Painters From Hungary

"There was no contemporary circle that would support me in these ideas."

"Her work can be found in several major collections such as the Museum Moderner Kunst (Vienna) and the Ludwig Museum Budapest."

"Individual Mythology was created in the mid-seventies; the series analyses the representation of the female body in general and the illustration of the artist’s body in particular."

"Orsolya Drozdik (artist Orshi Drozdik) is the first feminist artist in Hungary."

"Despite and along with this, censored feminism and the art of new dance, the movement art that pleaded the “divine” body resonated in me when I contrasted the experiences of my “bodily existence” with traditional and patriarchal representation of the woman’s body."

"Drozdik works primarily in series, which can be developed over decades, complementing or evolving from one another."

"Individual Mythology already displays several characteristics of Drozdik’s way of work."

"By overlaying pictures of famous dancers with Drozdik’s own dance moves and projecting images of Hungarian history on her body, she examines herself as an artist, a women and a Hungarian citizen."

"She denounces and deconstructs science by showing its role in the creation of gender roles and reveals the construction behind the myth of the female identity and the objectivity of science."

"But there was patriarchal communist political propaganda: “equality,” “emancipation of women” that voiced the political and social rights of women."

"While consistently applying her perspective as a woman, an increased interest in the scientific representation of the body becomes evident in her work."

"Well aware of the irony of her own situation, Orshi Drozdik can’t seem to escape the construction of herself."

"Using her own body for representative methods or simply analyzing herself trough mental work, Drozdik reflects herself in all of her projects."

"It is truly frightening for a young woman artist to separate herself from the patriarchal artistic discourse that she learnt from, that does not support her and that she would like to be part of."

"I rather consider myself as the pursuer of the ideas and artistic movement of Hungarian feminism that started prior to WWI."

"I was a follower of the historical feminist movement in Hungary and of the liberating force of the new dance movement which developed within its artistic context, and which I named “free dance”."

"In my analysis of the art discourse emerging from the cross-section revealing the interlacement of patriarchal power and knowledge, I was greatly influenced by Valéria Dienes’s feminist writings, who could reconcile her thoughts on psychology, philosophy, and semiotics with the choreography of the art of movement – i.e., the mind with the body, and knowledge with feelings."

"I was born immediately after WWII, in 1946. I decided to become an artist at the age of 10, after my father’s death."

"When I arrived at the Hungarian University of Fine Arts in 1970, my intention crystallized."

"By holding on to my independence and autonomy, I decided to make art that I felt authentic, art that was based on the recognition that as a woman, as a woman artist, I feel, see, and think differently."

"I was alone with my intention and could only find precursors in the historical Hungarian feminism that my mother had passed on to me (in the wake of periodicals such as A Nő és a Társadalom [Woman and Society, 1907‒1913] and A Nő [The Woman, 1914‒1917]."

"György Kepes has commented enthusiastically on the ‘magic rhythms emanating from this swaying, dancing steel trembling with life’, and he has also noted the sense of ‘an instant fellowship, a spontaneous celebration’ which is re-created in their presence. As he concludes: ‘Rhythm is friendship and in Tsai’s work there is friendship of light, sound and our own heart-beats.’"

"Art in India was never the same after her comet like appearance. There are only a few moments in the history of art which pinpoint a new departure, a new direction. Such a moment in the history of modern Indian art was the appearance in the mid-thirties of Amrita Sher-Gil with whose paintings contemporary paintnig in India took shape and demonstrated the possibility of a contemporary style and expression that were, at the same time, of the soil and in direct continuation of the great national past."

"She [Sher-Gil] melded the Western and Indian idioms and did not, like many other artists of her time, attempt to find an authentic ‘Indian’ mode or weave together a nationalist agenda."

"A life cut tragically short, but with more colour perhaps than one may find in her work."

"Amrita's life was more colourful than the bright colours she used in her paintings—this is a good look at it."

"that she was really a virgin because she'd never experienced the spiritual equivalent of copulation: she had many lovers but they'd left no scar. I'll leave a scar."

"Rose water and raw spirit...weird amalgam of the bearded star gazer and the red haired pianist pounding away at her keyboard."

"I didn't know how much truth there was to gossip of her being a nymphomaniac, but I was eager to get to know her."

"An Indian with a measure of European blood, she returned to India to shed her acquired skin....She saw her country with new vision and has left a legacy of pictures simple and grand...as a tribute to the Indian countryside and its people."

"In "Toward a Development of a Cosmopolitan Aesthetic""

"Amrita Sher-Gill: Art and Life: A Reader (page xvii)"

"My art is not a career, it is myself and I know myself best!"

"I cannot control my appetiate for color, and I wonder if I ever will."

"Towards the end of 1933 I began to be haunted by an intense longing to return to India, feeling in some strange inexplicable way that there lay my destiny as a painter."

"Europe belongs to Picasso, Matisse and many others, India belongs only to me."

"The life of Indians, particularly the poor, pictorially....with a new technique, my own technique...and this technique though not technically Indian, in the traditional sense of the word, will yet be fundamentally Indian in spirit."

"...was to interpret the life of Indians and particularly the poor Indians, pictorially."

"Traditions that were once vital, sincere and splendid and which are now merely empty formulae, [nor to imitate fifth rate western art slavishly] break away from both and produce something vital, connected with the soil, something essentially Indian."

"She was very fair and there was an expression of weariness in the lovely liquid dark eyes. Her little finely curved and red hued lips seemed like drooping rosebuds and were sealed as if it were in silence eternal....she seemed as if she guessed the cruel fate which had been meted out for her by the Rani and Rajah and her other rich but distant relations in whose hands she seemed a helpless toy."

"I am always in love, but unfortunately for the party concerned, I fall out of love or rather fall in love with someone else before any damage can be done."

"Modern art has led me to the comprehension and appreciation of Indian painting and sculpture. It seems paradoxical but I know for certain that had we not come away to Europe, I should perhaps never have realised that a fresco from Ajanta or a small piece of sculpture in the Musee Guimet is worth more than a whole Renaissance.'"

"I shall in future be obliged to resign myself to exhibiting them (her paintings) merely at the Grand Salon, Paris, of which I happen to be an Associate and the Salon de Tuileries known all over the world as the representative exhibition of Modern Art, and to which I have been invited to participate in the past, a distinction I may add that few can boast of."

"Revelations. Ellora magnificent. Ajanta curiously subtle and fascinating-I have for the first time since my return to India learnt something from somebody else's work."

"The Brahmacharis as the most difficult thing she had ever done....don't you think I have learnt something from Indian painting?...I don't know whether it is a passing phase or a durable change in my outlook but I see in a more detached manner, more ironically than I have ever done."

"These little compositions are the expression of my happiness and that is why perhaps I am particularly fond of them."

"I was positively stunned and have straight away become a votary of Mathura art to the exclusion of all the other and later schools."

"It is dreadful to think of Paris in German hands but what preoccupies me still more is what is going to happen to modern French art and the younger artists."

"I was positively stunned and have straightaway become a votary of Mathura art to the exclusion of all the other and later schools. I had some of the things in reproductions but never dreamt they were so magnificent. With the possible exception of Mahabalipuram I don’t think I have seen anything in Indian sculpture that I liked so much."

"The self-portraits display the artist moving from girl to woman to artist as she explored a sensuality that ranges from the heavy-handed to the subtle. Sher-Gil casts herself in a serious light in her Self-Portrait with Easel (1930), moving deliberately from the domestic and the intimate context of the nineteenth-century woman artist to the monumental and majestic poses recalling those of Rembrandt and later Van Gogh. Indira dressed as a European gentleman with Amrita dressed as her female partner."