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Although the Hungarian avant-garde (1909-late 1930s) was radically innovative, it contains a classicist element that has not been adequately studied, probably because it contradicts quintessential avant-garde features. The young György Lukács supported the avant-garde painters because he preferred their newfound order and control to the ephemeral and the subjective in Hungarian Impressionism. – The classicist vein of the Hungarian avant-garde related to its political program. Poet, writer, painter, editor and publisher Lajos Kassák, who became the leader of the avant-garde, articulated several times his position with regard to the state: as a social democrat and anarchist anti-war activist during World War I.; as an oppositional artist during the 1919 Hungarian Commune who nevertheless claimed state support; as a leading avant-garde authority in exile (1919–1926); and as an editor and poet with increasingly classicist leanings after his return to Budapest. Between 1919 and the 1930s, he aspired both to the position of an anti-establishment artist and to that of a rival to political leadership. – Kassák adopted Dada in 1921 but categorically rejected it a year later in favor of the austere order of constructivist geometry. His choice indicated not only his preference of clarity and authority but also a Central-European (mis)understanding of Russian Constructivism.

“You Feed Us So that We Can Fight Against You”. Concepts of the Art and State in the Hungarian Avant-Garde