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Modern and Contemporary Painting

± 4947 artworks
Ľudovít Fulla: Pieseň a práca (1934/1935) SVK:SNG.OP_10
Július Koller: Otáznik (20. storočie, 2. polovica, 1969) Július Koller: Otáznik. 1969
SNG--O_2478--0.jpg SNG--O_2478--0.jpg
SNG--O_3288--0.jpg SNG--O_3288--0.jpg
Anton Jasusch, Kolobeh života – putovanie duší, 1922 – 1924 Anton Jasusch, Kolobeh života – putovanie duší, 1922 – 1924
Martin Benka, Na pole, 1934 Martin Benka, Na pole, 1934
SNG--O_2350.jpg SNG--O_2350.jpg
Július Jakoby, Maliar s čiernou mačkou, 1957 Július Jakoby, Maliar s čiernou mačkou, 1957
Mikuláš Galanda, Matka (Ružová madona), 1933 Mikuláš Galanda, Matka (Ružová madona), 1933

The building of the Collection of Modern and Contemporary Painting (until recently chronologically divided into the Collection of the 1st and 2nd Halves of the 20th Century) began immediately after the founding of the Slovak National Gallery (1948). It was created from transfers from former state institutions and through purchases from artists and private persons.

Curators Karol Vaculík and Ľudmila Peterajová played crucial roles in creating this collection. During the 1950s and 1960s, noteworthy sets of work from the turn of the 19th century, the supreme works of the classics of Slovak Modernist art (M. Benka, G. Mallý, M. A. Bazovský, Ľ. Fulla, M. Galanda, I. Weiner-Kráľ), Košice - Eastern Slovak avant-garde (A. Jasusch, K. Bauer, J. Jakoby) and the artists of the so-called generations of 1909 and 1919 (C. Majerník, J. Mudroch, P. Matejka, E. Nevan, E. Šimerová-Martinčeková, V. Hložník, L. Guderna, E. Zmeták, etc.) were successfully collected through well thought out acquisition activities (and as a result of the collection of formalist works) and are presented in a truly representative way in the SNG. This well-profiled and, to a certain extent, closed set of Slovak modern painting became an inseparable foundation of each generational interpretation (exhibition, book and exposition) of the history of Slovak Modernist art.

The building of this collection over the years also reflected the interest in enriching it by works of most contemporary painting. Thus, in the 1960s they managed to create a noteworthy collection of works of neo-modernist painting of the 1960s: from the rising authors, who achieved the first culminations of their work in that period, through the generation of Galanda followers (M. Laluha, A. Barčík, M. Paštéka, R. Krivoš, R. Fila, A. Klimo, V. Kraicová) up to the classics, who at that time had achieved a new synthesis.

The growth of this progressively profiled set was halted by Normalization; in the 1970s and 1980s, the further broadening of the collection of contemporary painting was rather "extensive" and affected by ideological and cultural-political requirements with an emphasis on a wide representation of "engaged" art.

A new shift, particularly in the profiling of the collection of the painting of the second half of the 20th century, occurred only after 1989, when the gaps inherited from the previous period were partially filled in and the collection was enriched by new and older works of the key contemporary Slovak painters: R. Fila, M. Paštéka, R. Sikora, J. Bartusz, S. Filko, V. Popovič, J. Koller, M. Urbásek, M. Čunderlík, as well as younger authors: K. Bočkayová, M. Bočkay, D. Fischer and the postmodernist artists, such as L. Teren, I. Csudai and others.

New paintings were acquired after 2000 through purchases of the works of the most contemporary authors (B. Hostiňák, D. Sadovská, D. Lehocká, M. Kollár, M. Czinege and others). The collection also contains some European painting (M. Čermínová-Toyen, O. Domiguéz, S. Carchoune, M. Weilerand others).


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