The Forgotten Alliance That Shaped Modern Art

Editorial Team · 2026-11-08

Ever stumbled upon a connection between artists that feels almost like a secret handshake? That's what happened when I first read about Theo van Doesburg and his Hungarian pals. It's a story of ideas bouncing across borders, and it's more relevant than ever. Let's set the scene. The early 1920s were a whirlwind of change in Europe. Artists were breaking old rules and forming new networks. Two key players? Theo van Doesburg, the Dutch force behind *De Stijl* (The Style), and Lajos Kassák, the Hungarian editor of *Ma* (Today). Their correspondence and collaborations are a goldmine for understanding how avant-garde movements spread. ### Who Was Theo van Doesburg? Van Doesburg was more than just an artist; he was a connector. As the editor of *De Stijl*, he championed a new visual language: abstract, geometric, and universal. Think Piet Mondrian's grid paintings—that's *De Stijl*. But Van Doesburg didn't stop at the Dutch border. He was constantly reaching out to like-minded artists across Europe, including Hungary. ### The Hungarian Connection On the other side, Lajos Kassák was a powerhouse in his own right. His journal *Ma* was a platform for Hungarian avant-garde artists like Sándor Bortnyik, László Moholy-Nagy, and László Péri. These artists were experimenting with constructivism, dada, and more. But they were also isolated. Hungary was still reeling from World War I and the fall of the short-lived Hungarian Soviet Republic. International connections were lifelines. So when Van Doesburg reached out, it was a big deal. The two editors started exchanging letters and publications. Van Doesburg sent issues of *De Stijl* to Budapest; Kassák sent *Ma* to Leiden (where Van Doesburg was based). This exchange wasn't just about sharing art; it was about building a network of solidarity. ### What the Archives Reveal Much of what we know comes from two key archives: the Kassák Museum in Budapest and the RKD – Netherlands Institute for Art History in The Hague. These collections hold letters, manuscripts, and rare publications that trace the relationship. For example, you can find letters where Van Doesburg praises *Ma* and suggests collaborations. You can also see how Kassák and his circle were influenced by *De Stijl*'s ideas. Moholy-Nagy, for instance, later moved to Germany and became a Bauhaus master, but his early work shows clear ties to both Hungarian and Dutch avant-garde circles. ### Why This Matters Today This micro-history isn't just for art historians. It's a case study in how creative movements grow. They need champions, connectors, and platforms. Van Doesburg and Kassák were exactly that. They didn't just make art; they built bridges. In a time when we're all hyper-connected digitally, it's worth remembering that real connections often start with a simple letter or a shared journal. The avant-garde artists of the 1920s understood that instinctively. So next time you see a Mondrian or a Moholy-Nagy, think of the letters flying between Leiden and Budapest. It's a reminder that art is never created in a vacuum—it's a conversation, often across borders. --- *This article is based on archival research in the Kassák and Van Doesburg estates.*