Collections and Critiques

HUNGARIAN PAINTING AT GERMANIC MUSEUM

About Thirty Canvases Representing Native Art—Old Capitals at Fogg

An exhibition of modern Hungarian painting, loaned to the University by the College Art Association, will go on display today in the Germanic Museum. It offers an unusual opportunity to study the art of the Magyar people, a people of south-eastern Europe, through the medium of thirty canvases, representing almost as many painters, which give an excellent idea of the art which is being practiced in Hungary at the present time.

What foreign influence there is in Hungarian painting seems to have come from France rather than Germany. Indeed, almost every painter in the exhibition has spent some time studying in Paris. Matisse and Derain have been particularly influential, affecting the style of such painters as Bona, Csok, and Csorba.

The purely intellectual experiments in abstract painting which are so engrossing to most French painters were never very popular in Hungary where the art is firmly rooted in the soil. The “Holy Family” by C. Pal Molnar has no direct prototype in modern European art. Its naive, spontaneous, lyrical expression is characteristic of the outlook of a peasant. The native past is still alive in the work of Istvan Pekary which has the gaiety and lightness of a pageant. “The Circus” by Vilmos Novak Aba, who has exhibited in the Carnegie International, has something of the savage brutality of the Magyar ancestors of the artist.

Modern Hungarian painting is fundamentally a folk painting in spite of its superficial resemblance to the self-conscious movements in the art of other countries. As such it is easily understood and enjoyed.

AT FOGG MUSEUM

The two capitals on either side of the main entrance door of the Fogg Museum are from the Abbey of Santa Maria de Albaranza near the hamlet of Labranza de Piserra in the province of Palencia, Spain.

The capital to the left has in Gothic lettering the inscription “Petrus Caro Prior (F) Ecit Hanc Eclesia Et Domus Et Clustra Et Omnia Ab E Fudat Era MCCXXLLL”, a free translation being: “The dear prior Pedro built the church, the monastery, and the cloister in the year 1185.”

The capital to the right is inscribed “In Hoc Arco Fecit Rodricus Gustio” Vir Valde Bonus (M) Ille Orate Pro Eo.” Gustio, the sculptor, was without doubt a scion of the celebrated Castilian family. Thus these two capitals are closely dated, 1184 and 1185.

“Christ in Glory” is depicted on the capital at the left of the doorway. Sitting within a mandorla supported by the four attributes of the apostles, the lion, ox, eagle, and angel, Christ raises both hands in benediction. The two apostles on the left face of the capital carry the resurrection cross, while the two disciples are on the right face.

The capital to the right shows that dramatic scene in which the three Marys arrive at the tomb of Christ to find him gone. The angel is seen pointing into the tomb to further emphasize the fact of Christ’s resurrection. On the left face of the capital, the figure of a sleeping guard is carved. On the right, the third Mary, Mary Magdalene, is seen bending forward to see into the sepulchre.

The image is a page from the February 3, 1932 issue of the "Crimson" newspaper. The page is titled "Collections and Critiques" and contains two main sections: one on Hungarian painting at the German Museum and the other on capitals at the Fogg Museum.

Hungarian Painting at German Museum:

• The article describes an exhibition of modern Hungarian painting, showcasing approximately thirty canvases from the German-Magyar (Hungarian-German) border area.
• It highlights the opportunity for studying Hungarian painting in the context of the broader European art scene.
• The exhibition includes works by various Hungarian artists, with some notable pieces like "The Funeral" by István Pekár, "The Circus" by Vilmos Novak Ába, and others.
• The article mentions the unique characteristics of Hungarian painting, such as its folk-like qualities and the influence of French and German styles.

Capitals at Fogg Museum:

• The second part discusses two capitals at the entrance of the Fogg Museum:
  • The left capital features Gothic lettering and depicts "Christ in Glory," with a mandorla and attributes of the apostles.
  • The right capital is inscribed with the names of the saints and shows a dramatic scene where the three Marys arrive at Christ's tomb.
• The article provides detailed descriptions of the inscriptions and the depicted scenes, emphasizing their historical and artistic significance.

Overall, the page provides insights into contemporary Hungarian art and a historical overview of artistic capitals at the Fogg Museum.

The image is a page from the "Crimson," dated February 3, 1932. The page contains two articles under the section titled "Collections and Critiques."

1. Hungarian Painting at Germanic Museum:

   • Title: "Hungarian Painting at Germanic Museum"
   • Description: The article discusses an exhibition of modern Hungarian painting, loaned to the University by the College Art Association. The exhibit, displayed at the Germanic Museum, features around thirty canvases representing the art of Hungarian painters.
   • Content: It highlights the influence of French painting on Hungarian artists, noting that painters like Matisse and Derain have had a significant impact. The article mentions that Hungarian painting is rooted in the soil and discusses specific pieces like "The Funeral" by Istvan Pekary and "The Circus" by Vilmos Novak Aba.
   • Observation: The exhibition provides an opportunity to study the evolution of Hungarian painting, which is seen as fundamentally folk painting despite superficial resemblances to other European styles.

2. At Fogg Museum:

   • Title: "At Fogg Museum"
   • Description: This article discusses two capitals from the Abbey of Santa Maria de Alabanza near the hamlet of Labranza, in the province of Palencia, Spain, which are part of the Fogg Museum collection.
   • Content: The capitals are from the doorway of the abbey and date back to the year 1185. The left capital, with Gothic lettering, features an inscription dedicated to the prior Pedro. The right capital is inscribed with the name of the sculptor, Rodricus Gusti, and depicts a dramatic scene of the three Marys arriving at the tomb of Christ to find him gone, with an angel pointing to the resurrection.
   • Observation: The capitals are notable for their intricate carvings and historical significance, representing the artistic style of the period.

The articles provide insights into the art exhibits and historical artifacts available for public viewing at the time.

The image is a scanned page from the February 3, 1932 issue of "The Crimson," a publication that appears to be from Harvard University. The page contains an article titled "Collections and Critiques," with two main sections: one about "Hungarian Painting at Germanic Museum" and another about "Old Capitals at Fogg Museum."

Hungarian Painting at Germanic Museum:

• Exhibition Details:

  • The exhibition features about thirty canvases of modern Hungarian painting, loaned to the University by the College Art Association.
  • The paintings are on display at the Germanic Museum, offering an opportunity to study the art of the Hungarian people in the southeast boundary of the Germanic territory.

• Artistic Influences:

  • The paintings are influenced primarily by French art, with many painters having studied in Paris.
  • Hungarian painters are noted for their intellectual experiments in abstract painting, which are less popular in Hungary.
  • The article mentions several painters and their works, such as C. Pal Molnar's "Holy Family" and Vilmos Novak Aba's "The Circus."
  • It highlights the distinctiveness of Hungarian painting, which is described as fundamentally a folk painting with a superficial resemblance to self-conscious movements in other countries.

Old Capitals at Fogg Museum:

• Location and Origin:

  • Two capitals are displayed at the main entrance of the Fogg Museum.
  • They originate from the Abbey of Santa Maria de Alabanzas, near the hamlet of Labranza de Pisuerga, province of Palencia, Spain.

• Description and History:

  • The capital on the left has Gothic lettering and is inscribed with the name "Petrus Caro Prior," along with a translation in Latin: "the dear prior Pedro built the church, the monastery, and the cloister in the year 1185."
  • The capital on the right is inscribed with "Isto Arco Fecit Rodricus Gustiust Vir Valde Bonus," and it is attributed to the sculptor Gustio, who was without doubt a scion of the celebrated Castilian family.
  • The carvings depict scenes from the Bible, including Christ in Glory and the resurrection of Christ.

Overall, the article provides a detailed critique and description of the exhibits, highlighting both the modern and historical aspects of the artworks displayed.

The image displays a page from the Harvard Crimson newspaper dated February 3, 1932. The page contains two main articles related to art exhibitions:

1. "Hungarian Painting at Germanic Museum"

   • The article discusses an exhibition of modern Hungarian paintings, loaned to the Germanic Museum by the College Art Association. This exhibition includes about thirty canvases by various Hungarian painters.
   • The author notes that Hungarian painting appears to be influenced more by France than Germany.
   • Several Hungarian artists are mentioned, including Matisse-influenced artists like Béla Czóbel, Ödön Márffy, and István Csók.
   • The article highlights that some artists, like István Pekáry and Vilmos Novak Aba, exhibit unique styles, with the latter showing the brutality of Magyar ancestors.
   • The author concludes that modern Hungarian painting combines folk painting with a superficial resemblance to self-consciousness.

2. "At Fogg Museum"

   • This article describes two capitals (sculpted tops of columns) displayed at the Fogg Museum, originating from two different locations in Spain.
   • The first capital, from the Abbey of Santa María de Alaón near the monastery of San Pedro de Siresa, features Gothic lettering of an inscription.
   • The second capital is from Palencia and depicts the Ascension of Christ.
     • On the left side, Christ ascends while being pointed to by an angel, and the apostles look on in astonishment.
     • On the right side, a dramatic scene shows Christ arriving at the tomb, with figures displaying varied emotions.
   • Both capitals date back to around the year 1185.

The image is a newspaper clipping from "The Crimson" dated February 3, 1933. It features two articles under the section "Collections and Critiques."

1. Hungarian Painting at Germanic Museum:

   • The article discusses an exhibition of modern Hungarian paintings organized by the College Art Association at the Germanic Museum.
   • It highlights the rarity of such exhibitions outside Hungarian borders.
   • The exhibition includes about thirty canvases from various painters, representing almost all painters currently active in Hungary.
   • The article notes the influence of French painting on Hungarian art, particularly the impact of artists like Bela Czobel, Odon Marffy, Istvan Csok, and others who studied in Paris.
   • It mentions that while some Hungarian artists have experimented with abstract painting, this style is not popular in Hungary.
   • The article highlights specific paintings like "The Funeral" by Sandor Bortnyik and "The Circus" by Vilmos Novak Aba, noting their unique styles and influences.

2. At Fogg Museum:

   • This article describes two capitals from the Abbey of Santa Maria de Alabanza near Labranza de Pinuera in the partido of Cerrera, Spain.
   • The capitals, dated to the year 1185, feature Gothic lettering with inscriptions.
   • The left capital depicts Christ in Glory with the four apostles and their attributes.
   • The right capital shows the three Marys at the tomb of Christ, with an angel indicating Christ's resurrection.
   • The article provides a detailed description of the scenes and figures carved on the capitals, including the sleeping guard and the angel's gesture.

The newspaper clipping provides insights into both modern Hungarian art and historical Spanish artifacts, showcasing a blend of contemporary and ancient artistic expressions.

The image shows a document with the heading "Crimson February 9, 1932" at the top, indicating that the text below is an article or a collection of critiques from that date. The body of the document is divided into two columns with the titles "HUNGARIAN PAINTING AT GERMANIC MUSEUM" and "AT FOGG MUSEUM" respectively, suggesting the text covers exhibitions or collections at two different museums. The article appears to discuss Hungarian paintings representing native art at the Germanic Museum and other artworks at the Fogg Museum.

The visible text in the document relates to art critique and mentions various artists, artworks, and historical context. It appears to provide descriptions of the art pieces and their significance. The document has a typewritten appearance typical of the time period indicated by the date. There is a small handwritten blue mark on the top right corner, possibly a librarian or archivist's notation.

This image depicts an old newspaper clipping mounted on a slightly larger, blank, beige-colored background. The clipping appears to be titled "Collections and Critiques" and has two subheadings: "Hungarian Painting at Germanic Museum" and "At Fogg Museum." The content seems to discuss an exhibition of modern Hungarian paintings at the Germanic Museum, including about thirty canvases. It mentions various Hungarian contemporary artists and their artworks, describing the intellectual experiments with abstract painting, the "naive, spontaneous, lyrical expression" of Hungarian national art, as well as other specific pieces such as "The Funeral" by P. C. Morham and "The Crucifix" by Vilmos Novak Abay.

The article also describes particular capitals located at the entrance door of the Fogg Museum, originally from an abbey in Spain from the year 1185, featuring Gothic inscriptions and depictions of Christ in Glory, including apostles and angelic figures.

Additionally, we see handwritten text at the top of the beige backing noting the date "Crimson February 3, 1932."

The image shows a newspaper clipping titled "Collections and Critiques" featuring two articles. The first article, titled "Hungarian Painting at Germanic Museum," discusses an exhibition of modern Hungarian painting at the Germanic Museum, loaned by the College Art Association. It mentions about thirty canvases representing native art, focusing on old capitals found in Hungary. The article highlights the influence of French artists like Matisse and Derain on Hungarian painters and describes the character of modern Hungarian painting as fundamentally folk painting with some impact from self-conscious movements in other countries.

The second article, titled "At Fogg Museum," describes two capitals (architectural elements) displayed at the main entrance door of the Fogg Museum. These capitals are from the Abbey of Santa Maria de Alabanza near Labranza de Pisuerga in Spain, dating to the year 1185. One capital features Gothic lettering with an inscription about the church's construction, while the other depicts scenes from the life of Christ, including "Christ in Glory" and a dramatic scene showing three Marys arriving at Christ’s tomb.

At the top of the page, there is a handwritten note that reads "Crimson February 3 1932," indicating the date and possibly the publication associated with the clipping. The clipping is mounted on a larger sheet of paper, giving it a framed presentation.

The image is a scanned page from a magazine or newspaper. The page has a title at the top, "Collections and Critiques," and a subtitle, "Hungarian Painting at Germanic Museum at Fogg Museum." The main body of the text is divided into two columns, with the left column discussing the exhibition of Hungarian paintings at the Fogg Museum and the right column providing a detailed description of the two capitals on either side of the main entrance door of the Fogg Museum. The text is written in a formal and informative tone, providing historical and artistic context for the paintings and the capitals. The image is well-lit and clear, with no visible blemishes or distortions.