![]() First and foremost these were inspirations that Fulla acquired and imported into his work while teaching at the School of Arts and Crafts. ![]() For Fulla, the time spent at the School of Arts and Crafts under the leadership of Josef Vydra was stimulating in every aspect he was also full of energy and at the height of his creative powers.įulla’s visual thinking at the turn of the 1920s and 1930s was shaped by a range of different inspirations of an artistic, but also an extra-artistic, nature. As he later recalled, with a little irony, to all the younger prophets of the new art: ‘there we were, chewing on our Oštiepok cheese and looking out at the world’. The avant-garde reached Slovakia with a slight delay (in Europe and Russia it had started roughly a decade earlier), but, in spite of the typical lagging-behind that affected possibly every area of life in Slovakia, things were not so dramatic in this case, and the delay was made good. The painter Ľudovít Fulla was one of the crucial initiators and activating forces in this optimistic, albeit temporary, process of getting in step with Europe. In its ideas and pedagogical methods, the school was close to Germany’s Bauhaus. The years 1928–1939 are considered to be the pinnacle of interwar modern visual art in Slovakia, the period in which Slovak art caught up with modernist developments in Western Europe and avant-garde trends become concentrated around the School of Arts and Crafts in Bratislava (ŠUR). ![]() (JO)īalancing ‘Absolute Painting’ and Reality: Ľudovít Fulla and the Paradoxes of Slovak Modernism This text is excerpted from Bajcurová’s monograph Ľudovít Fulla, published in 2009. She explores the various influences that shaped Fulla’s aesthetic, including the artwork of children, the decorative qualities of regional folk art, mediaeval mural painting and religious icons. Bajcurová examines Fulla’s distinctive techniques and preoccupations, for instance his combination of clearly delineated forms with expressive fields of autonomous colour. That claim is based on Fulla’s pioneering role in the development of abstraction in Slovakia, in fostering a new approach-termed ‘absolute painting’-that recognised the material reality of the picture and rejected three-dimensional illusion even as it retained figurative elements. Her chapter is a detailed study of the Slovak painter Ľudovít Fulla, focussing on Fulla’s work of the 1920s and 1930s and asserting his foundational place in Slovak art history. Katarína Bajcurová is curator of the Modern and Contemporary Art Collections at the Slovak National Gallery. ![]()
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