Heves megyei aprónyomtatványok 8/I

definitely politically oriented with Lengyel and the Munka—group, in its way of composition the principles of constructivist typography are prevailing, which are often combined with the simultaneous usage of more negatives or multiple exposition, respectively. Certainly, the genre of photogram is not forgotten, either.

After 1945 — like in most countries seriously inflicted by the war — the photography relatively falls into the background in the activity of progressive artists. (However, the exhibition of the "Galéria a négy világtájhoz" — Gallery to The Four Quarters of The Globe — in 1947 where Ernő KÁLLAI proved the up-to-dateness of contemporary abstract artistic tendencies by parallel presentation of micro and macro photographs, photograms etc. should be mentioned here.) It was only in the early 50ies when a new photo/ artistic trend emerged, consciously accepting the heritage of the by then deceased Lajos Vajda. Photomontage is taken up again, the most clearly surrealistic tendency of which — often with an ironic flavour — was represented by

Endre BÁLINT and the young Lili ORSZÁG who was quite of a grotesque- morbid and metaphysical inclination at that time. Julia VAJDA was striving for much more abstract, gloomy picturesque effects with her floating draperies — partly relateableto Karel Teige

— and with her abstract photomontages reminding of soft, wet animal beings. Her husband József JAKOVITS consistently plastered his clear-cut but bizarre cuttings on azure basis, the ground material of which was usually provided by cheap, religions prints and erotic- trivial magazine pictures.

Herewith a period of fine—artistic photo usage came essentially to an end about 1956 — leaving a hardly continuable heritage for the coming generation in photograms, photomontage, multiple exposure and other possible manipulations under the enlarger. This certainly does not mean that important individual efforts did not occur from time to time

— since GYARMATHY's photograms date back to the early 60ies: the appearance of Csaba KONCZ, György LŐRINCZY and Zoltán NAGY marked the beginning of a new wave within

Hungarian photographic art (especially the strikingly puritan objective poetry and entire photographer behaviour of Koncz), the Debrecen "Műhely '67" besides meaning principally a stirring of the professional still water had a merit of turning towards the till then unexplored possibilities of photomontage with the experiments of István HORVÁTH, and lastly, the fascinating revival of Béla KONDOR with the help of his camera bought barely a year before his death (1972) . . . Kondor, from his own point of view did hardly more than to transpose the world of his painting and graphic art, his visionary constructions reminding of ship and airplane models to photographic paper, making use of instinctively found exposure systems developed to refinedness. His prints accepted as unique works of art (since irreproducable) however, by the social weight of the artist once and for all "legalized" the borderline of photo/art both for Hungarian fine art and "photographic art". It is a characteristic paradox of the formation of Hungarian artistic life that Kondor turned to photography in many respects influenced by