The history of feminism dates back at least a century, provided that we consider the initial (if not the very first) period of emancipation and the fight for women’s rights. Ales, it is advisable to do so because with the establishment of the first women’s movements, women’s painting schools opened all over Europe, including Hungary: women as artists became part of the fine arts discourse from that time on.
Although creative professions are often accompanied by a sense of vocation and a passion, sufficient working conditions are rarely guaranteed for those in these fields. This uncertainty raises the question of whether there is an overlap between the social class of the precariat and the group of people engaged in creative work, including artists.
If one thinks of Cesare Ripa or Nicolas Poussin, then perhaps it is not so difficult to see that the first iconologists were in fact artists whose work, deeply embedded in society and culture, inspired the first iconographists. However, in the name of scientific purposes, fuelled by the modern cult of positivism and rationalism, Erwin Panofsky and his followers sought to separate images from the personal desires and motivations of their creators.
The dynamics of the contemporary Hungarian art scene can be best understood by exploring its arts venues and the professional directions of operation they are taking. Knowing the works and professional goals of the artists associated with each institution will help one understand the exhibition trends of galleries and museums.
It would be best if the meaning and interpretation of the works in question, born in a corroded post-civilization space in which former localities are eliminated/intertwined, and may be replaced by an unprecedented heterogeneous proliferation, were as fluid and organically proliferating as the forms their creators use.