Hugo Gellert


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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Gellert, Hugo

 

Born May 3, 1892, in Budapest. American graphic artist and painter.

Gellert is an emigrant from Hungary who has lived in the USA since 1906. He attended a school of applied arts in New York. Since 1916 his art has been associated with the labor movement and the progressive press. He has been a member of the John Reed Club since 1929. Gellert did drawings of Lenin (1924), J. Reed (1920), and V. V. Mayakovsky (1925), as well as illustrations for Marx’ Das Kapital (60 lithographs, 1936). He painted murals in workers’ clubs (some in collaboration with A. Refregier) and the Maritime Union Building (1945-47) in New York. He is also known as a decorator for labor festivities and meetings. Gellert’s art, which has been influenced by Mexican engraving, is characterized by a fluid style, sharpness, and a symbolic use of images that is similar to poster art.

T. S. IUR’EVA

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Among the artists included are Edward Hopper, Alexander Calder, Louise Bourgeois and the illustrator and satirist Hugo Gellert, whose The Fifth Column (c.
This proved to be a wise decision, supplying poignant information on a number of less-prominent figures, including many of those in the section Artists of the Left and the Second World War, such as Hugh Mesibov, Claire Mahl Moore, Jolan Gross Bettelheim, Hugo Gellert, Riva Helfond, and Joseph Leboit.
A piece by Hugo Gellert depicted Nelson's grandfather, John D.
They swam naked with or without the grown-ups, they sang Wobbly songs over the campfire, they took classes from instructors like Will Durant and Hugo Gellert, sometimes lived together in their own Children's House, and shared the cooperative ambience of the larger group.
These, often overlappingly, express themselves in the African-American art of Aaron Douglas and Miguel Covarrubias, the continuing poetry of Langston Hughes, the cubofuturist lithographs of Hugo Gellert, the feminist-socialist writings of Muriel Rukeyser, and the muralism of Diego Rivera and Marion Greenwood.
Images that protested fascism such as Hugo Gellert's clever Father Coughlin, 1936, where the priest is presented half in vestments and half in a business suit clutching a bag of money as he spews forth his anti-Semitism over a radio microphone clearly makes its point.