Dijon Mustard
Dijon Mustard

Summary/Abstract: A couple of years ago or so, a young French art historian— Emmanuel Starcky was his name—looked me up, hoping I’d be able to help him with a very special project. He was making the rounds of Hungary’s museologists, collecting material for an ambitious exhibition along the lines of the past few decades’ highly successful “Paris-Moscow” and “Paris-Berlin” exhibitions of turn-of-the-century and 1920s art. Now that preparations were on the way for the showing of an immense “Moscow-Berlin” collection, M. Starcky, who had moved to Dijon after spending some years working on the Late Renaissance collection at the Louvre, decided to launch a series of exhibitions of his own. Their focus: the less well-known artistic and cultural achievements of the countries and art centers lying east of Paris. An attractive scheme, but an impracticable one, or so it seemed to me, though my enthusiastic French colleague insisted that he already had much local support for the project, as well ás the requisite backing at the provincial and national levels.

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