There is only one event of interest in life, and that is none other than death. Gyula Krúdy Hungarian symbolism has rich and previously unnoticed particularities. As a movement, it exerted an influence far more profound than earlier supposed, inspiring a generation of Hungarian artists who had just turned their
The Quincentennial of the Reformation supplies a particularly opportune moment to remember a stained glass window made by Hungarian masters known as Het Hongaarse Raam (“The Hungarian Window”), which made headlines in the press in 1923, when it was completed, but later somehow fell off the radar screen of researchers.1
The recent exhibition at the Várkert Bazár (the “Castle Garden Bazaar”) in Budapest was the first of its kind that provides an insight into the paintings, drawings and illustrations of the Hungarian masters of Japonisme, side by side with ceramics, kimonos, lacquer boxes, and even some items illustrating premieres of plays involving Japanese subjects in Hungary. The visitor could
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