Imre Jakabffy (szerk.): Ars Decorativa 2. (Budapest, 1974)

KOÓS, Judith: A Hungarian pioneer of Art Nouveau: Pál Horti

His experiences from abroad he wanted to hand on to the young: as a professor of the school in 1896—97, beside the public design course, he taught 31 pupils of the duplicating draughtsmen on a Sunday evening course, furthermore drawing, planimetry and relief drawing, in a total of 25 hours.

3 His manysided, ever experimenting talent was looking now for new territories. He studied clay, learned the technique of turning on the wheel, burning and the preparation of various glazes. At the same time he studied other techniques of applied art: experimented with metals, introduced new enamel and patine treatments. The new way of glaze burning he realized with a Berlin firm, and the new patina process with the Beschorner firm. These facts show us the picture of an enterprising, restless, well-trained and talented young artist, who, during his work recognized the significance of the applied techniques and artistic forms among the new trends in art. It is in these times, that Pál Hirth changed his German sounding name to a Hungarian one/

1 Under the name Pál Horti he first appeared on the 1898 exhibition of the Society of Applied Art, with engobe pottery and leather work. The first furniture designs worth attention he presented on the Christmas exhibition an 1899', which was the preliminary review of the 1900 Paris International Exhibition. Pál Horti's works, among those of the Hungarian group at the 1900 Paris exhibition, marked the first manifestations of Art Nouveau in Hungary. He got a gold medal for his carpets and furniture, and a bronze one for his applied ornaments and jewelry." A year later he was decorated by the magazine The Studio, on the occasion of its international review of applied art. These successes and decorations encouraged him to tackle even greater tasks upon himself. He began to deal with the theory of the trend he represented as well. His lecture at Szeged, entitled Secession, about the timely problems of applied art, enlightens the origin and development of the new applied art. He appeared with new furniture designs already in December, in the year of the Paris International Exhibition, drew the ornaments of Tivadar Hüttl's chinaware, and visited, — together with István Gróh —, the country potters to help them in their work. After the 1900 Paris, and the 1902 Torino International Exhibitions, Hungarian applied art was preparing for the 1904 St. Louis exhibition in the spirit of the new trend. The following members were chosen in the Hungarian preparatory committee: György Rath, Ödön Faragó. Kamill Fittler. Kálmán Györgyi, Jenő Radisics, Pál Horti and Vilmos Zsolnay. The Society of Applied Art was represented by Mór Gelléri, Frigyes Glück and Endre Thék. During the preparations for the International Exhibition in St. Louis, Pál Horti was sent the honorary diploma of the Torino Exhibition, with the following explanation: "Pál Horti is one of the keenest assisters of the new decorative trend in Hungary, and at the same time he is a Protheus-like manysided artist too. As an art teacher, potter, enamelling artist, he installed the Hungarian section, and designed a total set of furniture, several further pieces of furniture, pottery, mosaic, lamps, jewels, curtains, tapestry, glass windows, smithery etc., all these being among the best examples of the Hungarian section of the exposition. His present decoration thus, is of a great and wideranging importance."' Owing to these new successes, Pál Horti was commissioned to prepare the designs of the North American Inter174