The Hungarian Student, 1958 (2. évfolyam, 1-7. szám)
1958 / 5. szám
6 The Hungarian Student WAGNER-INNOVATIONS IN SCULPTURE By L. B. Wagner as he appears today in his Stockholm studio. H ungarian refugee sculptors who acquired their experience after World War II are today in an exceptionally difficult situation. It is necessary for their art to be internationally recognized. From one point of view, this will be an even more difficult job than that confronting refugee painters or writers. The language barrier, which stands between writers and their respective readers, is the greatest handicap. Sculpture, however, speaks a universal language, but the difficulty lies in the expense of materials. If we try to enumerate the circumstances under which a sculptor runs into difficulties, or needs help, we have to return to our opening statement. The names of young sculptors are not preceded by a trumpet of international fame. The reason for this is, on the one hand, that they lived in an artificially isolated world of Communist-controlled Hungarian art and, on the other hand, that they actually have not yet accomplished their chef d’oeuvres. Clearly, it was impossible for them to bring statues with them during their escape from Hungary. Because of this, most sculptors possess no more than a portfolio containing photographs of their works. As a result, most well-informed foundations paid no attention to them, consequently they became excluded from the art life. It is a circulus vitiosus, but nonetheless true, that if artists are unable to join other artists, to live like artists and present their works they are sometimes unable to produce new pieces. A poet can write at his desk, a painter can paint without a public showing but a sculptor (especially the one interested in working on large pieces) is unable to work without his public. He may be able to sculpt lightly with gypsum but he will not be able to work with bronze or similar materials without a contract or an exhibition. Artistic Difficulties The problem of Nándor Wagner, living in Sweden, or of Iván Biró, living in the United States, are similar. The art of both is a characteristically collective art, intended for exhibition, to be enjoyed by a large public. In addition, fortunately or perhaps unfortunately, Nándor Wagner’s art is strongly dependent on the actual placing and realization of the statue, his creative mind working always within the boundaries of the possibilities of formulation. Iván Biró, however, is more concerned about attacking and getting hold of the inner meaning of the work, than the smooth perfection of a finished masterpiece. There are artists who were able to subordinate their style to their personality, to the complicated metaphysical systems of their spiritual being. Wagner subordinated his art to the actual job. With the planning ability of an architect, with the tremendous substantial knowledge of the historian, and with the sensibilities of a sculptor, he chose, according to his respective task, the traditions of German expressionistic sculpture, the classic realism of the Hildebrand school, or the modern constructivistic media. This does not mean, of course, that he separated his personality from his work. On the contrary, he felt himself strong enough to validate the ideas which represent the unmistakable character of his person, through the forms which sprang from his hands. These styles that we have just mentioned, when perfectly dominated, may be of help to the artist in performing his task but at the same time, they may be an obstacle for him. The great task in coming years is the formulation of a new, homogeneous style. An attempt at this new style was begun by Wagner, in spite of the fact that it was not easy for him to do this. Even the “academic” nature of his former behavior revealed the basic elements for a sound future development. These features were not as noticeable in his monuments as they were in his portraits. Only recently, when he worked on unifying his style, in every aspect of sculpture, did his strong constructiveness become apparent. In a short time, the artist was able to think in mass instead of gesture. It is easy to adopt a new style, especially if an artist, such as Wagner, has mastered the vast knowledge of his field. But in this case, it is more than mere adaptation or imitation. It is not a studied reaction but an inner organic development of the artist. This development obliges him to recreate, day by day the forms of expression in his old and new experiences. He does this because his type of experience has changed significantly. While still in Hungary, Wagner touched on a tragic note which was entirely different from the well-groomed optimism characterizing the last ten years of Hungarian exhibitions. This did not become his standard position, however, and he more than compensated for various expeditions to the sculpture in the public square—where one cannot see the forest for the trees or the real problem from the actual task. He is now trying to solve real problems during his seclusion in Sweden. The first period of work, as we mentioned before, came to an end. Nándor Wagner has had, and is having his difficulties, but he is working now and has had four exhibitions since the beginning of 1957. His statues verify the fact that he is aware of his task. His development can be measured by comparing the two style of first, his Hungarian monument completed in Vienna, to second, the “Pieta” which he created in Sweden. His theme in the “Pieta” is presented to the spectators’ eyes in a more mature manner than was true of the first monument. The “Pieta,” however, was intended to be a statue on a large scale. Perhaps this is the tragedy of artists such as Wagner: their expressions must be realized on a large scale, their statues must vindicate the environment of spacious squares and need the architectural beauty of public buildings. Their talent, however is for expressing the world of modern, antagonistic struggles which take place in our souls, minds, and studies. We hope that Wagner’s and Biro’s talents and willpower will ensure their conquest of an equal position with other young Western artists who are considered to be the greatest hope of contemporary sculpture. “ ... and Hungary was then in fact and by success of arms, as well as in law and by the voice of justice, independent and free. Nine months later, that independence was overthrown by two hundred thousand Russian troops ...” Speech of William Henry Seward, against the armed intervention of Russia in the Hungarian Revolution. This speech was made before the Senate of the United States on March 6, 1852.
