The Problem of the National in Our Art in the Twenties
DOI:
https://doi.org/10.60053/GSU.IF.KIsTK.78.%25pKeywords:
inteligence, culture, interwarAbstract
The study explores the reasons behind the renunciation of individualistic attitudes among the pre-war Bulgarian intelligentsia. Under the egalitarian influence of military life and the hardships of the post-war years, many writers and artists sought—as the poet N. Furnadzhiev expressed it—“to return to the primordial forces of the land and the people.” They attempted to rediscover the roots of an authentic Bulgarian style and aspired to create a genuinely “native art.” This tendency was genetically linked to the German Heimatkunst movement and found political expression in the ideology of the Bulgarian Agrarian People’s Union.
Within this context, the artistic society Rodno izkustvo (“Native Art”) was founded in 1919. However, the association’s membership proved too eclectic to achieve the objectives implied by its name. This task was later fulfilled by two painters who were not members of the society: Vladimir Dimitrov–The Master and Ivan Milev.
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Copyright (c) 1988 Dimitar Avramov

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Annual of Sofia University "St. Kliment Ohridski" - Faculty of History (GSU-IF).


