This is a blog that presents Hungarian art to an international audience, constantly forcing me to try to look at Hungarian art history through an outsider’s eyes. In today’s post, these perspectives will be hopelessly entangled: we will look at a Hungarian artist as he is looking at a British artist and is looked at by British art lovers. The previous post thematised the differences between Eastern and Western Europe through the sad story of the sculptor István Ferenczy – with a (hopefully) upbeat ending that stressed that the two are inseparable. This post will continue in the same vein, showing that, somewhere deep down, even differences can serve as connections. But first of all, let me introduce a new artist: the portraitist and genre painter Miklós Barabás (1810-1898), one of the most successful painters in 19th-century Hungary.
Miklós Barabás’ career can be seen as an antithesis to István Ferenczy’s. While Ferenczy saw himself as a struggling artist who suffered from the lack of patronage and a well-developed cultural life, Barabás not only made good use of the emerging institutional framework, but took part in building it up. Ferenczy finished his life in self-imposed solitude; Barabás, on the other hand, was venerated by the public throughout his long life, even if his art itself eventually came to be seen as outdated. It can perhaps be said that Ferenczy came too early – starting his career only a decade later, Barabás already had solid foundations to build upon. He was also helped by his optimistic, rational, resourceful personality: instead of aspiring to be regarded as a genius, he contented himself with being a good and successful artist, and relied on his excellent social skills to find patrons and further his career.