The Museum of Fine Arts, Budapest, in collaboration with the Hungarian Academy of Sciences - Eötvös Loránd University Momentum, Neo-Assyrian and Neo-Babylonian Cylinder Seals and Divine World Research Group, is organising a temporary exhibition aimed at presenting the heritage and culture of ancient Mesopotamia, the cradle of civilisation, which sprouted the roots of the Bible and indirectly of European culture. The exhibition on ancient Mesopotamia features a range of works that have never been shown together before. The relics of a few ancient civilisations can still be visited today, for example in Athens, Rome, and Egypt, but the Mesopotamian heritage can only be seen in museums. This forthcoming exhibition brings together more than 150 objects loaned by seven prominent European collections, offering unparalleled insight into the world of this long-lost culture. Several pieces are works of symbolic significance to ancient Mesopotamia or key features in albums on art, or have never previously been loaned by their institutions. We hope that our show will be of immense value not only to experts on the ancient Near East, but to anyone with an interest in art, literature, and religion.
Celebrating the centenary of Judit Reigl's birth, the Museum of Fine Arts, Budapest presents the last series of drawings by one of the most original artists to emerge in European art after World War II. Reigl's basic visual language was acquired in her youth, when, in the collections of the Museum of Fine Arts, she discovered many of the paintings that would impact her vision. True to her wishes, the drawings are displayed in concert with some of her favorite paintings from the Budapest museum's own collection. For almost eight decades Reigl worked in series, developing themes that evoked other themes, with the end of each series coinciding if not overlapping with the start of the next. Judit Reigl Dance of Death offers a remarkable pictorial account of a life of ceaseless creativity, recapping episodes and experiences that stood out in the way that one's life can be truly understood only with hindsight. Reviving the medieval ritual of the dance of death, Reigl's final series captures the vanity and the singular, never-to-be-repeated miracle of our fleeting existence. Judit Reigl: Dance of Death, Museum of Fine Arts, Budapest, 25 May - 3 September 2023 "
The Fine Arts Museum-Hungarian National Gallery and the Janus Pannonius Museum in Pécs are celebrating the 170th anniversary of the birth of Kosztka Tivadar Csontváry with a joint exhibition. The exhibition, which features around 40 works and comprehensively presents his oeuvre, is a fitting tribute to one of the most original and well-known artists in the history of Hungarian painting. The exhibition, realized in cooperation between the Janus Pannonius Museum in Pécs and the Museum of Fine Arts in Budapest - Hungarian National Gallery, is accompanied by a bilingual, richly illustrated catalog. Csontváry 170. April 14, 2023 - July 16, 2023, Museum of Fine Arts"
The retrospective exhibition of Lajos Gulácsy, one of the most unique figures of twentieth-century Hungarian art, opens in the National Gallery from 6 April 2023. The large-scale show of some two hundred works, including eighty-four paintings, reveals the diversity of Gulácsy's profound art by highlighting new contexts. Besides the many well-known masterpieces, visitors can view several recently identified works. His paintings, drawings, and illustrations are complemented by Gulácsy's manuscripts, photographs taken of him and characteristic works by his contemporaries. The exhibition presents the many colours of Gulácsy's oeuvre arranged in several sections, its connections with the art of the past and the present, and with his contemporaries. Gulácsy's self-portraits, his home, Italy, and the artistic periods he evoked are shown in separate chapters, and so are his theatrical and literary connections, his illustrations, his drawings of Na'Conxypan, as well as the last period of his oeuvre with images of war that convey with dramatic force the artist's ever-gloomier state of mind. GULÁCSY. The Prince of Na'Conxypan. The Art of Lajos Gulácsy (1882-1932), Hungarian National Gallery, 7 April - 27 August 2024 "
The establishment of the Ferenc Hopp Museum of East Asian Art in September 1919 saw the amalgamation of two large collections of Asiatic artefacts. The first one, comprising over 3,500 objects, had been assembled by the founder of the museum, Ferenc Hopp, and included 2,000 Japanese artefacts; the second collection was made up of 2,300 Japanese items purchased by Count Péter Vay on behalf of the Hungarian state. Count Vay made these purchases in Japan in 1907, and the items were exhibited in the Museum of Fine Arts in 1908 and again in 1910. The presentation of Péter Vay's fascinating life and activities is brought to completion by the integral connection between this volume and the exhibition of his collection at the Ferenc Hopp Museum of Asiatic Arts. Despite having been part of the Hungarian public collection for over one hundred years, there has never been a comprehensive presentation of Vay's Japanese collection since the exhibitions curated in the Museum of Fine Arts in 1908 and 1910. Besides the paintings, graphics, and sculptures, the display of a rich selection of applied art objects from the collection makes it the first comprehensive presentation of Vay's life and collecting work he undertook in East Asia, as well as the first presentation of its history and its historical context in the broader sense. As an introduction to the collection purchased in Japan, the present volume contains a study summarising Péter Vay's understanding of Eastern art and his art-collecting practice, as well as a catalogue authored by Györgyi Fajcsák, presenting the Vay collection as a whole and the significant works within it. Drawing on the latest research findings, this volume also includes, as an appendix, the biography of Péter Vay, together with the sources of the biographical information; in addition, there is a map of his travels and a bibliography of his selected writings.
As part of the series showcasing prominent figures of Hungarian art Hungarian National Gallery, Budapest is organizing a large- scale retrospective exhibition of one of the most important Hungarian painters of the twentieth century, Margit ANNA (1913-1991), a distinguished member of the art group Európai Iskola (European School). Margit Anna's painting is both sensual and ruthlessly clear- sighted. She combines elegant decorativeness with a search for the soul. Her childlike figures, painted within the European School, spoke for her and displayed suffering beyond human comprehension. In her later art, folk art and folklore appear, mourning and comedy are intertwined, and in her late paintings her puppets evoke scenes from the Old Testament with the sadness and irony of remembrance. The art group Európai Iskola (European School) aimed to connect to progressive Western European art. Their choice of name - referring to École de Paris - indicates their French orientation. As part of their activities, the group organized a French-Hungarian exhibition in Budapest, exhibiting well-known French masters ranging from Bonnard to Picasso.
A large-scale exhibition planned for the Hungarian National Gallery will present the culture of the first decades of the nineteenth century, taking a pan-artistic approach and focusing mainly on Hungarian and Austrian paintings, sculptures, furniture, clothing, and other utility items. For the first time since the exhibition of paintings held in the Mucsarnok (Kunsthalle) in 1938, the public will be given a comprehensive overview of the art of the Hungarian Reform Era, a period synonymous with the name Biedermeier. Divided into thematic sections, based on aspects of the social sciences and exploring the main stages and situations of human existence, the exhibition will present visitors with the Biedermeier zeitgeist as it appeared in every area of life.
The oeuvre of Sándor Galimberti and his wife, Valéria Dénes, has been scattered, lost and only a few more than 40 of their paintings remain in memorial. The earlier exhibitions of his life's work failed to present it in its entirety. This time, we are aiming to present the complete known material and, in addition to the works of the two of them, Galimbert's first wife will also be exhibiting her paintings, mainly related to Hungary. For more than half a century, the Galimberts have been considered by art historians to be among the greatest modern Hungarian painters of the 20th century, yet they have not paid tribute to the Galimberts with a truly major exhibition. This time we are undertaking a two-site travelling exhibition. The first stop of the exhibition tour will be the Hungarian National Gallery in Budapest from September 2024, followed by a slightly different concept in the Galimberti's hometown, Kaposvár.
Lipchitz. A Cubist Sculptor and His Legacy in Hungary will showcase the sculptor of Lithuanian origin (1891-1973), who became famous in Paris, selected from a private collection in Hungary. The exhibition, which includes sculptures, drawings, and prints, will display Lipchitz's early Cubist works alongside pieces from almost every important period in the artist's life. It will also highlight the sculptor's professional and personal relationships. The Museum of Fine Arts, Budapest will present this special collection for the first time
In cooperation with the Virginia Museum of Fine Arts, we are organizing an exhibition of works by photographers of Hungarian origin who emigrated to the United States. This large-scale exhibition, featuring nearly thirty artists, aims to showcase the extremely rich Hungarian-American photographic heritage, including works by André Kertész, Cornell Capa, György Kepes, László Moholy-Nagy and Martin Munkácsi. The unique concept of the exhibition is to take a comprehensive look at the work of Hungarian- origin photographers who have become known in the United States, juxtaposing the work of world-famous photographers with that of lesser-known artists.
The Hungarian National Gallery's exhibition TechnoCool: New Trends in Hungarian Art in the Nineties (1989-2001) presents the art of the period at several levels. The works featured in the exhibition emphasise the inspirational influence of the media and IT as well as visual, pop and DJ culture, while also touching upon the issues arising in the public discourse on art. The aim is to draw the public's attention to the analogies in the cultural phenomena of the era. Pop culture's optimistic sense of life and the euphoria of the aftermath of the political changes in Central and Eastern Europe endowed society in both Eastern and Western Europe with a positive vision of the future. Today's view of history sees the end of this period in the September 11 attacks by al-Qaeda on the Twin Towers in New York City. Thus, the time frame of the exhibition extends from 1989 to 2001, with the 1990s being remembered as the last optimistic decade of history. Noteworthily, although there was already an awareness of global warming and social polarisation, they were still regarded as solvable problems during these years. The various parts of the exhibition - presented in this catalogue too - weave a thematic arc of the art of the 1990s in which the artistic practices of the period can be interpreted in relation to each other. The identified themes are not exclusive categories of the artists' works, for they also show examples of transitions within individual artistic careers. Throughout the exhibition, emphasis is given to Nicolas Bourriaud's idea of musical analogy, with parallels being drawn between electronic music and the artworks presented in the sections of the exhibition. The objective is to illuminate the various inspirations by highlighting underground rather than mainstream records. Just like the fine art of the period, the music of the 1990s is ripe for many discoveries. The works featured in the exhibition serve to illustrate the theoretical approaches mentioned in the introduction, offering the possibility for us to reflect on the complexity of neoconceptual trends, the image ontological approach, the effects of consumer visuality, the embeddedness of media art in other genre categories, and technorealism. Making maximum use of the available space, the exhibition presents developments in the various artistic media - painting, object, photography, print, video, and (to a lesser extent) computer-based art - during the 1990s.
To celebrate on the 150th anniversary of the birth of Budapest, the Hungarian National Gallery is hosting a special exhibition of over a hundred photos evoking the capital city during its first golden age, the turn of the nineteenth and twentieth centuries. The pictures of the city, previously unknown in Hungary, were made by a German postcard manufacturer, and they were discovered by the editors of Fortepan in the collection of Deutsche Fotothek in Dresden. These views are supplemented with extraordinary 3D stereograms of the young metropolis taken by Frigyes Schoch. For the first time in Hungary, the Hungarian National Gallery presents photos of Budapest taken between 1903 and 1912 by the German postcard manufacturer Brück & Sohn, which capture not only its emblematic edifices but also a number of everyday scenes being played out in its back streets. The second set of images consists of 3D-effect stereograms produced by the Swiss-born engineer and amateur photographer Frigyes Schoch, offering a more personal perspective of Budapest as it evolved into a global city. Some of the locations and buildings in these early photos have changed almost unrecognisably or were sadly lost in the devastation of war, so alongside these images, visitors to the exhibition are also presented with pictures of the same places from later times or the present day.
In Renoir's first monographic exhibition in Hungary presenting almost seventy works, we explore an oeuvre spanning six decades, from the beginnings through the major impressionist works to the last masterpiece, The Bathers, completed shortly before his death. Portraits, genre paintings, and nudes illustrate the artist's unflagging, profound, and sincere curiosity in human life, the body, and the face. His models (friends, patrons, and members of his family) are part of a joyful, colourful, sensual world. The exhibition explores the master's entire oeuvre: the virtuoso portraitist of the artistic and literary circles in the paris of the 1860s-1870s; his detailed observation of contemporary life, with its dance and countryside scenes, and fêtes galantes in montmartre; the painter of intimate family life and childhood; and, of course, the master of the nude, who, at the beginning of the twentieth century was still one of the greatest painters of his day. By means of this selection of works, the exhibition also explores the painter's life and models. The way in which renoir observed and recreated the features and physiognomies of the men and - above all - women who sat for him, sketched them in balls and bathing, in the café and playing the piano, breast feeding or pampering their children, embodied an artistic ideal and an ideal of life, imbued with softness and light, individual happiness and social harmony. Renoir - The Painter and his Models, Museum of Fine Arts, Budapest, 22 September 2023 - 7 January 2024
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