Few artists moved between worlds as much as the painter and sculptor János Mattis-Teutsch (1884–1960), who was born in Brașov (Hung.: Brassó, Ger.: Kronstadt), but spent considerable time in Budapest, Bucharest, Munich, Paris and Berlin. This demonstrates the mobility of artists in Central Europe before and after the First World War, but it especially showcases the variety of artistic developments that ran throughout Europe since the early twentieth century. No matter which influence he followed, Mattis-Teutsch aimed at expressing the inner spirit of the human soul. He was close to Expressionist, spiritual and, later, Constructivist tendencies, on which he always put his own stamp, with a desire to unite ethical and aesthetic values. Reconciliation is also the theme of the painting presented here, The Manual Workers and the Intellectuals (1927), which marks a seldom-noted phase of his work towards the end of the 1920s, when the social aspirations of his art came into their own particularly strongly. Following artists such as Sándor Bortnyik (1893–1976), he sought to add a human touch to Constructivism. His ethereal figures represent generally human principles for a ‘New Man’ who was to move in the idealised space of a new society. The term ‘New Man’ gathered a wide variety of utopian ideas for the transformation of the human being in the interwar period, and found frequent expression in art.
Session 2 of our online seminar series National Histories, Imperial Memories: Representing the Past in Interwar Central Europe will take place at
18.00 CET on 19 October 2021
on Zoom, featuring papers by
Cosmin Minea (Institute for the History and Theory of Architecture, ETH Zurich)
Gábor Egry (Institute of Political History, Budapest)