{"id":26577,"date":"2021-06-02T19:19:27","date_gmt":"2021-06-02T17:19:27","guid":{"rendered":"https:\/\/balkon.art\/home\/?p=26577"},"modified":"2025-02-07T01:14:38","modified_gmt":"2025-02-07T00:14:38","slug":"a-nyugati-vizualis-kultura-ellenallhatatlan-csabitasa","status":"publish","type":"post","link":"https:\/\/balkon.art\/home\/a-nyugati-vizualis-kultura-ellenallhatatlan-csabitasa\/","title":{"rendered":"A nyugati vizu\u00e1lis kult\u00fara ellen\u00e1llhatatlan cs\u00e1b\u00edt\u00e1sa"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-2-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=”” gradient_type=”default”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

A nagy k\u00f6nyvlop\u00e1s eszt\u00e9tikai politik\u00e1ja<\/h2>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-1-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Az \u00e9l\u00e9nk \u00e9s sz\u00ednes eml\u00e9kek1<\/span> tan\u00fas\u00e1ga szerint az 1959-es Francia k\u00f6nyvki\u00e1ll\u00edt\u00e1s<\/em>2<\/span> tulajdonk\u00e9ppen a nyugati kult\u00fara epif\u00e1ni\u00e1j\u00e1t hozta el Budapestre, hiszen a m\u0171v\u00e9szek \u00e9s a m\u0171v\u00e9szett\u00f6rt\u00e9n\u00e9szek nemcsak megcsod\u00e1lhatt\u00e1k a gy\u00f6ny\u00f6r\u0171 kivitelez\u00e9s\u0171 k\u00f6teteket, de a kapitalist\u00e1k m\u00e9g a lop\u00e1sok f\u00f6l\u00f6tt is szemet hunytak, s\u0151t m\u00e9g az is felmer\u00fclt az akkori k\u00f6zbesz\u00e9dben, hogy kifejezetten az volt a c\u00e9l, hogy ilyen m\u00f3don, a k\u00f6nyveken kereszt\u00fcl a nyugati gondolatok \u00e9s ide\u00e1k gy\u00f6keret verjenek Budapesten. \u00c1rvai M\u00e1ria<\/span> \u00e9s V\u00e9ri D\u00e1niel<\/span> projektje (ki\u00e1ll\u00edt\u00e1sa3<\/span> \u00e9s k\u00f6tete) izgalmasan t\u00e1rja fel a k\u00f6nyvki\u00e1ll\u00edt\u00e1s \u00e9s a k\u00f6nyvlop\u00e1s politikai \u00e9s kult\u00fart\u00f6rt\u00e9neti dimenzi\u00f3it,4<\/span> valamint azt, hogy mit is jelentettek a nyugati \u201esz\u00ednek\u201d egy sz\u00fcrke kult\u00far\u00e1ban, ahol az \u00f6tvenes \u00e9vekben az utaz\u00e1sok korl\u00e1toz\u00e1sa \u00e9s a kultur\u00e1lis transzfer \u00e1llami ellen\u0151rz\u00e9se miatt a szovjet ide\u00e1lt\u00f3l \u00e9s ideol\u00f3gi\u00e1t\u00f3l elt\u00e9r\u0151 inform\u00e1ci\u00f3k \u00e9s vizu\u00e1lis kult\u00far\u00e1k nehezen jutottak be az orsz\u00e1gba. \u00c9pp ez\u00e9rt v\u00e1lhatott k\u00fcl\u00f6n\u00f6sen \u00e9rdekess\u00e9 egy nagy \u00e9s sz\u00ednes, nyugati k\u00f6nyvki\u00e1ll\u00edt\u00e1s, ami a nyugati impulzusokra tradicion\u00e1lisan fog\u00e9kony magyar k\u00e9pz\u0151m\u0171v\u00e9szek vil\u00e1gk\u00e9p\u00e9t is er\u0151teljesen form\u00e1lta. S\u0151t, a kultur\u00e1lis eml\u00e9kezetben \u00e9pp egy k\u00e9pz\u0151m\u0171v\u00e9szeti k\u00f6tet, Patrick Waldberg<\/span> Max Ernst<\/em> monogr\u00e1fi\u00e1ja5<\/span> miatt \u0151rz\u0151d\u00f6tt meg maga a k\u00f6nyvki\u00e1ll\u00edt\u00e1s is. A Lakner L\u00e1szl\u00f3<\/span> \u00e1ltal eltulajdon\u00edtott k\u00f6tetet ugyanis rongyosra olvasta a magyar avantg\u00e1rd, amir\u0151l \u00c1rvai \u00e9s V\u00e9ri Orsz\u00e1g Lili,<\/span> illetve Major J\u00e1nos<\/span> munk\u00e1ss\u00e1g\u00e1nak kutat\u00e1sa sor\u00e1n szerzett tudom\u00e1st.6<\/span> Orsz\u00e1g egy level\u00e9ben eml\u00edtette meg a ki\u00e1ll\u00edt\u00e1son l\u00e1tott k\u00f6nyvet, amelynek k\u00e9s\u0151bb Lakner \u00e1ltal ellopott p\u00e9ld\u00e1ny\u00e1t maga is \u00e1tlapozhatta,7<\/span> V\u00e9ri pedig egy Lakner interj\u00faban olvasott az esetr\u0151l, de Major maga is kiemelte egy besz\u00e9lget\u00e9s sor\u00e1n Ernst munk\u00e1ss\u00e1g\u00e1nak jelent\u0151s\u00e9g\u00e9t a korszak magyar m\u0171v\u00e9szet\u00e9ben.8<\/span> A k\u00f6tet fontoss\u00e1ga nyilv\u00e1n nyugati mivolt\u00e1b\u00f3l ad\u00f3dott, vagyis abb\u00f3l, hogy a vasf\u00fcgg\u00f6ny\u00f6n t\u00falr\u00f3l \u00e9rkez\u0151 nyugati k\u00f6tet egy vil\u00e1gh\u00edres, nyugat-eur\u00f3pai, sz\u00fcrrealista m\u0171v\u00e9szt mutatott be az akkoriban Budapesten igen ritka, j\u00f3 min\u0151s\u00e9g\u0171, sz\u00ednes reprodukci\u00f3kon kereszt\u00fcl. Ernst neve r\u00e1ad\u00e1sul \u00f6sszeforrott egy saj\u00e1tosan magyar k\u00e9pz\u0151m\u0171v\u00e9szeti jelens\u00e9ggel, a sz\u00fcrnaturalizmussal,<\/em> illetve annak legfontosabb h\u0151s\u00e9vel, Csernus Tibor<\/span>ral is. De m\u00e9g egy konkr\u00e9t Csernus m\u0171vel is, az 1959-es Saint-Tropez<\/em> c\u00edm\u0171 festm\u00e9nnyel, amit maga az alkot\u00f3, valamint az \u0151t k\u00f6vet\u0151 fest\u0151m\u0171v\u00e9szek \u00e9s a m\u0171v\u00e9szett\u00f6rt\u00e9n\u00e9szek is, az els\u0151 Magyarorsz\u00e1gon ki\u00e1ll\u00edtott sz\u00fcrnaturalista festm\u00e9nynek tartanak, ami egy\u00e9rtelm\u0171en Max Ernst<\/span> \u00e9s a francia sz\u00fcrrealista vizu\u00e1lis kult\u00fara hat\u00e1s\u00e1t t\u00fckr\u00f6zi vissza.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

1<\/p>\n

\u00c1rvai M\u00e1ria<\/span> \u00e9s V\u00e9ri D\u00e1niel<\/span> az 1959-es budapesti Francia k\u00f6nyvki\u00e1ll\u00edt\u00e1s<\/em> kultur\u00e1lis eml\u00e9kezet\u00e9nek feldolgoz\u00e1sa sor\u00e1n G\u00e1bor Eszter<\/span>rel, Gy\u00e9m\u00e1nt L\u00e1szl\u00f3<\/span>val, Jov\u00e1novics Gy\u00f6rggy<\/span>el, Klim\u00f3 K\u00e1rolly<\/span>al, Kovalovszky M\u00e1rt\u00e1<\/span>val, Kov\u00e1cs P\u00e9ter<\/span>rel, Lakner L\u00e1szl\u00f3<\/span>val, Marosi Ern\u0151<\/span>vel, Passuth Krisztin\u00e1<\/span>val, Perneczky G\u00e9z\u00e1<\/span>val \u00e9s T\u00f3t Endr\u00e9<\/span>vel k\u00e9sz\u00edtett interj\u00fat.<\/p>\n

2<\/p>\n

Francia k\u00f6nyvki\u00e1ll\u00edt\u00e1s.<\/em> M\u0171csarnok, Budapest, 1959. okt\u00f3ber 24 \u2013 november 8., rendezte: F. Trebinjac<\/span> \u00e9s Kisd\u00e9gin\u00e9 Kirimi Ir\u00e9n<\/span><\/p>\n

3<\/p>\n

A nagy k\u00f6nyvlop\u00e1s. Francia k\u00f6nyvki\u00e1ll\u00edt\u00e1s a vasf\u00fcgg\u00f6ny m\u00f6g\u00f6tt.<\/em> Szentendrei K\u00e9pt\u00e1r, Szentendre, 2019. szeptember 20 \u2013 2020 m\u00e1rcius 1., ld. https:\/\/www.muzeumicentrum.hu\/a-nagy-konyvlopas\/<\/a> (utols\u00f3 bel\u00e9p\u00e9s a sz\u00f6vegben hivatkozott webhelyekre: 2021. m\u00e1rcius 29.)<\/p>\n

4<\/p>\n

\u00c1rvai M\u00e1ria \u2013 V\u00e9ri D\u00e1niel:<\/span> A nagy k\u00f6nyvlop\u00e1s. Francia k\u00f6nyvki\u00e1ll\u00edt\u00e1s a vasf\u00fcgg\u00f6ny m\u00f6g\u00f6tt.<\/em> Ferenczy M\u00fazeumi Centrum, Szentendre, 2020<\/p>\n

5<\/p>\n

Patrick Waldberg:<\/span> Max Ernst<\/em>. \u00c9ditions Jean-Jacques Pauvert, Paris, 1958<\/p>\n

6<\/p>\n

\u00c1rvai M\u00e1ria \u2013 Zsoldos Emese (szerk.):<\/span> \u201e\u2026 a vil\u00e1gb\u00f3l a f\u00e9nyeket\u2026\u201d Orsz\u00e1g Lili levelez\u00e9se.<\/em> MNG \u2013 Sz\u00e9pm\u0171v\u00e9szeti M\u00fazeum, Budapest, 2017; V\u00e9ri D\u00e1niel:<\/span> Major J\u00e1nos. Monogr\u00e1fia \u00e9s oeuvre-katal\u00f3gus.<\/em> PhD-disszert\u00e1ci\u00f3. ELTE, Budapest, 2016<\/p>\n

7<\/p>\n

\u00c1rvai \u2013 V\u00e9ri<\/span> 2020, 7.<\/p>\n

8<\/p>\n

Sinkovits P\u00e9ter:<\/span> \u00d6narck\u00e9p torz\u00edt\u00f3 t\u00fck\u00f6rben. Besz\u00e9lget\u00e9s Major J\u00e1nos grafikusm\u0171v\u00e9sszel. \u00daj M\u0171v\u00e9szet,<\/em> 1997\/5-6. 36.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-2-0 img-840″ advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=”” gradient_type=”default”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”26588″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Lakner L\u00e1szl\u00f3<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A Saint-Tropez<\/em> bizonyos \u00e9rtelemben annak is dokumentuma, hogy a keleti (\u00e9rtsd: szovjet) uralom alatt is tov\u00e1bb \u00e9lt n\u00e1lunk a Nyugat nimbusza, ami Szt\u00e1lin hal\u00e1la (1953) ut\u00e1n m\u00e1r az egyre kompromisszumk\u00e9szebb kommunista kultur\u00e1lis berendezked\u00e9sen bel\u00fcl is meghonosodott. Szt\u00e1lin idej\u00e9n ugyanis nemcsak er\u0151teljesen kritiz\u00e1lt\u00e1k a nyugati kult\u00far\u00e1t, de kifejezetten tiltott\u00e1k \u00e9s b\u00fcntett\u00e9k is annak k\u00f6vet\u00e9s\u00e9t. Hruscsov viszont m\u00e1r n\u00e9mi teret adott a kultur\u00e1lis verseng\u00e9snek, a m\u0171v\u00e9szek figyelhettek a nyugati t\u00f6rekv\u00e9sekre is, hiszen a jelsz\u00f3 az \u201eutol\u00e9rni \u00e9s t\u00falsz\u00e1rnyalni\u201d lett. Legal\u00e1bbis a tudom\u00e1ny \u00e9s a technol\u00f3gia ter\u00fclet\u00e9n. A kult\u00far\u00e1ban viszont Hruscsov m\u00e9g annyira se respekt\u00e1lta a nyugati moderns\u00e9get, mint kor\u00e1bban Szt\u00e1lin, aki nagyon is \u00e9rtette, csak \u00e9ppen nem becs\u00fclte annak eszt\u00e9tik\u00e1j\u00e1t \u00e9s logik\u00e1j\u00e1t. A meg\u00fajul\u00f3 szovjet k\u00e9pz\u0151m\u0171v\u00e9szet el\u00e9 az \u00e1llami eszt\u00e9t\u00e1k \u00edgy legink\u00e1bb a francia, az olasz \u00e9s a mexik\u00f3i realizmus p\u00e9ld\u00e1it \u00e1ll\u00edthatt\u00e1k.9<\/span> A magyar kult\u00far\u00e1ban ezek k\u00f6z\u00fcl tradicion\u00e1lisan a francia komponens volt er\u0151s. Tulajdonk\u00e9ppen a francia k\u00f6nyvki\u00e1ll\u00edt\u00e1s is azt bizony\u00edtja, hogy a felvil\u00e1gosult \u00e9s kultur\u00e1lt Nyugat Budapesten az \u00f6tvenes \u00e9vekben is legink\u00e1bb a francia kult\u00far\u00e1t jelentette. A franci\u00e1k renom\u00e9j\u00e1t er\u0151s\u00edtette, hogy az amerikaiakt\u00f3l \u00e9s az angolokt\u00f3l elt\u00e9r\u0151en \u0151k 1956 ut\u00e1n sem hagyt\u00e1k teljesen cserben a magyarokat. Albert Camus<\/span> p\u00e9ld\u00e1ul t\u00f6bb \u00edzben is ki\u00e1llt a magyar forradalom \u00fcgye mellett, \u00e9s friss Nobel-d\u00edjask\u00e9nt m\u00e1r 1957 v\u00e9g\u00e9n al\u00e1\u00edrta Louis de Villefosse level\u00e9t K\u00e1d\u00e1r J\u00e1nosnak, amelyben a D\u00e9ry Bizotts\u00e1g alap\u00edt\u00f3ja a beb\u00f6rt\u00f6nz\u00f6tt \u00edr\u00f3 szabadon bocs\u00e1jt\u00e1s\u00e1t k\u00e9rte.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

9<\/p>\n

V.\u00f6.: Susan E. Reid:<\/span> Toward a New (Socialist) Realism: The Re-engagement with Western Modernism in the Khrushchev Thaw. In: Rosalind P. Blakesley and Susan E. Reid<\/span> (eds.): Russian Art and the West. A Century of Dialogue in Painting, Architecture, and the Decorative Arts.<\/em> Northern Illinois University Press, DeKalb, 2007, 217\u2013239. Jerome Bazin:<\/span> Socialist Realism and Its International Models. Vingtieme Siecle,<\/em> 2011\/1., 72-87.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=”” gradient_type=”default”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”26589″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

L\u00e1togat\u00f3k a budapesti francia k\u00f6nyvki\u00e1ll\u00edt\u00e1s megnyit\u00f3j\u00e1n, 1959. 10. 24., MTI Fot\u00f3: Keleti \u00c9va<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A francia kult\u00farpolitika tudatosan is er\u0151s\u00edtette annak nimbusz\u00e1t, hogy val\u00f3j\u00e1ban \u0151k k\u00e9pviselik az eur\u00f3pai kult\u00far\u00e1t a szovjet \u00e9s az amerikai hegem\u00f3nia fesz\u00fclts\u00e9gter\u00e9ben. De Gaulle ugyanis egy er\u0151s \u00e9s francia k\u00f6zpont\u00fa Eur\u00f3p\u00e1t k\u00e9pzelt el, ami az Atlanti-\u00f3ce\u00e1nt\u00f3l az Ur\u00e1lig \u00edvel, \u00e9s 1958-ban ehhez a h\u00edres \u00edr\u00f3t, \u00e9s nem mellesleg amat\u0151r m\u0171v\u00e9szett\u00f6rt\u00e9n\u00e9szt \u00e9s orientalist\u00e1t, Andr\u00e9 Malraux<\/span>-t vette maga mell\u00e9 kultuszminiszterk\u00e9nt. A legend\u00e1s baloldali \u201ekalandort\u201d, aki megj\u00e1rta K\u00edn\u00e1t, Indok\u00edn\u00e1t \u00e9s a spanyol polg\u00e1rh\u00e1bor\u00fat is, majd kivette r\u00e9sz\u00e9t a francia ellen\u00e1ll\u00e1sb\u00f3l, ahol de Gaulle-lal is bar\u00e1ts\u00e1got k\u00f6t\u00f6tt, \u00e9s m\u00e1r 1945 ut\u00e1n szerepet v\u00e1llalt a francia kultur\u00e1lis diplom\u00e1ci\u00e1ban. A francia kult\u00fara f\u00fcggetlens\u00e9gi h\u00e1bor\u00faja az Eur\u00f3p\u00e1t is el\u00e1raszt\u00f3 amerikai kult\u00far\u00e1val szemben az \u00f6tvenes \u00e9vek v\u00e9g\u00e9t\u0151l m\u00e1r komoly \u00e1llami t\u00e1mogat\u00e1ssal folyt,10<\/span> aminek m\u00e9g egy magyar eml\u00e9ke is van Illy\u00e9s Gyul\u00e1<\/span>nak k\u00f6sz\u00f6nhet\u0151en, aki szem\u00e9lyesen is ismerte Malraux-t, aki 1966-ban m\u00e9g otthon\u00e1ban is vend\u00e9g\u00fcl l\u00e1tta \u0151t, D\u00e9ry Tibort \u00e9s Nagy L\u00e1szl\u00f3t, \u00e9s arr\u00f3l is besz\u00e9lt, hogy Eur\u00f3pa \u00e9rdekeit a nagyhatalmak k\u00f6z\u00fcl igaz\u00e1n csak a franci\u00e1k tartj\u00e1k szem el\u0151tt.11<\/span>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

10<\/p>\n

Herman Lebovics:<\/span> Mona Lisa\u2019s Escort. Andr\u00e9 Malraux and the Reinvention of French Culture.<\/em> Cornell University Press, Ithaca, 1999<\/p>\n

11<\/p>\n

Illy\u00e9s Gyula:<\/span> L\u00e1togat\u00e1s Malraux-n\u00e1l.<\/em> (1974), https:\/\/konyvtar.dia.hu\/html\/muvek\/ILLYES\/ illyes02193\/illyes02213\/illyes02213.html<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”img-840″ advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=”” gradient_type=”default”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”26591″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Olvas\u00f3 n\u0151 a budapesti francia k\u00f6nyvki\u00e1ll\u00edt\u00e1s megnyit\u00f3j\u00e1n, 1959. 10. 24., MTI Fot\u00f3: Keleti \u00c9va<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A francia k\u00f6nyvki\u00e1ll\u00edt\u00e1s terve azonban \u2013 \u00c1rvai \u00e9s V\u00e9ri kutat\u00e1sainak t\u00fckr\u00e9ben \u2013 j\u00f3csk\u00e1n megel\u0151zte Malraux \u00e9s de Gaulle hatalomra ker\u00fcl\u00e9s\u00e9t: m\u00e9g 1956 tavasz\u00e1ra megy vissza, ami legink\u00e1bb a szovjet olvad\u00e1s politikai l\u00e9gk\u00f6r\u00e9vel kapcsolhat\u00f3 \u00f6ssze. A magyar k\u00f6nyvki\u00e1ll\u00edt\u00e1s ugyanis r\u00e9sze volt egy szisztematikus francia kult\u00farpolitik\u00e1nak, ami a szovjet nyit\u00e1st kihaszn\u00e1lva a keleti blokk szinte minden orsz\u00e1g\u00e1ban k\u00f6nyvki\u00e1ll\u00edt\u00e1sokat rendezett. A magyar ki\u00e1ll\u00edt\u00e1s megrendez\u00e9s\u00e9t azonban nyilv\u00e1nval\u00f3an h\u00e1tr\u00e1ltatta a magyar forradalom brut\u00e1lis lever\u00e9se, illetve a szovjet \u201eb\u00e1bkorm\u00e1ny\u201d hatalomra ker\u00fcl\u00e9se, ami a diplom\u00e1ciai kapcsolatok jegel\u00e9s\u00e9hez vezetett, s csak 1959-re old\u00f3dott fel annyira, hogy egyfajta korai, legal\u00e1bbis 1963-hoz k\u00e9pest korai kultur\u00e1lis nyit\u00e1s jegy\u00e9ben sor ker\u00fclhetett egy francia kultur\u00e1lis esem\u00e9nyre Budapesten. A kiindul\u00f3pontot teh\u00e1t alapvet\u0151en a hruscsovi olvad\u00e1s programja jelentette, a b\u00e9k\u00e9s egym\u00e1s mellett \u00e9l\u00e9s, illetve a tudom\u00e1nyos-technol\u00f3giai \u00e9s kultur\u00e1lis verseng\u00e9s politik\u00e1ja, ami az 1956-os \u201etitkos\u201d moszkvai besz\u00e9ddel indult h\u00f3d\u00edt\u00f3 \u00fatj\u00e1ra.12<\/span> Ennek jegy\u00e9ben jelent meg a Szovjetuni\u00f3 az 1958-as Br\u00fcsszeli Vil\u00e1gki\u00e1ll\u00edt\u00e1s<\/em>on a Szputnyikkal \u00e9s Alekszandr Dejneka \u2013 Zsdanov \u00e1ltal t\u00edz \u00e9vvel kor\u00e1bban diszkredit\u00e1lt \u2013 \u00e1m ism\u00e9t korszer\u0171nek tekintett modern realizmus\u00e1val. A vil\u00e1gki\u00e1ll\u00edt\u00e1sra r\u00e1ad\u00e1sul Magyarorsz\u00e1g is benevezett egy tipikusan magyar programmal, a h\u00edv\u00f3 sz\u00f3 ugyanis a \u201emit adott egy kis n\u00e9p a nagyvil\u00e1gnak\u201d gondolat lett, ami egybev\u00e1gott az \u00faj kultur\u00e1lis vezet\u00e9s antiszt\u00e1linista programj\u00e1val.13<\/span>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

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V.\u00f6.: Polly Jones<\/span> (ed.): Dilemmas of De-Stalinization. Negotiating Cultural and Social Change in the Khrushchev Era.<\/em><\/em> Routledge, New York, 2006; R\u00f3sa Magn\u00fasd\u00f3ttir:<\/span> Mission Impossible? Selling Soviet Socialism to Americans, 1955\u20131958. In: Jessica Gienow-Hecht<\/span> and Mark C. Donfried<\/span> (eds.): Searching for a Cultural Diplomacy.<\/em> Berghahn, New York, 2010, 50-74.<\/p>\n

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V.\u00f6.: Boldizs\u00e1r Iv\u00e1n:<\/span> A magyar pavilon Br\u00fcsszelben. In: Keser-\u00e9des.<\/em> Magvet\u0151, Budapest, 1987, 191-198.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”26595″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

A nagy k\u00f6nyvlop\u00e1s. Francia k\u00f6nyvki\u00e1ll\u00edt\u00e1s a vasf\u00fcgg\u00f6ny m\u00f6g\u00f6tt,<\/em> Szentendrei K\u00e9pt\u00e1r, 2019. 09. 20 \u2013 2020. 03. 01., Kur\u00e1torok: \u00c1rvai M\u00e1ria, V\u00e9ri D\u00e1niel, ki\u00e1ll\u00edt\u00e1si enteri\u0151r \u00a9 Fot\u00f3: Deim Bal\u00e1zs<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Az antiszt\u00e1linista moderniz\u00e1ci\u00f314<\/span> v\u00e9lhet\u0151en ahhoz is hozz\u00e1j\u00e1rult, hogy a magyar pavilon dekor\u00e1ci\u00f3j\u00e1t k\u00e9sz\u00edt\u0151 \u2013 Acz\u00e9l Gy\u00f6rgy \u00e1ltal is j\u00f3v\u00e1hagyott \u2013 m\u0171v\u00e9szek k\u00f6z\u00fcl K\u00e1d\u00e1r Gy\u00f6rgy<\/span> kifejezetten Picasso st\u00edlus\u00e1ban festett egy budapesti v\u00e1rosi \u00e9letk\u00e9pet er\u0151t\u0151l duzzad\u00f3, de kubisztikusan modern, korz\u00f3z\u00f3 munk\u00e1sokkal, mik\u00f6zben a F\u0151iskola akkori hallgat\u00f3i arra eml\u00e9keznek, hogy Picass\u00f3t ugyan emlegett\u00e9k n\u00e9ha, de a tananyagban egy\u00e1ltal\u00e1n nem szerepelt. A dekor\u00e1ci\u00f3 egy m\u00e1sik jelent\u0151s alkot\u00f3ja, Bern\u00e1th Aur\u00e9l<\/span> pedig egy modern budapesti l\u00e1tk\u00e9p erej\u00e9ig az 1920-as \u00e9vek posztexpresszionista Bern\u00e1thj\u00e1t (Graphik Mappa) id\u00e9zte fel Br\u00fcsszelben, mik\u00f6zben nyilv\u00e1nosan, tan\u00edtv\u00e1nyai el\u0151tt rendszeresen megtagadta akkori szellemi \u00e9s vizu\u00e1lis kult\u00far\u00e1j\u00e1t. Az \u00c1rvai \u00e9s V\u00e9ri \u00e1ltal megsz\u00f3l\u00edtott m\u0171v\u00e9szek (Gy\u00e9m\u00e1nt L\u00e1szl\u00f3, Jov\u00e1novics Gy\u00f6rgy, Klim\u00f3 K\u00e1roly, Lakner L\u00e1szl\u00f3, T\u00f3t Endre<\/span>) is \u00fagy eml\u00e9keznek, hogy ekkoriban a F\u0151iskol\u00e1n maximum C\u00e9zanne-ig terjedt a moderns\u00e9g, \u00e9s a k\u00e9s\u0151bbi avantg\u00e1rd \u2013 a szovjet ideol\u00f3gia szempontj\u00e1b\u00f3l dekadens \u2013 ir\u00e1nyzatokr\u00f3l egy\u00e1ltal\u00e1n nem esett sz\u00f3. Br\u00fcsszelben viszont Bern\u00e1th \u00e9s K\u00e1d\u00e1r is d\u00edjat (arany-, illetve ez\u00fcst\u00e9rmet) kapott, Ker\u00e9nyi Jen\u0151<\/span> \u00e9s Somogyi J\u00f3zsef<\/span> t\u00e1ncosn\u0151i pedig elhozt\u00e1k az egyik k\u00e9pz\u0151m\u0171v\u00e9szeti nagyd\u00edjat, \u00e1m a m\u0171v\u00e9szek itthon egy\u00e1ltal\u00e1n nem r\u00e9szes\u00fcltek elismer\u00e9sben. Bern\u00e1th m\u0171ve elt\u0171nt egy rakt\u00e1rban, a t\u00e1ncosn\u0151ket pedig haza se hozt\u00e1k, egy belga kisv\u00e1rosnak (Namur) aj\u00e1nd\u00e9kozt\u00e1k, ami \u00f6sszef\u00fcgghetett az ortodox szt\u00e1linista hangok ideiglenes feler\u0151s\u00f6d\u00e9s\u00e9vel a p\u00e1rt vezet\u00e9s\u00e9n bel\u00fcl.15<\/span>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

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L\u00e1sd err\u0151l b\u0151vebben: Kalm\u00e1r Melinda:<\/span> Ennival\u00f3 \u00e9s hozom\u00e1ny. A kora k\u00e1d\u00e1rizmus ideol\u00f3gi\u00e1ja.<\/em> Magvet\u0151, Budapest, 1998<\/p>\n

15<\/p>\n

V.\u00f6.: Gy\u00f6rgy P\u00e9teri:<\/span> Transsystemic Fantasies. Counterrevolutionary Hungary at Brussels Expo \u201958. Journal of Contemporary History,<\/em> 2012\/1., 137-160. Ld. b\u0151vebben: R\u00f3ka Enik\u0151<\/span> (szerk.): G. A. \u00far X-ben.<\/em> Kiscelli M\u00fazeum, Budapest, 2016<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”26596″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

A nagy k\u00f6nyvlop\u00e1s. Francia k\u00f6nyvki\u00e1ll\u00edt\u00e1s a vasf\u00fcgg\u00f6ny m\u00f6g\u00f6tt,<\/em> Szentendrei K\u00e9pt\u00e1r, 2019. 09. 20 \u2013 2020. 03. 01., Kur\u00e1torok: \u00c1rvai M\u00e1ria, V\u00e9ri D\u00e1niel, ki\u00e1ll\u00edt\u00e1si enteri\u0151r \u00a9 Fot\u00f3: Deim Bal\u00e1zs<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A vil\u00e1gki\u00e1ll\u00edt\u00e1sra k\u00e9sz\u00edtett modern \u00e9s f\u00fcggetlen (\u00e9rtsd: nem vagyunk szovjet csatl\u00f3s\u00e1llam) magyar pavilon eszt\u00e9tik\u00e1ja v\u00e9lhet\u0151en csak a nagyvil\u00e1gnak sz\u00f3lt, ez\u00e9rt sem akart\u00e1k itthon kit\u00fcntetni a nyugaton d\u00edjazott m\u0171v\u00e9szeket. Itthon ugyanis m\u00e9g 1958-ban is \u00e1d\u00e1z harc d\u00falt az ellenforradalmi revizionizmus \u00e9s a kapitalista (amerikai) propaganda ellen. \u00c1rvai \u00e9s V\u00e9ri A nagy k\u00f6nyvlop\u00e1s<\/em> ki\u00e1ll\u00edt\u00e1son le is vet\u00edtettek egy 1958-as magyar ellenpropaganda dokumentumfilmet, ami t\u00f6bbek k\u00f6z\u00f6tt egy nyugatr\u00f3l k\u00fcld\u00f6tt, ellens\u00e9ges sajt\u00f3anyagokat hordoz\u00f3 h\u00e9liumballon levad\u00e1sz\u00e1s\u00e1t is bemutatta. Az ilyen t\u00edpus\u00fa propagand\u00e1t (s\u0151t az auton\u00f3m, demokratikus irodalom egy r\u00e9sz\u00e9t is) r\u00e1ad\u00e1sul r\u00e9szben az \u00f6rd\u00f6gi CIA t\u00e1mogatta, amib\u0151l azt\u00e1n m\u00e1r a hatvanas \u00e9vekben el\u00e9g nagy politikai \u00e9s kultur\u00e1lis botr\u00e1ny lett, legal\u00e1bbis Amerik\u00e1ban.16<\/span> Majd pedig \u00e9ppen a Watergate-\u00fcgy \u00e9s Nixon lemondat\u00e1s\u00e1nak idej\u00e9n der\u00fclt ki az is, hogy nemcsak balos \u00edr\u00f3k \u00e9s irodalmi magazinok (a legismertebb az Encounter<\/em> p\u00e9ld\u00e1ja) prosper\u00e1ltak a CIA j\u00f3volt\u00e1b\u00f3l, de r\u00e9szben \u0151k finansz\u00edrozt\u00e1k a MoMA eur\u00f3pai utaz\u00f3 ki\u00e1ll\u00edt\u00e1sait is. Az USA a CIA-n kereszt\u00fcl p\u00e9nzelte a Szabad Eur\u00f3pa R\u00e1di\u00f3t is, illetve egy Mailing Project<\/em> n\u00e9vre keresztelt direkt k\u00f6nyvk\u00fcld\u00e9si programot, ami t\u00f6bb interj\u00faalany eml\u00e9kei k\u00f6z\u00f6tt is felbukkant.17<\/span> Gy\u00e9m\u00e1nt L\u00e1szl\u00f3t\u00f3l azt is megtudhatjuk, hogy a k\u00f6nyvek egy bizonyos International Advisory Board-t\u00f3l j\u00f6ttek, ami az \u0151 eset\u00e9ben l\u00e9nyeg\u00e9ben a Londonban \u00e9l\u0151 S\u00e1rk\u00f6zi M\u00e1ty\u00e1s<\/span>t jelentette, aki rengeteg arra j\u00e1r\u00f3 magyarnak aj\u00e1nd\u00e9kozott k\u00f6nyvet a CIA j\u00f3volt\u00e1b\u00f3l. A rom\u00e1n sz\u00e1rmaz\u00e1s\u00fa George C. Minden<\/span> \u00e1ltal l\u00e9treh\u00edvott k\u00f6nyvk\u00fcld\u00e9si programot a Szabad Eur\u00f3pa R\u00e1di\u00f3 k\u00e9t m\u00e1sik munkat\u00e1rsa, Alfred Reisch<\/span> \u00e9s John Matthews<\/span> t\u00e1rta fel r\u00e9szleteiben, amivel n\u00e9mik\u00e9pp ellenpontozni \u00f3hajtott\u00e1k a CIA negat\u00edv meg\u00edt\u00e9l\u00e9s\u00e9t a Congress for Cultural Freedom \u00e9s az Encounter<\/em> szponzor\u00e1l\u00e1sa kapcs\u00e1n.18<\/span><\/p>\n

Az ellenpontoz\u00e1sra persze ink\u00e1bb Nyugaton volt sz\u00fcks\u00e9g, hiszen Keletr\u0151l n\u00e9zve a helyzet kev\u00e9sb\u00e9 t\u0171nt ellentmond\u00e1sosnak, mivel itt nem antikapitalista \u00e9leteket \u00e9s \u00e9letm\u0171veket t\u00e1mogatott a vil\u00e1g legbefoly\u00e1sosabb antikommunista szervezete, hanem aj\u00e1nd\u00e9k k\u00f6teteket juttatott be a szocialista orsz\u00e1gokba. A CIA, illetve \u00f6sszess\u00e9g\u00e9ben a nyugati kapcsolat r\u00e1ad\u00e1sul m\u00e9g n\u00e9mi romantikus ellenz\u00e9ki sz\u00ednezetet is kapott, mert a rendszer ellens\u00e9geit gyakran k\u00e9mked\u00e9ssel \u00e9s CIA kapcsolatokkal is megv\u00e1dolt\u00e1k. Ennek egyik idev\u00e1g\u00f3 p\u00e9ld\u00e1ja a francia kultur\u00e1lis attas\u00e9, Guy Pierre Turbet-Delof<\/span> esete, aki a Francia Int\u00e9zet igazgat\u00f3i posztj\u00e1t is bet\u00f6lt\u00f6tte.19<\/span> A hidegh\u00e1bor\u00fa diplom\u00e1ciai komplexit\u00e1s\u00e1t mutatja, hogy a magyarokat a hat\u00e1ron (1956 ut\u00e1n is) \u00e1tseg\u00edt\u0151 attas\u00e9 helyett csak magyar titk\u00e1rn\u0151j\u00e9t, Halk\u00f3 Marianne<\/span>-t fogt\u00e1k perbe 1957 v\u00e9g\u00e9n. Turbet-Delof azonban olyan komoly sz\u00e1lk\u00e1t jelentett a magyar \u00e1llam szem\u00e9ben, hogy diplom\u00e1ciai \u00faton v\u00e9g\u00fcl is csak lesz\u00e1moltak vele, vagyis t\u00e1voz\u00e1sra k\u00e9sztett\u00e9k. T\u00e1voz\u00e1s\u00e1\u00e9rt cser\u00e9be viszont Halk\u00f3t is szabadon kellett bocs\u00e1jtani, aki 1958 v\u00e9g\u00e9re \u00e9ppen le is \u00fclte a r\u00e1 kiszabott 10 h\u00f3napot. A t\u00f6rt\u00e9net az\u00e9rt is l\u00e9nyeges, mivel Halk\u00f3 szabadon bocs\u00e1jt\u00e1sa \u00e9s Turbet-Delof hazautaz\u00e1sa olyan diplom\u00e1ciai p\u00e1rbesz\u00e9dre utal, ami az 1956-os fagy\u00e1s ut\u00e1n a kultur\u00e1lis cserekapcsolatok (k\u00f6zt\u00fck a francia k\u00f6nyvki\u00e1ll\u00edt\u00e1s) rendez\u00e9s\u00e9re, illetve megrendez\u00e9s\u00e9re is lehet\u0151s\u00e9get k\u00edn\u00e1lt. A Francia k\u00f6nyvki\u00e1ll\u00edt\u00e1s<\/em> magyarorsz\u00e1gi jelent\u0151s\u00e9g\u00e9t \u00e9s s\u00faly\u00e1t mutatja, hogy v\u00e9g\u00fcl egy igen reprezentat\u00edv helysz\u00ednen (M\u0171csarnok) ker\u00fclhetett r\u00e1 sor.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

16<\/p>\n

Az Encounter Botr\u00e1ny 1967-ben pattant ki szen\u00e1tusi felsz\u00f3lal\u00e1sokkal \u00e9s New York Times<\/em> c\u00edmlapokkal. V.\u00f6.: Richard M. Hunt:<\/span> The CIA Exposures. End of an Affair. The Virginia Quarterly Review,<\/em> Vol. 45, No. 2, Spring 1969, 211-229.; ld. https:\/\/www.vqronline.org\/articles\/2015\/07\/cia-exposures
\nA MoMA-r\u00f3l: Eva Cockroft: Abstract Expressionism, Weapon of the Cold War. Artforum, 1974\/10. 39-41., ld. https:\/\/www.artforum.com\/print\/197406\/abstract-expressionism-weapon-of-the-cold-war-38017<\/a>
\nK\u00e9s\u0151bb \u00f6sszefoglal\u00f3an: Frances Stonor Saunders:<\/span> Who Paid the Piper? The CIA and the Cultural Cold War.<\/em> Granta Books, London, 1999<\/p>\n

17<\/p>\n

A magyar vonatkoz\u00e1sokr\u00f3l b\u0151vebben is: V\u00e9ri D\u00e1niel:<\/span> K\u00f6nyvek \u00fatja a vasf\u00fcgg\u00f6ny\u00f6n \u00e1t: franci\u00e1k, magyarok \u00e9s a CIA.<\/em> In: \u00c1rvai \u2013 V\u00e9ri<\/span> 2020, 46-89.<\/p>\n

18<\/p>\n

Alfred A. Reisch:<\/span> Hot Books in the Cold War.<\/em> CEU Press, Budapest, 2013. A k\u00f6nyvk\u00fcld\u00e9si programr\u00f3l el\u0151sz\u00f6r egy m\u00e1sik szervez\u0151 r\u00e9sztvev\u0151 sz\u00e1molt be: John P. C. Matthews:<\/span> A Nyugat titkos szellemi Marshall-terve 1-2. Ford. Bod Katalin, Magyar Szemle<\/em> (\u00daj folyam XVI.), 2002\/11-12; (\u00daj folyam XVII.) 2003\/1-2., ld. http:\/\/www.magyarszemle.hu\/cikk\/20131023_
\na_nyugat_titkos_szellemi_marshall-terve_1<\/a>; http:\/\/www.magyarszemle.hu\/cikk\/20080302_ a_nyugat_titkos_szellemi_marshall-terve_2_<\/a><\/p>\n

19<\/p>\n

R\u00f3la \u00e9s a francia kultur\u00e1lis diplom\u00e1ci\u00e1r\u00f3l b\u0151vebben: \u00c1rvai M\u00e1ria:<\/span> R\u00e1kosin\u00e9 f\u0171z\u0151it\u0151l Honegger orat\u00f3rium\u00e1ig. Fejezetek a magyarorsz\u00e1gi francia kult\u00fardiplom\u00e1cia t\u00f6rt\u00e9net\u00e9b\u0151l. In: \u00c1rvai \u2013 V\u00e9ri<\/span> 2020, 30-45.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=”” gradient_type=”default”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”26597″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

A nagy k\u00f6nyvlop\u00e1s. Francia k\u00f6nyvki\u00e1ll\u00edt\u00e1s a vasf\u00fcgg\u00f6ny m\u00f6g\u00f6tt,<\/em> Szentendrei K\u00e9pt\u00e1r, 2019. 09. 20 \u2013 2020. 03. 01., Kur\u00e1torok: \u00c1rvai M\u00e1ria, V\u00e9ri D\u00e1niel, ki\u00e1ll\u00edt\u00e1si enteri\u0151r \u00a9 Fot\u00f3: Deim Bal\u00e1zs<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A Francia k\u00f6nyvki\u00e1ll\u00edt\u00e1s<\/em>t megl\u00e1togat\u00f3 m\u0171v\u00e9szek k\u00f6z\u00fcl Klim\u00f3 K\u00e1roly csak egy kis Matisse \u00e9s Van Gogh k\u00f6tetet hozott el, mert mire elhat\u00e1rozta mag\u00e1t a lop\u00e1sra, addigra valaki m\u00e1r elvitte a modernebb Manessier, Soulages \u00e9s Dubuffet albumokat. Matisse \u00e9s Van Gogh egy\u00fattal az akkori f\u0151iskolai moderns\u00e9g v\u00e9gpontj\u00e1t is jelentette eml\u00e9kei szerint, s\u0151t a Bern\u00e1th-oszt\u00e1lyban, ahov\u00e1 \u0151 is j\u00e1rt, tulajdonk\u00e9ppen C\u00e9zanne-nal \u00e9rt v\u00e9get a m\u0171v\u00e9szet t\u00f6rt\u00e9nete. Klim\u00f3 azonban arra is eml\u00e9kszik, hogy oszt\u00e1lyt\u00e1rsa, Lakner L\u00e1szl\u00f3 modernebb dolgokat is festett, pontosabban \u00e1lland\u00f3an k\u00eds\u00e9rletezett mindenf\u00e9le modern hangnemmel, t\u00f6bbek k\u00f6z\u00f6tt Maurice Utrillo \u00e9s Ben Shahn<\/span> st\u00edlus\u00e1ban is tudott festeni. Gy\u00e9m\u00e1nt L\u00e1szl\u00f3 pedig \u00fagy eml\u00e9kszik, hogy \u00e9ppen bar\u00e1tja, Lakner tan\u00e1cs\u00e1ra csemp\u00e9szett ki a ki\u00e1ll\u00edt\u00e1sr\u00f3l egy Ben Shahn k\u00f6tetet. A litv\u00e1n sz\u00e1rmaz\u00e1s\u00fa, akkoriban igen h\u00edres, baloldali (de nem kommunista, ink\u00e1bb demokrata) amerikai m\u0171v\u00e9sz 1954-ben m\u00e1r az USA-t k\u00e9pviselte a Velencei Bienn\u00e1l\u00e9<\/em>n, \u00e9s kicsit sz\u00fcrre\u00e1lis, de ideol\u00f3gi\u00e1j\u00e1t tekintve szocialista \u2013 illetve szoci\u00e1lis, azaz t\u00e1rsadalmilag \u00e9rz\u00e9keny \u2013 realista fest\u00e9szetet folytatott, ami Laknernek az \u00f6tvenes \u00e9vekben nagyon megtetszett.20<\/span> Tulajdonk\u00e9ppen m\u00e1r a k\u00f6nyvki\u00e1ll\u00edt\u00e1s el\u0151tt is \u00e9rz\u00e9kelhet\u0151 m\u0171vein Shahn hat\u00e1sa, akit v\u00e9lhet\u0151en m\u00e1s forr\u00e1sokb\u00f3l, de k\u00f6nyveken \u00e9s foly\u00f3iratokon \u00e1t ismert meg. A Shahn \u00e1ltal kedvelt realisztikus, de m\u00e9gis sz\u00fcrre\u00e1lis (Amerik\u00e1ban a m\u00e1gikus realista<\/em> kifejez\u00e9st haszn\u00e1lt\u00e1k r\u00e1)21<\/span> k\u00fclv\u00e1rosi munk\u00e1stematika, illetve a modern szociofot\u00f3ra jellemz\u0151 mer\u00e9sz v\u00e1g\u00e1sok t\u00f6bb 1959 el\u0151tt k\u00e9sz\u00edtett Lakner festm\u00e9nyt is inspir\u00e1lhattak.<\/p>\n

Gy\u00e9m\u00e1nt egyik legfontosabb korabeli festm\u00e9ny\u00e9n, az \u00c9letben maradottak karnev\u00e1lj\u00e1<\/em>n (1963) is \u00e9rz\u00e9kelhet\u0151 Shahn vizu\u00e1lis kult\u00far\u00e1j\u00e1nak hat\u00e1sa, legink\u00e1bb a harmincas \u00e9vek t\u00fcntet\u00e9seket \u00e9s tiltakoz\u00e1sokat \u00e1br\u00e1zol\u00f3 Shahn festm\u00e9nyei k\u00f6sz\u00f6nnek vissza, amelyeken a transzparensek meghat\u00e1roz\u00f3 k\u00e9palkot\u00f3 elemek. Az akkoriban B\u00e9kekarnev\u00e1l<\/em>k\u00e9nt is ismert (ezen a c\u00edmen ker\u00fclt a diplomabizotts\u00e1g el\u00e9) \u00c9letben maradottak karnev\u00e1lj\u00e1<\/em>n egy \u00fcnnepl\u0151 t\u00f6meg vonul Budapest n\u00e9mik\u00e9pp (m\u00e9gpedig sz\u00fcrnaturalista technik\u00e1val) megt\u00e9p\u00e1zott szimb\u00f3lumai fel\u00e9, de a h\u00e1ttal elvonul\u00f3 t\u00f6meg k\u00f6zep\u00e9n a f\u0151h\u0151s vel\u00fcnk szemben \u00e1ll, \u00e9s szomor\u00faan szembes\u00edti a n\u00e9z\u0151t saj\u00e1t mag\u00e1val \u00e9s a b\u00e9keharc fr\u00e1zisainak illuz\u00f3rikus volt\u00e1val. A centr\u00e1lis m\u0171v\u00e9sz f\u0151h\u0151s felid\u00e9zheti Csernus Saint-Tropez<\/em>-j\u00e1t (1959) is, Gy\u00e9m\u00e1nt egyik legfontosabb korabeli festm\u00e9ny \u00e9lm\u00e9ny\u00e9t,22<\/span> amelynek k\u00f6zep\u00e9r\u0151l egy szak\u00e1llas fest\u0151 n\u00e9z vissza r\u00e1nk hasonl\u00f3an melankolikusan. A Saint-Tropez<\/em>-ra akkoriban Lakner is felfigyelt, hab\u00e1r most a k\u00f6nyvki\u00e1ll\u00edt\u00e1s kapcs\u00e1n azt nyilatkozta, hogy nem is annyira Csernus, mint ink\u00e1bb az ellopott Max Ernst k\u00f6tet inspir\u00e1lta. Lakner am\u00fagy 1960-ban diplom\u00e1zott, egyik diplomamunk\u00e1ja a Haj\u00f3gy\u00e1ri munk\u00e1sok<\/em> lett, amivel kapcsolatban megh\u00f6kkent\u0151 m\u00f3don nem Ernst \u00e9s a sz\u00fcrrealist\u00e1k, hanem Piero della Francesca<\/span> \u00e9s Boskovits Mikl\u00f3s<\/span> hat\u00e1s\u00e1t emlegette,23<\/span> aki egyszer mes\u00e9lt neki a Krisztus ostoroz\u00e1sa<\/em> (1455-1465.k.) titokzatos ikonogr\u00e1fi\u00e1j\u00e1r\u00f3l. Laknert azonban legink\u00e1bb a k\u00fcl\u00f6nleges \u00e9s n\u00e9mik\u00e9pp paradox t\u00e9rszerkezet ragadta meg, amelyben a k\u00e9p k\u00f6zepe \u201e\u00fcresen\u201d, jelenet \u00e9s jelent\u00e9s n\u00e9lk\u00fcl maradt. A haj\u00f3gy\u00e1ri munk\u00e1sok t\u00e9mak\u00f6r egy kor\u00e1bbi verzi\u00f3ja, az 1959-es Haj\u00f3gy\u00e1ri hegeszt\u0151k<\/em> viszont kifejezetten Max Ernst grattage Erd\u0151<\/em> k\u00e9peinek hat\u00e1s\u00e1t mutatja, amelyeken Ernst val\u00f3di n\u00f6v\u00e9nyi fragmentumok bevon\u00e1s\u00e1val alak\u00edtotta ki fura, organikus hat\u00e1st kelt\u0151, m\u00e9gis zavarba ejt\u0151en sz\u00fcrre\u00e1lis rengetegeit.24<\/span>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

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Szentesi Edit:<\/span> Besz\u00e9lget\u00e9s Lakner L\u00e1szl\u00f3val. In: Nagy Ildik\u00f3<\/span> (szerk.): Hatvanas \u00e9vek.<\/em> Magyar Nemzeti Gal\u00e9ria, Budapest, 1991, 130. L\u00e1sd m\u00e9g: Feh\u00e9r D\u00e1vid:<\/span> Lakner L\u00e1szl\u00f3.<\/em> Hungart, Budapest, 2016<\/p>\n

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Dorothy C. Miller \u2013 Alfred H. Barr, jr.<\/span> (eds.): American Realists and Magic Realists.<\/em> MoMA, New York, 1943<\/p>\n

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Gy\u00e9m\u00e1nt L\u00e1szl\u00f3:<\/span> Csernusn\u00e1l, P\u00e1rizsban.<\/em> (2004), 2005. janu\u00e1r 12., ld. http:\/\/uj.terasz.hu\/include\/nyomtat.php?cikk_id=7086<\/a><\/p>\n

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Szentesi<\/span> 1991, 129.<\/p>\n

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Feh\u00e9r D\u00e1vid:<\/span> Avantgarde-Arri\u00e8regarde. T\u00f6rt\u00e9netis\u00e9g, k\u00e9pis\u00e9g, referencialit\u00e1s Lakner
\nL\u00e1szl\u00f3 m\u0171v\u00e9szet\u00e9ben;<\/em> PhD disszert\u00e1ci\u00f3, Budapest, ELTE, 2018, 137.[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”26598″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

A nagy k\u00f6nyvlop\u00e1s. Francia k\u00f6nyvki\u00e1ll\u00edt\u00e1s a vasf\u00fcgg\u00f6ny m\u00f6g\u00f6tt,<\/em> Szentendrei K\u00e9pt\u00e1r, 2019. 09. 20 \u2013 2020. 03. 01., Kur\u00e1torok: \u00c1rvai M\u00e1ria, V\u00e9ri D\u00e1niel, ki\u00e1ll\u00edt\u00e1si enteri\u0151r \u00a9 Fot\u00f3: Deim Bal\u00e1zs<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Az akkoriban a Sz\u00e9pm\u0171v\u00e9szeti M\u00fazeum k\u00f6nyvt\u00e1r\u00e1ban dolgoz\u00f3 Boskovits neve a Kovalovszky M\u00e1rt\u00e1<\/span>val \u00e9s Kov\u00e1cs P\u00e9ter<\/span>rel k\u00e9sz\u00edtett interj\u00faban is felbukkan. R\u00e1ad\u00e1sul \u0151 volt az, aki elvitte \u0151ket Csernus m\u0171term\u00e9be, aki (tal\u00e1n \u00e9ppen 1959-ben) elmes\u00e9lte nekik, hogy P\u00e1rizsban \u201emegismerkedett Hantai Simon<\/span>nal, aki akkor tasiszta k\u00e9peket festett. Sz\u00e1jt\u00e1tva hallgattuk. Azt magyar\u00e1zta, hogy Hantai a m\u0171term\u00e9ben egy l\u00e9tra tetej\u00e9r\u0151l dobta a fest\u00e9ket a v\u00e1szonra. Azt mondta Csernusnak, az a fontos, hogy min\u00e9l kevesebb fizikai kapcsolata legyen a v\u00e1szonnal. Csernus egy kicsit ironikusan aj\u00e1nlotta neki, hogy esetleg h\u00e1ttal dobja a fest\u00e9ket.\u201d25<\/span> A sztori arra is utal, hogy amikor Csernus 1958-ban felkereste Hantait P\u00e1rizsban, akkor Hantai m\u00e1r Pollock \u00e9s Mathieu hat\u00e1sa alatt \u00e1llt, Csernust viszont a kor\u00e1bbi, m\u00e9g Ernst hat\u00e1sa alatt festett k\u00e9pei ny\u0171g\u00f6zt\u00e9k le, amelyek ereje a realizmus<\/em> \u00e9s a sz\u00fcrrealizmus<\/em> \u00f6sszemos\u00e1s\u00e1b\u00f3l fakadt. Csernus k\u00e9s\u0151bb m\u00e1r ebben a sz\u00fcrre\u00e1lis hangnemben, ennek az eszt\u00e9tikai politik\u00e1nak<\/em>26<\/span> a jegy\u00e9ben mitiz\u00e1lta a Hantai-sztorit, mely szerint Hantait\u00f3l leste el a fest\u00e9k \u00e9s a v\u00e1szon \u00fajszer\u0171, szabadabb, laz\u00e1bb \u00e9s k\u00f6tetlenebb megmunk\u00e1l\u00e1s\u00e1nak technik\u00e1j\u00e1t. Ekkor ker\u00fclt el\u0151 a fest\u0151 intellektu\u00e1lis szersz\u00e1mosl\u00e1d\u00e1j\u00e1b\u00f3l a \u201esz\u00fcrnaturalista\u201d f\u00e9s\u0171, a fogasker\u00e9k \u00e9s a zsilettpenge is, amelyekkel fel lehetett r\u00fagni a klasszikus realista szab\u00e1lyokat, \u00e9s munk\u00e1ba lehetett vonni mag\u00e1nak a fest\u00e9knek a realit\u00e1s\u00e1t, amelynek kapcs\u00e1n Csernus k\u00e9s\u0151bb az anyag saj\u00e1tos szabads\u00e1g\u00e1t, \u201e\u00f6nmozg\u00e1s\u00e1t\u201d27<\/span> emlegette, amiben nem neh\u00e9z r\u00e1ismerni a kapitalista Nyugat antikommunista ideol\u00f3gi\u00e1j\u00e1ra.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

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\u00c1rvai \u2013 V\u00e9ri 2020,<\/span> 143.<\/p>\n

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Az eszt\u00e9tikai politika kifejez\u00e9st Jacques Ranciere nyom\u00e1n haszn\u00e1lom, aki az eszt\u00e9tik\u00e1t is politikai gyakorlatk\u00e9nt \u00e9rtelmezi. V.\u00f6.: Jacques Ranciere:<\/span> Eszt\u00e9tika \u00e9s politika.<\/em> Ford. Jancs\u00f3 J\u00falia, M\u0171csarnok, Budapest, 2009<\/p>\n

27<\/p>\n

Kis Tibor:<\/span> Sz\u00e1zadv\u00e9gi z\u00e1rsz\u00e1mad\u00e1s. Besz\u00e9lget\u00e9s Csernus Tiborral. Kritika,<\/em> 1996\/10., 31.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=”” gradient_type=”default”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”26599″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

\u00c1rvai M\u00e1ria, V\u00e9ri D\u00e1niel: A nagy k\u00f6nyvlop\u00e1s. Francia k\u00f6nyvki\u00e1ll\u00edt\u00e1s a vasf\u00fcgg\u00f6ny m\u00f6g\u00f6tt \/ The Great Book Theft. French Book Exhibition Behind the Iron Curtain,<\/em> Szentendre, Ferenczy M\u00fazeumi Centrum, 2020, 200 oldal. Grafikus: Erd\u00e9lyi Sarolta \u00c1gnes \u00a9\u00a0Fot\u00f3: Deim Bal\u00e1zs<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Ezt a szabads\u00e1got, ezt a lazas\u00e1got csod\u00e1lhatta meg az 1959-es orsz\u00e1gos k\u00e9pz\u0151m\u0171v\u00e9szeti ki\u00e1ll\u00edt\u00e1s k\u00f6z\u00f6ns\u00e9ge is a Saint-Tropez<\/em>-n, ami r\u00e1ad\u00e1sul egy olyan ki\u00e1ll\u00edt\u00e1son28<\/span> jelent meg, amelynek t\u00e9m\u00e1ja a Tan\u00e1csk\u00f6zt\u00e1rsas\u00e1g dics\u0151 eml\u00e9kezete volt sz\u00e1mtalan Kun B\u00e9l\u00e1t \u00e9s R\u00e1kosi M\u00e1ty\u00e1st \u00e1br\u00e1zol\u00f3 forradalmi \u00e9s h\u00e1bor\u00fas festm\u00e9nnyel. A Saint-Tropez-n viszont maga a dekadens Nyugat, a francia Rivi\u00e9ra egyik legh\u00edresebb tengerparti korz\u00f3ja jelent meg Degas-t id\u00e9z\u0151 balerin\u00e1kkal \u00e9s eleg\u00e1ns urakkal. A festm\u00e9ny ennek ellen\u00e9re nem keltett k\u00f6zfelh\u00e1borod\u00e1st, a kritika nem t\u00e1madta, s\u0151t \u0151sszel m\u00e9g a b\u00e9csi VIT<\/em>-re \u00e9s az I. P\u00e1rizsi Bienn\u00e1l\u00e9<\/em>ra is kik\u00fcldt\u00e9k, v\u00e9lhet\u0151en az\u00e9rt, hogy a Br\u00fcsszeli Vil\u00e1gki\u00e1ll\u00edt\u00e1s<\/em> szellem\u00e9ben a magyar kult\u00fara moderns\u00e9g\u00e9t \u00e9s f\u00fcggetlens\u00e9g\u00e9t szimboliz\u00e1lja. Ha tekintetbe vessz\u00fck a karnev\u00e1li jelenet m\u00f6g\u00f6tt, a kik\u00f6t\u0151ben megh\u00faz\u00f3d\u00f3 hatalmas hadihaj\u00f3t, akkor m\u00e9g ak\u00e1r valamif\u00e9le antikapitalista stichet is kaphat a k\u00e9p, hiszen a j\u00f3l\u00e9t spekt\u00e1kuluma m\u00f6g\u00f6tt felbukkan a gyarmati, katonai-indusztri\u00e1lis komplexum egyik legfontosabb szimb\u00f3luma is, ami Franciaorsz\u00e1gban az alg\u00e9riai konfliktus miatt k\u00fcl\u00f6n\u00f6sen aktu\u00e1lisnak sz\u00e1m\u00edtott. A p\u00e1lyakezd\u0151 fest\u0151m\u0171v\u00e9szek (Lakner \u00e9s Gy\u00e9m\u00e1nt mellett Konkoly Gyula<\/span> eml\u00e9keiben29<\/span> is megjelenik a festm\u00e9ny) azonban nem annyira a t\u00e9ma, mint ink\u00e1bb a st\u00edlus, a festm\u00e9ny \u00e9s a fest\u00e9k megmunk\u00e1l\u00e1s\u00e1nak kreat\u00edv szabads\u00e1ga sz\u00e1m\u00edtott, ami k\u00fcl\u00f6n\u00f6sen a M\u0171csarnokban lehetett sokkol\u00f3 1959 tavasz\u00e1n.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

28<\/p>\n

VII. Magyar K\u00e9pz\u0151m\u0171v\u00e9szeti Ki\u00e1ll\u00edt\u00e1s \u2013 A Magyar Tan\u00e1csk\u00f6zt\u00e1rsas\u00e1g negyvenedik \u00e9vfordul\u00f3ja tisztelet\u00e9re.<\/em> M\u0171csarnok, Budapest, 1959. m\u00e1rcius 27 \u2013 m\u00e1jus 10, rendez\u0151bizotts\u00e1g: Aradi N\u00f3ra, Makrisz Agamemnon, Pog\u00e1ny \u00d6. G\u00e1bor,<\/span> a M\u0171csarnok r\u00e9sz\u00e9r\u0151l: B\u00e1n R\u00f3bertn\u00e9 Ritly Val\u00e9ria,<\/span> ld. m\u00e9g https:\/\/filmhiradokonline.hu\/watch.php?id=14899<\/a><\/p>\n

29<\/p>\n

Konkoly Gyula \u00d6n\u00e9letrajz\u00e1t id\u00e9zi: Keser\u00fc Katalin:<\/span> Vari\u00e1ci\u00f3k a pop art-ra.<\/em> \u00daj M\u0171v\u00e9szet Kiad\u00f3, Budapest, 1994, 20-21.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=”” gradient_type=”default”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”26600″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

\u00c1rvai M\u00e1ria, V\u00e9ri D\u00e1niel: A nagy k\u00f6nyvlop\u00e1s. Francia k\u00f6nyvki\u00e1ll\u00edt\u00e1s a vasf\u00fcgg\u00f6ny m\u00f6g\u00f6tt \/ The Great Book Theft. French Book Exhibition Behind the Iron Curtain,<\/em> Szentendre, Ferenczy M\u00fazeumi Centrum, 2020, 200 oldal. Grafikus: Erd\u00e9lyi Sarolta \u00c1gnes \u00a9\u00a0Fot\u00f3: Deim Bal\u00e1zs<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A nagy francia k\u00f6nyvki\u00e1ll\u00edt\u00e1sr\u00f3l ellopott \u2013 m\u00e1r eml\u00edtett \u2013 Max Ernst k\u00f6tet viszont csak 1959 \u0151sz\u00e9n kezdte meg \u00fatj\u00e1t a budapesti m\u0171termek vil\u00e1g\u00e1ban. Lakner k\u00f6lcs\u00f6nadta Kov\u00e1sznai Gy\u00f6rgy<\/span>nek, majd Orsz\u00e1g Lili is l\u00e1tta, \u00e9s m\u00e9g sokan m\u00e1sok. Patrick Waldberg 1958-as nagy Ernst-monogr\u00e1fi\u00e1j\u00e1r\u00f3l volt sz\u00f3,30<\/span> amely j\u00f3 min\u0151s\u00e9g\u0171, sz\u00ednes k\u00e9peken mutatta be Ernst \u201ekapart\u201d \u00e9s \u201ecuppantott\u201d festm\u00e9nyeit is, vagyis az 1920\u20131930-as \u00e9vekben kifejlesztett grattage \u00e9s decalcomanie technik\u00e1kat, amelyek seg\u00edts\u00e9g\u00e9vel az 1954-es Velencei Bienn\u00e1l\u00e9<\/em> nagyd\u00edjasa provokat\u00edv \u00e9s paradox m\u00f3don konfront\u00e1lta egym\u00e1ssal Breton sz\u00fcrrealizmus\u00e1t \u00e9s Leonardo da Vinci realizmus\u00e1t.31<\/span> A szocialista realizmus \u00e9s a sz\u00fcrrealizmus kontextus\u00e1ban a klasszikus renesz\u00e1nsz utal\u00e1s els\u0151re meglep\u0151nek t\u0171nhet, de maga Csernus is Jan van Eyckr\u0151l besz\u00e9lt a decalcomanie hat\u00e1smechanizmusa kapcs\u00e1n,32<\/span> a neki szimpatikus fest\u0151i realizmus eredet\u00e9t pedig Manet-n \u00e9s Vel\u00e1zquezen \u00e1t egy m\u00e1sik h\u00edres naturalist\u00e1ig, Caravaggi\u00f3ig vezette vissza.33<\/span> Az \u00f6tvenes \u00e9vekben pedig Manet \u00e9s Degas mellett \u00e9ppen a n\u00e9metalf\u00f6ldi fest\u00e9szet \u00e9s van Eyck jelentette Csernus sz\u00e1m\u00e1ra a fest\u0151i realizmus egyik cs\u00facs\u00e1t.34<\/span> M\u00e1rpedig ekkoriban Csernus \u00e9s Lakner is egy korszer\u0171, realista, figurat\u00edv fest\u00e9szetet akart l\u00e9trehozni, amit Oelmacher Anna<\/span> keresztelt el pejorat\u00edvan sz\u00fcrnaturalist\u00e1ra<\/em>.35<\/span> Ernst paradox m\u00f3don illuzionisztikus, a val\u00f3s\u00e1g lenyomat\u00e1t mag\u00e1ban hordoz\u00f3 (frottage, grattage), val\u00f3s asszoci\u00e1ci\u00f3kat kelt\u0151, de m\u00e9gis megt\u00e9veszt\u0151, m\u00e1sf\u00e9le form\u00e1kra \u00e9s l\u00e9nyekre utal\u00f3 festm\u00e9nyei is ez\u00e9rt lehettek sz\u00e1mukra \u00e9rdekesek. Hasonl\u00f3 szellemben, Shahn egyszerre naturalista \u00e9s sz\u00fcrrealista, kritikai realista \u00e9s groteszk<\/em> n\u00e9z\u0151pontja is a fotografikusn\u00e1l m\u00e9lyebb realit\u00e1s megragadhat\u00f3s\u00e1g\u00e1nak szempontj\u00e1b\u00f3l lehetet igaz\u00e1n izgalmas a szocialista realista<\/em> Magyarorsz\u00e1gon.<\/p>\n

\u00c9ppen a sokszor \u00e9s sokf\u00e9lek\u00e9ppen megcsod\u00e1lt, ellopott, agyonn\u00e9zegetett, el- \u00e9s kisaj\u00e1t\u00edtott Ernst \u00e9s Shahn miatt lenne igaz\u00e1n \u00e9rdekes egyszer egy\u00fctt l\u00e1tni Csernus, Lakner, Gy\u00e9m\u00e1nt, Korga G\u00f6rgy,<\/span> Orsz\u00e1g, Major, Ernst \u00e9s Shahn, valamint m\u00e1s m\u00e1gikus (t\u00f6bbek k\u00f6z\u00f6tt Ivan Albright, Peter Blume<\/span> \u00e9s Szab\u00f3 \u00c1kos<\/span>) \u00e9s fantasztikus (p\u00e9ld\u00e1ul Ernst Fuchs<\/span>) realist\u00e1k m\u0171veit. \u00c1rvai M\u00e1ria \u00e9s V\u00e9ri D\u00e1niel ugyanis p\u00e9ldamutat\u00f3an felt\u00e9rk\u00e9pezte a k\u00fclf\u00f6ldi m\u0171v\u00e9szet l\u00e1that\u00f3s\u00e1g\u00e1nak alapj\u00e1t ad\u00f3 nyugati k\u00f6nyv- \u00e9s foly\u00f3irat-topogr\u00e1fi\u00e1t Budapesten (milyen k\u00f6nyvesboltokban, kultur\u00e1lis k\u00f6zpontokban, k\u00f6vets\u00e9geken, k\u00f6nyvt\u00e1rakban lehetett Skira albumokat vagy \u00e9ppen francia \u00e9s angol kort\u00e1rs m\u0171v\u00e9szeti foly\u00f3iratokat lapozgatni), viszont m\u00e9g mindig nincs egy olyan intellektu\u00e1lis t\u00e9rk\u00e9p\u00fcnk, pszichogeogr\u00e1fiai atlaszunk,<\/em>36<\/span> ami azt mutatn\u00e1 meg, hogy milyen eur\u00f3pai vizu\u00e1lis kult\u00far\u00e1k<\/em> nyomai fedezhet\u0151k fel a magyar k\u00e9pz\u0151m\u0171v\u00e9szek munk\u00e1iban. M\u00e1rpedig \u00e9ppen egy \u201ek\u00f6nyves\u201d kontextusban, a francia k\u00f6nyvki\u00e1ll\u00edt\u00e1s \u201evirtu\u00e1lis\u201d kontextus\u00e1ban v\u00e1lik igaz\u00e1n j\u00f3l \u00e9rz\u00e9kelhet\u0151v\u00e9 (illetve \u00e1t\u00e9rezhet\u0151v\u00e9) a val\u00f3di fest\u00e9szet materi\u00e1lisan sokkol\u00f3 \u00e9lm\u00e9nye. Vagyis az, hogy a k\u00f6nyvek \u00e9s a reprezent\u00e1ci\u00f3k kult\u00far\u00e1j\u00e1hoz k\u00e9pest milyen \u00f3ri\u00e1si pluszt (\u00e9s persze sokkot) jelenthetett a P\u00e1rizsban is \u00e9l\u0151 \u00e9s dolgoz\u00f3 Csernus sz\u00fcrnaturalista Saint-Tropez<\/em>-ja. Hiszen \u00e9ppen a visszaeml\u00e9kez\u00e9sekben \u00fajra \u00e9s \u00fajra megjelen\u0151, \u00e9s a kultur\u00e1lis eml\u00e9kezet medialit\u00e1sa<\/em> (fekete-feh\u00e9r fotogr\u00e1fi\u00e1k \u00e9s filmek) \u00e1ltal csak m\u00e9g tov\u00e1bb fokozott, sz\u00edntelen sz\u00fcrkes\u00e9g kult\u00far\u00e1j\u00e1n bel\u00fcl lehetett \u00f3ri\u00e1si \u00e9lm\u00e9ny l\u00e1tni a Nyugatr\u00f3l hazat\u00e9r\u0151 Csernus megh\u00f6kkent\u0151en sz\u00ednes \u00e9s \u00e9letteli francia Rivi\u00e9r\u00e1j\u00e1t egy a Tan\u00e1csk\u00f6zt\u00e1rsas\u00e1g eml\u00e9k\u00e9nek szentelt \u00e1llami ki\u00e1ll\u00edt\u00e1son.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

30<\/p>\n

Ld. 5. sz. jegyzet<\/p>\n

31<\/p>\n

V.\u00f6.: Max Ernst:<\/span> Beyond Painting.<\/em> Wittenborn, New York, 1948<\/p>\n

32<\/p>\n

Kis Tibor<\/span> 1996, 30-33.<\/p>\n

33<\/p>\n

Jean-Louis Murris:<\/span> Besz\u00e9lget\u00e9s Csernus Tiborral. M\u0171v\u00e9szet,<\/em> 1989\/8., 28-31.<\/p>\n

34<\/p>\n

N\u00e9meth Lajos:<\/span> Csernus Tibor \u00e9s a K\u00e9p. Literatura,<\/em> 1987-88\/1-2., 167., ld. http:\/\/real-j.mtak.hu\/1433\/1\/LITERATURA_1987-1988.pdf<\/a><\/p>\n

35<\/p>\n

Oelmacher Anna:<\/span> Fiatal fest\u0151 k\u00e9pei a Medny\u00e1nszky-teremben. Magyar Nemzet,<\/em> 1964. m\u00e1rcius 5. Oelmacher fiatal fest\u0151je a Csernus hat\u00e1sa al\u00e1 ker\u00fclt Korga Gy\u00f6rgy<\/span> volt.
\nA sz\u00fcrnaturalista<\/em> kifejez\u00e9s Perneczky G\u00e9za<\/span> nyom\u00e1n terjedt el: Perneczky G\u00e9za: A magyar \u201esz\u00fcr-naturalizmus\u201d probl\u00e9m\u00e1ja. \u00daj \u00cdr\u00e1s,<\/em> 1966\/11., 100-109.<\/p>\n

36<\/p>\n

A pszichogeogr\u00e1fiai atlasz<\/em> kifejez\u00e9st Aby Warburg, Guy Debord \u00e9s Georges Didi-Huberman nyomdokain haszn\u00e1lom. V. \u00f6.: Georges Didi-Huberman:<\/span> Atlas, ou le gai savoir inquiet. L\u2019Oeil de l\u2019histire 3o.<\/em> Minuit, Paris, 2011<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” vertically_center_columns=”true” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-2-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”]

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