This blog has been on a long hiatus, for which I have to apologise to my readers. It does not mean I have stopped thinking about the issues this blog is concerned with, but I have had to do it in a different setting, and while adjusting to that it was difficult to find time and energy to write. The purpose of this post is to link to a little piece I have published elsewhere, as well as to remind myself that it is time the blog was revived.
What is artistic fame? How is it influenced by outside factors? How does it change with time? These are all questions that come to one’s mind once one becomes acquainted with the life story of Károly Kotász (1872-1941). He was a Hungarian painter who is rarely mentioned in overviews of art history, either in Hungary or elsewhere. Yet, for a few years around 1930 he was famous all across Europe. His works were displayed at exhibitions and fervently praised by critics from Berlin to London, and they were bought by distinguished collectors for high prices. A disabled and reclusive man, Kotász could not be – or did not want to be – physically present at his exhibitions, which helped build his enigmatic persona. Then, after years of success, his name fell into oblivion?
Why did that happen? There is no simple answer. But this blog has always been concerned with the place of Hungarian artists in international art history (or global art history, if you will). How can they connect and be connected to that broader story? I think that Kotász’s fame and subsequent fall into oblivion had a lot do with how the story of modern art is usually told. If you are interested in reading further, check out this post:
Gambling on Genius: Károly Kotász, Stormy Landscape with Blue and Red Figures
It was published in Midlands Art Papers, a collaborative journal of the Department of Art History, Curating and Visual Studies of the University of Birmingham and 11 museums from the Midlands. Check out its other articles too – it is really worthwhile!