■n This summary of the work of Hungarian graphic artists shows the very varied forms of Hungarian publicity, the versatility of the artists and the diversity of their styles. The poster, as in other countries, has reached a turning point of style. The movement described as the new reality is represented by Sugar's Tungsram poster but there is a growing romantic tendency, especially in travel propaganda. An example is Konecsni's poster Hortobagy. The transition from the new realism to romanticism is shown by Irsai's Mobiloil poster. There are, of course, many good individual posters apart from these rival trends. Characteristic is the Senator poster by Georg in which the anticipated pleasure of a cigarette causes a footballer to forget the game. All these posters are vivid in colourstrongest being the Senator poster in red and blue. Hungarian graphic artists are successful in small publicityfolders, leaflets, prospectuses, catalogues and covers for magazines. There has been a great development also in book-jacket design. Outstanding designers are George Nemes, George Radó, Alexander Fenyves, Vera Csillag and Stephen Svéd in similar problems the personality of each distinctively appears. A most important part of Hungarian commercial art is that of the packaging. Hungarian customers are aware of the fact thatpackaging sells and therefore they have their packagings designed by the best artists. The leading artists in this field are Kato K. Lukats, Alexander Kolozsvary and Gustave Végh. The two former specialise in packaging for chocolates and confectionery, while Végh has restyled those of the Hungarian tobacco monopoly which are now very artistic and may be compared with any foreign packaging of this commodity. In a small country, however, there is no chance for an artist to become a specialistalmost all are competing with each other in different fields and this competition is very useful as it raises the standard of commercial art. CHARLES ROSNER. 120

Modern Publicity en | 1938 | | page 122