Ikvai Nándor szerk.: Gödöllőiek, szentendreiek. Művészettörténeti tanulmányok (Studia Comitatensia 10. Szentendre, 1982)
Gödöllőiek - Jurecskó László: K. Lippich Elek – a hivatalos művészetpolitika irányítója – és a gödöllőiek
67 Egy jubileum körül — Művészek K. Lippich Elek ellen = Világ, 1910. december 4. 9. p. 68 Művészek K. Lippich miniszteri tanácsos ellen — Gróf Zichy János kultuszminiszter nyilatkozik — = Budapesti Napló, 1910. december 9. 3—4. p. 69 Lippich és a művészek — Nyilatkozatok napja — — Világ, 1910. december 8. 13. p. 70 Nyilatkozik K. Lippich miniszteri tanácsos = Budapesti Napló, 1910. december 10. 8. p. 71 A Lippich-ügy = Világ, 1910. december 17. 12. p. 72 A kultúra képmutatói — Küldöttség K. Lippich Eleknél = Egyetértés, 1911. január 8. 15. p. 15. p. 73 Lippich Elek és a művészek harca = Budapesti Napló, 1911. február 24. 7. p. JURECSKÓ, LÁSZLÓ: ELEK K. LIPPICH, A LEADER OF THE ART ESTABLISHMENT, AND THE GÖDÖLLŐ ARTISTS The system of ideas of Liberalism: the liberal conception of culture and art came to a crisis by the end of the past century. The task of elaboration of the new conception adapted to the altered conditions fell on Elek К. Lippich, chief of the Art Department in the Ministry of Religion and Public Education. In concordance with the demands of the national idea, K. Lippich, following the Finnish example, laid the emphasis upon people's art as upon the only manifestation of the genuine artistic expression of the Hungarian race, our single artistic tradition. He considered people's art as a basis upon which the new, characteristically Hungarian national style could develop. In the conception based upon people's art, applied arts also had an important role to play. In this context he expressed several progressive thoughts. As a stragightforward consequence of emphasizing the socially supportive and developmental potentials of it, he raised the question of the teaching of drawing, and stressed its preeminent role in general education. Practically, Lippich supported neither the représentants of academic style, nor those of modern art, but fighting against both trends he struggled for the artistic realisation of his own conception. It was the Gödöllő artists who mostly answered the conditions set up by Lippich. Aladár Körösfői Kriesch and Sándor Nagy, leading personalities of the settlement, maintained a contact with Cuonsellor Lippich; they considered him as their friend and aid. They influenced each other mutually. Their conception of the universe developed along these parallel lines. Aladár Körösfői Kriesch identified himself with the conception of Lippich, he even streghtened its basis and enriched it with the system of ideas of Ruskin and Morris. The practical realization of these principles made great demands on Lippichs' energies. It is to be attributed to this fact that he stopped developing his theory of the combination of the two systems mentioned above, so his theory became practically a static one. They could not join, however, the art movement evolved at the beginning of the 10s. Their conception of the universe more and more stiffened, being no table to adapt itself to the new conditions. They could not hold the ground against the attacks coming from more directions. In a short time Lippich retired and the Gödöllő artists were ousted to the peripheries of the world of art. However, the connection between Lippich and the Gödöllő artists, as well as the systems of ideas and the works of art stemming of it, are interesting phenomena of Hungarian culture. / • 32
