Ever since the beginning of the 1920's, the cultural and educational policy of the politician Klebelsberg Kunó and Gerevich Tibor, great effect was put on education of artists abroad. From 1928 to 1930, the curator of the Roman Hungarian Academy, the Italy oriented Gerevich Tibor, was among the first to invite Aba Novák Vilmost to Rome. The aim of the administration was to 'have the artists fill up with pure and tranquil taste'. Parallel with the Italian intentions, new classicism with its historicizing approach also developed in Hungary. The aim was not hidden: representation aimed the introduction of Hungarian art to foreign countries.

The career of Aba Novák was signed with success from the 30's and the success just grew due to the commissioners from the state. Soon he became one of the most often employed star artists. In 1932, he won a golden medal in Padova at an ecclesiastic art exhibition. The following year he was commissioned to do the frescoes of the parish church of Jászszentandrás. He won a national golden medal the same year. In 1936, he was commissioned to do the Heroes Gate in Szeged, in 1938 he painted the frescoes of the Middle Age Ruin Garden in Székesfehérvár.

Aba Novák also painted his panno titled 'Hungarian-French Historic Relations' for the Expo in Paris in 1937. It was a significant moment since it was the first time for Hungary to appear at the Expo since Trianon. Europe could take it for a political message to see that the delegates of Hungary were from the Roman school.

The 7 pannos on both sides by the size of 780x200 cm recorded the crossroads of Hungarian and French history. Aba Novák was the master of monumental works. He recorded the historic events in a film-like fashion. His brownish scenes lined up one after another looked as if taken from an early TV news. He dealt with the Battle of Nándorfehérvár and the history of the church bell sounding at noon, the Parliament in Torda in 1557 where the freedom of conscience was declared, the construction of the Royal Palace of Esztergom and the Hungarian Hussars of Bercsényi and La Fayette.

The artwork was a great success in Paris. The jury gave the Grand Prix to Aba Novák. It may have been the reason why the future Horthy Miklós Cultural Center was built in the size of the pictures. In 1944 when the building was constructed, however, the pannos could not be placed to their scheduled places.