Hungary in Colour. Hidden Photographs from 1862

The exhibition presents a remarkable collection never before seen in Hungary, recently discovered by researchers. The focal point of the exhibition is a series of photographs showcasing traditional Hungarian folk attire from various regions and settlements, originally displayed at the 1862 International Exhibition in London. Thought to have been lost, the photographs by János Tiedge have been loaned from the collection of the Victoria & Albert Museum in London. They are complemented by a series of reproductions preserved by the Museum of Ethnography in Budapest. The two collections together provide a comprehensive perspective. After more than 160 years, these images will be on display in Budapest, along with the story of their creation, from initial planning to their presentation at the world exhibition.

In the second half of the 19th century, photography and world exhibitions gradually evolved to become two characteristic mediums for the self-expression of modernity. Their mutual significance is well illustrated by the 1862 London International Exhibition, where, in the modest Hungarian section, visitors’ attention was drawn to János Tiedge’s hand-coloured photographs representing costumes of the different regions. These images belong to the earliest photographic records in Hungarian cultural history, though for a long time they were only known through their reputation. It was recently discovered that part of the images exhibited, previously thought to have been lost, have indeed survived. Their discovery was made possible by the digitization of the collections of the Victoria & Albert Museum in London. Now, 164 years after their first “appearance,” the photographs are once again on display—this time in Budapest, through a loan. Based on the photographs held in London, it was possible to identify a partial copy series of Tiedge’s works in the archives of the Museum of Ethnography. The collections of the Victoria & Albert Museum and the Museum of Ethnography complement each other, and thus, this exhibition and its catalogue are able to present about two-thirds of the images that were once shown in London, based on originals and contemporary copies.

The collection of photographic illustration of costumes exhibited in London was created during a unique period filled with anticipation. Starting in October 1860, a decade of oppressive absolutism was followed by a brief constitutional period marked by free expression of opinions and parliamentary elections. A dialogue began between the emperor and the Hungarian political elite, who at the same time also followed the words of Kossuth and Garibaldi. The nation was ablaze with enthusiasm for its national culture: those who could, dressed in Hungarian attire and listened to Hungarian music. National ideals were kept alive and reinvigorated by science, theatre, and especially literature. National institutions, which lacked financial support from taxes, were revived and strengthened through the sacrifices of the public society. It was due to this that Hungary—though it did not exist independently and was part of the Austrian Empire—was still able to present itself at the London International Exhibition. The hand-coloured photographs offered a snapshot of the varied and colourful costumes of the urban middle class, peasants, estate labourers, and county servants from the Great Plain and Transdanubia regions. Through these images, it was the people themselves who represented the country on the world stage.

Initially, the first call for participation in the 1861 exhibition brought forward offers from only about ten settlements, which was insufficient to create a photographic overview of the country. Consequently, economic writer and organizer Vince Jankó commissioned the photographer János Tiedge of Pest to travel across the country and photograph five individuals from each region in “decent attire”: an elderly man, a middle-aged man, a young man, a woman, and a young girl. This pattern could not always be followed precisely, yet, according to contemporary witnesses, 76 photographs were displayed in London. The exhibition included peasants from Szege, Pécska, and Csanád; townspeople from Veszprém; an ox-cart from Pápa; workers from the Vidats Machine Factory; laborers from Káloz; swineherds from Sümeg; noblemen from Szentgál; and county hussars—offering a rare insight into a long-lost world.

These images surpassed the conventional typecasting that had previously characterized ethnographic photography. Rather than simply depicting generic ethnic, national, or occupational stereotypes, they captured real individuals with expressive faces and lifelike features. While for some, these images may have reinforced preconceived notions of rural or folk culture, the clothing itself was documented with authenticity, validated by the participation of local communities. More than anything, it was the expressions and gazes of the photographed subjects that brought these images to life, making them enduring visual records of a bygone era.

Curators: Mónika Lackner, Zsuzsa Farkas, Vilmos Gál, Zoltán Fejős