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 215 possible quantity the art creations of the colony. Although the value of usefulness of the modelled objects withdrew to the background in the artistic activity of Gödöllő - for, furniture and tapestry in our every day surroundings grew, for these artists, to the rank of being individual pieces of fine art creation — the idea that the creations prepared by the colony should be made available in the greatest possible quantity for homes, public buildings and offices, is clearly remarkable among the goals to improve society set by the colony. It was understood that the interior furnishings of the spaces around us should exert in the broadest possible sphere their effect of high esthetical quality. There was a field of activity in the art colony of Gödöllő which, true, could not meet the requirements claimed by the masses of people, nevertheless was successful in increasing the number of the buyers who purchased the individual art pieces created in this sphere. The most successful in this endeavour was the weaving mill. The artists of Gödöllő were of course unable to compete with the "conveyor belt production" given the restricted possibilities and the high production costs involved by the mill. Nevertheless, one of the merits of the colony is to realise in their carpet weaving mill a broader offer and a better access to the art creations for the public by producing several specimens of the same article and yet maintaining the principles of the colony declared in the catalogue. The art programs of Gödöllő were not only the means of creating the Hungarian "national style" and of giving birth to a "genuine Hungarian decorative art", but also the aspirations of the colony may be regarded as forerunners of a new quality industrial design. In spite of all this, Aladár Kriesch, for his part, was decidedly against the idea, during all his lifetime, that straight the recipients' needs should become the basic principle of form creation on one hand and the aspect of technology should come to the foreground instead of the idealised form on the other; this idea implying also that the practical efficiency of art should be identified with its practical usefulness. Kriesch regarded manual activity as being a transitional stage on the way of preserving the esthetical quality (the "individuality") of the art product and of attaining the goals of applied art. The second part of the study proposes an approach to the still unclear system of relations inter-linking folk art, folk art in the quality of applied art and industrial design (serial production). Ágnes KALMAR art historian, Szórakaténusz Toy Museum and Workshop of Kecskemét ARTISTIC TOYS AND TOY DESIGNS IN THE FIRST DECADES OF THE TWENTIETH CENTURY The announcements of competitions calling for artistic design of toys, the individual toy designs made by industrial designer artists and the development of toy manufacturing workshops are all the successive phenomena of one and the same