A day of painting

The Hungarian Painting Day began ten years ago, Budapest XI. District of New Buda, from the districts, where at that time Csontváry Kosztka Theodore studio was (on Bartók Béla út 36th number in front), which this year before the window of a cedar of Lebanon planted in honor of the painter giant.
The Day of Hungarian painting is not a one-day holiday: numerous exhibitions and events preceded the October 11 and 18 between Budapest and in several provincial cities. A series of events under the patronage of Laszlo Tokes, European Parliament Vice President. This year's anniversary celebrations, which in the Carpathian Basin Hungarian painting has been the focus of more than fifty-related program.
The Hungarian Painting Day event for the first time organized a symposium in Budapest Danubius Hotel Gellert, whose title posed the question: Is there a painting of the Hungarian national character at home and beyond?
First of all, Laszlo Tokes's speech would come up a few thoughts: he believes to be in Hungarian Hungarian painting characters such as music and dance performances are also native language, mother tongue as much visual as well. As an example, diszharmóniára indicated values ​​are disrupted as a symbol of Babel mentioned in the languages ​​összezavarodását that are similar pictorial mother-tongue in the field can take place in such a összezavarodás, and also spoke to visually shifting world we live in a visual terror (lights, the advertising industry) prevails in society this is to suffer. The visualization is only a very small part of the painting, which, unfortunately, is becoming less.
"Separate I am happy - said Laszlo Tokes - that this event included a painting borders and beyond, because the cross-border art has no body was in the domestic arts." An example of Kisvárdai Theatre Festival said, the Hungarian theatrical life is almost a foreign body as pushing the release Kisvárda productions. In contrast, this year's Day of Hungarian painting event "over the borders of the noble cause of national unification represents."
The symposium theme that "there is a painting of the Hungarian national character at home and beyond", ten Hungarian and foreign lecturers: Balazs Sandor art historian, literary scholar Louis Bence Slovenia, Slovakia, Tibor Farkas Veronikaés Kopócs. Peter Munkács Martl sculptor, George Somogyi, art historian, art historian George Szucs, the Hungarian National Gallery Deputy Director General, Vecsei Zoltan Nagy art from Transylvania, Vojvodina, by including myself, tried to walk around. Of course, there are artist, so many ways to approach to the subject. The neighboring countries of Hungarian painting of the national character of speaking several pre-tax, it seemed that not a question to answer because historical returns due care began, but in order to question any answer can be given back in time to go up to Trianon, when the annexed territories creative artists broke away from Hungary, the Hungarian painting, and a new State as a minority artists looking for a place more or less success. If all this has also to do the least in the neighborhood our know (now is the internet, media, thanks to improvement in the situation), because school curricula distant continents and countries of still more appeared, and the neighboring countries, they are a historical review of the additions is undoubtedly justified were. The Romanian-Hungarian art context, I quote an extract from Z. Vecsei Great art for an addition:
"It has been suggested and it still raises more questions we can talk about this at all, the art of national identity. Traditionally, the art of story-writing sees the fine arts as embedded in the individual cultures and their ability to convey specific values ​​of art. But the major theorists of the visual arts as supranational, freeing the constraints of regions and nations, with the introduction of concepts such as universality, cultural nomadism, multiculturalism, globalism. They view the fine arts as a national language-independent, so the international art ab ovo. However, this contrasts with the practice that on a national basis for classification of individual artists to register, encyclopedias, and various art museums and historical processing. Vulnerable to this practice in the Eastern European artists living in small nations with a number of separate identity communities live side by side, each of which permeates the culture.
The Hungarians who declared himself an artist with this issue every day had to deal with Romania, especially in the pre-1990 period. The exclusivity of national cultural policy, Ceausescu aspiring professional discretion to the detriment of, a negative bias toward treating minority artists, whether intentional or unintentional art element in the manifestation of national identity or, conversely, its purpose was to refuse or neglect. However, the Hungarian art historians have also lost interest in the cross outside the scope of Hungarian art, such as rural, but within a creative artist. as well. This 'bench alattiság between two chairs' is a necessity, but in any case gives meaning to the notion that ethnic Hungarian art. "
In Romania, Hungary, similarly to the art historians of the southern Hungarian fine art was unknown and not considered part of the history of Hungarian art after 1920 and after 1945, either. This is justified by the historical situation. The southern Hungarian art, so the southern Hungarian painting is determined by the multiple contradictory situation: the Hungarians living in Hungary's neighboring countries and the so-called artists. socialist bloc, in one camp belonged to (which is by no means meant better situation!), while Yugoslavia has always been "special way" was rather West calculated as East, so southern Hungarian artist with the mother country, even less engaged than others. However, from neighboring countries for the Southern artists very envied position had since Yugoslavia in the 1960s from the open country was the world's latest artistic trends of free-flowing into the country, the artists, if financially been able to, could travel almost anywhere, even abroad were allowed to stay, Hungarian artist when it was legally impossible. The recently much talked-about cosmopolitanism, multiculturalism there already was there, along with the benefits but have the added disadvantage is meant that the national character (but it should be added, especially as a minority residents), if not complete, but partial loss resulted.
The contradictions that's not all: despite the fact that the Hungarian art history writing for the Southern Hungarian artists did not exist, in the 1960s, even more so in the 1970s in Hungary and the southern rural artists' colonies (eg Senta, Topolya, Fine Arts Festival in Subotica, in the 1990s after the Subotica Bucka Gányó) formed a permanent relationship, which further strengthened the southern Hungarian artists in the sense that their art is nevertheless a part of Hungarian art.
In the 1980s, the growing nationalism and the Balkan wars erupted in 1991, the artists brought the total hopelessness. Many of them have a military draft from Hungary, sought refuge: it emerged in a southern artist, film (including but not limited to, already in the 1970s, at the end of political reasons, relocating Benes Joseph painter at their head, Augustine Lorant, Bada Dada, Balint Stephen Barath Ferenc, Tibor Csikós, drMáriás, Markulik Balázs, Péter László Ede Sinkovics, Stephen Jay, Alexander the throat, Urban, Gabor George Verebes, and it is not listed in the fine arts is also active in other areas of southern artists). Their art is undoubtedly an integral part of Hungarian art.