LAKNER, László

Budapest, 1936

László Lakner’s early career was dominated by his early abstract attempts along with his fundamentally realistic approach. Evoking also classical artistic traditions, he formed his own painting language that ironically twisted the Socialist Realist understanding of pictures. He was a follower of Aurél Bernáth, and besides Tibor Csernus he was also one of the most important representatives of Surnaturalist painting in the late 1950s and early 1960s. Through his artistic works, he gradually got closer and closer to the “new realist” tendency, the pictorial world of pop art. From 1963-64, his works were based on montage-like structures, utilising the motives of everyday visual culture, reflecting on the actual political events as well as on the great art historical traditions – mainly Rembrandt’s art. In 1974, after winning the DAAD scholarship, Lakner moved to West-Berlin. The focus of his new era was on the sensitive pictorial presentation of the semantic questions of human writing and trace-leaving. From the early 1980s, he created more liberated, more expressive scriptural paintings. His artistic period of the 1990s and 2000s was dominated by his abstract picture creation and by his return to the conceptual way of thinking. In recent years, Lakner’s art has turned to the historical past as well as the analysis of his own artistic past and earlier artistic periods. However, this means no turning back – the freshness of his new works seems to deny the passing of time. Dávid Fehér
0321-Lakner-Laszlo-Cim-nelkul.jpg
László LAKNER
Untitled

László LAKNER

Untitled

Year(s)
1992-1994
Technique
oil on canvas
Size
200x150 cm
Artist's introduction

László Lakner’s early career was dominated by his early abstract attempts along with his fundamentally realistic approach. Evoking also classical artistic traditions, he formed his own painting language that ironically twisted the Socialist Realist understanding of pictures. He was a follower of Aurél Bernáth, and besides Tibor Csernus he was also one of the most important representatives of Surnaturalist painting in the late 1950s and early 1960s. Through his artistic works, he gradually got closer and closer to the “new realist” tendency, the pictorial world of pop art. From 1963-64, his works were based on montage-like structures, utilising the motives of everyday visual culture, reflecting on the actual political events as well as on the great art historical traditions – mainly Rembrandt’s art. In 1974, after winning the DAAD scholarship, Lakner moved to West-Berlin. The focus of his new era was on the sensitive pictorial presentation of the semantic questions of human writing and trace-leaving. From the early 1980s, he created more liberated, more expressive scriptural paintings. His artistic period of the 1990s and 2000s was dominated by his abstract picture creation and by his return to the conceptual way of thinking. In recent years, Lakner’s art has turned to the historical past as well as the analysis of his own artistic past and earlier artistic periods. However, this means no turning back – the freshness of his new works seems to deny the passing of time. Dávid Fehér

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0324-Lakner-Laszlo-Cim-nelkul.jpg
László LAKNER
Untitled

László LAKNER

Untitled

Year(s)
1994
Technique
oil on canvas
Size
196x156 cm
Artist's introduction

László Lakner’s early career was dominated by his early abstract attempts along with his fundamentally realistic approach. Evoking also classical artistic traditions, he formed his own painting language that ironically twisted the Socialist Realist understanding of pictures. He was a follower of Aurél Bernáth, and besides Tibor Csernus he was also one of the most important representatives of Surnaturalist painting in the late 1950s and early 1960s. Through his artistic works, he gradually got closer and closer to the “new realist” tendency, the pictorial world of pop art. From 1963-64, his works were based on montage-like structures, utilising the motives of everyday visual culture, reflecting on the actual political events as well as on the great art historical traditions – mainly Rembrandt’s art. In 1974, after winning the DAAD scholarship, Lakner moved to West-Berlin. The focus of his new era was on the sensitive pictorial presentation of the semantic questions of human writing and trace-leaving. From the early 1980s, he created more liberated, more expressive scriptural paintings. His artistic period of the 1990s and 2000s was dominated by his abstract picture creation and by his return to the conceptual way of thinking. In recent years, Lakner’s art has turned to the historical past as well as the analysis of his own artistic past and earlier artistic periods. However, this means no turning back – the freshness of his new works seems to deny the passing of time. Dávid Fehér

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0328-Lakner-Laszlo-Cim-nelkul.jpg
László LAKNER
Untitled

László LAKNER

Untitled

Year(s)
1987
Technique
mixed media on sheet
Size
248x215 cm
Artist's introduction

László Lakner’s early career was dominated by his early abstract attempts along with his fundamentally realistic approach. Evoking also classical artistic traditions, he formed his own painting language that ironically twisted the Socialist Realist understanding of pictures. He was a follower of Aurél Bernáth, and besides Tibor Csernus he was also one of the most important representatives of Surnaturalist painting in the late 1950s and early 1960s. Through his artistic works, he gradually got closer and closer to the “new realist” tendency, the pictorial world of pop art. From 1963-64, his works were based on montage-like structures, utilising the motives of everyday visual culture, reflecting on the actual political events as well as on the great art historical traditions – mainly Rembrandt’s art. In 1974, after winning the DAAD scholarship, Lakner moved to West-Berlin. The focus of his new era was on the sensitive pictorial presentation of the semantic questions of human writing and trace-leaving. From the early 1980s, he created more liberated, more expressive scriptural paintings. His artistic period of the 1990s and 2000s was dominated by his abstract picture creation and by his return to the conceptual way of thinking. In recent years, Lakner’s art has turned to the historical past as well as the analysis of his own artistic past and earlier artistic periods. However, this means no turning back – the freshness of his new works seems to deny the passing of time. Dávid Fehér

More artworks in the artist's collection »
0329-Lakner-Laszlo-Cim-nelkul.jpg
László LAKNER
Untitled

László LAKNER

Untitled

Year(s)
1988
Technique
mixed media on sheet
Size
240x210,5 cm
Artist's introduction

László Lakner’s early career was dominated by his early abstract attempts along with his fundamentally realistic approach. Evoking also classical artistic traditions, he formed his own painting language that ironically twisted the Socialist Realist understanding of pictures. He was a follower of Aurél Bernáth, and besides Tibor Csernus he was also one of the most important representatives of Surnaturalist painting in the late 1950s and early 1960s. Through his artistic works, he gradually got closer and closer to the “new realist” tendency, the pictorial world of pop art. From 1963-64, his works were based on montage-like structures, utilising the motives of everyday visual culture, reflecting on the actual political events as well as on the great art historical traditions – mainly Rembrandt’s art. In 1974, after winning the DAAD scholarship, Lakner moved to West-Berlin. The focus of his new era was on the sensitive pictorial presentation of the semantic questions of human writing and trace-leaving. From the early 1980s, he created more liberated, more expressive scriptural paintings. His artistic period of the 1990s and 2000s was dominated by his abstract picture creation and by his return to the conceptual way of thinking. In recent years, Lakner’s art has turned to the historical past as well as the analysis of his own artistic past and earlier artistic periods. However, this means no turning back – the freshness of his new works seems to deny the passing of time. Dávid Fehér

More artworks in the artist's collection »
0334-Lakner-Laszlo-Cim-nelkul.jpg
László LAKNER
Untitled

László LAKNER

Untitled

Year(s)
2007
Technique
oil on canvas
Size
60x50 cm
Artist's introduction

László Lakner’s early career was dominated by his early abstract attempts along with his fundamentally realistic approach. Evoking also classical artistic traditions, he formed his own painting language that ironically twisted the Socialist Realist understanding of pictures. He was a follower of Aurél Bernáth, and besides Tibor Csernus he was also one of the most important representatives of Surnaturalist painting in the late 1950s and early 1960s. Through his artistic works, he gradually got closer and closer to the “new realist” tendency, the pictorial world of pop art. From 1963-64, his works were based on montage-like structures, utilising the motives of everyday visual culture, reflecting on the actual political events as well as on the great art historical traditions – mainly Rembrandt’s art. In 1974, after winning the DAAD scholarship, Lakner moved to West-Berlin. The focus of his new era was on the sensitive pictorial presentation of the semantic questions of human writing and trace-leaving. From the early 1980s, he created more liberated, more expressive scriptural paintings. His artistic period of the 1990s and 2000s was dominated by his abstract picture creation and by his return to the conceptual way of thinking. In recent years, Lakner’s art has turned to the historical past as well as the analysis of his own artistic past and earlier artistic periods. However, this means no turning back – the freshness of his new works seems to deny the passing of time. Dávid Fehér

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0336-Lakner-Laszlo-Cim-nelkul-Gorbe-vonal.jpg
László LAKNER
Untitled (Curved Line)

László LAKNER

Untitled (Curved Line)

Year(s)
1996
Technique
oil on canvas
Size
60x50 cm
Artist's introduction

László Lakner’s early career was dominated by his early abstract attempts along with his fundamentally realistic approach. Evoking also classical artistic traditions, he formed his own painting language that ironically twisted the Socialist Realist understanding of pictures. He was a follower of Aurél Bernáth, and besides Tibor Csernus he was also one of the most important representatives of Surnaturalist painting in the late 1950s and early 1960s. Through his artistic works, he gradually got closer and closer to the “new realist” tendency, the pictorial world of pop art. From 1963-64, his works were based on montage-like structures, utilising the motives of everyday visual culture, reflecting on the actual political events as well as on the great art historical traditions – mainly Rembrandt’s art. In 1974, after winning the DAAD scholarship, Lakner moved to West-Berlin. The focus of his new era was on the sensitive pictorial presentation of the semantic questions of human writing and trace-leaving. From the early 1980s, he created more liberated, more expressive scriptural paintings. His artistic period of the 1990s and 2000s was dominated by his abstract picture creation and by his return to the conceptual way of thinking. In recent years, Lakner’s art has turned to the historical past as well as the analysis of his own artistic past and earlier artistic periods. However, this means no turning back – the freshness of his new works seems to deny the passing of time. Dávid Fehér

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0323-Lakner-Laszlo-Cim-nelkul-Kreisen.jpg
László LAKNER
Untitled (Circles)

László LAKNER

Untitled (Circles)

Year(s)
1995
Technique
oil on canvas
Size
189x149 cm
Artist's introduction

László Lakner’s early career was dominated by his early abstract attempts along with his fundamentally realistic approach. Evoking also classical artistic traditions, he formed his own painting language that ironically twisted the Socialist Realist understanding of pictures. He was a follower of Aurél Bernáth, and besides Tibor Csernus he was also one of the most important representatives of Surnaturalist painting in the late 1950s and early 1960s. Through his artistic works, he gradually got closer and closer to the “new realist” tendency, the pictorial world of pop art. From 1963-64, his works were based on montage-like structures, utilising the motives of everyday visual culture, reflecting on the actual political events as well as on the great art historical traditions – mainly Rembrandt’s art. In 1974, after winning the DAAD scholarship, Lakner moved to West-Berlin. The focus of his new era was on the sensitive pictorial presentation of the semantic questions of human writing and trace-leaving. From the early 1980s, he created more liberated, more expressive scriptural paintings. His artistic period of the 1990s and 2000s was dominated by his abstract picture creation and by his return to the conceptual way of thinking. In recent years, Lakner’s art has turned to the historical past as well as the analysis of his own artistic past and earlier artistic periods. However, this means no turning back – the freshness of his new works seems to deny the passing of time. Dávid Fehér

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0326-Lakner-Laszlo-Cim-nelkul-Kreisen.jpg
László LAKNER
Untitled (Circles)

László LAKNER

Untitled (Circles)

Year(s)
1996
Technique
oil on canvas
Size
200x169,5 cm
Artist's introduction

László Lakner’s early career was dominated by his early abstract attempts along with his fundamentally realistic approach. Evoking also classical artistic traditions, he formed his own painting language that ironically twisted the Socialist Realist understanding of pictures. He was a follower of Aurél Bernáth, and besides Tibor Csernus he was also one of the most important representatives of Surnaturalist painting in the late 1950s and early 1960s. Through his artistic works, he gradually got closer and closer to the “new realist” tendency, the pictorial world of pop art. From 1963-64, his works were based on montage-like structures, utilising the motives of everyday visual culture, reflecting on the actual political events as well as on the great art historical traditions – mainly Rembrandt’s art. In 1974, after winning the DAAD scholarship, Lakner moved to West-Berlin. The focus of his new era was on the sensitive pictorial presentation of the semantic questions of human writing and trace-leaving. From the early 1980s, he created more liberated, more expressive scriptural paintings. His artistic period of the 1990s and 2000s was dominated by his abstract picture creation and by his return to the conceptual way of thinking. In recent years, Lakner’s art has turned to the historical past as well as the analysis of his own artistic past and earlier artistic periods. However, this means no turning back – the freshness of his new works seems to deny the passing of time. Dávid Fehér

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0325-Lakner-Laszlo-Cim-nelkul-Lineatur.jpg
László LAKNER
Untitled (Lined)

László LAKNER

Untitled (Lined)

Year(s)
1999
Technique
oil on canvas
Size
200x150 cm
Artist's introduction

László Lakner’s early career was dominated by his early abstract attempts along with his fundamentally realistic approach. Evoking also classical artistic traditions, he formed his own painting language that ironically twisted the Socialist Realist understanding of pictures. He was a follower of Aurél Bernáth, and besides Tibor Csernus he was also one of the most important representatives of Surnaturalist painting in the late 1950s and early 1960s. Through his artistic works, he gradually got closer and closer to the “new realist” tendency, the pictorial world of pop art. From 1963-64, his works were based on montage-like structures, utilising the motives of everyday visual culture, reflecting on the actual political events as well as on the great art historical traditions – mainly Rembrandt’s art. In 1974, after winning the DAAD scholarship, Lakner moved to West-Berlin. The focus of his new era was on the sensitive pictorial presentation of the semantic questions of human writing and trace-leaving. From the early 1980s, he created more liberated, more expressive scriptural paintings. His artistic period of the 1990s and 2000s was dominated by his abstract picture creation and by his return to the conceptual way of thinking. In recent years, Lakner’s art has turned to the historical past as well as the analysis of his own artistic past and earlier artistic periods. However, this means no turning back – the freshness of his new works seems to deny the passing of time. Dávid Fehér

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0335-Lakner-Laszlo-Cim-nelkul-Negy-kor.jpg
László LAKNER
Untitled (Four Circles)

László LAKNER

Untitled (Four Circles)

Year(s)
1996
Technique
oil on canvas
Size
60x50 cm
Artist's introduction

László Lakner’s early career was dominated by his early abstract attempts along with his fundamentally realistic approach. Evoking also classical artistic traditions, he formed his own painting language that ironically twisted the Socialist Realist understanding of pictures. He was a follower of Aurél Bernáth, and besides Tibor Csernus he was also one of the most important representatives of Surnaturalist painting in the late 1950s and early 1960s. Through his artistic works, he gradually got closer and closer to the “new realist” tendency, the pictorial world of pop art. From 1963-64, his works were based on montage-like structures, utilising the motives of everyday visual culture, reflecting on the actual political events as well as on the great art historical traditions – mainly Rembrandt’s art. In 1974, after winning the DAAD scholarship, Lakner moved to West-Berlin. The focus of his new era was on the sensitive pictorial presentation of the semantic questions of human writing and trace-leaving. From the early 1980s, he created more liberated, more expressive scriptural paintings. His artistic period of the 1990s and 2000s was dominated by his abstract picture creation and by his return to the conceptual way of thinking. In recent years, Lakner’s art has turned to the historical past as well as the analysis of his own artistic past and earlier artistic periods. However, this means no turning back – the freshness of his new works seems to deny the passing of time. Dávid Fehér

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0322-Lakner-Laszlo-Duchamp.jpg
László LAKNER
Duchamp

László LAKNER

Duchamp

Year(s)
1988
Technique
bicycle enamel on canvas
Size
190x170 cm
Artist's introduction

László Lakner’s early career was dominated by his early abstract attempts along with his fundamentally realistic approach. Evoking also classical artistic traditions, he formed his own painting language that ironically twisted the Socialist Realist understanding of pictures. He was a follower of Aurél Bernáth, and besides Tibor Csernus he was also one of the most important representatives of Surnaturalist painting in the late 1950s and early 1960s. Through his artistic works, he gradually got closer and closer to the “new realist” tendency, the pictorial world of pop art. From 1963-64, his works were based on montage-like structures, utilising the motives of everyday visual culture, reflecting on the actual political events as well as on the great art historical traditions – mainly Rembrandt’s art. In 1974, after winning the DAAD scholarship, Lakner moved to West-Berlin. The focus of his new era was on the sensitive pictorial presentation of the semantic questions of human writing and trace-leaving. From the early 1980s, he created more liberated, more expressive scriptural paintings. His artistic period of the 1990s and 2000s was dominated by his abstract picture creation and by his return to the conceptual way of thinking. In recent years, Lakner’s art has turned to the historical past as well as the analysis of his own artistic past and earlier artistic periods. However, this means no turning back – the freshness of his new works seems to deny the passing of time. Dávid Fehér

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0330-Lakner-Laszlo-Hurkos.jpg
László LAKNER
Loopy

László LAKNER

Loopy

Year(s)
1996
Technique
oil on canvas
Size
200x150 cm
Artist's introduction

László Lakner’s early career was dominated by his early abstract attempts along with his fundamentally realistic approach. Evoking also classical artistic traditions, he formed his own painting language that ironically twisted the Socialist Realist understanding of pictures. He was a follower of Aurél Bernáth, and besides Tibor Csernus he was also one of the most important representatives of Surnaturalist painting in the late 1950s and early 1960s. Through his artistic works, he gradually got closer and closer to the “new realist” tendency, the pictorial world of pop art. From 1963-64, his works were based on montage-like structures, utilising the motives of everyday visual culture, reflecting on the actual political events as well as on the great art historical traditions – mainly Rembrandt’s art. In 1974, after winning the DAAD scholarship, Lakner moved to West-Berlin. The focus of his new era was on the sensitive pictorial presentation of the semantic questions of human writing and trace-leaving. From the early 1980s, he created more liberated, more expressive scriptural paintings. His artistic period of the 1990s and 2000s was dominated by his abstract picture creation and by his return to the conceptual way of thinking. In recent years, Lakner’s art has turned to the historical past as well as the analysis of his own artistic past and earlier artistic periods. However, this means no turning back – the freshness of his new works seems to deny the passing of time. Dávid Fehér

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0337-Lakner-Laszlo-Kek-konnyek.jpg
László LAKNER
Blue Tears

László LAKNER

Blue Tears

Year(s)
1995
Technique
oil and lacquer on canvas
Size
60x50 cm
Artist's introduction

László Lakner’s early career was dominated by his early abstract attempts along with his fundamentally realistic approach. Evoking also classical artistic traditions, he formed his own painting language that ironically twisted the Socialist Realist understanding of pictures. He was a follower of Aurél Bernáth, and besides Tibor Csernus he was also one of the most important representatives of Surnaturalist painting in the late 1950s and early 1960s. Through his artistic works, he gradually got closer and closer to the “new realist” tendency, the pictorial world of pop art. From 1963-64, his works were based on montage-like structures, utilising the motives of everyday visual culture, reflecting on the actual political events as well as on the great art historical traditions – mainly Rembrandt’s art. In 1974, after winning the DAAD scholarship, Lakner moved to West-Berlin. The focus of his new era was on the sensitive pictorial presentation of the semantic questions of human writing and trace-leaving. From the early 1980s, he created more liberated, more expressive scriptural paintings. His artistic period of the 1990s and 2000s was dominated by his abstract picture creation and by his return to the conceptual way of thinking. In recent years, Lakner’s art has turned to the historical past as well as the analysis of his own artistic past and earlier artistic periods. However, this means no turning back – the freshness of his new works seems to deny the passing of time. Dávid Fehér

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0338-Lakner-Laszlo-Racs.jpg
László LAKNER
Grid

László LAKNER

Grid

Year(s)
1996
Technique
oil on canvas
Size
60x50 cm
Artist's introduction

László Lakner’s early career was dominated by his early abstract attempts along with his fundamentally realistic approach. Evoking also classical artistic traditions, he formed his own painting language that ironically twisted the Socialist Realist understanding of pictures. He was a follower of Aurél Bernáth, and besides Tibor Csernus he was also one of the most important representatives of Surnaturalist painting in the late 1950s and early 1960s. Through his artistic works, he gradually got closer and closer to the “new realist” tendency, the pictorial world of pop art. From 1963-64, his works were based on montage-like structures, utilising the motives of everyday visual culture, reflecting on the actual political events as well as on the great art historical traditions – mainly Rembrandt’s art. In 1974, after winning the DAAD scholarship, Lakner moved to West-Berlin. The focus of his new era was on the sensitive pictorial presentation of the semantic questions of human writing and trace-leaving. From the early 1980s, he created more liberated, more expressive scriptural paintings. His artistic period of the 1990s and 2000s was dominated by his abstract picture creation and by his return to the conceptual way of thinking. In recent years, Lakner’s art has turned to the historical past as well as the analysis of his own artistic past and earlier artistic periods. However, this means no turning back – the freshness of his new works seems to deny the passing of time. Dávid Fehér

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0331-Lakner-Laszlo-Rodcsenko.jpg
László LAKNER
Rodchenko

László LAKNER

Rodchenko

Year(s)
2012
Technique
oil on canvas
Size
198,5x150 cm
Artist's introduction

László Lakner’s early career was dominated by his early abstract attempts along with his fundamentally realistic approach. Evoking also classical artistic traditions, he formed his own painting language that ironically twisted the Socialist Realist understanding of pictures. He was a follower of Aurél Bernáth, and besides Tibor Csernus he was also one of the most important representatives of Surnaturalist painting in the late 1950s and early 1960s. Through his artistic works, he gradually got closer and closer to the “new realist” tendency, the pictorial world of pop art. From 1963-64, his works were based on montage-like structures, utilising the motives of everyday visual culture, reflecting on the actual political events as well as on the great art historical traditions – mainly Rembrandt’s art. In 1974, after winning the DAAD scholarship, Lakner moved to West-Berlin. The focus of his new era was on the sensitive pictorial presentation of the semantic questions of human writing and trace-leaving. From the early 1980s, he created more liberated, more expressive scriptural paintings. His artistic period of the 1990s and 2000s was dominated by his abstract picture creation and by his return to the conceptual way of thinking. In recent years, Lakner’s art has turned to the historical past as well as the analysis of his own artistic past and earlier artistic periods. However, this means no turning back – the freshness of his new works seems to deny the passing of time. Dávid Fehér

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0332-Lakner-Laszlo-Szamok.jpg
László LAKNER
Numbers

László LAKNER

Numbers

Year(s)
1995
Technique
oil and acrylic on canvas
Size
200x150 cm
Artist's introduction

László Lakner’s early career was dominated by his early abstract attempts along with his fundamentally realistic approach. Evoking also classical artistic traditions, he formed his own painting language that ironically twisted the Socialist Realist understanding of pictures. He was a follower of Aurél Bernáth, and besides Tibor Csernus he was also one of the most important representatives of Surnaturalist painting in the late 1950s and early 1960s. Through his artistic works, he gradually got closer and closer to the “new realist” tendency, the pictorial world of pop art. From 1963-64, his works were based on montage-like structures, utilising the motives of everyday visual culture, reflecting on the actual political events as well as on the great art historical traditions – mainly Rembrandt’s art. In 1974, after winning the DAAD scholarship, Lakner moved to West-Berlin. The focus of his new era was on the sensitive pictorial presentation of the semantic questions of human writing and trace-leaving. From the early 1980s, he created more liberated, more expressive scriptural paintings. His artistic period of the 1990s and 2000s was dominated by his abstract picture creation and by his return to the conceptual way of thinking. In recent years, Lakner’s art has turned to the historical past as well as the analysis of his own artistic past and earlier artistic periods. However, this means no turning back – the freshness of his new works seems to deny the passing of time. Dávid Fehér

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0327-Lakner-Laszlo-Ustokosok___180___20211211.jpg
László LAKNER
Comets

László LAKNER

Comets

Year(s)
1992
Technique
oil on canvas
Size
2 pcs / 142x247 cm together
Artist's introduction

László Lakner’s early career was dominated by his early abstract attempts along with his fundamentally realistic approach. Evoking also classical artistic traditions, he formed his own painting language that ironically twisted the Socialist Realist understanding of pictures. He was a follower of Aurél Bernáth, and besides Tibor Csernus he was also one of the most important representatives of Surnaturalist painting in the late 1950s and early 1960s. Through his artistic works, he gradually got closer and closer to the “new realist” tendency, the pictorial world of pop art. From 1963-64, his works were based on montage-like structures, utilising the motives of everyday visual culture, reflecting on the actual political events as well as on the great art historical traditions – mainly Rembrandt’s art. In 1974, after winning the DAAD scholarship, Lakner moved to West-Berlin. The focus of his new era was on the sensitive pictorial presentation of the semantic questions of human writing and trace-leaving. From the early 1980s, he created more liberated, more expressive scriptural paintings. His artistic period of the 1990s and 2000s was dominated by his abstract picture creation and by his return to the conceptual way of thinking. In recent years, Lakner’s art has turned to the historical past as well as the analysis of his own artistic past and earlier artistic periods. However, this means no turning back – the freshness of his new works seems to deny the passing of time. Dávid Fehér

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0333-Lakner-Laszlo-Viragok-Welten.jpg
László LAKNER
Worlds/Welten

László LAKNER

Worlds/Welten

Year(s)
1991
Technique
oil on canvas
Size
140x110 cm
Artist's introduction

László Lakner’s early career was dominated by his early abstract attempts along with his fundamentally realistic approach. Evoking also classical artistic traditions, he formed his own painting language that ironically twisted the Socialist Realist understanding of pictures. He was a follower of Aurél Bernáth, and besides Tibor Csernus he was also one of the most important representatives of Surnaturalist painting in the late 1950s and early 1960s. Through his artistic works, he gradually got closer and closer to the “new realist” tendency, the pictorial world of pop art. From 1963-64, his works were based on montage-like structures, utilising the motives of everyday visual culture, reflecting on the actual political events as well as on the great art historical traditions – mainly Rembrandt’s art. In 1974, after winning the DAAD scholarship, Lakner moved to West-Berlin. The focus of his new era was on the sensitive pictorial presentation of the semantic questions of human writing and trace-leaving. From the early 1980s, he created more liberated, more expressive scriptural paintings. His artistic period of the 1990s and 2000s was dominated by his abstract picture creation and by his return to the conceptual way of thinking. In recent years, Lakner’s art has turned to the historical past as well as the analysis of his own artistic past and earlier artistic periods. However, this means no turning back – the freshness of his new works seems to deny the passing of time. Dávid Fehér

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