Acta Historiae Artium

Imre Takács

Ernő Marosi Turns Eighty

恩尔诺·马罗西八十寿辰

Ferenc Matits

Book Review

书评

Abstract The paper presents stone funerary monuments known from the Saint Michael Cathedral in Alba Iulia (in Hungarian, Gyulafehérvár, in German Karlsburg or Weissenburg, today in Romania) from the second half of the sixteenth and the seventeenth centuries, the period of the Transylvanian Principality. These memorials represented a broad variety in terms of their quality and complexity, including simple heraldic ledgers produced locally as well as large wall monuments made of colorful marbles imported from the most fashionable Dutch and Italian workshops in the Polish-Lithuanian Commonwealth to commemorate the princes of Transylvania and their family members. All stone funerary monuments, regardless their size and form, are linked by their function: they were created to preserve and evoke the memory of the dead among the present and future generations of the living by communicating specific messages about them. The forms, materials, images, and texts, as well as the location of the memorial in the space of the medieval cathedral and in the context of the other funerary monuments there were all carefully chosen to serve this purpose of communication. The paper analyzes all principality-period funerary monuments from the Saint Michael Cathedral in Alba Iulia as media of memory, including both the simple and the more complex ones ordered from abroad to commemorate the Transylvanian rulers. I will examine the monuments in the context of their production and reception, within the scene of sculpture in Central and Eastern Europe, in order to understand what kind of memory they were intended to preserve and how they were designed to retain and shape the memory of the deceased.

Dóra Mérai

“This Single Slab of Marble Does Not Show you One Single Face”. •

“这块大理石板不会向你展示任何一张脸”。

Abstract The avant-gardes of the nineteen twenties are discussed in the art historical literature as the art products of a rarely upbeat decade, which featured great utopian aspirations and progressive art between the wake of World War I and the Nazi takeover in Germany, as well as the consolidation of Stalinism in the Soviet Union. This essay depicts the decade as being far from a homogenous period, demonstrating that the early internationalism and sense of unlimited possibilities gave way, in or around 1923, to less idealistic, more pragmatic views and practices in even the avant-garde. If examined in this framework, the reception of avant-garde artists and works in the late 1920s that had been enthusiastically embraced in the first years of the decade, was understandably cooler. Professional eminence was overwriting great ideas. The lack of the earlier fervor had disappeared, not because the art was worse, but on account of the new Zeitgeist that brought about the new moral idea of utilitarianism, requiring that the artists be, first of all, of use to the community. Several artists and art writers suddenly turned against those ideas and art that they had only a short time earlier held in the highest esteem.

Éva Forgács

The New Aesthetic of the Late Nineteen Twenties Reconsidering the Periodization of the Interwar Avant-Gardes

二十世纪二十年代末的新美学：重新审视战间期先锋派的时期划分

Ágnes Kusler

In Honour of Géza Galavics

纪念盖扎·加拉维茨

Orsolya Bubryák

Géza Galavics (1940–2023) in memoriam

盖扎·加拉维茨（1940-2023）纪念文

Originating from Leipzig and active in Vienna, the printmaker and painter Donat Hübschmann (†1583) had clients from Hungary who were close to the joint Hungarian and Bohemian royal and imperial court in Vienna of the composite Habsburg Monarchy, to which the Kingdom of Hungary belonged. Miklós Oláh (Nicolaus Olahus), humanist prelate and Archbishop of Esztergom, and head of the Hungarian Court Chancellery based in Vienna, commissioned him to make a copy of his etched portrait. János Zsámboky (Johannes Sambucus), who entered court service as a humanist, ordered two works from him. In 1564–65 Zsámboky had an illustrated broadsheet made to commemorate the coronation in Pozsony (now Bratislava, Slovakia) as King of Hungary of Archduke Maximilian II of Habsburg in 1563, which was decorated with a woodcut by Donat Hübschmann: a veduta of Pozsony. Further, in 1566 he assigned Donat Hübschmann to produce a copy of the earliest surviving printed map of Hungary (Lazarus secretarius, Tabula Hungariae , 1528). Other Hungarian-related works can be found among the master’s prints, such as a woodcut portrait of Hans Francolin the Younger, Hungarian Herald of Ferdinand I. It is likely that Donat Hübschmann was also responsible for the painted decoration on five letters patent, which were commissioned by Hungarian noblemen and issued by the Hungarian Court Chancellery in Vienna. In every case, the miniature coats of arms were signed with the monogram “DH”. The calligraphic decoration of these can be attributed to the noted calligrapher György (George) Bocskay and his workshop.

Borbála Gulyás

Prints and miniatures made by Donat Hübschmann in Vienna for clients from Hungary

多纳特·胡布施曼在维也纳为匈牙利客户制作的版画与微型画

In the bas-de-page decoration by Jörg Breu the Elder of a leaf in the Prayer Book of Emperor Maximilian I (fol. 78r), a cheerful winged putto is gracefully propelling a walking frame. Both the rolling structure aiding its first steps and the presence of wings cry out for an explanation, especially as the two are shown together. Unlike most other depictions of a child with a walker, this putto is neither a personification of an age of man, nor a reference to a specific infant. Among its precedents, it is worth mentioning the marginal decorations of prayers of intercession, especially the relevant depiction in the Hours of Mary of Burgundy . The structure of the walker in Maximilian’s prayer book is counterfunctional: its wooden slats together form a capital A and capital D. By modelling the walker on Dürer’s monogram, Jörg Breu was, on the one hand, thanking his mentor for his inspiration, and on the other, fulfilling the wish of Konrad Peutinger – and indirectly of the emperor – that the decoration of the prayer book be completed in the manner commenced by Dürer. While there are also classical precedents for the motif of the walker as a device aiding the acquisition of knowledge, later examples are particularly relevant to the sustentaculum modelled on Dürer’s monogram. In the seventeenth century, the metaphor of the “first step” and the concept of “giving and receiving support” frequently conjured up the theme of master and pupil; at this time, the child learning to walk with the aid of a walker was repeatedly alluded to in the context of the study and practice of art. This notion also comes across in the etching by Rembrandt known as ‘Het Rolwagentje’: here too, learning to walk independently refers to the process of mastering art, with the obligatory first steps being to practise drawing nudes and to copy the works of the master. In the depiction of the putto, its hesitant steps imply slowness, while its wings suggest speed. This ambivalence is also the essence of the adage festina lente , which was of particular relevance to Emperor Maximilian; the theme was probably suggested by Peutinger. Other references to the emperor are the figure of Hercules stepping on a snail, in the lower right margin of the same sheet, and the crane depicted on its verso.

Anna Eörsi

Emperor Maximilian’s winged putto leaning on a walker – and on Dürer’s monogram

马克西米利安皇帝的带翼小天使倚靠在助行器上——以及丢勒的签名

Szilvia Bodnár

Teréz Gerszi (1927–2023) in memoriam

特雷兹·格西（1927-2023）纪念文

The Esterházy Palace in Fertőd is part of Hungary’s largest eighteenth-century residential complex. After severe damage at the end of the Second World War and in the 1950s, the palace was repeatedly renovated for almost seventy years. Between 2021 and 2022, the state apartments in the main building and some adjoining rooms underwent extensive conservation and restoration. Due to the palace’s complicated history and the inconsistent interventions of the post-war period, it was difficult to preserve as many remnants as possible. The aim was to preserve and display all historical periods from the beginning to the present, as they provide information about all the historical and cultural changes over the centuries. From this point of view, the contradictory relationship between some previous interventions and the principles laid down in documents such as the Venice Charter , the Nara Document or the UNESCO Convention of the Intangible Heritage were considered a legacy that can no longer be erased from the history of the palace. Based on conservation and restoration principles crystallised in the second half of the twentieth century and considering the changes in the field of heritage conservation since the 1990s, an attempt was made to preserve the tangible and intangible heritage as far as possible. With this in mind, the rooms were divided into three groups, each of which is subject to a different conservation and restoration method.

Áron Tóth

Metamorphoses

变形记

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