The Age Of Pieter Bruegel Exhibition in Budapest
Until the 16th of September, the Museum of Fine Arts in Budapest exhibits The Age Of Pieter Bruegel. Flemish drawings of the 16th century, which shows a panoramic of the great changes that took place in Flemish art between the 16th and 17th century. This is the first time that numerous works of this period of time have been exhibited, allowing the showing of this evolution, since in 1932 and 1967 there were small partial exhibitions of drawings of that time.
The 17th century was shaped by great historical events that would have a great repercussion in European art. The Netherlands, the place where Flemish art developed, suffered great changes that would affect its intellectual life and the arts, since the deepening of the cracks between medieval and modern cultures with the humanism that had emerged with Italian Renaissance, would develop an important role in the creation of a new system of values that were to impregnate the arts.
This can be appreciated in the prints of drawings that are exhibited here, among which we can find some by Jan Gossaert, Roelandt Savery, Pieter Bruegel, Lodewijk Toeput, Bartholomeus Spranger or Friedrich Sustris, which belong to the Albertina Museum in Vienna and were loaned for this special occasions, since the Museum of Fine Arts of Budapest doesnt have enough material to show this process panoramically.
However, the collection of this museum is famous for some works, among them those that show landscapes, such as Pieter Stevens work, of which the museum is the owner of the whole. Theres also works by Paulus van Vianen, Frederick van Valckenborch and Anton Mirou.
Pieter Bruegel, known as The Elder was born circa 1525 -although the exact date and the birthplace are unknown. He was a pinter and engraver who was part of the Flemish school of artists. His work made him the most important representative of 16th century painting in the Netherlands and, together with Van Eyck, Rubens and Jeronimo Bosco they constituted the most select group of Flemish painters.
Between 1555 and 1563 he setlled in Antwerp, where he made paintings for the editor Hyeronimus Cock, who ordered him some engravings. During that time he produced 16 works for the art patron Nicholas Jonghelinck, who integrated himself in the artists scene and often met with characters that were considered scholars due to their extensive cultural knowledge.
Bruegel is known for his deeply humanized landscapes. His work is of an impressive precision and detail. He was also a great observer, which allowed him to reproduce the expressions, the physiognomy and the posture in certain situations of the peasants in great detail, as well as the way they walked and the clothes they wore. He painted with impressive ability and dominated ink drawing. Bruegel had the skill of overcoming the Italian mannerists and the previous Flemish artists by achieving a more modern and realistic conception of painting. Some of his most famous paintings are the series of the Tower of Babel: The Construction of the Tower of Bable and the Small Tower of Babel.
For more information: http://www.szepmuveszeti.hu/web/guest/articleview?mi_layout_id=29.30&mi_article_id=1015
Nancy Guzman
If you want to enjoy an unforgettable experience these summer holidays rent apartments in Budapest and see its museums and galleries.
Opus Magnum. The work of NATALIA LL
Until the 18th of March, the Ernst Museum in Budapest exhibits Opus Magnum by the Polish artist NATALIA LL. With this retrospective exhibition they pay tribute to the conceptual artist who for 40 years had worked in political feminist art, producing important works in the shape of paintings, drawings, performances, photographs, videos and installations.
NATALIA LL is one of the most famous Polish avant-garde artists. Her experimental art work together with the theory thrown onto various texts has brought her to be a pioneer in various art fields, even making works altering her own body.
Lach Lachowicz, the real name of NATALIA LL, was born in Zywiec, Poland, in 1937. She studied in the Fine Arts School of Wroclaw between 1957 and 1963. In the early 70s she was part of the art collective Permafo, together with artists such as Zbigniew Diuback, Antoni Dzieduszycki and Lachowicz Andrzej, with whom she created an avant-garde contemporary art gallery.
In the 70s, amid the rise of feminist political ideas, she joined the feminist international movement, quickly becoming an outstanding representative, making exhibitions on feminist art in Poland, introducing thought on the role of women in society and its representations through performances.
In the late 60s, influenced by the literature of the Marquis de Sade and Georges Bataille, she worked on the investigation of erotic photography and made three works based on it, Intimate Sphere, Velvet Terror and Intimate Photography. With these works she defied the dominant moral rigidness.
In the early 70s she questioned the role of image in society and developed a series of photographic works under the title Consumers Art. Through them she explored the meaning that consumer changes have and submerged herself in a series of post art on the photographic representations of the images that are impossible in photography. Many works came out of this investigation, among them Artificial Cycle.
In the late 70s she discovered the potential that video had, despite it being an expensive technique that was difficult to handle for a non-professional, and she made the works Register Time and Memories.
The 80s were difficult in Poland. The Trade Unions came up strongly in the country and they managed to stop production in most of the country, which meant the implementation of the martial law and, with it, the ethical revaluation in society. This brought NATALIA LL to move her investigation to philosophical and religious subjects. In this period she began a work process with her own body, deconstructing her figure in the work Fear of panic among others.
In the 90s, after the fall of socialism and the opening of the discussion of the origin of evil, she made interesting works such as Sphere of Panic and various other notable works.
For more information: http://www.mucsarnok.hu/new_site/index.php?lang=en&t=630&curmenu=201&kovetkezo_collapse=0
Nancy Guzman
Theres nothing like romance on the shores of the Danube. Rent apartments in Budapest and live the dream atmosphere that this cold-fractured city has.
Marcell Nemes in Budapest
Until the 19th of February of 2012, the Budapest Museum of Fine Arts holds the exhibition El Greco to Rippl-Rónai, which gathers the collection of Marcell Jánoshalmi Nemes. With this exhibition they attempt to pay a tribute to the patronage of the Hungarian art collector who became a legend in the world of art in the beginning of the 20th century.
The exhibition was titled El Greco to Rippl-Rónai because it shows the broadness of the contained works in this important collection. For that theyve selected 120 objects, among which we can find works by great Italian and Dutch masters, works of Hungarian artists, china, medieval sculptures and other objects of decorative art from different times, catalogues and documents belonging to Nemes.
Marcell Jánoshalmi Nemes was born in Jánoshalma, Hungary, in 1866. His becoming of one of the most important patrons and collectors in Hungary and Europe was full of speculations. This meant that his figure become one of the most controversial ones of his time, which made him into a legend, because he opted to finance young Hungarian artists and artists from other nationalities, buying their works so they could carry on their perfectionist studies.
During his life he donated various works of his collection, such as the valuable work by El Greco Mary Magdalene in penitence and another by Ádám Mányoki, Ferenc Rákózi, which is considered a work of heritage in Hungary of huge value, a gem of Hungarian arts, to the Hungarian Museum of Fine Arts.
His generosity wasnt limited to his country. Numerous institutions such as the Munich Museum, the Berlin Museum, the Louvre Museum and the Prado Museum also received donations. Also, various Hungarian institutions, such as the Applied Arts Museum, received donations, and he contributed in a generous way to the foundation of the Kecskemét Photography Gallery, to whom he gave 80 works of his private collection on Hungarian painting in 1911.
Based on this singularity of Nemes, the exhibition is made up by works of his collection belonging to various national and international museums, as well as parts of his collection that are found today in the hands of private collectors. With this, they try to enhance the wealth of the collection and remember his visionary view on art and its preservation for future generations.
In the exhibition we can find works by important 19th and 20th century Hungarian artists, among them works by József Rippl-Rónai, Mihály Munkácsy, Pál Szinyei Merse, Károly Ferenczy, János Vaszary, Béla Ultz and Károly Kernstok among others.
József Rippl-Rónai was born in Kaposvár, Hungary, in 1861. Despite his pharmacy studies, he moved to the Art Academy in Munich to study painting and then moved to Paris to study the same subject with Munkácsy. Among his greatest painting theres My Grandmother and the portrait of the great Hungarian pianist Zdenka Ticharich.
For more information: http://www.szepmuveszeti.hu/web/guest/articleview?mi_layout_id=29.30&mi_article_id=964
Nancy Guzman
Its always pleasant to spend a few deserved relaxing days in Budapest, a city full of romance, art, history and a culinary offer of the highest quality. For these and thousands more reasons, rent apartments in Budapest now and enjoy the beginning of 2012 so you can start the year with positive energy.
Translated by: aleixgwilliam
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The Golden Age of American Rock Posters in Budapest
Until the 31st of December, the Kogart Gallery in Budapest exhibits From San Francisco to Woodstock – the Golden Age of American Posters 1965-1971. The Kogart Gallery remembers the music festival which marked an era and a way of resistance towards the society of consumption in the 20th century, through posters which shaped the psychedelic art trend, concentrating in the products of the area of the San Francisco Bay.
The posters mark, in a majestic way, a time of great social transformations which shaped art, music and politics, and generated a unique aesthetic in all the social fields. In those years, San Francisco, California, was an effervescent place full of activities which changed the everyday life of the city and its surroundings with the Beatnik and Hippy culture, as well as with more radical movements such as the Black Panthers who fought for civil rights and social change.
The graphic work which these exhibited posters show not only have the historical interest of remembering a time and the Woodstock Festival, but in them they have the signs of a new visual art current, which are linked to Central European traditions. The exhibition also contains other items of that time, such as original documents of the manuscripts which were made for these projects, sketches and the tools used for their making.
The Woodstock Festival, whose complete name was Woodstock. 3 days of Peace & Music, was the music and art rock festival which shined the light the most on the hippy movement and their ideals of pacific co-existence and rejecting the Vietnam War, where thousands of people died every day. This took place on a farm in Bethel, in Sullivan County, close to New York, on the 15th, 16th, 17th and 18th of August 1969. The initial project was to carry it out in the town of Woodstock, Ulster County, New York, but the local conservative population opposed the idea of the festival taking place where men and women of dubious reputation would attend, who would sleep together and as a group. From there it got its initial name but, in the end, Sam Yasgur convinced his father Max Yagsur to facilitate the lands of his property.
The festival, full of passivity, only had three deaths, but none of them product of violence, and it gave birth to two children full of the spirit of love and peace.
On its great stage, they sung against the war and in favour of the revolution, they paid tribute to Latin America, the burned American flags in disgust due to their imperialist politics, and the most important rock icons of all time shone, such as Joe Cocker with his t-shirt which shaped fashion, Jimi Hendrix, who made the most impressive guitar solo ever playing the American anthem and imitating war sounds with his strumming, and Joan Baez with her songs of social protest, amongst over a hundred artists.
The documentary on Woodstock. 3 Days of Peace & Music, directed by Michael Wadleigh and edited and produced among others by Martin Scorsese, reached the cinema screens around the world in 1970, causing a real furore among the young population. For this documentary, the director obtained the Oscar for Best Documentary.
For more information: http://kogart.hu/kogart/en/index.jsp
Nancy Guzman
This exhibition is a great way to remember the golden age of the 60s, so rent apartments in Budapest and relive those times where the dream for world peace seemed to be within reach.
Translated by: aleixgwilliam
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Franz Liszt in Budapest
Until the 31st of December, the Palace of Arts in Budapest exhibits “The Many Faces of Liszt” as part of celebrations for the 200th anniversary of the birthday of Hungarian musician Franz Liszt. This exhibition makes a journey through his life and travels through photographs and an interactive map designed by the Moholy-Nagy University of Art and Design Budapest. For this, the National Archive has cooperated by providing photographs and archival materials for the exhibition.
Franz Liszt was born in Raiding, on October 22, 1811, while that territory was part of the Austro-Hungarian Empire. He began studying piano with his father and continued in Vienna, where he was the disciple of the pianist, Karl Czerny and studied composition with the Italian Antonio Salieri. In 1823 he moved with his family to Paris, a place that allowed him to begin his career as a musician and concert pianist. Taking advantage of his stay in in Paris, he followed lessons in composition with Ferdinando Paër, famous in his time by composing operas in Italian. He also took classes with the theorist and composer Anton Reicha.
His virtuosity in music, especially on the piano, took him to be one of the most important concert performers of Europe during the nineteenth century. It was said that his mastery over the piano and the quality of his performances led him to create advanced sounds, drastically changing the classical music and its interpretation.
As a composer he became the most prominent of the New German School and composed varied piano rhapsodies and concerts. His compositions notoriously influenced the twentieth century music.
But Liszt wasn’t only a pianist, composer and director; he also devoted his time to teach more than four hundred students. As a composer, he created nearly 350 works, wrote and collaborated on eight volumes of text, not including his correspondence with musicians and artists of his time. He made nearly 200 paraphrases and transcriptions of other piano composers.
Liszt was one of the most innovative musicians of the nineteenth century, being demonstrated in the creation of complex nuanced chords that surprised critics of his time, because of his break with musical traditions. For this, he explored new musical paths with his technique of thematic variations. We can appreciate them in the Sonata in B minor, 1853, as the simple beginning notes that are being transformed to give the work a strength tone. This technique influenced dramatically in the work of Wagner and Strauss. His compositions for piano required a difficult technique, which gave the instrument a completely new sound.
All these qualities of his work, made Liszt to be one of the most famous musicians of his time and thats what this exhibition is, a full tribute held in Hungary to one of the most important men in music history.
For more information http://mupa.hu/en/program/the-many-faces-of-liszt-photo-exhibition-2011-10-08_10-00-elocsarnok
Nancy Guzman
Music is always a good stimulator to senses, so if you want to assist to the tribute to one of Hungarys most important musical artists of the nineteenth century, rent apartments in Budapest and come to the Palace of Arts.
Translated by: Hans
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Rita Ackermann in Budapest
The 18th of November, the Budapest Ludwig Museum opens the exhibition of works by the Hungarian artist Rita Ackermann. The exhibition is curated by Kata Oltai, who has organized it around her latest works which are juxtaposed with some of her early works, within the space given to the Museum of Hungarian artists who have so far been not very well-known.
Rita Ackermann was born in Budapest in 1968. She studied Fine Arts in Hungary. In the late 90s she moved to New York, where she lives and works today. She started her career as a painter and then evolved to complex visual arts, influenced by trends and discussions on art in the United States and her studies at the School of Art in New York. Her complex works reflect her own transformations and became one of the favorites of the underground of New York at the end of the twentieth century.
Her works, interestingly combine different art languages. Music, image and plastic, which adds a variety of languages and particular expressions, typical of the youth or certain social classes that give her a sense of wholeness and content on the world around New York, as a summary of all cultures.
Her series of drawings and collages with pieces of poetic texts reflect the search for answers from a youth that lost its generous dreams for humanity and is now plunged into drugs, alcohol and promiscuous sex, almost like a collective suicide. She is not looking to respond to the existential anxiety with her work. Rather there are only questions, not interpretations or social criticism. Those tasks are left to the viewer, looking respond to and interpret the uncertainties about his/her generation.
Her perspective and story focuses on fertility and pornography. They are diametrically opposed to contrast the procreation and pleasure, in socioculturally terms they are decoupled. Ackermann tries to betray the location of a generation immersed in a society, which is constantly bombarded with messages about pleasure, but when people dare to do what the messages say, thy get punished by the law. This was reflected in her most interesting work Escorpionun, which juxtaposes images and texts.
This is the first stage of work, which opened the way to the stage where Ackermann examines art and the historical process contained and expressed through art, focusing on traditions and concepts of European painting, in contradiction to the U.S. . An interesting look that goes to the debate with the history of art.
Ackermanns work at the Ludwig is an interesting exhibition to appreciate, this symbolic imaginaries of the Hungarian artist, because all of them are her vision of two worlds, the origin and the arts and everyday life.
For more information http://ludwigmuseum.hu/site.php?inc=kiallitas&kiallitasId=764&menuId=44
Nancy Guzman
The Danube, wide avenues, culture, romance and coffee is what you need for this fall. Just rent apartments in Budapest and come to enjoy the best moments of your life.
Translated by: Hans
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Site Inspection at the Ludwig Museum in Budapest
With the 20th Anniversary of the first permanent exhibition, the Ludwig Museum presents until the 23rd of October Site Inspection – The Museum on the Museum. The exhibition focuses on the present discussion on the museum and its meaning on art, the artists and the public.
This exhibition is commissioned by Katalin Székely and, together with the museums curatorial team, she looks to expose the great changes that the museum space has gone through down the years and the critique that part of the artists have made in all this art process in the 20th and 21st century.
This ambivalent relationship of the artist with the institution has been regular and permanent in the world of art. A contradictory relationship where the artist requires: it, but at the same time directs his most intense critiques to the social representation space that museums are today: a space of power, a fundamental step in the market and a status mark and work value.
The exhibition puts special emphasis on the avant-gardist call of the 70s, both in the local and international space. This special outlook to avant-gardism is because in some shape or form, its institutional review can be considered a precursor of contemporary thinking spaces on the museum.
But we cant forget previous processes on this critique, like the ones lived by the artists of the so-called avant-garde. Such is the case of Marcel Duchamp, who was one of the first to pose the paradoxes of work and its context, the relation between the artist and the museum and the one between the artist and the spectator.
For the conceptual artists of the 60s and 70s, this becomes crucial. The work loses or gains meaning according to its context and, for this reason, the museums transform into immobile and rigid spaces where the shapes and established spaces for each exhibition become disconnected from its process and from the relation with the spectator. For the avant-garde, the museum is part of the social gearing and, in the same way, ideology, representation of the shapes of social relation and the market in which theyre inserted. For that, its critique and investigation is directed to the social space as a whole.
This interesting and complex situation is well reflected in a series of films and videos that are presented in the film space in the exhibition, with works by artists such as Costa Gavras, Woody Allen, Alfred Hitchcock and Aleksandr Sokurov among others.
The artists that begun the institutional critic through their work or in their investigation projects during the 60s and 70s, they consciously made works that werent marketable and salable, many times, with the idea of carrying out a short or invaluable project for the logic of the market.
That way we can appreciate in this exhibition works by artists such as Marcel Duchamp, Andrea Fraser, Halász Károly, NETRAF, Dalibor Martines, Alan Sekula, Hans Haacke or Azorro Group among others.
For more information: http://ludwigmuseum.hu/site.php?inc=kiallitas&kiallitasId=782&menuId=43
Nancy Guzman
If your destination option this summer has been to walk along the shores of the Danube and having a relaxing time in apartments in Budapest you cant not visit the impressive Ludwig Museum and walk through this exhibition that gathers great 20th century contemporary artists.
Translated by: aleixgwilliam
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European Film Gateway – The age of Hungarian silent film
Until the 25thof September at the Műcsarnok Palace in Budapest, the exhibition: European Film Gateway is – The age of Hungarian Silent Film will be presented, in which we will be able to appreciate a selection of silent films, photographs, posters and a special collection of the Hungarian National films Archives which is part of the European film Gateway.
The exhibition is based on a project launched in September 2008 by the European Film Gateway, with the participation of 12 countries, which contributed 20 film archives, in order to organize the film heritage of Europe. The process of collecting and digitizing films, photographs and posters has had a great response, achieving the digitization of 790,000 pieces, among which there are 1,200 posters ranging from the early twentieth century until 1990. Visitors can check the multimedia content of the exhibition, including 200 hours of the films of Béla Balálzs Studios.
In the exhibition you can see the research about silent films, since many films have been lost and the only way of rescue them is through newspaper clippings, publications, photographs of the artists and all that plot production.
Also, you will be able to appreciate works rarely seen before, as the silent film version of Aranyember or Golden Man directed by Sandor Korda and scripted by Laszlo Vajda in 1918. This film marked a milestone in the Hungarian film industry because of its interesting work of acting direction. Korda became one of the most prominent men in the British film industry, to the point of being knighted by Queen Elizabeth because of his contribution during the Second World War.
Sandor Kordas real name was Alexander, and he was born in Hungary in 1893. Son of a Jewish family, he worked as a journalist in the beginning of his carreer. He was an active participant in the formation of the Hungarian Socialist Republic. Since 1932 he lived in London and made films in several countries in Europe and in the United States.
Another silent film that has been preserved and displayed is Éjszaka by Utolsó or Last Night by the Hungarian director Jenő Janovics. Janovics was born in 1872 and belonged to a group of filmmakers from Transylvania. He was a film director, screenwriter and actor in silent films. He directed 30 films during the 20s and the public acclaimed them all.
Aphrodite by the Hungarian director Alfred Deésy is another of the silent films that will be shown in this exhibition. This film was released in 1918. Deésyn was born in 1877 and worked in the film industry until his death in 1961. He was a film director, screenwriter and the most acclaimed Hungarian silent film actor. His films were famous for representing simple elements, always with a high burden of melodrama, which gave very good results with the public.
For more information
http://www.mucsarnok.hu/new_site/index.php?lang=en&t=586&curmenu=103
Nancy Guzman
If you like silent films, this exhibition is a good experience to enjoy. So stay in apartments in Budapest and attend this exhibition, delight yourself with the best of the silent film industry.
Translated by: Hans
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Károly Markó in Budapest
The Hungarian National Museum has in its galleries the work of the 19th century Hungarian painter Károly Markó in the exhibition From Myth to image, which will be open to the public until October 2nd. The exhibition is commissioned by Hessky Orsolya, Bellák Gábor and Drago Zoltán and its a product of the cooperation of museums in Barcelona, Vienna, Bratislava, Copenhagen and Prague, as well as public and private collections that put forward to the disposal of the museum works of high value.
The exhibition enters the work of Markó in his mature phase, when he establishes his own style after his artistic experience in Italy and he comes close in a definitive way to European contemporary painting.
Károly Márko, known as “The Old Man”, was born in Levoce, currently Slovakia, in 1791. He studied in the Arts Academy in Vienna and in the Rome Academy, where he transformed into the most outstanding artist in landscape painting that was formed in that academy. His grandeur trespassed the borders of Europe, being considered by experts as the artifice of the Hungarian painting school and the artist of major influence and significance.
Following the fashion of the time, Markó spent large parts of his life in Italy, where a large amount of the European artists got together attracted by the art development there. Due to the valuation of his work, he was named a member of the Academy in Florence, Venice and Arezzo,. where he left a school that followed his composing, lighting and thematic lines.
He was also invited to give class in the San Carlos Academy in Mexico as a teacher of landscape due to his exquisite work of luminosity, color and composition. But despite the tempting offer, he decided to hand over the invitation to his disciple, Landesio, who transmitted the formation that hed received by Markó in his painting classes.
Markós painting took scenes that put as a pretext a scene of mythology or religiousness to outline and fixate the attention to the landscape, which is represented in panoramic views dominated by warm lights and nature details.
The influence that Markó had among the painters of the time was huge. The handling of the light in his landscapes and the composition make of his work one of the most interesting ones of the 19th century, to the point that through Landesio he left his print among the painters that transported the Roman landscape to the Mexico Valley and its volcanos, like various heirs of this tradition did.
Visegrád is one of the most famous paintings by Markó because it captures in an incredible way the luminosity of the mountain landscape that is located in the sinuosity of the Danube, in Hungarian territory. This painting is considered a cultural icon in the region and it reproduces with authenticity the peculiar topography of the place.
For more information: http://www.mng.hu/en/exhibitions/marko_nyito_en
Nancy Guzman
If you dont know the work by Károly Markó, I invite you to come to the Hungarian National Museum if youre around the area and enjoying apartments in Budapest There you can see that landscapes that made this painter famous.
Translated by: aleixgwilliam
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Paintings, watercolors, prints and drawings in Budapest
The Hungarian National Museum exhibits until the 16th of October its collection of prints and drawings from the period of 1900-1925. The exhibition “Painting on paper” is curated by Eszter Földi and Ferenc Zsákivics, it contains more than eighty thousand books and documents that due to the fragility of the paper cannot be on permanent display.
However, these works will be shown during the next six years, with six-month renovation on each one to accompany the permanent exhibition of paintings and sculptures of the twentieth century.
Throughout the historical period covered by this sample, watercolors have a significant presence in the Hungarian art; at least, this is what can be seen in the works and sketches that compose this archive.
Watercolor is a technique that requires great skill and training to achieve proficiency with the paintbrush and the mixing of colors on paper. The works made with this technique are performed in a single session. The difference between watercolor and drawing is that the stain on watercolor replaces the stroke, so it requires much more training in the preparation of colors and sketches.
In the beginning of the twentieth century, the art nouveau entered into the art scene and many artists added to this current, which renews the design, drawing, painting and all forms of art. The artists of the city of Gödöllő were those who integrated watercolor sketches and illustrations in line of art nouveau as Mihály Rezso´s illustrations based on a story.
In 1910 watercolor begins to be less used by the Impressionists, despite this, many artists kept the use of techniques that allow the use of watercolor.
The avant-garde artist Gizella Dömötör has several remarkable works of this kind. Dömötör was born in Budapest in 1894 and studied at the Academy of Fine Arts in the same city. Married to the artist Hugo Mund, they both participated actively in the Hungarian avant-garde, by following French modernists and adding themselves to cubism and expressionism. In the 30´s, they immigrated to Argentina.
The interwar time was the most significant period for painting and engraving of the twentieth century in Hungary. The most precious works in terms of aesthetic and artistic value that the National Museum owns belong to this period, because the terrible economic situation of the time was linked with the decline in art sales, as well as the decline of art galleries and markets.
The Surrealists Béla Bán, Endre Bálintc, Lajos Vajda, Margit Anna and Imre Amos recorded the horrors of World War II in watercolors, gouache and ink. Today their works are in the archives of prints and drawings.
For more information http://www.mng.hu/en/exhibitions/grafika_akvarell_en
Nancy Guzman
This exhibition is a great alternative to learn the history and culture of Hungary and Europe through art, so if youre in apartments in Budapest come to appreciate this wonderful collection of watercolors and prints.
Translated by: Hans
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