LA PORCELAINE DE HEREND HEREND PORCELAIN

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Roland Blaettler Conservateur du Musée Ariana Introduction Roland Blaettler Curator of the Musée Ariana Introduction La première impulsion qui allait donner naissance au présent projet nous est venue de la présidente de la Fondation Euro-Art, laquelle a déjà soutenu activement plusieurs échanges culturels entre la Hongrie et la Suisse, notamment les grandes expositions Giacometti et Hodler présentées au Musée des Beaux Arts de Budapest, respectivement en 2003 et 2008. Lorsque Monika Rudolf-Schmidt nous approcha avec l’idée d’organiser dans nos murs une exposition consacrée à la porcelaine de Herend, nous n’avons pas tardé à entrer en matière, et pour plusieurs raisons. D’abord parce que la manufacture hongroise, bien qu’elle soit de création relativement récente, occupe une place bien à elle dans l’histoire de la porcelaine européenne. Même si elle s’est forgé son savoir-faire et sa réputation d’abord en revisitant les grands classiques du XVIII e siècle, l’âge d’or de la porcelaine européenne, se situant ainsi aux avant-postes de l‘historicisme naissant, elle réussira à imposer sa propre identité et à se positionner d’emblée sur un marché international de haut de gamme. Nous en voulons pour preuve le fait que le Musée Ariana conserve aujourd’hui cent dix porcelaines de Herend, dont seize spécimens particulièrement intéressants (par exemple le service Watteau N° 7) qui furent acquis par le fondateur du musée lui-même, Gustave Revilliod (1817-1890). S’agissant de sa collection de céramique – qui ne constituait alors qu’un aspect parmi d’autres de son musée encyclopédique – l’ambition de Revilliod était clairement de rassembler un panorama aussi complet que possible de l’histoire de la céramique européenne. Herend est pratiquement la seule manufacture «moderne» à figurer dans son catalogue. En regard de la notice correspondant à un vase de type Wales (voir N° 33-35), on y lit une appréciation particulière, comme il n’y en a que peu dans ledit catalogue: «travail remarquable». Pour un amateur comme Revilliod, Herend comptait assurément parmi les meilleures productions de l’époque, d’autant plus que le style historiciste de ces porcelaines correspondait parfaitement à sa sensibilité, comme en témoignent les partis pris esthétiques qui se manifestent dans l’architecture de l’Ariana. Dans notre exposition nous avons ménagé une large place aux porcelaines inspirées de la Chine et du Japon, parce que nous y voyons l’une des contributions les plus originales et les plus stimulantes de Herend, mais également parce que cet aspect rejoint l’une des lignes de force de nos collections et de notre exposition permanente, l’histoire sans cesse renouvelée des échanges réciproques entre les cultures céramiques d’Orient et d’Occident. Que soient remerciées ici les personnes et les institutions qui ont permis la réalisation de cette exposition. Notre collègue Gabriella Balla, conservatrice au Musée des arts décoratifs de Budapest, pour sa contribution à la présente publication, mais également pour l‘ouvrage qu’elle publia en 2003, Herend Porcelain. A Hungarian institution, une remarquable histoire de la manufacture qui nous a guidés et inspirés tout au long de la conception de ce projet. The impetus for this project initially came from the President of the Euro-Art Foundation, who had already actively supported a number of cultural exchanges between Hungary and Switzerland, especially the major Giacometti and Hodler exhibitions held in Budapest Fine Art Museum in 2003 and 2008 respectively. When Monika Rudolf-Schmidt approached us with the idea of organising an exhibition of Herend porcelain in our museum, we wasted no time in following up the idea, for several reasons. The first was that this Hungarian porcelain manufacturer, although relatively recent, has a place all of its own in the history of European porcelain. Even if it first earned its knowhow and reputation by revisiting the great classics of the 18th century, the golden age of European porcelain, and thus was an early adopter of the then nascent historicism, it successfully imposed its own identity and occupied an upmarket international position from the start. Proof of that is provided by the fact that the Ariana Museum currently holds 110 pieces of Herend china, including 16 particularly interesting specimens (the Watteau service for example - No. 7) acquired by the museum’s founder, Gustave Revilliod (1817-1890). Revilliod’s ambition for his ceramics collection – which was only one of the many facets of his encyclopaedic museum – was clearly to collect as complete a panorama as possible of the history of European ceramics. Herend is practically the only “modern” porcelain factory in his catalogue. Opposite the entry for a Wales–type vase (see Nos. 33-35), we find a particular judgement that occurs only rarely in this catalogue: “remarkable work“. To a ceramics-lover like Revilliod, Herend was definitely one of the best producers of the period, especially as the historicist style of these pieces of china was perfectly in tune with his own sensibility, as is shown by the aesthetic bias in the architecture of the Musée Ariana. In our exhibition, we have given a good deal of space to China and Japan-inspired porcelain, because we consider them to be among Herend’s most original and stimula ting contributions, but also because that aspect fits in with one of the main themes of our collections and our perma - nent exhibition: the constantly renewed story of mutual exchanges between the ceramic cultures of East and West. I wish to take this opportunity to thank the people and institutions that enabled this exhibition to be mounted. Our colleague, Gabriella Balla, Curator at the Budapest Museum of Applied Arts, for her contribution to this publication, but also for the book she published in 2003, “Herend Porcelain. A Hungarian institution” – a remar - kable history of the factory that guided and inspired us throughout the creation of this project. This exhibition would not have been as dazzling without the high-quality pieces the Museum of Applied Arts in Budapest was kind enough to entrust to us temporarily. We are profoundly grateful to its director, Mrs Zsuszanna Renner, and to Mr Zsombor Jékely, who is in charge of research and exhibitions. 5
Gabriella Balla Conservateur au Musée des arts appliqués, Budapest Gabriella Balla Curator at the Museum of Applied Arts, Budapest La Manufacture de Herend The Herend Manufactory 6 Cette exposition n’aurait pas eu le même éclat sans les œuvres de qualité que le Musée des arts décoratifs de Budapest a bien voulu nous confier temporairement, nous en sommes profondément reconnaissants à sa directrice, M me Zsuzsanna Renner, ainsi qu’à M. Zsombor Jékely, responsable de la recherche et des expositions. La majorité des œuvres nous ont été généreusement prêtées par le Musée de la porcelaine de Herend et par la Manufacture de Herend, laquelle nous a également fourni un appréciable soutien logistique. Notre vive reconnaissance va à MM. Attila Simon, directeur général de la Manufacture de Herend; László Szesztay, directeur commercial; Endre Körös, président du Conseil de la fondation du Musée de la porcelaine de Herend, ainsi qu’à leurs collaborateurs. Nous remercions chaleureusement M. László Szathmáry, de la Manufacture de Herend, qui a assumé avec compétence et enthousiasme la lourde tâche de coordinateur en Hongrie pour l’organisation de l’exposition et pour la production du présent ouvrage. Un merci tout particulier également à Monika Rudolf-Schmidt. Sans son initiative et sans son assistance efficace et amicale, Herend n’aurait peut-être pas trouvé le chemin de Genève! The majority of the pieces have been generously lent to us by the Herend Porcelain Museum and by the Herend Porcelain Manufactory, which also gave us appreciable logistic support. Deep gratitude is due to Mr Attila Simon, the General Director of the Manufactory; Mr László Szesztay, the Commercial Director; Mr Endre Körös, President of the Foundation of the Herend Porcelain Museum, and their colleagues. We warmly thank Mr László Szathmáry of the Herend Manufactory, who with skill and enthusiasm undertook the heavy task of coordinator in Hungary for the organisation of the exhibition and the production of this book. Very particular thanks also go to Monika Rudolf-Schmidt. Without her initiative and her efficient and friendly assistance, Herend might not have found the way to Geneva! The original version of the small ornamental vase with a lid glittering as a jewel was made in 1856, and today it is kept in the Museum of Applied Arts. The gilded handle of the richly coloured lid of the vase s shaped like a Lion of Fo. Underneath it, fighting green- and red-scaled dragons appear amongst turquoise and green clouds; the back and the front panels have two larger paintings each representing the life of Chinese aristocracyThe original version of the small ornamental vase with a lid glittering as a jewel was made in 1856, and today it is kept in the Museum of Applied Arts. The gilded handle of the richly coloured lid of the vase s shaped like a Lion of Fo. Underneath it, fighting green- and red-scaled dragons appear amongst turquoise and green clouds; the back and the front panels have two larger paintings each representing the life of Chinese aristocracyvThe original version of the small ornamental vase with a lid glittering as a jewel was made in 1856, and today it is kept in the Museum of Applied Arts. The gilded handle of the richly coloured lid of the vase s shaped like a Lion of Fo. Underneath it, fighting green- and red-scaled dragons appear amongst turquoise and green clouds; the back and the front panels have two larger paintings each representing the life of Chinese aristocracyThe original version of the small ornamental vase with a lid glittering as a jewel was made in 1856, and today it is kept in the Museum of Applied Arts. The gilded handle of the richly coloured lid of the vase s shaped like a Lion of Fo. Underneath it, fighting green- and red-scaled dragons appear amongst turquoise and green clouds; the back and the front panels have two larger paintings each representing the life of Chinese aristocracyThe original version of the small ornamental vase with a lid glittering as a jewel was made in 1856, and today it is kept in the Museum of Applied Arts. The gilded handle of the richly coloured lid of the vase s shaped like a Lion of Fo. Underneath it, fighting green- and red-scaled dragons appear amongst turquoise and green clouds; the back and the front panels have two larger paintings each representing the life of Chinese aristocracy haped like a Lion of Fo. Underneath it, fighting green- and red-scaled dragons appear amongst turquoise and green clouds; the back and the front panels have two larger paintings each representing the life of Chinese aristocracy Chapters from the history of Hungarian ceramic The medieval kingdom of Hungary – in the time of the Árpád kings, Robert Charles, Louis the Great, Sigismund of Luxembourg and Matthias – was a major power in Europe. Throughout the Middle Ages, the kingdom maintained extensive commercial and cultural contacts with both western and eastern Europe and the Mediterranean. In this period and during the Renaissance, the stock of luxurious household goods owned by the court almost certainly included a few examples of fine cera - mics. A new technique in the art of ceramics, tin glazing, emerged in Italy in the 15 th century, and later in the hands of Italian potters it developed into a much admired art. The Hungarian royal couple – Matthias Corvinus and his wife, Beatrice of Aragon, were among the first European rulers to receive decorative platters adorned with their coat of arms, allegorical depictions, and figural and ornamental painting. Once thought to have been made in Faenza, these dishes – parts of the Corvinus-service – were most likely presented by the prince of Pesaro, Costanzo Sforza, and his wife, Camille of Aragon. The court of Matthias Corvinus was thus one of the first recipients of Italian majolica beyond the Alps. Under the direction of Italian masters, majolica workshops even operated in Buda. The tin-glazed floor tiles painted with the emblems of Matthias and the house of Aragon were used primarily to decorate the rooms of the royal palace in Buda. Art of the Matthias period continued to impact Hungarian art and culture for centuries. The centralized power of the Hungarian Kingdom, however, crumbled several decades after Matthias’ death as a result of repeated attacks by the conquering Ottoman Turkish forces. The Hungarian troops suffered serious losses at the battle of Mohács (1526), and later with the fall of Buda (1541) the country was divided into three parts. The eastern part comprised the independent principality of Transylvania, the central region was under Turkish rule, while the north-western area remained as the surviving Kingdom of Hungary under Habsburg rule. Turkish occupation lasted a century and a half, and the towns and villages of the central region were depopulated. Never - theless, the ceramic art of this period was rich, and exported Turkish ware – especially the art of Iznik – had a powerful influence on the repertoire of motifs used in Hungary. A Turkish-Persian element in the decoration of 17 th century Haban pottery, which at first relied mainly on Faentine motifs, became increasingly common. The Hungarian aristocracy highly regarded this white dishware, the so-called bianchi di Faenza, and numerous inventories list this kind of dishware along with Turkish rugs and silverworks. The Haban workshops produced not only gallantly simple tableware (teapots, lids, bottles, platters, bowls and fingerbowls) painted with cobalt, antimony, bronze oxide and manganese, displaying the year, the patron’s monogram and occasionally his name, but also stove tiles used to build large columnar stoves with decorative mouldings. Porcelain appeared less frequently on stock lists in 17 th century Hungary than in European territories west of the River Leitha. Rare Chinese porcelains set in precious metals were considered 7
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Page 7 and 8: 10 The original version of the smal
Page 17 and 18: La période de Moritz Fischer: L'é
Page 19 and 20: 34 porcelaines ou faïences fines k
Page 21 and 22: 38 5 Jardinière, 1857 Imitation fi
Page 23 and 24: 42 10 Parties du service d'État co
Page 25 and 26: Chinoiseries Chinoiseries Parmi les
Page 27 and 28: 50 se détachent partiellement sur
Page 29 and 30: 54 23 Vase, 1870 Décor Esterházy
Page 31 and 32: 58 59 29 Service à thé, vers 1880
Page 33 and 34: 62 33 Chope à bière, années 1880
Page 35 and 36: 66 La production de Herend, à sa m
Page 37 and 38: 70 39 Verseuse en forme de gourde,
Page 39 and 40: 74 44 Assiette, vers 1910 Monogramm
Page 41 and 42: 78 moitié des parts sociales et li
Page 43 and 44: 82 52 Assiette commémorative, 1938
Page 45 and 46: 86 58 Parties d'un service à thé,
Page 47 and 48: 90 les personnages du carnaval de V
Page 49 and 50: 94 64 Ákos Tamás (1954) Pyramide,
Page 51 and 52: 98 68 Imre Schrammel (1933) Groupe

LA PORCELAINE DE HEREND HEREND PORCELAIN

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