floral motifs inspired by Hungarian folk art combined with interplay of the secessionist sinuous and dynamic sense of line. Looking back to the first decades of the twentieth century, it is absolutely remarkable that the decisive thoughts of aesthetic-theoretical writers and the creations of distinguished artists have inspired the toy designers for many years. It was so because designing and preparing of artistic quality toys, books and furniture for children meant also a moral and ethical task for the artists. These objects represent an outstanding and particularly beautiful period of our toy culture. Károly LABADI ethnographer, University Szent István of Gödöllő THE FOLK ART AS SOURCE OF COLLECTING AND INSPIRATION Several of the members of the art colony of Gödöllő took part in the great venture of important documentary value organized by Dezső Malonyay the output of which is the publication dealing with Hungarian folk art in five volumes. As collaborators of Dezső Malonyay, they had the task to record in a true-to-life, recognisable, nearly realistic manner the richly decorated culture of objects they discovered during their collecting trips. This method and the trips led them to the point where they no longer used the material found as mere illustrations, but they used in their own art the creative force inherent in the ancient symbol system to visually revive the mythology of our people with the same adornment and repertoire of techniques they found in settlements where the archaic manner of artistic expression was still known and kept alive. Time and again, this influence emerges in the art of all of them, now modestly, now being over-stressed, depending on how intensely the influence worked in them. Their objectives enjoyed favourable courses till the end of World War I, and in addition, the secessionist style in fashion also fed these objectives. Thereafter, radical turns took place not only in the society but also in Hungarian art which no longer helped the propagation of the taste represented by the artists of Gödöllő. For, their approach to their own objectives to renew art was not historical-social, but they tried to take over as much as possible from folk art to their own creative work on an esthetical-ethical basis. They availed themselves of the possibility offered by the general mood of the period to propagate the forms of rural life they held ideal and which were cut out for being building blocks of a secessionist taste system. Their goal was to create a desired harmony, to resuscitate the high standards in craftsmanship, and they