Béla Uitz

from Wikipedia, the free encyclopedia
Béla Uitz (1922)
Grave on the Kerepesi temető

Béla Uitz (born March 8, 1887 in Mehala , Austria-Hungary ; died January 26, 1972 in Budapest ) was a Hungarian painter.

Life

Béla Uitz initially trained as a locksmith. From 1908 to 1912 he studied at the Academy of Fine Arts in Budapest and had his first exhibition participation in Budapest in 1914. Together with pictures from the group Die Eight (Nyolcak), works by him were also shipped to the Panama-Pacific International Exposition , for which he received a gold medal in 1915.

In 1915, together with his brother-in-law Lajos Kassák and Emil Szittya, he brought out the Hungarian avant-garde magazine A Tett (Die Tat), which was banned by war censors in 1917. Then he was co-editor of Kassák's magazine MA (Today) and took part in their third group exhibition in 1918. In 1917 he had Péter Dobrovics , Lajos Gulácsy , János Kmetty and József Nemes-Lampérth an exhibition entitled A Fiatalok (The Boys).

After the end of the war in 1918 he was one of the leading visual artists of the Hungarian Soviet Republic , he was a member of its art directorate and head of the workshops for proletarian visual arts, in which propaganda posters were produced ( Vörös Katonák Előre! ). He was arrested for a while after the Soviet Republic was crushed.

He fled to Vienna in 1920 . In 1921 he became a member of the illegal Hungarian Communist Party, dealt with Russian constructivism in Berlin and took part in the 3rd Congress of the Communist International in Moscow . After his return to Vienna he broke with Lajos Kassák and founded the magazine Egység (Unity) with Aladár Komját . He translated the Realistic Manifesto by Naum Gabo , the program of the constructivist group by Rodchenko and Stepanova, and the thoughts of Suprematism by Kazimir Malevich . Thereafter released an album with 23 abstract linocuts .

In 1923 he adopted the Proletkult painting style . In 1924 he moved to Paris , where he illegally agitated for the Parti communiste français under the pseudonym WU Martel , and painted in Collioure . In 1926 he moved to the Soviet Union and lived there for more than forty years as an artist of Soviet propaganda art. At first he taught in the workshops of Wchutemas and Wchutein .

From 1936 to 1938 he stayed in Kyrgyzstan . He was temporarily arrested during the Stalin Purges in 1938/39. After the end of the war he was again involved in monumental paintings . Shortly before his death, he returned to Hungary in 1970, where the communists set up the “Uitz Múzeum” in Pécs for him .

Fonts (selection)

  • Bring on the dictatorship! April 10, 1919, printed by: Hubertus Gaßner : Interactions. Hungarian avant-garde in the Weimar Republic . Marburg: Jonas-Verlag, pp. 28-30

literature

  • Károly Lyka : Uitz, Béla . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 33 : Theodotos vacation . EA Seemann, Leipzig 1939, p. 551 .
  • Uitz, Béla . In: Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. tape 4 : Q-U . EA Seemann, Leipzig 1958, p. 490 .
  • Éva Bajkay-Rosch: Hungarian Soviet Republic and German Exile. In: Hubertus Gaßner : Interactions. Hungarian avant-garde in the Weimar Republic. Jonas-Verlag, Marburg 1986, pp. 37-54.
  • Éva Bajkay: In the front row. Huszár, Uitz, Bortnyk and Moholy-Nagy. In: Tamás Kieselbach (Hrsg.): Modernism in Hungarian painting. Volume 2. Nicolai, Berlin 2008, p. 14 f.
further literature
  • Éva Bajkay: Béla Uitz. Gondoltat, Budapest 1974.
  • Éva Bajkay: Bela Uitz. Works on paper from 1913-25. Graphic Collection Albertina, Vienna 1991.

Web links

Commons : Béla Uitz  - collection of images, videos and audio files

Individual evidence

  1. Short biography in: Hubertus Gaßner: Interactions. Hungarian avant-garde in the Weimar Republic. Jonas-Verlag, Marburg, p. 587
  2. a b c d Chris Michaelides: Chronology of the European Avant Garde, 1900-1937. (PDF) at the British Library .
  3. Éva Bajkay: In the front row. 2008, p. 14 f.