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Ferenc VESZELY
In wine...

Ferenc VESZELY

In wine...

Year(s)
2017
Technique
acrylic and pencil on canvas
Size
60,5x81 cm
Artist's introduction

Ferenc Veszely graduated as a graphic artist, painter and teacher at the Hungarian College of Fine Arts in 1968. Because of the recommendation of Master Jenő Barcsay, the Ferenczy Museum in Szentendre invited him to arrange an introductory exhibition that autumn. He is a winner of the Munkácsy Prize. His non-figurative paintings were related to contemporary art's dynamic trends (Action Painting, Pop art, Hard-edge painting). His mixed-media artworks (which included collaged, scribbled, paper-based elements) associated the painter with the birth of new art at the time. He soon became captivated by Pop art, its reproduction techniques, its method of engulfing and appropriating everything. Veszely reacted to this with particular political-historical sensitivity and commitment and updated and actualised the outstanding works of art history. In his practice, the aesthetic approach receded into the background. He returned to painting as an autonomous creative activity in the 1990s, and grapes started populating his paintings in a completely airtight manner. He rehabilitated the classic genre of still-life painting with an evocative yet straightforward element, the spherical grape, the harmony of colours and light, the possibilities inherent to the material of paint and the powerful, sometimes even brutal hunger for reality typical of pop art. He also transformed form: into a celestial body in the case of the 12 Months series, or a pearl, a bubble, by reworking old images or just capturing the bright colours of grapes – slightly translucent in the sunshine – with watercolour. All this happened according to the attributes of one given form or as an expansion of that motif. Katalin Keserü

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Éva PARAGI
Amber

Éva PARAGI

Amber

Year(s)
2019
Technique
acrylic, oil, canvas
Size
100x70 cm
Artist's introduction

Éva Paragi is a representative of the Pécs-based geometric painter tradition, who entered the scene at the turn of the millennium. The geometric motifs of her abstract paintings in delicate colours question the minimalist limits of the narrative potential of the image. Born in Budapest, Éva Paragi graduated from the Faculty of Art at the University of Pécs in the second half of the nineties, under the wings of the legendary master of abstraction in Pécs, Ferenc Lantos. Her painting is defined by a dual continuation of the great 20th century modernist tradition of geometric abstraction and the legacy of the colourist painting movement in Pécs. After her early tableau paintings of applied slats and geometric structures, it was in the mid-2010s that she found her main motif, the wooden wedges. She explained the dual nature of this important but invisible studio tool as follows: "The element found, the wooden wedges that frame the canvas, is a rectangle in one direction and a tiny object ending in a point in the other. It has a dual nature. It stretches the frame to help the canvas stay flat. It stretches, it distances to bring things closer and hold them tighter. It is made of wood, a natural object with irregular veins, intersected by straight lines to form a geometric shape. Irregular and regular at the same time." Paragi uses the wedge shapes to create playfully geometric constructions, such as a woven wire fence or a barbed wire star motif. At other times, she has them float freely in a rippling abstract field of gestures, or even collects them in a porcelain bowl in their real, three-dimensional form. Through combinatorial operations that play with the motif, she explores the hidden mechanisms of the transformation of visual element into an image. Paragi lives and works in Szeged. Although she has participated in several exhibitions abroad, her exhibitions are mostly related to Szeged and Pécs. Gábor Rieder

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Franyo AATOTH
Bush-poem

Franyo AATOTH

Bush-poem

Year(s)
2014
Technique
oil on canvas
Size
30x50 cm
Artist's introduction

Aatoth Franyo is an artist who follows the tradition of New Painting's Neo-Dadaist vein of the 1980s. His œuvre, which unfolds like that of a bohemian cosmopolitan, has been informed by the culture of various countries. Márton Gerlóczy defines him as a "world-famous painter who refrains from world fame". In his own words, he is an "exhibitionist" because he always wants to "show an aspect" of himself. Born in Nyíregyháza, István Ferenc Tóth, creating under the name "aatoth franyo", was a chemical technician, but in the seventies, he chose a career in fine arts. Victor Vasarely brought him to Paris in 1978, where he graduated from the École Supérieure des Beaux-Arts. As a world-travelling artist, he has lived and worked in several Western countries and exotic locations in North Africa, Mongolia and Thailand. His art was inspired by the New Painting of the 1980s in France, the naïve figurativity of Figuration Libre, the spontaneous aesthetics of graffiti and the unbridled spirit of Neo-Dadaism. The sombre colours of his early paintings were replaced in the early nineties, under the influence of his stay in Mongolia, by the emblematic burgundy red, which embodies a wide range of traditional meanings such as fire, blood, love, hell, flame, revolution and hot spices. In the red spaces, elicited through the use of expressive brushwork, grotesque figures and motifs in the style of children's drawings emerge. The often absurd, humorous or philosophical content is complemented by Hungarian, French and English texts. Around 2010, Aatoth Franyo's artistic practice gradually took a new direction: the artist set up a studio deep in the jungles of Thailand, where he experienced the destructive impact of civilisation on the endless rainforest. From then on, the lush vegetation in his work appears as arabesque gestures and calligraphic marks, transforming the paint applied directly onto the canvas from the tube into an abstract system. In addition to his dominant painterly practice, his bohemian œuvre includes a guidebook for travellers, animation films, objects and installations. His work can be found in many international public collections, from the Gallery of Modern Art in Ulaanbaatar to the Bibliothèque Nationale in Paris. He lives and works in Paris and Thailand. Gábor Rieder

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Balázs SZABÓ LOBOT
Brick Cave

Balázs SZABÓ LOBOT

Brick Cave

Year(s)
2023
Technique
acrylic on canvas
Size
80x80 cm
Artist's introduction

Balázs Szabó Lobot is one of the emblematic figures of the street art scene of Pest, which emerged after the turn of the millennium. His painting is defined by a naive character similar to children’s drawings, and is inspired by graffiti. Szabó, born in Nagykanizsa, graduated from the Hungarian University of Applied Arts in 2005 after a short detour in Ljubljana. His career as a member of the street art group named 1000% was defined by ephemeral, anonymous, street visuals. Hence the stage name "Lobot", which he used later on. Achieving great success in the genre, 1000% has regularly appeared in contemporary exhibition institutions that were open to street art, but Szabó has also exhibited his own autonomous artworks in Budapest. His art world was defined by a spontaneous fusion of graffiti and comics, by a style reminiscent of the Basquiat of the 80s, combined with an Eastern European DIY-spirit. His visual narratives are permeated by the experiences and objects of the underground music scene (mixing desks, synthesizers, posters, etc.), often embodied as objects. Around 2020, his painting moved closer to the abstract language, but retained its naive, children’s drawing-like character – often reminiscent of crayon drawing because of the oil pastel and oil stick. Brick grids, coiled strands, tubes and circles are snaked in front of a neutral space or stacked as building blocks. The playfully composed works, which tend towards non-figurativity, sometimes contain fragments of motifs from earlier pictorial narratives mixed with hidden symbols of fresh experiences. Szabó lives and works in Budapest. Besides his autonomous fine art and street art works, he is also known as an applied graphic artist and as a VJ. Gábor Rieder

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Franyo AATOTH
Bush

Franyo AATOTH

Bush

Year(s)
2017
Technique
oil on canvas
Size
60x60 cm
Artist's introduction

Aatoth Franyo is an artist who follows the tradition of New Painting's Neo-Dadaist vein of the 1980s. His œuvre, which unfolds like that of a bohemian cosmopolitan, has been informed by the culture of various countries. Márton Gerlóczy defines him as a "world-famous painter who refrains from world fame". In his own words, he is an "exhibitionist" because he always wants to "show an aspect" of himself. Born in Nyíregyháza, István Ferenc Tóth, creating under the name "aatoth franyo", was a chemical technician, but in the seventies, he chose a career in fine arts. Victor Vasarely brought him to Paris in 1978, where he graduated from the École Supérieure des Beaux-Arts. As a world-travelling artist, he has lived and worked in several Western countries and exotic locations in North Africa, Mongolia and Thailand. His art was inspired by the New Painting of the 1980s in France, the naïve figurativity of Figuration Libre, the spontaneous aesthetics of graffiti and the unbridled spirit of Neo-Dadaism. The sombre colours of his early paintings were replaced in the early nineties, under the influence of his stay in Mongolia, by the emblematic burgundy red, which embodies a wide range of traditional meanings such as fire, blood, love, hell, flame, revolution and hot spices. In the red spaces, elicited through the use of expressive brushwork, grotesque figures and motifs in the style of children's drawings emerge. The often absurd, humorous or philosophical content is complemented by Hungarian, French and English texts. Around 2010, Aatoth Franyo's artistic practice gradually took a new direction: the artist set up a studio deep in the jungles of Thailand, where he experienced the destructive impact of civilisation on the endless rainforest. From then on, the lush vegetation in his work appears as arabesque gestures and calligraphic marks, transforming the paint applied directly onto the canvas from the tube into an abstract system. In addition to his dominant painterly practice, his bohemian œuvre includes a guidebook for travellers, animation films, objects and installations. His work can be found in many international public collections, from the Gallery of Modern Art in Ulaanbaatar to the Bibliothèque Nationale in Paris. He lives and works in Paris and Thailand. Gábor Rieder

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Franyo AATOTH
Bush (Blue)

Franyo AATOTH

Bush (Blue)

Year(s)
2017
Technique
oil on canvas
Size
162x130 cm
Artist's introduction

Aatoth Franyo is an artist who follows the tradition of New Painting's Neo-Dadaist vein of the 1980s. His œuvre, which unfolds like that of a bohemian cosmopolitan, has been informed by the culture of various countries. Márton Gerlóczy defines him as a "world-famous painter who refrains from world fame". In his own words, he is an "exhibitionist" because he always wants to "show an aspect" of himself. Born in Nyíregyháza, István Ferenc Tóth, creating under the name "aatoth franyo", was a chemical technician, but in the seventies, he chose a career in fine arts. Victor Vasarely brought him to Paris in 1978, where he graduated from the École Supérieure des Beaux-Arts. As a world-travelling artist, he has lived and worked in several Western countries and exotic locations in North Africa, Mongolia and Thailand. His art was inspired by the New Painting of the 1980s in France, the naïve figurativity of Figuration Libre, the spontaneous aesthetics of graffiti and the unbridled spirit of Neo-Dadaism. The sombre colours of his early paintings were replaced in the early nineties, under the influence of his stay in Mongolia, by the emblematic burgundy red, which embodies a wide range of traditional meanings such as fire, blood, love, hell, flame, revolution and hot spices. In the red spaces, elicited through the use of expressive brushwork, grotesque figures and motifs in the style of children's drawings emerge. The often absurd, humorous or philosophical content is complemented by Hungarian, French and English texts. Around 2010, Aatoth Franyo's artistic practice gradually took a new direction: the artist set up a studio deep in the jungles of Thailand, where he experienced the destructive impact of civilisation on the endless rainforest. From then on, the lush vegetation in his work appears as arabesque gestures and calligraphic marks, transforming the paint applied directly onto the canvas from the tube into an abstract system. In addition to his dominant painterly practice, his bohemian œuvre includes a guidebook for travellers, animation films, objects and installations. His work can be found in many international public collections, from the Gallery of Modern Art in Ulaanbaatar to the Bibliothèque Nationale in Paris. He lives and works in Paris and Thailand. Gábor Rieder

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Anikó ROBITZ
Brussels

Anikó ROBITZ

Brussels

Year(s)
2017
Technique
acrylic print, plexiglass
Size
75x50x3 cm
Edition
5/3
Artist's introduction

She is one of the most prominent and internationally renowned representatives of the Hungarian photographic generation that started in the mid-2000s. Her works, which fall under the category of fine art photography, reduce the salient details of the architectural sight to modern abstract forms. According to art historian Rita Somosi, her visual world is defined by the parallel presence of reality and abstraction: “She builds from strict geometric forms, but the role of constructing is taken over by the mapping of real locations, through which the visual abstraction of the world around us becomes visible." Born in Nagykanizsa, Anikó Robitz studied analogue photography and laboratory work at the Camera Anima Open Academy (Szellemkép Szabadiskola) in the mid-2000s. She started on the path of analogue artistic photography with an old camera, then moved to digital techniques and found her main subject: architecture. In her travels, she seeks iconic or distinctive sights of 20th century modern and contemporary architecture. She captures particular details of the architecture, angles reduced to geometric patterns. Without any post-processing, the final composition is created by snapping the picture, where corners, plaster textures, cast shadows, wires, wall paintings and joints appear in a geometric language similar to that of Suprematism or Minimalism. The reduced, often black-and-white colours are the result of the original locations and the realistic view of the selected details. The specific buildings are unidentifiable, the titles of the photographs only indicate the city (from Strasbourg to Zurich, from Colombo to Angyalföld). In addition to modernist abstract tableau painting, the visual language of Robitz was influenced by the photographic legacy of the Bauhaus, such as László Moholy-Nagy and the 20th century master of building photography Lucien Hervé. In the late 2010s, her subject matter expanded to include reflective surfaces, family photographs and nature drawings. Robitz is the winner of several national and international photography awards and since 2007 she has regularly exhibited abroad and participated in prestigious photography fairs. She travels a lot for work, but lives in Budapest. Gábor Rieder

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Kinga HAJDÚ
Hide-and-Seek

Kinga HAJDÚ

Hide-and-Seek

Year(s)
2019
Technique
oil on canvas
Size
50x50 cm
Artist's introduction

Kinga Hajdú studied painting at the Hungarian College of Fine Arts between 1985–89 and then participated in the same institution's Postgraduate Artist Training Program between 1989 and 1992. She has been an art teacher at the Hungarian College of Fine Arts' Secondary School of Visual Arts in Budapest since 1991. Kinga Hajdú emerged as a representative of the new generation in the second half of the 1990s, developing her painterly practice through conceptual and figurative means. The universe of these small-scale works relies on precision and a high degree of technical skill. Hajdú's first, invertedly executed paintings were quasi-naturalistic depictions of meat. The inspiration was provided by the meats' swirling structure, which she later developed as an independent motif. She went on to discover the abstract compositional possibilities inherent to the details of her paintings. In these images, she foreshadowed an artistic intention, which we witness in her later work: the importance of details seen through the lens of abstraction. The notions of figurativity and abstraction simultaneously define her artistic practice. Her compositions arranged according to a grid-like structure provide the polar opposite of her earlier circular compositions. While the circle represents the symbol of universal existence, the grid carries associations of finality, delineated areas and an earth-bound sense of gravity. The pictorial structures of Hajdú provide a platform for colour analysis as well. It is no coincidence that the artist is experimenting with earth tones in search of an overall sense of harmony. Júlia Fabényi

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1395 Kis RĘka Csaba - Burning Tongue
Róka Csaba KIS
Burning Tongue

Róka Csaba KIS

Burning Tongue

Year(s)
2021
Technique
oil, enamel, canvas
Size
34,5×28 cm
Artist's introduction

As a leading painter of Hungarian posthuman hybridity, he has been a regular participant in solo and group exhibitions for two decades, both on the local and the international scene. These include the Liverpool Biennial in 2010, a group exhibition at the Factory-Art Gallery in Berlin in 2011, then due to its impact, being added to the collection of the private MACT/CACT Museum and Center of Contemporary Art in Switzerland, and after 2011, one more Esterházy Art Award nomination in 2023. For the fourth time in his career, the central problem of his painting, the representation of the human figure, is ricocheted. While the few years following his graduation in 2007 were essentially characterised by the dynamic, dramatic contrasts of classical painting traditions such as Baroque and Romanticism, with a satirical overtone, in a naturalistic, horroristic narrative composition of colour and form, from the mid-2010s – having completely stripped of the realist approach – the influence of surrealism unfolded in the contrasting laboratory of “quite absurd, almost caricaturistically pathological subject matter”, as Gábor Rieder wrote on the artist’s exhibition titled Federation Of Decomposed Organs And Stripes. However, the distorted fragmentation of the human figure in his paintings reached its peak after 2020, as the human body parts became completely separated from their self-referentiality. The works from the same series, shown in the collection, are now abstract, deconstructed painting elements floating in the space of the picture, like the filtered presence of a cartoon character on another reality. The associative black and white stripe stamp, which is at once zebra carpet, hard-edge veneer constructions and the discount barcode of capitalist society, is applied to a predominantly colour-transitioned base layer, reminiscent of the typical colour palette of American car tuning. As a final layer of paintings, Kis Róka painted the deformed creatures, often distorted pop-cultural references, with the "melted gummy bear" effect of water-based enamel paint (Bad And Naughty, 2021). In the spring of 2023, however, the artist completely erased his hardware and dissolved the image space of his works in the pixel art bitmap matrix of trash aesthetics, making the distorted fragmentary creatures take full shape as stick figures again. Annamária Szabó

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Péter UJHÁZI
Bus Stop

Péter UJHÁZI

Bus Stop

Year(s)
2005
Technique
acrylic on loose canvas
Size
3 pcs / 82x1358 cm together
Artist's introduction

The Munkácsy Prize-winning artist Péter Ujházi graduated in 1966 from the Hungarian College of Fine Arts' Painting Department. There seems to be virtually no trace of his masters, János Kmetty and Aurél Bernáth, in his work, which was the case for many of his contemporaries, who wanted to create "New Art". Ujházi developed his pictorial universe during the 1970s: his artistic position could be characterised with an anti-aesthetic attitude and a new aesthetic, which opposed high art. Ujházi has retained a fundamentally narrative approach to this day (reinforced by textual segments appearing in the works) and has developed this through various technical means: paintings, box pieces, collages, graphic work, assemblages, artist books and a series of wooden, ceramic and iron sculptures. One of his innovations is the unique "carousel perspective", which is established by the simultaneous utilisation of several perspectives. His other characteristic innovation is the figurative attitude reminiscent of children's drawings and graffiti. He has painted three major historical compositions in this style (The Siege of Fehérvár and the Deportation of Wathay, 1972; The Last Pagan Rebellion, 1972–73 and Jellasics's Run, 1973). From the four edges of a painting, a straight path led to scenes staged in a cosmic dimension and the conservation of everyday life's distinct locations and figures in the form of panoramas composed on the surface of the canvas. Expressive colours and a vibrant, gestural brushwork characterises his series depicting landscapes and foliage, which forms a significant chapter in the artist’s oeuvre since the late 1960s. Krisztina Kocsis – Katalin Keserü

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Ferenc VESZELY
C. (Cézanne) with Grape

Ferenc VESZELY

C. (Cézanne) with Grape

Year(s)
2010
Technique
oil on canvas
Size
54,5x66,5 cm
Artist's introduction

Ferenc Veszely graduated as a graphic artist, painter and teacher at the Hungarian College of Fine Arts in 1968. Because of the recommendation of Master Jenő Barcsay, the Ferenczy Museum in Szentendre invited him to arrange an introductory exhibition that autumn. He is a winner of the Munkácsy Prize. His non-figurative paintings were related to contemporary art's dynamic trends (Action Painting, Pop art, Hard-edge painting). His mixed-media artworks (which included collaged, scribbled, paper-based elements) associated the painter with the birth of new art at the time. He soon became captivated by Pop art, its reproduction techniques, its method of engulfing and appropriating everything. Veszely reacted to this with particular political-historical sensitivity and commitment and updated and actualised the outstanding works of art history. In his practice, the aesthetic approach receded into the background. He returned to painting as an autonomous creative activity in the 1990s, and grapes started populating his paintings in a completely airtight manner. He rehabilitated the classic genre of still-life painting with an evocative yet straightforward element, the spherical grape, the harmony of colours and light, the possibilities inherent to the material of paint and the powerful, sometimes even brutal hunger for reality typical of pop art. He also transformed form: into a celestial body in the case of the 12 Months series, or a pearl, a bubble, by reworking old images or just capturing the bright colours of grapes – slightly translucent in the sunshine – with watercolour. All this happened according to the attributes of one given form or as an expansion of that motif. Katalin Keserü

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Árpád SZABADOS
To C about K

Árpád SZABADOS

To C about K

Year(s)
2012
Technique
acrylic on canvas
Size
2 pcs / 150x100 cm each
Artist's introduction

Munkácsy Prize-winning Árpád Szabados first participated as a graphic artist in the renewal of Hungarian art in the late 1960s and early 1970s, liberating drawing from the constraints of representation, geometry and anatomy. This was followed by him enriching the scope of the Neue Wilde painting of the 1980s with his passionate, taboo-free, intense, sometimes even brutal drawing style and search for the credibility of painting and man's authentic representation. He influenced the approaches and perspectives of multiple generations, making them receptive to creative thinking with the founding of the GYIK Workshop, as the photo editor and artistic director of the Hungarian journal Mozgó Világ and as the rector of the Hungarian University of Fine Arts. He was one of the "seekers" of the 20th century – an artist dealing with the fate and self-determination of human(ity) – whose goal was to search for a notion of art that had been valid for millennia. This search also meant a rediscovery of the foundations of art in the 1960s and 1980s, which was particularly rich in its findings. The archaic figures and torsos of his painting emphasize the biological functions of the body. At the same time, they are in motion: space is established through the body's active-passive emergence (sometimes the motifs are animals or plants). This space is sometimes a continuously unravelling paper scroll or a mural (a twentieth-century colouring book) – formats that he rediscovered through his artistic practice. In other cases, he rethought the tradition of the rectangular format based on even older concepts, creating complex image structures based on ornamental, open systems, such as the double images of the more recent decades. Katalin Keserü

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Péter SOMODY
Cafe dialog

Péter SOMODY

Cafe dialog

Year(s)
2016
Technique
acrylic on canvas
Size
140x200 cm
Artist's introduction

Péter Somody is an artist living and working in Pécs. He was Ilona Keserü's student at the Drawing Department of the Janus Pannonius University of Pécs. He studied at the Master School of the University of Pécs and absolved his DLA (Doctor of Liberal Arts) studies in painting at the same institution. His masters were Ilona Keserü and Gyula Konkoly. Between 1997–98, he was a student at the Academy of Fine Arts Munich. In 1999, he was selected to participate in the exhibition titled "Junge Kunst" at the Haus der Kunst in Munich. During this period, he showed his work in several group exhibitions in Munich and other locations in Bavaria. He is currently a professor at the Faculty of Arts' Department of Painting, University of Pécs, and the head of the institution's Doctoral School. His works are regularly shown in national and international exhibitions in Munich, Nuremberg and Stuttgart. In 2000, he was awarded the Strabag Artaward. In 2015, he received the Munkácsy Prize for his work. Péter Somody is one of the prominent representatives of contemporary abstract painting. He started developing his distinctive style already in his early period. Transparent stain painting is at the core of his artistic practice until the 2010s. He strives to express lyrical sensuality by relying on a reduced set of tools. The translucent, loosely applied patches of colour occasionally overlap; in other cases, they become independent, cloud-like fields of colour enveloping the pictorial space. These open fields of colour become quasi-spaces, into which infinite geometric garlands and serial forms are introduced, based on the principle of the "Open Work". The collision of sharp and blurred elements gives the surfaces a unique objectivity. The viewer is invited to observe the interplay of visual elements on the surface and the meditative silence that emanates from them.

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Annamária GÁSPÁR
Calculate the Entropy series

Annamária GÁSPÁR

Calculate the Entropy series

Year(s)
2022
Technique
wood, textile, leather, faux fur, epoxi resin, photo, oil paint, copper plate in frame
Size
6 pcs / 28x28x6 cm each
Artist's introduction

Annamária Gáspár is a self-taught artist, who has acquired outstanding technical knowledge and skills in the use of a wide variety of materials outside the classical institutional framework. In addition to oil on canvas paintings, she creates textile works, installations using unique materials and sculptural works. Themes of femininity and qualities traditionally considered feminine are expressed through the use of textiles, faux fur and embroidery. In her latest works, she uses metal, aluminium, sheet steel, and she even experiments with engraving and welding with courage and skill. She draws rich references from both the Western and Eastern traditions of art history into her artwork. During her doctoral research, she came into contact with Japanese traditional art, the ideas and motifs of which are incorporated into her work through the filter of her individual artistic approach. In addition to Japanese culture, Zen Buddhism and the feminist art tradition are the main spiritual pillars of her creative practice. As she so eloquently put it about her own work: "The floating backgrounds of the images, without space and time, and the use of the colour gold, are linked to Japanese culture not only at the level of thought, but also in terms of art history. The recurring motifs in the paintings, such as the eye, the sun, chains, water and plants, or the tulle curtain (as a veil covering the reality behind the surface) are references to religious and philosophical trends related to the reassessment of our spiritual life. From a formal point of view, by contrasting the figural parts floating in space with the randomly arranged textural background, I try to represent the visible and the invisible transcendental world in parallel. In line with the metallic colours, pink is one of the most peaceful colours, besides being feminine in its application, and thus also an expression of the desire for spiritual harmony." PV

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0836-Csaji-Attila-Carmina-solvo-A-kolteszet-ertelme.jpg
Attila CSÁJI
Carmina Solvo (The Meaning of Poetry)

Attila CSÁJI

Carmina Solvo (The Meaning of Poetry)

Year(s)
1969
Technique
mixed media on fibreboard
Size
98,7x98,8
Artist's introduction

Attila Csáji was a prominent figure in the Neo-Avant-Garde art scene of the mid-1960s, one of the most important organisers of his generation, and a pioneer of Hungarian gesture painting and light art. Attila Csáji's inner essence, the symbolism of light, which permeates his "self-principled", multifaceted art, was summed up by Lóránd Hegyi: "For Attila Csáji, light is the phenomena that illuminates the "hidden face of nature". Light reveals the invisible, hidden, essential characteristics, uniting the intellectual and the organic world. In other words, light becomes a mystical force in his artistic world, capable of fusing the infinite cosmos and the infinite realm of the human spirit. " Born in Szepsi in Upper Hungary, Csáji, who moved to Budapest with his family as a child, graduated from the Teacher Training College in Eger in 1964. His works, referred to as "szürenon", created at the beginning of his painting career, combined surrealism and non-figurativity. In his mature oil paintings, calligraphic 'writing marks' and Informel figures, which bulged out plastically, were lined up on the surface as fictitious messages of archaic cultures. According to the artist's interpretation, "The Message Grids are plastic gestural structures, a pantomime or dance of the hand, transformed by light, messages that carry the spell of ancient cultures in the present, at the border between chaos and order." For a while, the ever-growing series of greyish-brown, metallically shimmering 'sign grids' was enriched with applied objects wrapped in black before returning to the sculptural paint mass. In the late sixties and early seventies, Csáji participated as a conceptual artist and active organiser in important events of the Neo-Avant-Garde scene (Szürenon Group, the Kápolna exhibitions in Balatonboglár, etc.). From the mid-seventies onwards, he began to work with various light technologies in the field of fine art, moving beyond the surrealistic relief effect, creating holographic works and laser installations. Driven by the thirst for scientific knowledge, in the 1980s, he studied laser technology at the Central Institute of Physics of the Hungarian Academy of Sciences, then reflection holography at the BME, and then transmission holography at the legendary MIT in the USA. Since the 1980s, his photographic work has been featured in important international exhibitions. His works are in several museums abroad, from Seoul to Cambridge. He has received numerous awards, including the Munkácsy Prize, and is a member of the Hungarian Academy of Arts and has patented a range of ideas. He lives and works in Budapest. Gábor Rieder

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Anthony VASQUEZ
Carousel Jumper

Anthony VASQUEZ

Carousel Jumper

Year(s)
2022
Technique
acrylic, wood
Size
100x80x4 cm
Artist's introduction

The art of Mexican-American Anthony Vasquez combines woodworking with the expression of new abstraction. He found his new language, which unfolds in the intersection of light art and the use of natural materials, in Budapest during the pandemic, when he wanted to create "uplifting" works during an emotionally stressful period. Anthony Vasquez ended up in Hungary after many stops. He grew up in New Mexico, studied at Adams State University in neighboring Colorado, and spent years in New Delhi, India, with the Art For Change Foundation. He worked for a long time on figurative oil paintings, and then, under the influence of the pandemic, he turned to nonfigurative painting, woodworking and the personal processing of the concept of light. He was inspired by great American predecessors such as Richard Serra, James Turrell and Frank Stella. From his childhood experiences, he painted the breathtaking light shows he saw in the sky in abstract form on the tableaus of his We Share the Same Sky series. In the meantime, the carpentry skills he had learned from his father and grandfather had also appeared in his art: he began to combine wood with acrylic painting. The unfolding series, New Objects Same Sky, resulted in three-dimensional image objects. Vasquez would sometimes join together cubes of wood cut at the edges to form geometric reliefs, or he would build ribbed veneer constructions, and other times he would lay out mosaics of planks of wood cut with a saw. The paint never appears on the front of these works, but on the outer edge, on the cut planes, inside the ribs (spraying the reflective colours on the wall) or deep in the saw marks. The works are imbued with the mystery of light and the beauty of the crafted wood, which preserves the true, natural nature of the material. Vasquez lives in Budapest with his Hungarian wife, he works here and appeared in several exhibitions in Hungary, following exhibitions in the United States and India. Gábor Rieder

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1206-Anthony-Vasquez-Chasing-The-Black-Rabbit.jpg
Anthony VASQUEZ
Chasing The Black Rabbit

Anthony VASQUEZ

Chasing The Black Rabbit

Year(s)
2022
Technique
acrylic, wood
Size
56x52x3,5 cm
Artist's introduction

The art of Mexican-American Anthony Vasquez combines woodworking with the expression of new abstraction. He found his new language, which unfolds in the intersection of light art and the use of natural materials, in Budapest during the pandemic, when he wanted to create "uplifting" works during an emotionally stressful period. Anthony Vasquez ended up in Hungary after many stops. He grew up in New Mexico, studied at Adams State University in neighboring Colorado, and spent years in New Delhi, India, with the Art For Change Foundation. He worked for a long time on figurative oil paintings, and then, under the influence of the pandemic, he turned to nonfigurative painting, woodworking and the personal processing of the concept of light. He was inspired by great American predecessors such as Richard Serra, James Turrell and Frank Stella. From his childhood experiences, he painted the breathtaking light shows he saw in the sky in abstract form on the tableaus of his We Share the Same Sky series. In the meantime, the carpentry skills he had learned from his father and grandfather had also appeared in his art: he began to combine wood with acrylic painting. The unfolding series, New Objects Same Sky, resulted in three-dimensional image objects. Vasquez would sometimes join together cubes of wood cut at the edges to form geometric reliefs, or he would build ribbed veneer constructions, and other times he would lay out mosaics of planks of wood cut with a saw. The paint never appears on the front of these works, but on the outer edge, on the cut planes, inside the ribs (spraying the reflective colours on the wall) or deep in the saw marks. The works are imbued with the mystery of light and the beauty of the crafted wood, which preserves the true, natural nature of the material. Vasquez lives in Budapest with his Hungarian wife, he works here and appeared in several exhibitions in Hungary, following exhibitions in the United States and India. Gábor Rieder

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0688-Fajo-Janos-Cikk-cakk-I.jpg
János FAJÓ
Zig-Zag I.

János FAJÓ

Zig-Zag I.

Year(s)
1996
Technique
0,2 cm gilded copper
Size
72,5x14,5x14 cm
Artist's introduction

János Fajó is one of the leading figures of Hungarian Constructive Geometric art. During his decades-long career, he researched empirical and geometric phenomena with a unique rigour. In his work, he investigated repetitive structures and their complex variations. His experiments in form spanned different media, including graphic work, screenprints, paintings, wall objects and sculptures. The easily recognisable, orderly visual universe of his works points to the inexhaustible nature of colour and form, relying on the purest pictorial attitude. He created symmetry, asymmetry, infinite variation of movement, rhythm, and dynamic relations by organising simple planar shapes. János Fajó graduated from the Hungarian College of Applied Arts in 1961. In 1971, he founded the renowned Neo-Avant-Garde group, the Pest Workshop, which printed multipliable graphics to democratise art. In addition to his publishing activities, he ran a free school for decades and organised exhibitions as the director of the Józsefváros Gallery. He received the Munkácsy Prize in 1985 and the Kossuth Prize in 2008. He has been teaching at the Hungarian University of Applied Arts since 1989. In 2016, he was elected as a member of the Széchenyi Academy of Letters and Arts. His works can be seen in significant local and international museum collections such as the Ludwig Museum, the Hungarian National Gallery, the Albertina in Vienna, the Neue Galerie am Landesmuseum in Graz, Haus Konstruktiv (The Foundation for Constructive and Concrete Art) in Zurich and the Moscow Museum of Modern Art, as well as important national and international private collections. Zita Sárvári

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0655-Fajo-Janos-Cim-nelkul.jpg
János FAJÓ
Untitled

János FAJÓ

Untitled

Year(s)
1992
Technique
oil on wood
Size
251x40 cm
Artist's introduction

János Fajó is one of the leading figures of Hungarian Constructive Geometric art. During his decades-long career, he researched empirical and geometric phenomena with a unique rigour. In his work, he investigated repetitive structures and their complex variations. His experiments in form spanned different media, including graphic work, screenprints, paintings, wall objects and sculptures. The easily recognisable, orderly visual universe of his works points to the inexhaustible nature of colour and form, relying on the purest pictorial attitude. He created symmetry, asymmetry, infinite variation of movement, rhythm, and dynamic relations by organising simple planar shapes. János Fajó graduated from the Hungarian College of Applied Arts in 1961. In 1971, he founded the renowned Neo-Avant-Garde group, the Pest Workshop, which printed multipliable graphics to democratise art. In addition to his publishing activities, he ran a free school for decades and organised exhibitions as the director of the Józsefváros Gallery. He received the Munkácsy Prize in 1985 and the Kossuth Prize in 2008. He has been teaching at the Hungarian University of Applied Arts since 1989. In 2016, he was elected as a member of the Széchenyi Academy of Letters and Arts. His works can be seen in significant local and international museum collections such as the Ludwig Museum, the Hungarian National Gallery, the Albertina in Vienna, the Neue Galerie am Landesmuseum in Graz, Haus Konstruktiv (The Foundation for Constructive and Concrete Art) in Zurich and the Moscow Museum of Modern Art, as well as important national and international private collections. Zita Sárvári

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0012-Hencze-Tamas-Cim-nelkul.jpg
Tamás HENCZE
Untitled

Tamás HENCZE

Untitled

Year(s)
1984
Technique
oil, charcoal, pastel, felt-tip pen and collage on paper
Size
100x70 cm
Artist's introduction

Tamás Hencze considered Dezső Korniss to be his master and the Zugló Circle – which examined abstract art and the theoretical work of Béla Hamvas – as his school. He was a winner of the Kossuth Prize and a member of the Széchenyi Academy of Letters and Arts. His painting practice, which initially focused on the directness of the gesture and the Pop art collage, became individually motivated in the second half of the 1960s. He used stencils and a rubber roller when spreading the evenly applied (black) paint, creating precise transitions and eliciting pulsating spatial effects on the picture plane. The dynamic, repetitive, saturated, fading and empty surfaces appeared as the universal rhythm of life. The structures of his paintings – which "emerged from the point" – coincided with the era's scientific worldview and the minimalist attitude in the arts. His works could also be connected to the Op-art movement, which sought to examine vision. However, Hencze relied on a more complex understanding of perception, introducing the picturesque experience of appearance and disappearance. These works were featured in the unofficial exhibitions at the end of the decade (e.g. Iparterv, 1968) and subsequently in European exhibitions displaying contemporary Hungarian art. In the 1980s, he reinterpreted his images from the beginning of his career: he "froze" huge gestures on large canvases, which were seen as part of the era's postmodern turn. These works were not straightforward gestural paintings but exact reproductions of gestures constructed with templates, rubber cylinders, a few intensely saturated colours, and light, which lent the moment's spatial-material (iconic) reality frozen onto the picture plane. In his work on paper, Hencze occasionally lined up the technical tools connected to the creative process of these more recent gestural images, such as the scissor, the ruler and the various geometric shapes. Katalin Keserü

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0015-Hencze-Tamas-Cim-nelkul.jpg
Tamás HENCZE
Untitled

Tamás HENCZE

Untitled

Year(s)
1975
Technique
graphite on paper
Size
86,5x61,5 cm
Artist's introduction

Tamás Hencze considered Dezső Korniss to be his master and the Zugló Circle – which examined abstract art and the theoretical work of Béla Hamvas – as his school. He was a winner of the Kossuth Prize and a member of the Széchenyi Academy of Letters and Arts. His painting practice, which initially focused on the directness of the gesture and the Pop art collage, became individually motivated in the second half of the 1960s. He used stencils and a rubber roller when spreading the evenly applied (black) paint, creating precise transitions and eliciting pulsating spatial effects on the picture plane. The dynamic, repetitive, saturated, fading and empty surfaces appeared as the universal rhythm of life. The structures of his paintings – which "emerged from the point" – coincided with the era's scientific worldview and the minimalist attitude in the arts. His works could also be connected to the Op-art movement, which sought to examine vision. However, Hencze relied on a more complex understanding of perception, introducing the picturesque experience of appearance and disappearance. These works were featured in the unofficial exhibitions at the end of the decade (e.g. Iparterv, 1968) and subsequently in European exhibitions displaying contemporary Hungarian art. In the 1980s, he reinterpreted his images from the beginning of his career: he "froze" huge gestures on large canvases, which were seen as part of the era's postmodern turn. These works were not straightforward gestural paintings but exact reproductions of gestures constructed with templates, rubber cylinders, a few intensely saturated colours, and light, which lent the moment's spatial-material (iconic) reality frozen onto the picture plane. In his work on paper, Hencze occasionally lined up the technical tools connected to the creative process of these more recent gestural images, such as the scissor, the ruler and the various geometric shapes. Katalin Keserü

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1048-Ficzek-Ferenc-Cim-nelkul.jpg
Ferenc FICZEK
Untitled

Ferenc FICZEK

Untitled

Year(s)
1972
Technique
plastic on wooden frame
Size
137x17x7 cm
Artist's introduction

Ficzek was one of the founding members of the Pécs Workshop (Pécsi Műhely), a group of progressive artists led by Ferenc Lantos from 1968. The spirit of this group was related to analytical abstraction, where the artist made experiments with different media from enamel paint to photography. Ficzek was interested in the meanings of overlapping effects of light, shadow and movements, which he elaborated in his various photographic, spray-painted and graphic series. His analytical sensitivity can be seen in his works created between 1968–70, where he played with the details of different geometrical forms, which he repeated on canvas or paper surfaces relying on different methodical processes. His interest in forms, and their changing shape by alternating light directions was also presented in his photographic works which showed performative situations with female or male characters. The shaped canvases presented in this exhibition are part of a special series that the artist produced at the beginning of the 1970s. These works were related to his interest in forms, shadows and the effect of light. The basis of these works are abstract wood constructions, which result in an unrecognizable relief form covered with canvas or plastic foil. The result is ambiguous, as the stretched surface merely hints at the original structure. We feel a softness on the surface of the object, but this is an illusion of the character of the wooden forms hidden under the cover. We can also notice the humour and inspiration of pop-culture in the works when sometimes, forms of hands or female legs become the main motives of the composition. Ficzek’s short but active carrier continued with further analysis of movements and layered photo-based works – this interest lead him to animated and experimental films by the end of the 1970s. His work was recognised and explored in depth in the last years and can be found in different national and international collections. Zsolt Petrányi

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1049-Ficzek-Ferenc-Cim-nelkul.jpg
Ferenc FICZEK
Untitled

Ferenc FICZEK

Untitled

Year(s)
1972
Technique
oil, canvas on fibreboard
Size
189x32x6 cm
Artist's introduction

Ficzek was one of the founding members of the Pécs Workshop (Pécsi Műhely), a group of progressive artists led by Ferenc Lantos from 1968. The spirit of this group was related to analytical abstraction, where the artist made experiments with different media from enamel paint to photography. Ficzek was interested in the meanings of overlapping effects of light, shadow and movements, which he elaborated in his various photographic, spray-painted and graphic series. His analytical sensitivity can be seen in his works created between 1968–70, where he played with the details of different geometrical forms, which he repeated on canvas or paper surfaces relying on different methodical processes. His interest in forms, and their changing shape by alternating light directions was also presented in his photographic works which showed performative situations with female or male characters. The shaped canvases presented in this exhibition are part of a special series that the artist produced at the beginning of the 1970s. These works were related to his interest in forms, shadows and the effect of light. The basis of these works are abstract wood constructions, which result in an unrecognizable relief form covered with canvas or plastic foil. The result is ambiguous, as the stretched surface merely hints at the original structure. We feel a softness on the surface of the object, but this is an illusion of the character of the wooden forms hidden under the cover. We can also notice the humour and inspiration of pop-culture in the works when sometimes, forms of hands or female legs become the main motives of the composition. Ficzek’s short but active carrier continued with further analysis of movements and layered photo-based works – this interest lead him to animated and experimental films by the end of the 1970s. His work was recognised and explored in depth in the last years and can be found in different national and international collections. Zsolt Petrányi

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1050-Ficzek-Ferenc-Cim-nelkul.jpg
Ferenc FICZEK
Untitled

Ferenc FICZEK

Untitled

Year(s)
1972
Technique
oil, canvas on fibreboard
Size
66x63x10 cm
Artist's introduction

Ficzek was one of the founding members of the Pécs Workshop (Pécsi Műhely), a group of progressive artists led by Ferenc Lantos from 1968. The spirit of this group was related to analytical abstraction, where the artist made experiments with different media from enamel paint to photography. Ficzek was interested in the meanings of overlapping effects of light, shadow and movements, which he elaborated in his various photographic, spray-painted and graphic series. His analytical sensitivity can be seen in his works created between 1968–70, where he played with the details of different geometrical forms, which he repeated on canvas or paper surfaces relying on different methodical processes. His interest in forms, and their changing shape by alternating light directions was also presented in his photographic works which showed performative situations with female or male characters. The shaped canvases presented in this exhibition are part of a special series that the artist produced at the beginning of the 1970s. These works were related to his interest in forms, shadows and the effect of light. The basis of these works are abstract wood constructions, which result in an unrecognizable relief form covered with canvas or plastic foil. The result is ambiguous, as the stretched surface merely hints at the original structure. We feel a softness on the surface of the object, but this is an illusion of the character of the wooden forms hidden under the cover. We can also notice the humour and inspiration of pop-culture in the works when sometimes, forms of hands or female legs become the main motives of the composition. Ficzek’s short but active carrier continued with further analysis of movements and layered photo-based works – this interest lead him to animated and experimental films by the end of the 1970s. His work was recognised and explored in depth in the last years and can be found in different national and international collections. Zsolt Petrányi

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0679-Fajo-Janos-Cim-nelkul.jpg
János FAJÓ
Untitled

János FAJÓ

Untitled

Year(s)
2008
Technique
oil on wood
Size
193,5x117 cm
Artist's introduction

János Fajó is one of the leading figures of Hungarian Constructive Geometric art. During his decades-long career, he researched empirical and geometric phenomena with a unique rigour. In his work, he investigated repetitive structures and their complex variations. His experiments in form spanned different media, including graphic work, screenprints, paintings, wall objects and sculptures. The easily recognisable, orderly visual universe of his works points to the inexhaustible nature of colour and form, relying on the purest pictorial attitude. He created symmetry, asymmetry, infinite variation of movement, rhythm, and dynamic relations by organising simple planar shapes. János Fajó graduated from the Hungarian College of Applied Arts in 1961. In 1971, he founded the renowned Neo-Avant-Garde group, the Pest Workshop, which printed multipliable graphics to democratise art. In addition to his publishing activities, he ran a free school for decades and organised exhibitions as the director of the Józsefváros Gallery. He received the Munkácsy Prize in 1985 and the Kossuth Prize in 2008. He has been teaching at the Hungarian University of Applied Arts since 1989. In 2016, he was elected as a member of the Széchenyi Academy of Letters and Arts. His works can be seen in significant local and international museum collections such as the Ludwig Museum, the Hungarian National Gallery, the Albertina in Vienna, the Neue Galerie am Landesmuseum in Graz, Haus Konstruktiv (The Foundation for Constructive and Concrete Art) in Zurich and the Moscow Museum of Modern Art, as well as important national and international private collections. Zita Sárvári

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0427-Lantos-Ferenc-Cim-nelkul.jpg
Ferenc LANTOS
Untitled

Ferenc LANTOS

Untitled

Year(s)
1969
Technique
aquarelle on paper
Size
21,5x32 cm
Artist's introduction

Ferenc Lantos studied under Ferenc Martyn's supervision in Pécs and at the College of Fine Arts in Budapest. He considered art to be a form of cognition. His path from abstraction through geometric forms lead to a systematic pictorial thinking. As an educator, he ventured to influence attitudes: he built a new foundation for the relationship between the fine arts and the other art forms. Lantos developed his activities in relation to architecture, literature, music and the modern sciences. The interactions between the two foundational elements of his pictorial universe – the square and the circle – were based on mathematical operations. He relied on the enlargement and reduction of these, their intersection possibilities, their potential interferences to establish a system of variations based on emerging forms. He also founded his public art program on this principle. He hypothesised that since variation always expresses order and is infinite, due to the inherent colouristic possibilities, it can be considered as a model of intellectual cognition and a visual game – and is thus capable of mobilising society (exhibition titled Nature-Vision-Creation, 1972–75). His systems of elements – which was utilised within interior design, building decoration and outdoor projects – could be connected to the era's dynamically developing visual culture. The successful mural enamel project at the Bonyhád Enamel Factory ran for years, during which his colleagues and students also participated. Especially in Pécs and the Transdanubia region, the exterior and interior walls of many public buildings and factories were enlivened during the 1970s by this series of variations. Lantos was a winner of the Kossuth Prize and a member of the Hungarian Academy of Arts. A permanent exhibition of his selected works is on display in Pécs. Katalin Keserü

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0431-Lantos-Ferenc-Cim-nelkul.jpg
Ferenc LANTOS
Untitled

Ferenc LANTOS

Untitled

Year(s)
1976
Technique
ink on paper
Size
50x50 cm
Artist's introduction

Ferenc Lantos studied under Ferenc Martyn's supervision in Pécs and at the College of Fine Arts in Budapest. He considered art to be a form of cognition. His path from abstraction through geometric forms lead to a systematic pictorial thinking. As an educator, he ventured to influence attitudes: he built a new foundation for the relationship between the fine arts and the other art forms. Lantos developed his activities in relation to architecture, literature, music and the modern sciences. The interactions between the two foundational elements of his pictorial universe – the square and the circle – were based on mathematical operations. He relied on the enlargement and reduction of these, their intersection possibilities, their potential interferences to establish a system of variations based on emerging forms. He also founded his public art program on this principle. He hypothesised that since variation always expresses order and is infinite, due to the inherent colouristic possibilities, it can be considered as a model of intellectual cognition and a visual game – and is thus capable of mobilising society (exhibition titled Nature-Vision-Creation, 1972–75). His systems of elements – which was utilised within interior design, building decoration and outdoor projects – could be connected to the era's dynamically developing visual culture. The successful mural enamel project at the Bonyhád Enamel Factory ran for years, during which his colleagues and students also participated. Especially in Pécs and the Transdanubia region, the exterior and interior walls of many public buildings and factories were enlivened during the 1970s by this series of variations. Lantos was a winner of the Kossuth Prize and a member of the Hungarian Academy of Arts. A permanent exhibition of his selected works is on display in Pécs. Katalin Keserü

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1279 Bak Imre - Cím nélkül
Imre BAK
Untitled

Imre BAK

Untitled

Year(s)
1981
Technique
acrylic on corrugated cardboard
Size
116,5x243,5x2,6 cm
Artist's introduction

Imre Bak established the specific character of his paintings in the mid-1960s, referencing the lessons of Geometric Abstraction to this day. Along with some of his contemporaries, Bak defied the geopolitics of the era and the existential and further difficulties arising from the existing social order to connect with the global art of the time. During the Iparterv exhibitions (1968–1969), Bak had already formulated the idea of combining the American tendencies of Hard-edge painting and Minimalism with motifs inspired by Hungarian folk art and the traditions of the local avant-garde. This structuralist programme – which consciously examined the nature of signs and symbols – defined his paintings from the 1970s. In the 1980s, the geometric system of Bak's paintings became increasingly complex, leading to the postmodern turn in the artist's work. During the 1990s, Bak's motifs shifted towards "simplification" again, as expanded surfaces of colour started to define his architecture-inspired paintings. In this period, Bak used perspective and a set of geometric elements to construct his landscapes, where the predominant motifs were "structures" consisting of architectural elements. In his latest work conceived after the 2000s, Bak returns to Geometric Abstraction's fundamental question of how spatial illusion is elicited through two-dimensional means. His compositions that combine rectangular fields of colour with dichromatic, meanderlike lines are based on the utilisation of pure, intense colours, which create the illusion of depth on the canvas. Áron Fenyvesi

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1229-Barath-Aron-Cim-nelkul.jpg
Áron BARÁTH
Untitled

Áron BARÁTH

Untitled

Year(s)
2019
Technique
acrylic on canvas
Size
179,5x139,7 cm
Artist's introduction

Áron Baráth has been consistently representing abstract painting in Hungary since his career began in the 2000s. His non-figurative works, based on lyrical gestures, radiate translucent, vivid colour harmonies. Born in Novi Sad, Áron Baráth moved to Budapest with his family because of the South Slavic war. He also completed his art studies here, graduating as a graphic designer from the Hungarian University of Fine Arts in 2006. He soon left graphics – which he chose following the family tradition – for painting. After his early attempts at figurative painting at university, he began his career as an abstract painter in the mid-2000s. The free, improvisational gestures of informalism, the broad brushstrokes applied with one or two colours were close to his stylistic world. His early paintings were characterised by dramatic splashes of colour and vivid contrasts of colour, often building on the gloom of black. The wild gestures have been tamed by the 2010s, filled with melodic harmonies, and wide, translucent blurs, stripes and washed-out fields have taken over from monochrome surfaces. His aesthetic language is an inspiring parallel to the fine dining gastronomy served with Japanese minimalism, which he has also evoked as an installation. His compositions are built up from the spontaneous, glazed main motifs and the overlapping colour harmonies of the different coloured backgrounds, which often function as picture frames. Baráth's paintings are very popular and he has had many opportunities to exhibit around the world, from Belgium to Dallas. He lives and works in Budapest. Gábor Rieder

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1230-Barath-Aron-Cim-nelkul.jpg
Áron BARÁTH
Untitled

Áron BARÁTH

Untitled

Year(s)
2022
Technique
acrylic on canvas
Size
109,5x110 cm
Artist's introduction

Áron Baráth has been consistently representing abstract painting in Hungary since his career began in the 2000s. His non-figurative works, based on lyrical gestures, radiate translucent, vivid colour harmonies. Born in Novi Sad, Áron Baráth moved to Budapest with his family because of the South Slavic war. He also completed his art studies here, graduating as a graphic designer from the Hungarian University of Fine Arts in 2006. He soon left graphics – which he chose following the family tradition – for painting. After his early attempts at figurative painting at university, he began his career as an abstract painter in the mid-2000s. The free, improvisational gestures of informalism, the broad brushstrokes applied with one or two colours were close to his stylistic world. His early paintings were characterised by dramatic splashes of colour and vivid contrasts of colour, often building on the gloom of black. The wild gestures have been tamed by the 2010s, filled with melodic harmonies, and wide, translucent blurs, stripes and washed-out fields have taken over from monochrome surfaces. His aesthetic language is an inspiring parallel to the fine dining gastronomy served with Japanese minimalism, which he has also evoked as an installation. His compositions are built up from the spontaneous, glazed main motifs and the overlapping colour harmonies of the different coloured backgrounds, which often function as picture frames. Baráth's paintings are very popular and he has had many opportunities to exhibit around the world, from Belgium to Dallas. He lives and works in Budapest. Gábor Rieder

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1231-Barath-Aron-Cim-nelkul.jpg
Áron BARÁTH
Untitled

Áron BARÁTH

Untitled

Year(s)
2020
Technique
acrylic on canvas
Size
50x40 cm
Artist's introduction

Áron Baráth has been consistently representing abstract painting in Hungary since his career began in the 2000s. His non-figurative works, based on lyrical gestures, radiate translucent, vivid colour harmonies. Born in Novi Sad, Áron Baráth moved to Budapest with his family because of the South Slavic war. He also completed his art studies here, graduating as a graphic designer from the Hungarian University of Fine Arts in 2006. He soon left graphics – which he chose following the family tradition – for painting. After his early attempts at figurative painting at university, he began his career as an abstract painter in the mid-2000s. The free, improvisational gestures of informalism, the broad brushstrokes applied with one or two colours were close to his stylistic world. His early paintings were characterised by dramatic splashes of colour and vivid contrasts of colour, often building on the gloom of black. The wild gestures have been tamed by the 2010s, filled with melodic harmonies, and wide, translucent blurs, stripes and washed-out fields have taken over from monochrome surfaces. His aesthetic language is an inspiring parallel to the fine dining gastronomy served with Japanese minimalism, which he has also evoked as an installation. His compositions are built up from the spontaneous, glazed main motifs and the overlapping colour harmonies of the different coloured backgrounds, which often function as picture frames. Baráth's paintings are very popular and he has had many opportunities to exhibit around the world, from Belgium to Dallas. He lives and works in Budapest. Gábor Rieder

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1232-Barath-Aron-Cim-nelkul.jpg
Áron BARÁTH
Untitled

Áron BARÁTH

Untitled

Year(s)
2020
Technique
acrylic on canvas
Size
90x69,7 cm
Artist's introduction

Áron Baráth has been consistently representing abstract painting in Hungary since his career began in the 2000s. His non-figurative works, based on lyrical gestures, radiate translucent, vivid colour harmonies. Born in Novi Sad, Áron Baráth moved to Budapest with his family because of the South Slavic war. He also completed his art studies here, graduating as a graphic designer from the Hungarian University of Fine Arts in 2006. He soon left graphics – which he chose following the family tradition – for painting. After his early attempts at figurative painting at university, he began his career as an abstract painter in the mid-2000s. The free, improvisational gestures of informalism, the broad brushstrokes applied with one or two colours were close to his stylistic world. His early paintings were characterised by dramatic splashes of colour and vivid contrasts of colour, often building on the gloom of black. The wild gestures have been tamed by the 2010s, filled with melodic harmonies, and wide, translucent blurs, stripes and washed-out fields have taken over from monochrome surfaces. His aesthetic language is an inspiring parallel to the fine dining gastronomy served with Japanese minimalism, which he has also evoked as an installation. His compositions are built up from the spontaneous, glazed main motifs and the overlapping colour harmonies of the different coloured backgrounds, which often function as picture frames. Baráth's paintings are very popular and he has had many opportunities to exhibit around the world, from Belgium to Dallas. He lives and works in Budapest. Gábor Rieder

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1233-Barath-Aron-Cim-nelkul.jpg
Áron BARÁTH
Untitled

Áron BARÁTH

Untitled

Year(s)
2020
Technique
acrylic on canvas
Size
109,5x90,5 cm
Artist's introduction

Áron Baráth has been consistently representing abstract painting in Hungary since his career began in the 2000s. His non-figurative works, based on lyrical gestures, radiate translucent, vivid colour harmonies. Born in Novi Sad, Áron Baráth moved to Budapest with his family because of the South Slavic war. He also completed his art studies here, graduating as a graphic designer from the Hungarian University of Fine Arts in 2006. He soon left graphics – which he chose following the family tradition – for painting. After his early attempts at figurative painting at university, he began his career as an abstract painter in the mid-2000s. The free, improvisational gestures of informalism, the broad brushstrokes applied with one or two colours were close to his stylistic world. His early paintings were characterised by dramatic splashes of colour and vivid contrasts of colour, often building on the gloom of black. The wild gestures have been tamed by the 2010s, filled with melodic harmonies, and wide, translucent blurs, stripes and washed-out fields have taken over from monochrome surfaces. His aesthetic language is an inspiring parallel to the fine dining gastronomy served with Japanese minimalism, which he has also evoked as an installation. His compositions are built up from the spontaneous, glazed main motifs and the overlapping colour harmonies of the different coloured backgrounds, which often function as picture frames. Baráth's paintings are very popular and he has had many opportunities to exhibit around the world, from Belgium to Dallas. He lives and works in Budapest. Gábor Rieder

More artworks in the artist's collection »
1234-Barath-Aron-Cim-nelkul.jpg
Áron BARÁTH
Untitled

Áron BARÁTH

Untitled

Year(s)
2022
Technique
acrylic on canvas
Size
110x90 cm
Artist's introduction

Áron Baráth has been consistently representing abstract painting in Hungary since his career began in the 2000s. His non-figurative works, based on lyrical gestures, radiate translucent, vivid colour harmonies. Born in Novi Sad, Áron Baráth moved to Budapest with his family because of the South Slavic war. He also completed his art studies here, graduating as a graphic designer from the Hungarian University of Fine Arts in 2006. He soon left graphics – which he chose following the family tradition – for painting. After his early attempts at figurative painting at university, he began his career as an abstract painter in the mid-2000s. The free, improvisational gestures of informalism, the broad brushstrokes applied with one or two colours were close to his stylistic world. His early paintings were characterised by dramatic splashes of colour and vivid contrasts of colour, often building on the gloom of black. The wild gestures have been tamed by the 2010s, filled with melodic harmonies, and wide, translucent blurs, stripes and washed-out fields have taken over from monochrome surfaces. His aesthetic language is an inspiring parallel to the fine dining gastronomy served with Japanese minimalism, which he has also evoked as an installation. His compositions are built up from the spontaneous, glazed main motifs and the overlapping colour harmonies of the different coloured backgrounds, which often function as picture frames. Baráth's paintings are very popular and he has had many opportunities to exhibit around the world, from Belgium to Dallas. He lives and works in Budapest. Gábor Rieder

More artworks in the artist's collection »
0445-Lantos-Ferenc-Cim-nelkul.jpg
Ferenc LANTOS
Untitled

Ferenc LANTOS

Untitled

Year(s)
1990's
Technique
tempera and watercolour on cold pressed paper
Size
35x35 cm
Artist's introduction

Ferenc Lantos studied under Ferenc Martyn's supervision in Pécs and at the College of Fine Arts in Budapest. He considered art to be a form of cognition. His path from abstraction through geometric forms lead to a systematic pictorial thinking. As an educator, he ventured to influence attitudes: he built a new foundation for the relationship between the fine arts and the other art forms. Lantos developed his activities in relation to architecture, literature, music and the modern sciences. The interactions between the two foundational elements of his pictorial universe – the square and the circle – were based on mathematical operations. He relied on the enlargement and reduction of these, their intersection possibilities, their potential interferences to establish a system of variations based on emerging forms. He also founded his public art program on this principle. He hypothesised that since variation always expresses order and is infinite, due to the inherent colouristic possibilities, it can be considered as a model of intellectual cognition and a visual game – and is thus capable of mobilising society (exhibition titled Nature-Vision-Creation, 1972–75). His systems of elements – which was utilised within interior design, building decoration and outdoor projects – could be connected to the era's dynamically developing visual culture. The successful mural enamel project at the Bonyhád Enamel Factory ran for years, during which his colleagues and students also participated. Especially in Pécs and the Transdanubia region, the exterior and interior walls of many public buildings and factories were enlivened during the 1970s by this series of variations. Lantos was a winner of the Kossuth Prize and a member of the Hungarian Academy of Arts. A permanent exhibition of his selected works is on display in Pécs. Katalin Keserü

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1235-Barath-Aron-Cim-nelkul.jpg
Áron BARÁTH
Untitled

Áron BARÁTH

Untitled

Year(s)
2019
Technique
acrylic on canvas
Size
180x140 cm
Artist's introduction

Áron Baráth has been consistently representing abstract painting in Hungary since his career began in the 2000s. His non-figurative works, based on lyrical gestures, radiate translucent, vivid colour harmonies. Born in Novi Sad, Áron Baráth moved to Budapest with his family because of the South Slavic war. He also completed his art studies here, graduating as a graphic designer from the Hungarian University of Fine Arts in 2006. He soon left graphics – which he chose following the family tradition – for painting. After his early attempts at figurative painting at university, he began his career as an abstract painter in the mid-2000s. The free, improvisational gestures of informalism, the broad brushstrokes applied with one or two colours were close to his stylistic world. His early paintings were characterised by dramatic splashes of colour and vivid contrasts of colour, often building on the gloom of black. The wild gestures have been tamed by the 2010s, filled with melodic harmonies, and wide, translucent blurs, stripes and washed-out fields have taken over from monochrome surfaces. His aesthetic language is an inspiring parallel to the fine dining gastronomy served with Japanese minimalism, which he has also evoked as an installation. His compositions are built up from the spontaneous, glazed main motifs and the overlapping colour harmonies of the different coloured backgrounds, which often function as picture frames. Baráth's paintings are very popular and he has had many opportunities to exhibit around the world, from Belgium to Dallas. He lives and works in Budapest. Gábor Rieder

More artworks in the artist's collection »
1236-Barath-Aron-Cim-nelkul.jpg
Áron BARÁTH
Untitled

Áron BARÁTH

Untitled

Year(s)
2021
Technique
acrylic on canvas
Size
50x40 cm
Artist's introduction

Áron Baráth has been consistently representing abstract painting in Hungary since his career began in the 2000s. His non-figurative works, based on lyrical gestures, radiate translucent, vivid colour harmonies. Born in Novi Sad, Áron Baráth moved to Budapest with his family because of the South Slavic war. He also completed his art studies here, graduating as a graphic designer from the Hungarian University of Fine Arts in 2006. He soon left graphics – which he chose following the family tradition – for painting. After his early attempts at figurative painting at university, he began his career as an abstract painter in the mid-2000s. The free, improvisational gestures of informalism, the broad brushstrokes applied with one or two colours were close to his stylistic world. His early paintings were characterised by dramatic splashes of colour and vivid contrasts of colour, often building on the gloom of black. The wild gestures have been tamed by the 2010s, filled with melodic harmonies, and wide, translucent blurs, stripes and washed-out fields have taken over from monochrome surfaces. His aesthetic language is an inspiring parallel to the fine dining gastronomy served with Japanese minimalism, which he has also evoked as an installation. His compositions are built up from the spontaneous, glazed main motifs and the overlapping colour harmonies of the different coloured backgrounds, which often function as picture frames. Baráth's paintings are very popular and he has had many opportunities to exhibit around the world, from Belgium to Dallas. He lives and works in Budapest. Gábor Rieder

More artworks in the artist's collection »
1237-Barath-Aron-Cim-nelkul.jpg
Áron BARÁTH
Untitled

Áron BARÁTH

Untitled

Year(s)
2021
Technique
acrylic on canvas
Size
40x50 cm
Artist's introduction

Áron Baráth has been consistently representing abstract painting in Hungary since his career began in the 2000s. His non-figurative works, based on lyrical gestures, radiate translucent, vivid colour harmonies. Born in Novi Sad, Áron Baráth moved to Budapest with his family because of the South Slavic war. He also completed his art studies here, graduating as a graphic designer from the Hungarian University of Fine Arts in 2006. He soon left graphics – which he chose following the family tradition – for painting. After his early attempts at figurative painting at university, he began his career as an abstract painter in the mid-2000s. The free, improvisational gestures of informalism, the broad brushstrokes applied with one or two colours were close to his stylistic world. His early paintings were characterised by dramatic splashes of colour and vivid contrasts of colour, often building on the gloom of black. The wild gestures have been tamed by the 2010s, filled with melodic harmonies, and wide, translucent blurs, stripes and washed-out fields have taken over from monochrome surfaces. His aesthetic language is an inspiring parallel to the fine dining gastronomy served with Japanese minimalism, which he has also evoked as an installation. His compositions are built up from the spontaneous, glazed main motifs and the overlapping colour harmonies of the different coloured backgrounds, which often function as picture frames. Baráth's paintings are very popular and he has had many opportunities to exhibit around the world, from Belgium to Dallas. He lives and works in Budapest. Gábor Rieder

More artworks in the artist's collection »
1238-Barath-Aron-Cim-nelkul.jpg
Áron BARÁTH
Untitled

Áron BARÁTH

Untitled

Year(s)
2022
Technique
acrylic on canvas
Size
110x90 cm
Artist's introduction

Áron Baráth has been consistently representing abstract painting in Hungary since his career began in the 2000s. His non-figurative works, based on lyrical gestures, radiate translucent, vivid colour harmonies. Born in Novi Sad, Áron Baráth moved to Budapest with his family because of the South Slavic war. He also completed his art studies here, graduating as a graphic designer from the Hungarian University of Fine Arts in 2006. He soon left graphics – which he chose following the family tradition – for painting. After his early attempts at figurative painting at university, he began his career as an abstract painter in the mid-2000s. The free, improvisational gestures of informalism, the broad brushstrokes applied with one or two colours were close to his stylistic world. His early paintings were characterised by dramatic splashes of colour and vivid contrasts of colour, often building on the gloom of black. The wild gestures have been tamed by the 2010s, filled with melodic harmonies, and wide, translucent blurs, stripes and washed-out fields have taken over from monochrome surfaces. His aesthetic language is an inspiring parallel to the fine dining gastronomy served with Japanese minimalism, which he has also evoked as an installation. His compositions are built up from the spontaneous, glazed main motifs and the overlapping colour harmonies of the different coloured backgrounds, which often function as picture frames. Baráth's paintings are very popular and he has had many opportunities to exhibit around the world, from Belgium to Dallas. He lives and works in Budapest. Gábor Rieder

More artworks in the artist's collection »
1239-Barath-Aron-Cim-nelkul.jpg
Áron BARÁTH
Untitled

Áron BARÁTH

Untitled

Year(s)
2021
Technique
acrylic on canvas
Size
110x89,5 cm
Artist's introduction

Áron Baráth has been consistently representing abstract painting in Hungary since his career began in the 2000s. His non-figurative works, based on lyrical gestures, radiate translucent, vivid colour harmonies. Born in Novi Sad, Áron Baráth moved to Budapest with his family because of the South Slavic war. He also completed his art studies here, graduating as a graphic designer from the Hungarian University of Fine Arts in 2006. He soon left graphics – which he chose following the family tradition – for painting. After his early attempts at figurative painting at university, he began his career as an abstract painter in the mid-2000s. The free, improvisational gestures of informalism, the broad brushstrokes applied with one or two colours were close to his stylistic world. His early paintings were characterised by dramatic splashes of colour and vivid contrasts of colour, often building on the gloom of black. The wild gestures have been tamed by the 2010s, filled with melodic harmonies, and wide, translucent blurs, stripes and washed-out fields have taken over from monochrome surfaces. His aesthetic language is an inspiring parallel to the fine dining gastronomy served with Japanese minimalism, which he has also evoked as an installation. His compositions are built up from the spontaneous, glazed main motifs and the overlapping colour harmonies of the different coloured backgrounds, which often function as picture frames. Baráth's paintings are very popular and he has had many opportunities to exhibit around the world, from Belgium to Dallas. He lives and works in Budapest. Gábor Rieder

More artworks in the artist's collection »
1240-Barath-Aron-Cim-nelkul.jpg
Áron BARÁTH
Untitled

Áron BARÁTH

Untitled

Year(s)
2021
Technique
acrylic on canvas
Size
110x90 cm
Artist's introduction

Áron Baráth has been consistently representing abstract painting in Hungary since his career began in the 2000s. His non-figurative works, based on lyrical gestures, radiate translucent, vivid colour harmonies. Born in Novi Sad, Áron Baráth moved to Budapest with his family because of the South Slavic war. He also completed his art studies here, graduating as a graphic designer from the Hungarian University of Fine Arts in 2006. He soon left graphics – which he chose following the family tradition – for painting. After his early attempts at figurative painting at university, he began his career as an abstract painter in the mid-2000s. The free, improvisational gestures of informalism, the broad brushstrokes applied with one or two colours were close to his stylistic world. His early paintings were characterised by dramatic splashes of colour and vivid contrasts of colour, often building on the gloom of black. The wild gestures have been tamed by the 2010s, filled with melodic harmonies, and wide, translucent blurs, stripes and washed-out fields have taken over from monochrome surfaces. His aesthetic language is an inspiring parallel to the fine dining gastronomy served with Japanese minimalism, which he has also evoked as an installation. His compositions are built up from the spontaneous, glazed main motifs and the overlapping colour harmonies of the different coloured backgrounds, which often function as picture frames. Baráth's paintings are very popular and he has had many opportunities to exhibit around the world, from Belgium to Dallas. He lives and works in Budapest. Gábor Rieder

More artworks in the artist's collection »
1241-Barath-Aron-Cim-nelkul.jpg
Áron BARÁTH
Untitled

Áron BARÁTH

Untitled

Year(s)
2019
Technique
acrylic on canvas
Size
180x140 cm
Artist's introduction

Áron Baráth has been consistently representing abstract painting in Hungary since his career began in the 2000s. His non-figurative works, based on lyrical gestures, radiate translucent, vivid colour harmonies. Born in Novi Sad, Áron Baráth moved to Budapest with his family because of the South Slavic war. He also completed his art studies here, graduating as a graphic designer from the Hungarian University of Fine Arts in 2006. He soon left graphics – which he chose following the family tradition – for painting. After his early attempts at figurative painting at university, he began his career as an abstract painter in the mid-2000s. The free, improvisational gestures of informalism, the broad brushstrokes applied with one or two colours were close to his stylistic world. His early paintings were characterised by dramatic splashes of colour and vivid contrasts of colour, often building on the gloom of black. The wild gestures have been tamed by the 2010s, filled with melodic harmonies, and wide, translucent blurs, stripes and washed-out fields have taken over from monochrome surfaces. His aesthetic language is an inspiring parallel to the fine dining gastronomy served with Japanese minimalism, which he has also evoked as an installation. His compositions are built up from the spontaneous, glazed main motifs and the overlapping colour harmonies of the different coloured backgrounds, which often function as picture frames. Baráth's paintings are very popular and he has had many opportunities to exhibit around the world, from Belgium to Dallas. He lives and works in Budapest. Gábor Rieder

More artworks in the artist's collection »
1242-Barath-Aron-Cim-nelkul.jpg
Áron BARÁTH
Untitled

Áron BARÁTH

Untitled

Year(s)
2021
Technique
acrylic on canvas
Size
110x90 cm
Artist's introduction

Áron Baráth has been consistently representing abstract painting in Hungary since his career began in the 2000s. His non-figurative works, based on lyrical gestures, radiate translucent, vivid colour harmonies. Born in Novi Sad, Áron Baráth moved to Budapest with his family because of the South Slavic war. He also completed his art studies here, graduating as a graphic designer from the Hungarian University of Fine Arts in 2006. He soon left graphics – which he chose following the family tradition – for painting. After his early attempts at figurative painting at university, he began his career as an abstract painter in the mid-2000s. The free, improvisational gestures of informalism, the broad brushstrokes applied with one or two colours were close to his stylistic world. His early paintings were characterised by dramatic splashes of colour and vivid contrasts of colour, often building on the gloom of black. The wild gestures have been tamed by the 2010s, filled with melodic harmonies, and wide, translucent blurs, stripes and washed-out fields have taken over from monochrome surfaces. His aesthetic language is an inspiring parallel to the fine dining gastronomy served with Japanese minimalism, which he has also evoked as an installation. His compositions are built up from the spontaneous, glazed main motifs and the overlapping colour harmonies of the different coloured backgrounds, which often function as picture frames. Baráth's paintings are very popular and he has had many opportunities to exhibit around the world, from Belgium to Dallas. He lives and works in Budapest. Gábor Rieder

More artworks in the artist's collection »
1243-Barath-Aron-Cim-nelkul.jpg
Áron BARÁTH
Untitled

Áron BARÁTH

Untitled

Year(s)
2022
Technique
acrylic on canvas
Size
50x40 cm
Artist's introduction

Áron Baráth has been consistently representing abstract painting in Hungary since his career began in the 2000s. His non-figurative works, based on lyrical gestures, radiate translucent, vivid colour harmonies. Born in Novi Sad, Áron Baráth moved to Budapest with his family because of the South Slavic war. He also completed his art studies here, graduating as a graphic designer from the Hungarian University of Fine Arts in 2006. He soon left graphics – which he chose following the family tradition – for painting. After his early attempts at figurative painting at university, he began his career as an abstract painter in the mid-2000s. The free, improvisational gestures of informalism, the broad brushstrokes applied with one or two colours were close to his stylistic world. His early paintings were characterised by dramatic splashes of colour and vivid contrasts of colour, often building on the gloom of black. The wild gestures have been tamed by the 2010s, filled with melodic harmonies, and wide, translucent blurs, stripes and washed-out fields have taken over from monochrome surfaces. His aesthetic language is an inspiring parallel to the fine dining gastronomy served with Japanese minimalism, which he has also evoked as an installation. His compositions are built up from the spontaneous, glazed main motifs and the overlapping colour harmonies of the different coloured backgrounds, which often function as picture frames. Baráth's paintings are very popular and he has had many opportunities to exhibit around the world, from Belgium to Dallas. He lives and works in Budapest. Gábor Rieder

More artworks in the artist's collection »
1244-Barath-Aron-Cim-nelkul.jpg
Áron BARÁTH
Untitled

Áron BARÁTH

Untitled

Year(s)
2022
Technique
acrylic on canvas
Size
90x69,7 cm
Artist's introduction

Áron Baráth has been consistently representing abstract painting in Hungary since his career began in the 2000s. His non-figurative works, based on lyrical gestures, radiate translucent, vivid colour harmonies. Born in Novi Sad, Áron Baráth moved to Budapest with his family because of the South Slavic war. He also completed his art studies here, graduating as a graphic designer from the Hungarian University of Fine Arts in 2006. He soon left graphics – which he chose following the family tradition – for painting. After his early attempts at figurative painting at university, he began his career as an abstract painter in the mid-2000s. The free, improvisational gestures of informalism, the broad brushstrokes applied with one or two colours were close to his stylistic world. His early paintings were characterised by dramatic splashes of colour and vivid contrasts of colour, often building on the gloom of black. The wild gestures have been tamed by the 2010s, filled with melodic harmonies, and wide, translucent blurs, stripes and washed-out fields have taken over from monochrome surfaces. His aesthetic language is an inspiring parallel to the fine dining gastronomy served with Japanese minimalism, which he has also evoked as an installation. His compositions are built up from the spontaneous, glazed main motifs and the overlapping colour harmonies of the different coloured backgrounds, which often function as picture frames. Baráth's paintings are very popular and he has had many opportunities to exhibit around the world, from Belgium to Dallas. He lives and works in Budapest. Gábor Rieder

More artworks in the artist's collection »

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