When we look at an artist’s work, we see it through a glass, darkly: whether we like it or not, we are influenced by its previous interpretations. After they die, some artists are turned into icons of artistic, social, or political movements and become entangled with them to such an extent that it profoundly affects the way their works are seen. The Hungarian artist Gyula Derkovits (1894–1934) is an especially complex case. Derkovits was the son of a cabinetmaker and began training in that profession before taking up painting; after finishing three years of primary school, he never gained a formal education. Despite making a name as an artist and finding a number of patrons, he struggled to make a living from his art and had dire money problems by the last years of his life. Furthermore, as a committed left-winger, he was involved with the Communist movement – illegal in the interwar period – and depicted the struggles of the working class in his paintings, while satirising the bourgeoisie. Thanks to all this, Derkovits was easily appropriated by the Communist regime from the 1960s onwards. His pictures were everywhere, and so was his name: among other things, a state-run art gallery, a housing estate in the town of Szombathely, as well as a grant for young artists were named after him.