… Information Centre of Industrial Design (better known as the Design Center), became part of the collection of the Museum of Fine Arts – Central European Research Institute for Art History (ADK). The organisation was established in 1975 within the framework of the Chamber of Commerce, which—alongside the Industrial Design Council Office—carried out representative and influential work in the field of Hungarian industrial design until the late 1980s. The Design Council dealt with the …
… yet he left behind more than a thousand works. Béla Gruber’s works can be found in numerous public collections and permanent exhibitions. He entrusted the care and estate of his paintings to his sister, Ágota Gruber Strakovitsné, who carried out this task dutifully for decades. In addition to taking stock of artworks and written records, she also continuously collected references to her brother’s art. In July 2017, she donated her collection of written records and art reviews to the Art …
… arts, autonomous art, and design. The Lectorate’s decades-long operations are recorded in a collection of complexly diverse and irreplaceable documents, which is accessible in its entirety in the collection of the Museum of Fine Arts – Central European Research Institute for Art History (ADK). The main portion of the Lectorate’s Archives consists of documentation of public works of art (together with the associated photographic material). The rest of the material is comprised of other …
The archival material of the Lectorate of Fine and Applied Arts—which comprises part of the collection of the Museum of Fine Arts–Central European Research Institute for Art History (ADK)—contains the minutes of meetings that were held from the 1960s to the 1980s for the purpose of evaluating exhibition proposals awaiting official authorisation. From 1963 onwards, the Lectorate had a primarily censorial role in the system of authorising exhibitions and the works showcased at those …
… files by author and title. The archive of nearly 15,000 items is complemented by a closely related collection of photographs (mostly consisting of black and white enlargements) documenting the creation of each artwork. Beyond providing insight into the circumstances of the creation of these works of public art, research onthis source material of irreplaceable value also opens up new interpretations of György Aczél’s three T’s (“banned, tolerated, supported”). /Dániel Lőrinczi/