[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text]<\/p>\n
10 September 2022 – 29 January 2023.<\/p>\n
Curator: Eszter Moln\u00e1rn\u00e9 Acz\u00e9l<\/p>\n
[\/vc_column_text][vc_separator type=”transparent” up=”20″ down=”25″][vc_single_image image=”22412″ img_size=”medium” alignment=”right” qode_css_animation=”” el_class=”nagyitas”][vc_separator type=”transparent” up=”10″][vc_column_text]<\/p>\n
Henriette Barab\u00e1s (1842-1892)<\/p>\n
Fruit still life, <\/em>1855<\/p>\n oil on canvas<\/p>\n [\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_column_text]J\u00falia Szendrey committed the words in the title to paper in March 1856 as the opening lines of a poem of nine verses. Despite its author\u2019s fame, the poem was first published, along with several others, more than 160 years later, in 2018. Up until then research on her life and authorship has been focussed, not on her work, but on legend, on recollections and opinion.<\/p>\n It has only been recently that her output came to be studied and valued for what it was. Perhaps this poem conveys the angst of an author who is stepping in front of her audience for the first time and whose works met mostly with confusion at the time.[\/vc_column_text][vc_separator type=”transparent” up=”20″ down=”20″][vc_single_image image=”22415″ img_size=”medium” alignment=”right” qode_css_animation=”” el_class=”nagyitas”][vc_column_text]<\/p>\n Henriette Barab\u00e1s (1842-1892)<\/p>\n Bust of a Young Girl, <\/em>1859<\/p>\n watercolour and pencil on board<\/p>\n [\/vc_column_text][vc_separator type=”transparent” up=”20″ down=”20″][vc_column_text]The \u201clong 19th century\u201d saw a ferment in both politics and economics, the results of which we take for granted today. Hungary\u2019s first scientific and cultural institutions, such as the Hungarian Academy of Sciences and the Hungarian National Museum, were founded in the first half The idea of, and wish for, a national academy of fine arts was formulated as early as the start of the century, but it was not until much later that Hungarian artists who were looking for more than the training offered by drawing schools or private tutelage did not have to travel abroad, to Venice or Vienna, or, later, to Munich or Paris. This is why the Pest painting school, the First Hungarian Academy of Painting, of Jakab Marastoni (Giacomo Marastoni, 1804\u20131860), an Italian-born and academically trained master, was of such great importance. Operating between 1846 and 1860, the Marastoni Academy was modelled after, both in its interiors and teaching methods, the Accademia in Venice. Training was based, in line with academic principles and practices, on the copying of plaster casts and prints of classical sculptures and famous paintings.<\/p>\n This was also the age of the professionalisation of art: gradually, organisational platforms, professional forums, and educational institutions were established, which were a prerequisite for art to become a socially legitimate, autonomous intellectual endeavour\u2014although one not equally available to women and men. Women were able to study drawing and painting both at Marastoni\u2019s academy and in private studios; in fact, the Hungarian Royal Drawing School and Art Teachers\u2019 College, the first, and for a long time only, state-funded artistic academy in Hungary, accepted female students ever since its doors opened in 1871. However, up until the first decades of the 20th century, its programmes and curriculum set dilettantism or amateurism, or, at best, teaching, as the aim of female art, and women\u2019s education in general, none of which should become \u201cactivities endangering family life.\u201d Ilona Barab\u00e1s (1844-1929)<\/p>\n Portrait of Fl\u00f3ra Felekyn\u00e9 Munk\u00e1csy (1836\u20131906), <\/em>c. 1860<\/p>\n oil on canvas<\/p>\n [\/vc_column_text][vc_separator type=”transparent” up=”20″ down=”20″][vc_column_text]\u201cJ\u00f3zsef Rippl-R\u00f3nai to D\u00f3ra Maurer. A Selection From the Modern Collection of Municipal Gallery\u201d is an exhibition, a panorama of a century, that opened in the spring of 2022 and can be seen until January 2023 at Vaszary Gallery in Balatonf\u00fcred. The idea for \u201cStorage Break,\u201d an exhibition series in the Budapest museum, came along during the research for that show. \u201cStorage Break\u201d continues to explore the collection and picks up where the Balatonf\u00fcred exhibition left off\u2014reflecting on the potential roles and social standing of female artists.<\/p>\n We want to showcase pieces in the Municipal Gallery collections that have never before been seen by the public and were created by female artists whose lives and careers have hitherto been largely forgotten. Although it had been widespread, since the mid-19th century, for female artists to show their work in the exhibitions of the newly-formed Pest Art Society, an organisation dedicated to the advancement of art in Hungary, as well as at other group shows, it was still common currency at the turn of the century among art pundits that women lacked artistic merit and were to be seen as dilettanti.[\/vc_column_text][vc_separator type=”transparent” up=”20″ down=”20″][vc_single_image image=”22418″ img_size=”medium” alignment=”right” qode_css_animation=”” el_class=”nagyitas”][vc_column_text]<\/p>\n Claudina Gerdenich (1876-1909)<\/p>\n Chestnut Vendor,<\/em>c.\u00a01900<\/p>\n pencil and watercolour on watercolour paper<\/p>\n [\/vc_column_text][vc_separator type=”transparent” up=”20″ down=”20″][vc_separator type=”transparent” up=”20″ down=”20″][vc_separator type=”transparent” up=”20″ down=”20″][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":" [vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text] Storage Break 1. “My thoughts, my feelings, They’re taking flight” A Selection From the 19th-Century Collections of BHM Kiscell Museum-Municipal Gallery 10 September 2022 – 29 January 2023. Curator: Eszter Moln\u00e1rn\u00e9 Acz\u00e9l [\/vc_column_text][vc_separator type=”transparent” up=”20″ down=”25″][vc_single_image image=”22412″…<\/p>\n","protected":false},"author":7,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"\n
\nof the 19th century\u2014institutions that are important to this day. The late 18th century marked the rise of the press, a new means of shaping public opinion. In the space of a century, the numbers of the reading and museum-going public increased significantly, and more and more people had access to education.<\/p>\n
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