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

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

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

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

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

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

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

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

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

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

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

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

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