Fraternity-Testvériség, 1963 (40. évfolyam, 1-12. szám)
1963-12-01 / 12. szám
10 FRATERNITY Art. And he alone may face the pleasure of creation.2 In Finta’s opinion, the main purpose of the artist should be to achieve perfect harmony. Life can be richer, better and more tolerable if art does not deviate from this principle. Finta claimed that happiness depends to a considerable extent on art, primarily on applied art. In a modern home, for example, practically everything is built-in. What little furniture is left is uncomfortable and grotesque. A small table is not sturdy enough to fulfill its purpose. The furniture lacks ornamental lines or carvings. The fantastic compositions of the paintings on the wall add to the disquieting effect. Primarily because of the influence of ultramodern industrial artists, the home, he believed, has lost its soothing atmosphere of peace and quiet. According to Finta, every true creative artist endeavors to use a new line or solution that becomes characteristic of his work. Although hidden in the over-all effect, this imaginative mark is immediately evident to the observer. In the same manner, the creative artist also conceals his idea behind the lines of his work. What the artist wishes to express is only evident to the experienced eye and for this reason training in the appreciation of art is of considerable importance. The average person measures works of art merely with a yardstick and not with his feelings. He looks for flaws, but can detect only flaws in the material. If, for example, a town votes on the site on which a statue is to be erected, usually very little consideration is given to the fact that the idea expressed in the work must be in harmony with the environment. Concealing his ideas in — or rather, presenting them subtly, without ostentation — every one of his works, Finta did not become a mannerist. Since a work of art is judged in its entirety, the artist must find the lines with which to express 2 Ibid.
