Umiestnenie

Szentendre , Magyarország
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Jazyk

Maďarčina

Názov zbierky

Archive of Pál Deim

Pôvod a kultúrne aktivity

Pál Deim (1932–2016), a painter, sculptor and graphic artist, was a prominent figure of the Hungarian neo-avantgarde art that emerged in the sixties. His art practice is embedded in the constructivist-surrealistic traditions of the Szentendre School and the European School. His private archive documents the development of neo-avantgarde painting, the activities of artists related to the Zugló Circle in the sixties and the history of art institutions in Szentendre, a vivid art center during the 20th century. The archive includes artworks, publications and paperwork collected throughout six decades, richly illustrating the art history of the Kádár era and the post-1989 period.

In the collection that records every stage of the artist's career, the early years are documented by research material, sketches, graphics and photos made at the Academy of Fine Arts. Pál Deim was a student of the Academy of Fine Arts between 1958-1963, where only academic landscape painting and socialist realism were acceptable based on the socialist ideology. In the mid-sixties, the Hungarian art scene was dominated by the cultural policy of the Kádár regime, where György Aczél set up the so-called ”3T” system – a system of censorship that divided the actors of the art scene into ”banned,” ”tolerated” and ”supported” categories. The formative experiences of Pál Deim, however, were determined by his relationship with progressively thinking fellow students – Sándor Altorjai, Imre Bak, András Baranyai, Tamás Galambos, Béla Gruber, Sándor Molnár and István Nádler, among others.

An important part of the archive comprises the documentation about the activities of the Zugló Circle (1958-1968), a self-organizing group of students who questioned the aesthetic principles of the Academy of Fine Arts. The members of the circle – including Imre Bak, Pál Deim, Sándor Molnár and István Nádler – became the main representatives of the Hungarian neo-avantgarde painting in the late sixties. The significance of their experimental activities lies, first, in their intention to get in touch with silenced abstract artists, including the artists of the European School: Lajos Kassák, Dezső Korniss, Tihamér Gyarmathy, and the philosopher Béla Hamvas. Second, they translated, disseminated and discussed texts about the international avantgarde and the French Art Informel, which were entirely absent from the Academy’s curriculum.

The activity of the Zugló Circle was an important step in the history of cultural resistance that emerged after the oppressive atmosphere of the ”dark fifties.” The groupmembers’ intention to promote the autonomy of art was not welcomed by art institutions, and their exhibitions were banned by the Academy’s management or by the Lectorate of the Fine and Applied Arts, the institution that overviewed art production (KISZ Club of the Academy, 1963, ÚT-Új Törekvések '66, MALÉV KISZ Club, 1966); and their works were expelled from group shows (Studio '67, Studio of Young Artists, 1967). At the same time, they occasionally had a chance to present their works, which shows the arbitrariness of the regime’s cultural politics (Studio ’66, Studio of Young Artists, 1966; Exhibitions of Pál Deim, László Kósza-Sipos and István Nádler, Cultural Center of Szentendre, 1966). As a sign of the consolidation of the Kádár regime, the artists emerging from the Zugló Circle no longer belonged to the category of “banned” from the seventies onwards. For example, Budapest's representative exhibition hall, the Kunsthalle Budapest canonized their works through solo shows (Pál Deim, 1974, Imre Bak, 1977, Sándor Molnár, 1982, István Nádler, 1985).

In 1969, Pál Deim as a young artist with a family was granted a studio apartment in the “new artists’ colony” in Szentendre, which provided space for his expanding collection until his death. The twelve studios of the colony served, on the one hand, as a form of social benefit for promising young artists. On the other hand, alongside several similar housing projects in different parts of the country, they aimed at boosting cultural life in the countryside as part of the regime’s cultural politics. Pál Deim used the studio as a workplace and storage to preserve works by his friends and colleagues besides his own works. The space also functioned as a sort of “wunderkammer,” where archaeological, ethnographic, religious, historical and personal memorabilia have accumulated throughout five decades.

The collection of artworks records Pál Deim’s stylistic development in detail. It reveals that following the early stage of his career, he became increasingly interested in the organization of space and plasticity, based on the classical avantgarde and constructivist-surrealistic heritage associated with the European School and the Szentendre School, hallmarked by the artists Jenő Barcsay, Dezső Korniss and Lajos Vajda. For instance, the collection includes a number of objects and sketches revealing the continuation of the methodologies of Korniss and Vajda in Pál Deim’s art practice, as well as plans of artworks and projects that were never realized.

The archive offers ways to reconstruct the era’s visual culture, exhibition interiors, the mechanisms of the art scene and the relationship between artists through photographs, posters, publications and correspondence. From the perspective of Pál Deim’s exhibition history, his first solo show was the most important event, marking the end of the experimental phase and proposing the philosophical and artistic problems that characterize his entire oeuvre afterwards (Ferenczy Museum, 1969). His solo exhibitions took place at the then active art centers both in the countryside (Debrecen, Dunaújváros, Győr, Pécs, Székesfehérvár, Veszprém) and in Budapest, where the Kunsthalle Budapest (1974), the Workshop Gallery of the Hungarian National Gallery (My Holograph, 1979) and the Újpest Gallery (1986) housed his most significant shows.

Pál Deim carefully preserved the official and personal documents related to his activities, as well as works and publications in connection with the artists he knew. Furthermore, he was a founding member of several art institutions in Szentendre: the local silkscreen workshop (Szentendre Grafikai Műhely, 1980), Art'éria Gallery (1986) – one of the first private commercial galleries in Hungary after 1949 – and he played an important role in the establishment of the Art Mill contemporary art center (1999). As a member of the Committee for the Protection of Monuments and the City Protection Association, he was determined to contribute to local public affairs and he actively supported the artists of the Vajda Lajos Studio (VLS, 1972-), who represented alternative lifestyles and artistic practices in the 70’s and 80’s.
The conservation of Pál Deim’s art collection takes place in cooperation with the Ferenczy Museum Center (FMC). The FMC has the largest public collection of Pál Deim’s works in Hungary and following the artist’s death in 2016, the institution took the responsibility to store and preserve some of his works. The archival material is being processed and digitized, and an online interface will also be available to increase the accessibility of historically relevant artworks and documents

Opis obsahu

The collection includes more than 200 paintings and sculptures by Pál Deim from the early 1950’s to 2016; at least one copy and individual copies of each of nearly 200 graphics he made (silkscreen prints, etchings, lithography, aluminium graphics); as well as numerous drawings and sketches. The catalogues and invitation cards of his solo and group exhibitions are available in both analogue and digital formats, and all the relevant books, journals, newspaper articles, correspondence and other publications can be found in the archive.

The collection contains over 200 other artworks from orthodox icons through works by friends and former teachers (eg. József Bánáti-Sverák, Jenő Barcsay, Jenő Gadányi, Sándor Altorjai, Imre Bak, Imre Bukta, Béla Gruber, István Nádler, Miklós Németh, Lili Országh) to the works of the artists living in Szentendre. Special items include works that cross borders between genres, such as Sándor Altorjai's monotype-based letters with drawings and other works classified as mail art.

The photography collection of thousands of items covers over six decades and includes documentation of Pál Deim's research, exhibitions, public works, reproductions of his works, photographs of his professional and personal connections, including rare images of the Academy of Fine Arts's everydays, its trips to Moscow and St. Petersburg in 1960 and significant art events.

The poster collection of over 150 pieces includes the posters of Pál Deim’s exhibitions and the ones he designed, as well as several posters of the Budapest Studio (Pesti Műhely), the institutions of Szentendre (Art'éria Gallery, Szentendre Grafikai Műhely, Art Mill, Lajos Vajda Studio) and of other the art and cultural events of the era.

A significant amount of the paperwork includes the founding documents and the correspondence of the art institutions Art'éria Gallery, the Szentendrei Grafikai Műhely, the Art Mill, the Hungarian Academy of Arts, as well as documents related to committees and associations he participated in (Committee for the Protection of Monuments and the City Protection Association).

Obsah

fotografie: 1000-
obrazy: 100-499
publikácie: 1000-
rukopisy (ego-dokumenty, denníky, poznámky, listy, skice atď.): 100-499

Správca

Deim, Réka

Majiteľ

Držiteľ zbierky

Ferenczy Museum Center, Szentendre

Geografický záber súčasných aktivít súvisiacich so zbierkou

národné

Téma

Zakladateľ

Deim, Pál

Dátum založenia

1958

Miesto založenia

Szentendre, Hungary
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Tvorca obsahu

Deim, Pál

Zberateľ

Deim, Pál

Dôležité udalosti v dejinách zbierky

Významné predmety zbierky

Prístup

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Publikácia

S. Nagy, Katalin. Deim Pál. Budapest: Képzőművészeti Alap Kiadóvállalata, 1977.

Kolozsváry, Marianna. Deim Pál. Budapest: Ernst Múzeum; A&A, 1992.

Kolozsváry, Marianna. Deim Pál festőművész kiállítása. Szentendre: MűvészetMalom, 2002.

Uhl, Gabriella. Deim Pál. Budapest: Ernst Múzeum, 2006.

Deim, Réka. Archívum. Deim Pál 80. Szentendre: MűvészetMalom, 2012.
Wehner, Tibor (ed.). A nagy művészet csendben növekszik. Deim Pál válogatott művészeti írásai. Budapest: Napkút, 2016.

[!]hasAuthorsOfEntry

Deim, Réka

zoznam odkazov

Books

Frank János. Szóra bírt műtermek. Magvető Kiadó, Budapest, 1975.

Csapó György. Művészek, műhelyek. Harmincnégy beszélgetés képzőművészetről. Népművelési Propaganda Intézet, Budapest, 1978.

Sík Csaba. A Parthenon lovain innen és túl. Szépirodalmi Kiadó, Budapest, 1979.

Aradi Nóra (szerk.). 35 év 35 művész. Corvina Kiadó, Budapest, 1980.

Beke László, Nagy Ildikó, Dévényi István, Horváth György (szerk.). Hatvanas évek: Új törekvések a magyar képzőművészetben. Budapest: Képzőművészeti Kiadó-Magyar Nemzeti Galéria-Ludwig Múzeum, 1991.

Andrási Gábor. Zuglói kör (kiállítási katalógus). No. 5. Galéria, 1993.

Knoll, Hans (összeáll.), Jolsvai Júlia (szerk.) A második nyilvánosság. XX. századi magyar művészet. Budapest: Enciklopédia Kiadó, 1999.

Németh Lajos. Gesztus vagy alkotás: válogatott írások a kortárs magyar képzőművészetről. (Hornyik Sándor és Tímár Árpád szerk.). Budapest: MTA Művészettörténeti Kutató Intézet, 2001.

Csanádi-Bognár Szilvia (szerk.). Tiltás és tűrés: A Fiatal Képzőművészek Stúdiójának 1966-os és 1967-es kiállítása. Budapest: Ernst Múzeum, 2006.

Borus Judit (szerk.). Keretek között: A hatvanas évek művészete Magyarországon (1958-1968). Budapest: Magyar Nemzeti Galéria, 2017.

Edit Sasvári, Sándor Hornyik, Hedvig Turai (szerk.) Art in Hungary 1956-1980. Doublespeak and Beyond. Thames & Hudson, 2018.

Articles

Haulisch Lenke. „Bevezető.” Deim Pál festőművész kiállítása (kiállítási katalógus). Mednyánszky terem, Budapest, 1965.

Nagy Ildikó. „Deim Pál kiállítása a Mednyánszky-teremben.” Művészet, 1965/8.

Németh Lajos. „Deim Pál.” Kritika, 1968/6.

Petényi Katalin. „Bevezető.” Deim Pál festőművész kiállítása (kiállítási katalógus).

Ferenczy Múzeum, Szentendre, 1969.

Frank János. „Deim Pálnál.” Élet és Irodalom, 1969. január 4.

Németh Lajos. „Forty Years of Painting at Szentendre.” The New Hungarian Quarterly, vol. 33., 1969. Passuth Krisztina. „Új törekvések a szentendrei muűvészetben.” Új Symposion, 1969.

Romváry Ferenc. „Bevezető.” Deim Pál kiállítása (kiállítási katalógus). Modern Magyar Képtár, Pécs, 1972.

Haulisch Lenke. „Deim Pál kiállítása a pécsi Képtárban.” Művészet, 1972/8.

Petényi Katalin. „Deim Pál festészete.” Jelenkor, 1972/12.

Tóth Antal. „Deim Pál.” Művészet, 1972/ 12.

Németh Lajos. „Rise and Fall of the Szentendre School.” The New Hungarian Quarterly, vol. 46., 1972.

Németh Lajos. „Bevezető.” Deim Pál festőművész kiállítása (kiállítási katalógus). Egyetem Galéria, Debrecen, 1973.

Juhász Ferenc. „Bevezető.” Deim Pál festőművész kiállítása (kiállítási katalógus). Műcsarnok, Budapest, 1974.

Bojár Iván. „Egy kiállítás képei. Tanulmány az emberi értelemről.” Magyar Hírlap, 1974. március 22. Vadas József. „Harmónikus ellentétek.” Élet és Irodalom, 1974. március 23.

Horváth Béla. „Deim Pál festőművész kiállítása.” Művészet, 1974/3.

Rózsa Gyula. „Kutatás eredménnyel.” Népszabadság, 1974. április 3.

Horváth György. „Deim Pál kiállítása a Műcsarnokban.” Magyar Nemzet, 1974. április 7.

Aradi Nóra. „Deim Pál kiállítása.” Kritika, 1974/5.

Aradi Nóra. „Deim Pál kiállítása.” Látóhatár, 1974/9.

Frank János. „Bemutatjuk Deim Pál grafikáit.” Élet és Irodalom, 1974. október 12.

Németh Lajos. „Elmélkedés a térről. Gondolatok Deim Pál művészetéről.” Művészet, 1975/1.

Menyhárt László. „A csend művésze.” Pest Megyei Hírlap, 1975. április 27.

Egyed László. „Deim Pál. A Jövő Mérnöke.” 1976. november 3.

Éri Gyöngyi. „Bevezető. Deim Pál festőművész kiállítása.” Az én holográfom (kiállítási katalógus). Magyar Nemzeti Galéria, Budapest, 1979.

Illyés Mária. „Mesterséges Paradicsom” (gépirat). 1979.

P. Szűcs Julianna. „Útközben. Deim Pál műhely-kiállítása a Magyar Nemzeti Galériában.” Népszabadság, 1979. július 4.

Vadas József. „Laterna profana.” Élet és Irodalom, 1979. július 21.

László Erika. „My Holograph.” Daily News, 1979. július 22.

Wagner István. „A Galéria műhelyében Deim Pál holográfiája.” Magyar Hírlap, 1979. július 27.

Nagy Ildikó. „A csend és a hallgatás között.” Művészet, 1980/1.

Lóska Lajos. „A tárgyak csendje. Beszélgetés Deim Pállal.” Művészet, 1981/9.

Németh Lajos. „Kristályszerkezetek. Deim Pál grafikáiról.” Kortárs, 1986/6.

Kolozsváry Marianna. „A csendtől az ’erotikáig.’ Deim Pál legújabb képeiről.” Művészet, 1988/7.

Lóska Lajos. „A bábu ezer arca. Beszélgetés Deim Pállal.” Új Tükör, 1988. május 22.

Andrási Gábor. „A Zuglói Kör – 1958–1968.” Ars Hungarica, 1991/1.

Hegyi Lóránd. „Struktúraelvű és geometrikus művészet Magyarországon 1968–1980 között.” Ars Hungarica, 1991/1.

Kolozsváry Marianna. „...hová jut az ember... Deim Pál kiállítása az Ernst Múzeumban.”

Új Művészet, 1992/8.

Hajdu István. „Külön idő.” Beszélő, 1992. augusztus 29.

Wehner Tibor. „A végtelen sejtések birodalma.” Kritika, 1992/11.

P. Szűcs Julianna. „Deim Pál manapság.” Népszabadság, 1992. augusztus 19.

Hann Ferenc. „A bábu nem táncol.” Élet és Irodalom, 1992. szeptember 4.

Chikán Bálint. „Deim Pál.” Élet és Irodalom, 1992. szeptember 25.

Páskándi Géza. „Deim Pál kiállítása elé.” Deim Pál kiállítása (kiállítási katalógus). Barcsay Iskola Galéria, 1994.

Szakolczay Lajos. „A montázs mint önirónia. Deim Pál: Album.” Kortárs, 1994/11.

Páskándi Géza. „Deim Pál titka.” Hitel, 1998/1.

Andrási Gábor. „Motívumrejtő absztrakció a Zuglói Körben (1960–1968).” Ars Hungarica, 1998/1.

Wehner Tibor. „A kis ügyek nagyokká válása. Beszélgetés Deim Pál festőművésszel

művészetünk állapotáról.” Új Forrás, 2001/2.

P. Szűcs Julianna. „A tragikus optimista. Deim Pál hetven éves.” Népszabadság, 2002. június 29.

P. Szabó Ernő. „Kristályszerkezetű művek Deim Páltól.” Magyar Nemzet, 2002. október 17.

Gyárfás Péter. „A bábu útja...” Élet és Irodalom, 2002. november 8.

Rózsa Gyula. „Szentendre változatlan.” Mozgó Világ, 2002/10.

Wehner Tibor. „Mindig a bábu. Deim Pál retrospektív kiállítása a szentendrei MűvészetMalomban.” Új Művészet, 2002/12.

P. Szabó Ernő. „A város mint múzsa.” Magyar Nemzet, 2004. február 10.

Sümegi György. „A forradalom virtuális képtára. Öt beszélgetés 56 művészetéről.” Műértő, 2005/10.

Rózsa Gyula. „A lélek igazi mérnöke.” Népszabadság, 2006. július 12.

Lóska Lajos. „Az ezerarcú állandóság.” Új Művészet, 2006/6.

Rózsa Gyula. „Frissen festve. Deim Pál 75 Aulich Art Galéria.” Népszabadság, 2007. szeptember 2. Rockenbauer Zoltán. „Bábusors.” Kultúra, 2007. szeptember 20.

COURAGE

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Archive of Pál Deim