权益分类	功能权益	普通用户	{{item.name}}会员
{{category.name}}	{{benefitItem.name}}

Pottery, Politics and Identity: Three Hungarian Ceramicists and the Central European Diaspora

陶器、政治和身份：三位匈牙利陶瓷家和中欧侨民

基本信息

批准号：
AH/E000967/1
负责人：
Juliet Kinchin
金额：
$ 2.29万
依托单位：
University of Glasgow
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2006
资助国家：
英国
起止时间：
2006 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FE000967%2F1
关键词：
Pottery Politics Identity Three Hungarian

项目摘要

As a medium ceramics have been central to perceptions of Hungarian design. The broad aims of this project are twofold: firstly, to provide an overview of ceramics in the wider context of Hungarian design, art and architecture of the interwar period, with an emphasis on women's contribution as makers and designers; secondly, through tracking the very different trajectories of three individual women's careers and reputations, to shed light on the impact that the turbulent politics of Central Europe had on designers of this generation.The three remarkable women at the core of this study, Eva Zeisel (b.1906), Margit Kovács (1902-77) and Lili Markus (1900-62), all trained as ceramicists in interwar Hungary and went on to achieve international prominence. Their career paths reveal the mixed opportunities and restrictions faced by women designers in a period of political, economic and ethnic uncertainty. Zeisel, now 100, still designs for firms like Nike and Gucci and has been described as 'absolutely one of the greats of the twentieth-century' (Christopher Wilk, V&A Museum). In the 1920s she worked between Budapest and Germany before moving to the Soviet Union in 1932. Imprisoned there in 1936, she was eventually able to make her way to the USA, where her career took off following a 1946 exhibition at MoMA, New York. Also trained in Budapest, Lili Markus was winning acclaim by the 1930s at international exhibitions staged in Milan, Brussels, Paris, Berlin and New York - both for her architectural ceramics and smaller freestanding objects. Oppressed by the increasingly anti-semitic climate of Budapest, however, she left Hungary with her family in 1939 to settle in Britain (turning down an invitation from Eliel Saarinen to join him at the Cranbrook Academy in Detroit). Little of her work survived the destruction of a major 1939 retrospective exhibition staged in Warsaw, and she had difficulty sustaining her artistic practice thereafter in Britain. The third designer featured in this study, Margit Kovács, having studied in Budapest, Vienna, Munich, and briefly in Copenhagen and Paris, exhibited successfully alongside Markus in the 1930s. She was the only one of the three to remain in Hungary after World War 2, where her ceramics found favour with the communist authorities as 'characteristically Hungarian', and were showcased at home and abroad. As the recipient of numerous Hungarian awards, there were solo exhibitions of her work in between 1953 and 1971. Then in 1973 a museum of her work, the first dedicated to a female artist in Hungary, opened in Szentendre, where it remains a popular tourist attraction. Such different achievements and outcomes reflect not only the aesthetic choices of individual designers, but also the larger forces that shaped the design values of the day. In that sense, this project does not merely consist of three monographic studies, but a series of test cases that will demonstrate the diverse interaction of practical and theoretical issues in a larger international context that has been subject to forces beyond the control of the individual. As will be obvious, the history of these women, and their later critical fortunes, is not one of uniform success or failure, but of differing responses to circumstances that all designers from Central Europe had to operate within. This study will also explore the extent to which design values were international in an age of 'Internationalism', and the adaptability of working methods and aesthetic forms between Hungary and the countries in which they worked.It is hoped that the publication of scholarly articles in both Anglo-American and Hungarian journals, complemented by online access to previously unpublished images and texts will make a significant contribution to an expanding area of art historical scholarship that is beginning to reintegrate countries like Hungary within a broader European and international framework.

作为一种媒介，陶瓷一直是匈牙利设计的核心。该项目的主要目标有两个：第一，在两次世界大战之间匈牙利设计、艺术和建筑的大背景下概述陶瓷，强调妇女作为制作者和设计者的贡献;其次，通过追踪三位女性职业生涯和声誉的不同轨迹，为了阐明中欧动荡的政治对这一代设计师的影响，本研究的核心是三位杰出的女性，伊娃蔡塞尔（b.1906），马吉特Kovács（1902年至1977年）和莉莉马库斯（1900年至1962年），都在两次世界大战之间的匈牙利作为陶艺家训练，并取得了国际知名度。她们的职业道路揭示了女性设计师在政治、经济和种族不确定时期所面临的混合机会和限制。现年100岁的蔡塞尔仍在为耐克和古驰等公司设计，被形容为“20世纪绝对的伟大人物之一”（克里斯托弗·威尔克，V&A博物馆）。在20世纪20年代，她在布达佩斯和德国之间工作，1932年移居苏联。1936年，她被监禁在那里，最终得以前往美国，1946年在纽约现代艺术博物馆举办展览后，她的职业生涯开始了。同样在布达佩斯接受过训练的莉莉·马库斯在20世纪30年代在米兰、布鲁塞尔、巴黎、柏林和纽约举办的国际展览会上赢得了赞誉--她的建筑陶瓷和较小的独立物体都是如此。然而，在布达佩斯日益高涨的反犹太主义氛围的压迫下，她于1939年与家人离开匈牙利定居英国（拒绝了埃利尔·沙里宁（Eliel Saarinen）邀请她加入底特律克兰布鲁克学院的邀请）。1939年在华沙举办的一场大型回顾展被摧毁后，她的作品几乎没有幸存下来，此后她在英国的艺术实践也难以维持。本研究中的第三位设计师是Margit Kovács，她曾在布达佩斯、维也纳、慕尼黑学习，并在哥本哈根和巴黎短暂停留，在20世纪30年代与Markus一起成功展出。她是三人中唯一一个在第二次世界大战后留在匈牙利的人，在那里她的陶瓷作品被共产党当局视为“典型的匈牙利人”，并在国内外展出。作为众多匈牙利奖项的获得者，她的作品在1953年至1971年期间举办了个展。然后在1973年，她的作品博物馆，第一个致力于在匈牙利的女艺术家，在Szentendre开放，在那里它仍然是一个受欢迎的旅游景点。这些不同的成就和结果不仅反映了个别设计师的审美选择，也反映了塑造当今设计价值观的更大力量。从这个意义上说，这个项目不仅包括三个专题研究，而且包括一系列测试案例，这些案例将展示在受到个人无法控制的力量影响的更大的国际背景下，实践和理论问题的各种相互作用。很明显，这些女性的历史，以及她们后来的命运，并不是一个统一的成功或失败，而是对所有中欧设计师必须在其中运作的环境的不同反应。这项研究还将探讨在“国际主义”时代，设计价值观的国际化程度，以及匈牙利与他们工作的国家之间工作方法和美学形式的适应性。希望在英美和匈牙利期刊上发表学术文章，再加上在线访问以前未出版的图像和文本，将为正在开始重新整合的艺术史学术领域的扩大做出重大贡献。在更广泛的欧洲和国际框架内，