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First published in 1996. There has been no more important relationship between folk artist and folklorist than that between Zsuzsanna Palkó and Linda Dégh. Dégh’s painstaking collection of Mrs. Palkó’s tales attracted the admiration of the Hungarian-speaking world. In 1954 Mrs. Palkó was named Master of Folklore by the Hungarian government and summoned to Budapest to receive ceremonial recognition. The unlettered 74-year-old woman from Kakasd had become “Aunt Zsuzsi” to Linda Dégh—and was about to become one of the world’s best known storytellers, through Dégh’s work.
A misfit Irish-but-not-Catholic girl from Cleveland's west side mixes quirk with sophistication and a wee bit o' sex in her wonderfully exuberant and outlandish look on life.
This title was first published in 2002. To date, studies explaining decorative practice in the early modernist period have largely overlooked the work of women artists. For the most part, studies have focused on the denigration of decorative work by leading male artists, frequently dismissed as fashionably feminine. With few exceptions, women have been cast as consumers rather than producers. The first book to examine the decorative strategies of late nineteenth- and early twentieth-century women artists, Women Artists and the Decorative Arts concentrates in particular on women artists who turned to fashion, interior design and artisanal production as ways of critically engaging various aspects of modernity. Women artists and designers played a vital role in developing a broad spectrum of modernist forms. In these essays new light is shed on the practice of such well-known women artists as May Morris, Clarice Cliff, Natacha Rambova, Eileen Gray and Florine Stettheimer, whose decorative practices are linked with a number of fascinating but lesser known figures such as Phoebe Traquair, Mary Watts, Gluck and Laura Nagy.