Abstract

Seen through the quest for a new metaphysics, the visual arts were interpreted in the framework of the particular sense of progress that the generation of György Lukács developed in the first decade of the twentieth century. They saw Impressionism as the veritable symptom of the deficiencies of their age and dreamed of a great, solid, lasting new Hungarian culture which would transcend the fragmentariness, sociological interests, and ethereality of Impressionism. Although exhibitions of contemporary modernist art were organized in Budapest and the Nagybánya artists' colony was in contact with the living French art, the nascent aesthetic theory, first of all that of Lukács, based the appreciation of Post-Impressionism on ideological considerations rather than the artistic particularities of the artists. Central to this aesthetic was the notion of greatness and a sense of metaphysics derived from German idealist philosophy and applied to the art of Cézanne, Gauguin, and the Budapest group The Seekers (founded in 1909, renamed, in 1911, as The Eight), all of whom were appreciated for features pointing in the direction of a new Classicism