Subotica and Szeged

Szeged and Subotica, two major cities of the Pannonian Plain, are 50 kilometers apart, halfway between Budapest and Belgrade. Both cities have a similar historical fate, both during the Turkish occupation and later in the Austro-Hungarian Monarchy. At the turn of the century, the uniquely ornate architectural style, the Art Nouveau,gained ground in Szeged, which was renovated after the great flood of 1879 and in Subotica, which saw a booming industry due to the construction of railways. It was then that both cities received their current metropolitan image, enriched with eclectic palaces and public buildings. Visitors of these cities, which are becoming more and more popular for tourism, are attracted by their built heritage. Besides, these cities show several similarities in some fields, like, for example, they offer a rich variety of gastronomic specialities, both areas are rich in natural waters, also, they invite visitors with a wide variety of events. However, what they really have in common and what makes them exceptional is their spectacular and impressive Art Nouveau architecture.

About Art Nouveau

A new art that was, at the turning point between the nineteenth and the twentieth century, inspired by the tumult of industrialization, urbanization and the rapidly changing society, protesting against the strict canons of historicism and dominant styles. Therefore, Art Nouveau didn’t seek inspiration in previous epochs and art movements, but rather looked for ideas in nature, its forms and structure. Art Nouveau has left its mark on all forms of art and all areas of modern life. Art Nouveau is not just an art movement – it is a way of life.

The main features of Art Nouveau architecture are wild, unrestrained forms full of curved lines, wavy shapes and unusual color combinations. Emphasized asymmetry and use of new materials and new construction techniques provided buildings a certain plasticity and sophisticated, sometimes even exaggerated, décor of the Art Nouveau ornament – playfulness.

Geometric and floral motifs as well as images of women – have become favorite design elements of architects throughout Europe.

Although international in its core, in different regions, amplified by national feelings, it manifested itself in different forms. In Austria it was known as the Vienna Secession, in Germany as Jugendstil, in France and Belgium as Art Nouveau, in England as Modern Style, in Italy as Liberty style and in the Austro – Hungarian Empire – Secession.

Art Nouveau in Subotica

At the turn of the nineteenth and the twentieth century, the boiling events in Europe in the fields of art, science and life arrived via Budapest to Subotica as well – at that time, two cities within the same country. It was a period of peace and economic prosperity, when Subotica was at the peak of its architectural development. Changes that originated in Europe slowly found their way in Subotica’s architecture as well, but were further developed in two directions, in two distinct currents. While one current gravitated toward European cities such as Munich, Vienna, Paris and London, the other, more dominant one, turned to the national, Hungarian version of Art Nouveau- Secession. Although the European current was more abundant, the Hungarian version, with only few buildings, yet exceptional for their location, size and purpose, dominates Subotica and makes it worthy of the name City of Secession. These buildings are, of course, the City Hall, the Synagogue, the Raichle Palace, banks…

Hungarian avant-garde artists, like their European counterparts, believed that industrial development leads to annihilation of beauty and that art should be introduced into everyday life, in accordance with vernacular architecture and tradition and usage of local materials. In search of national characteristics, studying folklore art and vernacular architecture, Hungarian version of Art Nouveau introduced a specific and unique architectural language.

Despite all the skills, abilities, knowledge and travels of local architects, it was only through engagement of architects from Budapest and other cities that the metropolitan spirit of new trends altered Subotica’s architecture. Prominent examples should be noted here, such as the duo Marcell Komor and Dezső Jakab, Ferenc Raichle, brothers Vágó, Pál Vadász as well as the local architects who embraced the change, such as Titus Mačković or Mátyás Salgo.

A strong support of citizens and a great inspiration of architects, artists and craftsmen who built numerous Art Nouveau structures, in Subotica and the nearby Palic, have all together created buildings which, even after one century, still remain as equally beautiful, attractive and intriguing.

Art Nouveau in Szeged

Restoration of Szeged, after the great flood in 1879, defined the character of today’s Szeged. The majority of old buildings were then demolished and new buildings and palaces took their place. Regarding that event, in one of the stained glass windows in the Szeged City Hall a promise of Emperor Francis Joseph is preserved: “Szeged will be much more beautiful than it was before.” And so it was. At the beginning of the twentieth century, new Art Nouveau buildings nestled themselves within the already established urban core.

In both Szeged, and Subotica, we can recognize two directions in Art Nouveau architecture. One direction, represented by avant-garde Hungarian artists, following their European counterparts, believed that industrial development leads to the destruction of beauty and that art should be introduced into everyday life, relying on vernacular architecture and tradition by using local materials. In search of national characteristics, studying folklore, folk art and vernacular architecture – a form of Art Nouveau with national characteristics was created – the Hungarian Secession. It does not only bring a new aesthetic, it penetrates into the very essence of construction. Natural elements, heart elements, leaves and tulip flowers intertwine, flow through the façade canvas, pressed into plaster, formed mostly in Zsolnay ceramics and terracotta, or entangled in wrought iron. These elements and patterns continue to gush and glide into the interior, skillfully transformed into lively and sophisticated lines and colors on the walls, complemented by ceramic plant-like details, stained glass windows with flamboyant colors and decorations. They do not stop here though, as we continue to recognize them in wrought iron, brass and copper, in interior elements, wooden furniture, and ceramics.

Architects from the other Art Nouveau direction have created a specific architecture inspired by European influences. The famous Hungarian architect Ede Magyar, whose creative oeuvre dominates the center of Szeged, is often compared, not without merit, to the world-renowned Catalan architect Antonio Gaudi. Architect Ferenc Raichle, whose work adorns the neighboring Subotica, is also a part of this direction of Art Nouveau. In addition to these two architects, who built and created their most significant work in Szeged, many other architects, mostly from Budapest, left their mark on the city. Some of those architects are Lipót Baumhorn, architect of the New Synagogue, Ödön Lechner, Lajos Ybl, Alfréd Hajós and Ernő Foerk.

Whether intentional, because it lies by two rivers, or by chance – yet water as a motif is reflected in the architecture of Szeged throughout many forms and wavy lines, water lily patterns and mystical atmosphere of river shores.