Veszprémi Nóra - Szücs György szerk.: Vaszary János (1867–1939) gyűjteményes kiállítása (A Magyar Nemzeti Galéria kiadványai 2007/3)

Tanulmányok: - KOPÓCSY ANNA: A modern magyar művészet emancipációja. Vaszary János és a művészcsoportok, művésztársulatok

ANNA KOPÓCSY The Emancipation of Modern Hungarian Art JÁNOS VASZARY AND ARTIST GROUPS AND SOCIETIES Budapest was about a decade late in starting the process of institutionalizing modernism, which had begun with the Art-Nouveau movements throughout Europe in the last decade of 19

th century. It was only 1907 that a group of progressive artists exhibiting in Budapest came to the decision that they would found an independent artist group, the Circle of Hungarian Impressionists and Naturalists (usually referred to by the Hungarian acronym MIÉNK meaning "ours"). In the history of many artist societies established in the ensuing decades, János Vaszary was a key figure: outlining his activities in this area demonstrates the seminal role he played in the history of modern Hungarian art. An important antecedent had been the 1904 Modern Hungarian Artists' Exhibition at the Könyves Kálmán Salon, where Vaszary had participated together with the majority of the future members of the MIÉNK. The new association opened up many opportunities for modern artists - this was an important feat in face of conservatives, who, regarding sales, had dominated the market. In 1906, a turn in the tide was signalled by József Rippl-Rónai's oneman show at the Könyves Kálmán Salon and Vaszary's own display at the Nemzeti Szalon (National Salon). Both were hugely popular, both artists were able to sell the majority of their exhibits. The MIÉNK came into being due to an "anti-modern" rebellion among the artists of the other important place of exhibition, the National Salon; under the leadership of the Szinyei, Ferenczy, Rippl-Rónai triad, MIÉNK members included the older modern masters and their students, as well as those young artists who had strong ties with the latest Parisian movements. Vaszary was on middle ground; the few remarks he is known to have made at the time reflect a more conservative position slighting youths. Vaszary, the championto-be of progressive art, was troubled not by innovation, but by defective craftsmanship in younger colleagues, after all he was admired for his superior dexterity. The MIÉNK could neither establish itself within the society of artists nor overcome internal strife. One of the reasons for its dissolution was the lack of a common artistic conception, but, obviously, this could not explain everything. The Artists' House founded by Miklós Rózsa in 1909 could equally have contributed to its demise, or, rather, transformation. The Artists' House provided an institutional framework for the MIÉNK, including the possibility of breaking away from the National Salon. As the Artists' House leadership included all significant members of the MIÉNK, there was no need to run the two organisations independently, indeed, the Artists' House absorbed MIÉNK. Miklós Rózsa laboured to establish an exhibition space for modernist artists excluded from the Arts Hall and the National Salon. Vaszary was not a founding member, and was elected to be on the Board of Counsellors in March 1911. In February that year, he had still displayed his work at the major spring exhibition of the National Salon, but, already in the spring of 1912, arranged his outstanding one-man show at the Artists' House. He threw himself wholeheartedly into art life in general and the affairs of the Artists' House in particular. From 1913, after the withdrawal of Ferenczy and Szinyei, beside Rippl-Rónai and Kernstok, he became one of the most influential members of the society, and took an active part in all its activities, including the organization of the famous International Post-Impressionist Exhibition. Immediately, after the Commune, he was one of the fist members of the Pál Szinyei Merse Society, founded forty days after the death of the old master in the beginning of 1920. He took no office, and participated in its exhibitions as an ordinary member. The society consisting of writers, painters, critics, art historians, was headed by István Csók, a friend of Vaszary's. It deemed the support of young artists one of its most important tasks: awarding a prize to a young artist annually, who thereby became a regular member, which in turn ensured the vitality and the rejuvenation of its membership. Unfortunately, however, instead of the primacy of artistic aspects, personal interests had to be considered, which led to various conflicts. Moreover, the society did not represent the most modern aspirations: its members can be regarded as the heirs of the impressionist wing of the MIÉNK. Supportive of the most modern ambitions, Vaszary was left to himself within the group. It was no mere coincidence that he began to organize the KUT (the New Society of Artists). The KUT first appeared in public in 1924 with József Rippl-Rónai and János Vaszary as its leaders, and its members included avantgardists like the former Eight, the Neos and the Activists. In 1926, Miklós Rózsa joined the society, first handling managerial tasks. In 1927, he fully took over the leadership from Vaszary, and reorganized the society on the model of his Artists' House. When Rippl-Rónai, due to his illness, could no longer take part in the leadership, Vaszary was left alone in opposition to the old guard. Members resented Vaszary's having his pupils exhibit their work at KUT exhibitions, and thus acquiring ever greater authority within the group. Vaszary, on the other hand, could not accept Rózsa's offensive style of art policy. For the time being within the framework of the KUT, the pupils of János Vaszary and István Csók established the Association of New Artists (UME) in the January of 1925. Due to their ceding, a rivalry broke out between the two modernist groups. It was not the KUT, but the UME that arranged its first major exhibition with the leadership of Vaszary in the Vienna Hagenbund in the January of 1928, where the young artists were immensely successful. The UME exhibitions attracted considerable attention, the public appreciating the work of the students irrespective of the master. Having been forced to retire from the Academy of Fine Arts, Vaszary withdrew from all public activity, including his support of the UME, which also meant the end of the hey-day of the association.