Öriné Nagy Cecília (szerk.): A gödöllői szőnyeg 100 éve - Tanulmányok a 20. századi magyar textilművészet történetéhez (Gödöllő, 2009)

Summaries

Summaries 133 school, so that even factories from New York and Paris bought designs from them. Mrs. Kontuly born Hajnalka Fuchs, as a member of the School of Rome has made designs for important pieces of textile and stained glass. She has successfully combined modernity with stylisation. Here is a photo from the 1931 issue of the periodical Hungarian Applied Arts, with a few carpets designed by Sándor Kolozsvári, Katinka Bedőházy and Pál Bor to show the congenial spirit in which these artists created their modern works of art. Fortunately, the carpet with cock of Pál Bor has been successfully preserved in the possession of the family. The artist, who lived in Budapest and in Paris, most probably prepared this tempera drawing of a stylised tree to serve as design for a carpet. (VI—VII. Színes tábla, illus 9) shows a tree in similar spirit in the company of a young girl. It is one of the prides of the Metropolitan Museum of Art in New York. It is from the first modern American girl's room, The designer is Ilonka Kárász, who was a prominent representative of the American design art. These organic furniture pieces fashioned to be bio-morph have been made by Pál Mináry and Gyula Tálos and were on show in the Art Deco exhibition of the Museum of Applied Arts of Budapest in 1985. The carpets shown below them have been executed in the atelier of Árpád Vértes, and one of them could be the fellow of the carpet mentioned above prepared by Ilonka Kárász. The carpet of Ervin Bossányi has been created in Liibeck. The statues and stained glass pictures of the artist adorn the inside of many remarkable public buildings in Germany and in rhe Netherlands. The banister heads of the studio in Neuilly of Jacques Doucet are the work of József Csáky. One of these 3 carpets of Gusztáv Miklós (VI—

VII. Színes tábla, illus 10) have been prepared in 1925, for the same place. (VI— VII. Színes tábla, illus 11) Frigyes Berzeviczy-Pallavicini graduated in the Applied Art School ofVienna. Later, the artist became a prominent figure in Vienna as fashion and spectacle designer. The final issue of this presentation is the picture of the children's room created in the Bauhaus by Marcell Breuer in 1925. Coming back to the activity of the artists of Gödöllő, I believe that their program embracing the entirety of life was timely when they were creating - even if we compare it with other programs in the big wide world - and so it remains even in our times. Anna Cebula The history of development of the textile collection to be found in the Picture-gallery of Szombathely It would be very hard to imagine individuals fresher, of more a dynamic turn of mind and quicker to act than those often spoken of as members of the textile artists' "society". Remembering rhe long series of the textile biennials organised in the Savaria Museum of Szombathely, their readiness to renewal is conspicuous. Their first renewal of this kind or move forward was the exposure into space of the traditionally interpreted mural carpets; and this was how the first spherical textiles appeared. After the experiments of the 70s and 80s, a significant part of the textile artists returned to the classical technique of the art, to goblin weaving and, in the biennials "

Millecentenárium" ('mille centenary') in 1996, "Szabadság" ('freedom') in 1998 and "Ido

' ('time') in 2000 rejoiced the public with lower-keyed artworks. Going into further details of the biennials, it should be mentioned that the organisers announced the first Minitextile Biennial in 1975, which has been declared international by 1976. What is minitextile all about? Why did the profession create this genre? First, let us perhaps answer the second question. Under the censorship of the 70s, sending out into the wide world ot these miniature creations, which were also bearers of political messages, caught nobody's eye. The minitextiles, which created an intimate climate between the exhibits and the spectators because of their miniature shape, have been designed for being viewed from close, Their diversity in style, the rich variety of the materials used, their variegated forms and unlimited wealth in content demonstrated how very dissimilar from each other the creators were, with many different planes and spheres of interest. At present, the most often used basic materials are sisal, wool, cotton and flax with which paper, different animal hairs and leathers as well as bird feathers are associated. The beauties of the raw material, its properties are inexhaustible sources for artistic contemplation. Working with the material, emphasizing the inherent beauty and pleasure of working, these are attributes of a real master. Obviously, this abstract genre has attracted also the adherents of concrete, iron, aluminium, cement, glass and stones, who, for their part, have incorporated into their tiny artworks these materials so much incompatible with textile. The undiminished momentum of the profession is shown by the foundation of a new genre in the form of announcing in 1995 the First Biennial of Flags. As it could be observed in the case of the minitextiles, this one was also only a national event in the beginning, but by the time of the next biennial in 1998, it became international. The idea behind this initiative was that textile in this form has accompanied our nation through all our history, from the conquest of fatherland to our days. Tbe flags