Dávid Szentgróti is one of the most outstanding abstract gestural painters of the generation that emerged following the turn of the millennium, who cherishes the decades-old tradition of colourism and non-figurativity typical of Pécs. According to art historian György Várkonyi, "Dávid Szentgróti's paintings meet the timeless criteria of the 'easel painting' in every respect. These paintings are about painting itself: about the first movement and decision (...), about the poetic possibilities of the "application" of paint, the mixing/blending of colours relying on a variety of technical solutions, and the unfolding poetic possibilities." Szentgróti, born in Zalaegerszeg, graduated in painting from the Faculty of Arts of the University of Pécs in 2006 and obtained his doctoral degree (DLA) in 2013. Since the 2000s, his œuvre has been enriched by the non-figurative painting tradition of Pécs, from the surrealist forms of Ferenc Martyn to the colourism of Ilona Keserü, to the compositional logic of Ernő Tolvaly. Vivid colours, expressive brushwork and figurative motifs between these gestures defined Szentgróti's works from the 2000s. In the 2010s, as he simplified his motifs, the abstract gesture applied with a broad brush became increasingly dominant. Towards the end of the decade, Szentgróti's non-figurative imagery – with its varied surface treatment – became increasingly dense. In contrast, the alternation of broad brushstrokes and expressive surfaces was replaced by fields of acrylic paint mixed with pigments, transforming the canvases into an increasingly bright and translucent direction. The paintings, built up from thin coats of paint, evoke the aesthetics and layering of digital image editing software. Although the seemingly spontaneous gestures evoke the instinctive image-making of Informel Painting, Szentgróti follows a carefully pre-determined artistic program. In the words of art historian János Schneller: "The superimposition of the paint layers on the surface of the canvas, i.e. the consciously evoked structures, is perhaps the most important aspect of the concept." This artistic process, which questions the ontology of painting, cultivates and rewrites tradition simultaneously. Present on the local and national scene, Szentgróti is a teacher at the Secondary School of Art in Pécs. He lives and works in Pécs.

Dávid Szentgróti is one of the most outstanding abstract gestural painters of the generation that emerged following the turn of the millennium, who cherishes the decades-old tradition of colourism and non-figurativity typical of Pécs. According to art historian György Várkonyi, "Dávid Szentgróti's paintings meet the timeless criteria of the 'easel painting' in every respect. These paintings are about painting itself: about the first movement and decision (...), about the poetic possibilities of the "application" of paint, the mixing/blending of colours relying on a variety of technical solutions, and the unfolding poetic possibilities." Szentgróti, born in Zalaegerszeg, graduated in painting from the Faculty of Arts of the University of Pécs in 2006 and obtained his doctoral degree (DLA) in 2013. Since the 2000s, his œuvre has been enriched by the non-figurative painting tradition of Pécs, from the surrealist forms of Ferenc Martyn to the colourism of Ilona Keserü, to the compositional logic of Ernő Tolvaly. Vivid colours, expressive brushwork and figurative motifs between these gestures defined Szentgróti's works from the 2000s. In the 2010s, as he simplified his motifs, the abstract gesture applied with a broad brush became increasingly dominant. Towards the end of the decade, Szentgróti's non-figurative imagery – with its varied surface treatment – became increasingly dense. In contrast, the alternation of broad brushstrokes and expressive surfaces was replaced by fields of acrylic paint mixed with pigments, transforming the canvases into an increasingly bright and translucent direction. The paintings, built up from thin coats of paint, evoke the aesthetics and layering of digital image editing software. Although the seemingly spontaneous gestures evoke the instinctive image-making of Informel Painting, Szentgróti follows a carefully pre-determined artistic program. In the words of art historian János Schneller: "The superimposition of the paint layers on the surface of the canvas, i.e. the consciously evoked structures, is perhaps the most important aspect of the concept." This artistic process, which questions the ontology of painting, cultivates and rewrites tradition simultaneously. Present on the local and national scene, Szentgróti is a teacher at the Secondary School of Art in Pécs. He lives and works in Pécs.

Dávid Szentgróti is one of the most outstanding abstract gestural painters of the generation that emerged following the turn of the millennium, who cherishes the decades-old tradition of colourism and non-figurativity typical of Pécs. According to art historian György Várkonyi, "Dávid Szentgróti's paintings meet the timeless criteria of the 'easel painting' in every respect. These paintings are about painting itself: about the first movement and decision (...), about the poetic possibilities of the "application" of paint, the mixing/blending of colours relying on a variety of technical solutions, and the unfolding poetic possibilities." Szentgróti, born in Zalaegerszeg, graduated in painting from the Faculty of Arts of the University of Pécs in 2006 and obtained his doctoral degree (DLA) in 2013. Since the 2000s, his œuvre has been enriched by the non-figurative painting tradition of Pécs, from the surrealist forms of Ferenc Martyn to the colourism of Ilona Keserü, to the compositional logic of Ernő Tolvaly. Vivid colours, expressive brushwork and figurative motifs between these gestures defined Szentgróti's works from the 2000s. In the 2010s, as he simplified his motifs, the abstract gesture applied with a broad brush became increasingly dominant. Towards the end of the decade, Szentgróti's non-figurative imagery – with its varied surface treatment – became increasingly dense. In contrast, the alternation of broad brushstrokes and expressive surfaces was replaced by fields of acrylic paint mixed with pigments, transforming the canvases into an increasingly bright and translucent direction. The paintings, built up from thin coats of paint, evoke the aesthetics and layering of digital image editing software. Although the seemingly spontaneous gestures evoke the instinctive image-making of Informel Painting, Szentgróti follows a carefully pre-determined artistic program. In the words of art historian János Schneller: "The superimposition of the paint layers on the surface of the canvas, i.e. the consciously evoked structures, is perhaps the most important aspect of the concept." This artistic process, which questions the ontology of painting, cultivates and rewrites tradition simultaneously. Present on the local and national scene, Szentgróti is a teacher at the Secondary School of Art in Pécs. He lives and works in Pécs.

Dávid Szentgróti is one of the most outstanding abstract gestural painters of the generation that emerged following the turn of the millennium, who cherishes the decades-old tradition of colourism and non-figurativity typical of Pécs. According to art historian György Várkonyi, "Dávid Szentgróti's paintings meet the timeless criteria of the 'easel painting' in every respect. These paintings are about painting itself: about the first movement and decision (...), about the poetic possibilities of the "application" of paint, the mixing/blending of colours relying on a variety of technical solutions, and the unfolding poetic possibilities." Szentgróti, born in Zalaegerszeg, graduated in painting from the Faculty of Arts of the University of Pécs in 2006 and obtained his doctoral degree (DLA) in 2013. Since the 2000s, his œuvre has been enriched by the non-figurative painting tradition of Pécs, from the surrealist forms of Ferenc Martyn to the colourism of Ilona Keserü, to the compositional logic of Ernő Tolvaly. Vivid colours, expressive brushwork and figurative motifs between these gestures defined Szentgróti's works from the 2000s. In the 2010s, as he simplified his motifs, the abstract gesture applied with a broad brush became increasingly dominant. Towards the end of the decade, Szentgróti's non-figurative imagery – with its varied surface treatment – became increasingly dense. In contrast, the alternation of broad brushstrokes and expressive surfaces was replaced by fields of acrylic paint mixed with pigments, transforming the canvases into an increasingly bright and translucent direction. The paintings, built up from thin coats of paint, evoke the aesthetics and layering of digital image editing software. Although the seemingly spontaneous gestures evoke the instinctive image-making of Informel Painting, Szentgróti follows a carefully pre-determined artistic program. In the words of art historian János Schneller: "The superimposition of the paint layers on the surface of the canvas, i.e. the consciously evoked structures, is perhaps the most important aspect of the concept." This artistic process, which questions the ontology of painting, cultivates and rewrites tradition simultaneously. Present on the local and national scene, Szentgróti is a teacher at the Secondary School of Art in Pécs. He lives and works in Pécs.

Dávid Szentgróti is one of the most outstanding abstract gestural painters of the generation that emerged following the turn of the millennium, who cherishes the decades-old tradition of colourism and non-figurativity typical of Pécs. According to art historian György Várkonyi, "Dávid Szentgróti's paintings meet the timeless criteria of the 'easel painting' in every respect. These paintings are about painting itself: about the first movement and decision (...), about the poetic possibilities of the "application" of paint, the mixing/blending of colours relying on a variety of technical solutions, and the unfolding poetic possibilities." Szentgróti, born in Zalaegerszeg, graduated in painting from the Faculty of Arts of the University of Pécs in 2006 and obtained his doctoral degree (DLA) in 2013. Since the 2000s, his œuvre has been enriched by the non-figurative painting tradition of Pécs, from the surrealist forms of Ferenc Martyn to the colourism of Ilona Keserü, to the compositional logic of Ernő Tolvaly. Vivid colours, expressive brushwork and figurative motifs between these gestures defined Szentgróti's works from the 2000s. In the 2010s, as he simplified his motifs, the abstract gesture applied with a broad brush became increasingly dominant. Towards the end of the decade, Szentgróti's non-figurative imagery – with its varied surface treatment – became increasingly dense. In contrast, the alternation of broad brushstrokes and expressive surfaces was replaced by fields of acrylic paint mixed with pigments, transforming the canvases into an increasingly bright and translucent direction. The paintings, built up from thin coats of paint, evoke the aesthetics and layering of digital image editing software. Although the seemingly spontaneous gestures evoke the instinctive image-making of Informel Painting, Szentgróti follows a carefully pre-determined artistic program. In the words of art historian János Schneller: "The superimposition of the paint layers on the surface of the canvas, i.e. the consciously evoked structures, is perhaps the most important aspect of the concept." This artistic process, which questions the ontology of painting, cultivates and rewrites tradition simultaneously. Present on the local and national scene, Szentgróti is a teacher at the Secondary School of Art in Pécs. He lives and works in Pécs.

Dávid Szentgróti is one of the most outstanding abstract gestural painters of the generation that emerged following the turn of the millennium, who cherishes the decades-old tradition of colourism and non-figurativity typical of Pécs. According to art historian György Várkonyi, "Dávid Szentgróti's paintings meet the timeless criteria of the 'easel painting' in every respect. These paintings are about painting itself: about the first movement and decision (...), about the poetic possibilities of the "application" of paint, the mixing/blending of colours relying on a variety of technical solutions, and the unfolding poetic possibilities." Szentgróti, born in Zalaegerszeg, graduated in painting from the Faculty of Arts of the University of Pécs in 2006 and obtained his doctoral degree (DLA) in 2013. Since the 2000s, his œuvre has been enriched by the non-figurative painting tradition of Pécs, from the surrealist forms of Ferenc Martyn to the colourism of Ilona Keserü, to the compositional logic of Ernő Tolvaly. Vivid colours, expressive brushwork and figurative motifs between these gestures defined Szentgróti's works from the 2000s. In the 2010s, as he simplified his motifs, the abstract gesture applied with a broad brush became increasingly dominant. Towards the end of the decade, Szentgróti's non-figurative imagery – with its varied surface treatment – became increasingly dense. In contrast, the alternation of broad brushstrokes and expressive surfaces was replaced by fields of acrylic paint mixed with pigments, transforming the canvases into an increasingly bright and translucent direction. The paintings, built up from thin coats of paint, evoke the aesthetics and layering of digital image editing software. Although the seemingly spontaneous gestures evoke the instinctive image-making of Informel Painting, Szentgróti follows a carefully pre-determined artistic program. In the words of art historian János Schneller: "The superimposition of the paint layers on the surface of the canvas, i.e. the consciously evoked structures, is perhaps the most important aspect of the concept." This artistic process, which questions the ontology of painting, cultivates and rewrites tradition simultaneously. Present on the local and national scene, Szentgróti is a teacher at the Secondary School of Art in Pécs. He lives and works in Pécs.

Dávid Szentgróti is one of the most outstanding abstract gestural painters of the generation that emerged following the turn of the millennium, who cherishes the decades-old tradition of colourism and non-figurativity typical of Pécs. According to art historian György Várkonyi, "Dávid Szentgróti's paintings meet the timeless criteria of the 'easel painting' in every respect. These paintings are about painting itself: about the first movement and decision (...), about the poetic possibilities of the "application" of paint, the mixing/blending of colours relying on a variety of technical solutions, and the unfolding poetic possibilities." Szentgróti, born in Zalaegerszeg, graduated in painting from the Faculty of Arts of the University of Pécs in 2006 and obtained his doctoral degree (DLA) in 2013. Since the 2000s, his œuvre has been enriched by the non-figurative painting tradition of Pécs, from the surrealist forms of Ferenc Martyn to the colourism of Ilona Keserü, to the compositional logic of Ernő Tolvaly. Vivid colours, expressive brushwork and figurative motifs between these gestures defined Szentgróti's works from the 2000s. In the 2010s, as he simplified his motifs, the abstract gesture applied with a broad brush became increasingly dominant. Towards the end of the decade, Szentgróti's non-figurative imagery – with its varied surface treatment – became increasingly dense. In contrast, the alternation of broad brushstrokes and expressive surfaces was replaced by fields of acrylic paint mixed with pigments, transforming the canvases into an increasingly bright and translucent direction. The paintings, built up from thin coats of paint, evoke the aesthetics and layering of digital image editing software. Although the seemingly spontaneous gestures evoke the instinctive image-making of Informel Painting, Szentgróti follows a carefully pre-determined artistic program. In the words of art historian János Schneller: "The superimposition of the paint layers on the surface of the canvas, i.e. the consciously evoked structures, is perhaps the most important aspect of the concept." This artistic process, which questions the ontology of painting, cultivates and rewrites tradition simultaneously. Present on the local and national scene, Szentgróti is a teacher at the Secondary School of Art in Pécs. He lives and works in Pécs.

Dávid Szentgróti is one of the most outstanding abstract gestural painters of the generation that emerged following the turn of the millennium, who cherishes the decades-old tradition of colourism and non-figurativity typical of Pécs. According to art historian György Várkonyi, "Dávid Szentgróti's paintings meet the timeless criteria of the 'easel painting' in every respect. These paintings are about painting itself: about the first movement and decision (...), about the poetic possibilities of the "application" of paint, the mixing/blending of colours relying on a variety of technical solutions, and the unfolding poetic possibilities." Szentgróti, born in Zalaegerszeg, graduated in painting from the Faculty of Arts of the University of Pécs in 2006 and obtained his doctoral degree (DLA) in 2013. Since the 2000s, his œuvre has been enriched by the non-figurative painting tradition of Pécs, from the surrealist forms of Ferenc Martyn to the colourism of Ilona Keserü, to the compositional logic of Ernő Tolvaly. Vivid colours, expressive brushwork and figurative motifs between these gestures defined Szentgróti's works from the 2000s. In the 2010s, as he simplified his motifs, the abstract gesture applied with a broad brush became increasingly dominant. Towards the end of the decade, Szentgróti's non-figurative imagery – with its varied surface treatment – became increasingly dense. In contrast, the alternation of broad brushstrokes and expressive surfaces was replaced by fields of acrylic paint mixed with pigments, transforming the canvases into an increasingly bright and translucent direction. The paintings, built up from thin coats of paint, evoke the aesthetics and layering of digital image editing software. Although the seemingly spontaneous gestures evoke the instinctive image-making of Informel Painting, Szentgróti follows a carefully pre-determined artistic program. In the words of art historian János Schneller: "The superimposition of the paint layers on the surface of the canvas, i.e. the consciously evoked structures, is perhaps the most important aspect of the concept." This artistic process, which questions the ontology of painting, cultivates and rewrites tradition simultaneously. Present on the local and national scene, Szentgróti is a teacher at the Secondary School of Art in Pécs. He lives and works in Pécs.

Dávid Szentgróti is one of the most outstanding abstract gestural painters of the generation that emerged following the turn of the millennium, who cherishes the decades-old tradition of colourism and non-figurativity typical of Pécs. According to art historian György Várkonyi, "Dávid Szentgróti's paintings meet the timeless criteria of the 'easel painting' in every respect. These paintings are about painting itself: about the first movement and decision (...), about the poetic possibilities of the "application" of paint, the mixing/blending of colours relying on a variety of technical solutions, and the unfolding poetic possibilities." Szentgróti, born in Zalaegerszeg, graduated in painting from the Faculty of Arts of the University of Pécs in 2006 and obtained his doctoral degree (DLA) in 2013. Since the 2000s, his œuvre has been enriched by the non-figurative painting tradition of Pécs, from the surrealist forms of Ferenc Martyn to the colourism of Ilona Keserü, to the compositional logic of Ernő Tolvaly. Vivid colours, expressive brushwork and figurative motifs between these gestures defined Szentgróti's works from the 2000s. In the 2010s, as he simplified his motifs, the abstract gesture applied with a broad brush became increasingly dominant. Towards the end of the decade, Szentgróti's non-figurative imagery – with its varied surface treatment – became increasingly dense. In contrast, the alternation of broad brushstrokes and expressive surfaces was replaced by fields of acrylic paint mixed with pigments, transforming the canvases into an increasingly bright and translucent direction. The paintings, built up from thin coats of paint, evoke the aesthetics and layering of digital image editing software. Although the seemingly spontaneous gestures evoke the instinctive image-making of Informel Painting, Szentgróti follows a carefully pre-determined artistic program. In the words of art historian János Schneller: "The superimposition of the paint layers on the surface of the canvas, i.e. the consciously evoked structures, is perhaps the most important aspect of the concept." This artistic process, which questions the ontology of painting, cultivates and rewrites tradition simultaneously. Present on the local and national scene, Szentgróti is a teacher at the Secondary School of Art in Pécs. He lives and works in Pécs.

Dávid Szentgróti is one of the most outstanding abstract gestural painters of the generation that emerged following the turn of the millennium, who cherishes the decades-old tradition of colourism and non-figurativity typical of Pécs. According to art historian György Várkonyi, "Dávid Szentgróti's paintings meet the timeless criteria of the 'easel painting' in every respect. These paintings are about painting itself: about the first movement and decision (...), about the poetic possibilities of the "application" of paint, the mixing/blending of colours relying on a variety of technical solutions, and the unfolding poetic possibilities." Szentgróti, born in Zalaegerszeg, graduated in painting from the Faculty of Arts of the University of Pécs in 2006 and obtained his doctoral degree (DLA) in 2013. Since the 2000s, his œuvre has been enriched by the non-figurative painting tradition of Pécs, from the surrealist forms of Ferenc Martyn to the colourism of Ilona Keserü, to the compositional logic of Ernő Tolvaly. Vivid colours, expressive brushwork and figurative motifs between these gestures defined Szentgróti's works from the 2000s. In the 2010s, as he simplified his motifs, the abstract gesture applied with a broad brush became increasingly dominant. Towards the end of the decade, Szentgróti's non-figurative imagery – with its varied surface treatment – became increasingly dense. In contrast, the alternation of broad brushstrokes and expressive surfaces was replaced by fields of acrylic paint mixed with pigments, transforming the canvases into an increasingly bright and translucent direction. The paintings, built up from thin coats of paint, evoke the aesthetics and layering of digital image editing software. Although the seemingly spontaneous gestures evoke the instinctive image-making of Informel Painting, Szentgróti follows a carefully pre-determined artistic program. In the words of art historian János Schneller: "The superimposition of the paint layers on the surface of the canvas, i.e. the consciously evoked structures, is perhaps the most important aspect of the concept." This artistic process, which questions the ontology of painting, cultivates and rewrites tradition simultaneously. Present on the local and national scene, Szentgróti is a teacher at the Secondary School of Art in Pécs. He lives and works in Pécs.

Dávid Szentgróti is one of the most outstanding abstract gestural painters of the generation that emerged following the turn of the millennium, who cherishes the decades-old tradition of colourism and non-figurativity typical of Pécs. According to art historian György Várkonyi, "Dávid Szentgróti's paintings meet the timeless criteria of the 'easel painting' in every respect. These paintings are about painting itself: about the first movement and decision (...), about the poetic possibilities of the "application" of paint, the mixing/blending of colours relying on a variety of technical solutions, and the unfolding poetic possibilities." Szentgróti, born in Zalaegerszeg, graduated in painting from the Faculty of Arts of the University of Pécs in 2006 and obtained his doctoral degree (DLA) in 2013. Since the 2000s, his œuvre has been enriched by the non-figurative painting tradition of Pécs, from the surrealist forms of Ferenc Martyn to the colourism of Ilona Keserü, to the compositional logic of Ernő Tolvaly. Vivid colours, expressive brushwork and figurative motifs between these gestures defined Szentgróti's works from the 2000s. In the 2010s, as he simplified his motifs, the abstract gesture applied with a broad brush became increasingly dominant. Towards the end of the decade, Szentgróti's non-figurative imagery – with its varied surface treatment – became increasingly dense. In contrast, the alternation of broad brushstrokes and expressive surfaces was replaced by fields of acrylic paint mixed with pigments, transforming the canvases into an increasingly bright and translucent direction. The paintings, built up from thin coats of paint, evoke the aesthetics and layering of digital image editing software. Although the seemingly spontaneous gestures evoke the instinctive image-making of Informel Painting, Szentgróti follows a carefully pre-determined artistic program. In the words of art historian János Schneller: "The superimposition of the paint layers on the surface of the canvas, i.e. the consciously evoked structures, is perhaps the most important aspect of the concept." This artistic process, which questions the ontology of painting, cultivates and rewrites tradition simultaneously. Present on the local and national scene, Szentgróti is a teacher at the Secondary School of Art in Pécs. He lives and works in Pécs.

Dávid Szentgróti is one of the most outstanding abstract gestural painters of the generation that emerged following the turn of the millennium, who cherishes the decades-old tradition of colourism and non-figurativity typical of Pécs. According to art historian György Várkonyi, "Dávid Szentgróti's paintings meet the timeless criteria of the 'easel painting' in every respect. These paintings are about painting itself: about the first movement and decision (...), about the poetic possibilities of the "application" of paint, the mixing/blending of colours relying on a variety of technical solutions, and the unfolding poetic possibilities." Szentgróti, born in Zalaegerszeg, graduated in painting from the Faculty of Arts of the University of Pécs in 2006 and obtained his doctoral degree (DLA) in 2013. Since the 2000s, his œuvre has been enriched by the non-figurative painting tradition of Pécs, from the surrealist forms of Ferenc Martyn to the colourism of Ilona Keserü, to the compositional logic of Ernő Tolvaly. Vivid colours, expressive brushwork and figurative motifs between these gestures defined Szentgróti's works from the 2000s. In the 2010s, as he simplified his motifs, the abstract gesture applied with a broad brush became increasingly dominant. Towards the end of the decade, Szentgróti's non-figurative imagery – with its varied surface treatment – became increasingly dense. In contrast, the alternation of broad brushstrokes and expressive surfaces was replaced by fields of acrylic paint mixed with pigments, transforming the canvases into an increasingly bright and translucent direction. The paintings, built up from thin coats of paint, evoke the aesthetics and layering of digital image editing software. Although the seemingly spontaneous gestures evoke the instinctive image-making of Informel Painting, Szentgróti follows a carefully pre-determined artistic program. In the words of art historian János Schneller: "The superimposition of the paint layers on the surface of the canvas, i.e. the consciously evoked structures, is perhaps the most important aspect of the concept." This artistic process, which questions the ontology of painting, cultivates and rewrites tradition simultaneously. Present on the local and national scene, Szentgróti is a teacher at the Secondary School of Art in Pécs. He lives and works in Pécs.

Dávid Szentgróti is one of the most outstanding abstract gestural painters of the generation that emerged following the turn of the millennium, who cherishes the decades-old tradition of colourism and non-figurativity typical of Pécs. According to art historian György Várkonyi, "Dávid Szentgróti's paintings meet the timeless criteria of the 'easel painting' in every respect. These paintings are about painting itself: about the first movement and decision (...), about the poetic possibilities of the "application" of paint, the mixing/blending of colours relying on a variety of technical solutions, and the unfolding poetic possibilities." Szentgróti, born in Zalaegerszeg, graduated in painting from the Faculty of Arts of the University of Pécs in 2006 and obtained his doctoral degree (DLA) in 2013. Since the 2000s, his œuvre has been enriched by the non-figurative painting tradition of Pécs, from the surrealist forms of Ferenc Martyn to the colourism of Ilona Keserü, to the compositional logic of Ernő Tolvaly. Vivid colours, expressive brushwork and figurative motifs between these gestures defined Szentgróti's works from the 2000s. In the 2010s, as he simplified his motifs, the abstract gesture applied with a broad brush became increasingly dominant. Towards the end of the decade, Szentgróti's non-figurative imagery – with its varied surface treatment – became increasingly dense. In contrast, the alternation of broad brushstrokes and expressive surfaces was replaced by fields of acrylic paint mixed with pigments, transforming the canvases into an increasingly bright and translucent direction. The paintings, built up from thin coats of paint, evoke the aesthetics and layering of digital image editing software. Although the seemingly spontaneous gestures evoke the instinctive image-making of Informel Painting, Szentgróti follows a carefully pre-determined artistic program. In the words of art historian János Schneller: "The superimposition of the paint layers on the surface of the canvas, i.e. the consciously evoked structures, is perhaps the most important aspect of the concept." This artistic process, which questions the ontology of painting, cultivates and rewrites tradition simultaneously. Present on the local and national scene, Szentgróti is a teacher at the Secondary School of Art in Pécs. He lives and works in Pécs.

Dávid Szentgróti is one of the most outstanding abstract gestural painters of the generation that emerged following the turn of the millennium, who cherishes the decades-old tradition of colourism and non-figurativity typical of Pécs. According to art historian György Várkonyi, "Dávid Szentgróti's paintings meet the timeless criteria of the 'easel painting' in every respect. These paintings are about painting itself: about the first movement and decision (...), about the poetic possibilities of the "application" of paint, the mixing/blending of colours relying on a variety of technical solutions, and the unfolding poetic possibilities." Szentgróti, born in Zalaegerszeg, graduated in painting from the Faculty of Arts of the University of Pécs in 2006 and obtained his doctoral degree (DLA) in 2013. Since the 2000s, his œuvre has been enriched by the non-figurative painting tradition of Pécs, from the surrealist forms of Ferenc Martyn to the colourism of Ilona Keserü, to the compositional logic of Ernő Tolvaly. Vivid colours, expressive brushwork and figurative motifs between these gestures defined Szentgróti's works from the 2000s. In the 2010s, as he simplified his motifs, the abstract gesture applied with a broad brush became increasingly dominant. Towards the end of the decade, Szentgróti's non-figurative imagery – with its varied surface treatment – became increasingly dense. In contrast, the alternation of broad brushstrokes and expressive surfaces was replaced by fields of acrylic paint mixed with pigments, transforming the canvases into an increasingly bright and translucent direction. The paintings, built up from thin coats of paint, evoke the aesthetics and layering of digital image editing software. Although the seemingly spontaneous gestures evoke the instinctive image-making of Informel Painting, Szentgróti follows a carefully pre-determined artistic program. In the words of art historian János Schneller: "The superimposition of the paint layers on the surface of the canvas, i.e. the consciously evoked structures, is perhaps the most important aspect of the concept." This artistic process, which questions the ontology of painting, cultivates and rewrites tradition simultaneously. Present on the local and national scene, Szentgróti is a teacher at the Secondary School of Art in Pécs. He lives and works in Pécs.

Dávid Szentgróti is one of the most outstanding abstract gestural painters of the generation that emerged following the turn of the millennium, who cherishes the decades-old tradition of colourism and non-figurativity typical of Pécs. According to art historian György Várkonyi, "Dávid Szentgróti's paintings meet the timeless criteria of the 'easel painting' in every respect. These paintings are about painting itself: about the first movement and decision (...), about the poetic possibilities of the "application" of paint, the mixing/blending of colours relying on a variety of technical solutions, and the unfolding poetic possibilities." Szentgróti, born in Zalaegerszeg, graduated in painting from the Faculty of Arts of the University of Pécs in 2006 and obtained his doctoral degree (DLA) in 2013. Since the 2000s, his œuvre has been enriched by the non-figurative painting tradition of Pécs, from the surrealist forms of Ferenc Martyn to the colourism of Ilona Keserü, to the compositional logic of Ernő Tolvaly. Vivid colours, expressive brushwork and figurative motifs between these gestures defined Szentgróti's works from the 2000s. In the 2010s, as he simplified his motifs, the abstract gesture applied with a broad brush became increasingly dominant. Towards the end of the decade, Szentgróti's non-figurative imagery – with its varied surface treatment – became increasingly dense. In contrast, the alternation of broad brushstrokes and expressive surfaces was replaced by fields of acrylic paint mixed with pigments, transforming the canvases into an increasingly bright and translucent direction. The paintings, built up from thin coats of paint, evoke the aesthetics and layering of digital image editing software. Although the seemingly spontaneous gestures evoke the instinctive image-making of Informel Painting, Szentgróti follows a carefully pre-determined artistic program. In the words of art historian János Schneller: "The superimposition of the paint layers on the surface of the canvas, i.e. the consciously evoked structures, is perhaps the most important aspect of the concept." This artistic process, which questions the ontology of painting, cultivates and rewrites tradition simultaneously. Present on the local and national scene, Szentgróti is a teacher at the Secondary School of Art in Pécs. He lives and works in Pécs.

Dávid Szentgróti is one of the most outstanding abstract gestural painters of the generation that emerged following the turn of the millennium, who cherishes the decades-old tradition of colourism and non-figurativity typical of Pécs. According to art historian György Várkonyi, "Dávid Szentgróti's paintings meet the timeless criteria of the 'easel painting' in every respect. These paintings are about painting itself: about the first movement and decision (...), about the poetic possibilities of the "application" of paint, the mixing/blending of colours relying on a variety of technical solutions, and the unfolding poetic possibilities." Szentgróti, born in Zalaegerszeg, graduated in painting from the Faculty of Arts of the University of Pécs in 2006 and obtained his doctoral degree (DLA) in 2013. Since the 2000s, his œuvre has been enriched by the non-figurative painting tradition of Pécs, from the surrealist forms of Ferenc Martyn to the colourism of Ilona Keserü, to the compositional logic of Ernő Tolvaly. Vivid colours, expressive brushwork and figurative motifs between these gestures defined Szentgróti's works from the 2000s. In the 2010s, as he simplified his motifs, the abstract gesture applied with a broad brush became increasingly dominant. Towards the end of the decade, Szentgróti's non-figurative imagery – with its varied surface treatment – became increasingly dense. In contrast, the alternation of broad brushstrokes and expressive surfaces was replaced by fields of acrylic paint mixed with pigments, transforming the canvases into an increasingly bright and translucent direction. The paintings, built up from thin coats of paint, evoke the aesthetics and layering of digital image editing software. Although the seemingly spontaneous gestures evoke the instinctive image-making of Informel Painting, Szentgróti follows a carefully pre-determined artistic program. In the words of art historian János Schneller: "The superimposition of the paint layers on the surface of the canvas, i.e. the consciously evoked structures, is perhaps the most important aspect of the concept." This artistic process, which questions the ontology of painting, cultivates and rewrites tradition simultaneously. Present on the local and national scene, Szentgróti is a teacher at the Secondary School of Art in Pécs. He lives and works in Pécs.

Dávid Szentgróti is one of the most outstanding abstract gestural painters of the generation that emerged following the turn of the millennium, who cherishes the decades-old tradition of colourism and non-figurativity typical of Pécs. According to art historian György Várkonyi, "Dávid Szentgróti's paintings meet the timeless criteria of the 'easel painting' in every respect. These paintings are about painting itself: about the first movement and decision (...), about the poetic possibilities of the "application" of paint, the mixing/blending of colours relying on a variety of technical solutions, and the unfolding poetic possibilities." Szentgróti, born in Zalaegerszeg, graduated in painting from the Faculty of Arts of the University of Pécs in 2006 and obtained his doctoral degree (DLA) in 2013. Since the 2000s, his œuvre has been enriched by the non-figurative painting tradition of Pécs, from the surrealist forms of Ferenc Martyn to the colourism of Ilona Keserü, to the compositional logic of Ernő Tolvaly. Vivid colours, expressive brushwork and figurative motifs between these gestures defined Szentgróti's works from the 2000s. In the 2010s, as he simplified his motifs, the abstract gesture applied with a broad brush became increasingly dominant. Towards the end of the decade, Szentgróti's non-figurative imagery – with its varied surface treatment – became increasingly dense. In contrast, the alternation of broad brushstrokes and expressive surfaces was replaced by fields of acrylic paint mixed with pigments, transforming the canvases into an increasingly bright and translucent direction. The paintings, built up from thin coats of paint, evoke the aesthetics and layering of digital image editing software. Although the seemingly spontaneous gestures evoke the instinctive image-making of Informel Painting, Szentgróti follows a carefully pre-determined artistic program. In the words of art historian János Schneller: "The superimposition of the paint layers on the surface of the canvas, i.e. the consciously evoked structures, is perhaps the most important aspect of the concept." This artistic process, which questions the ontology of painting, cultivates and rewrites tradition simultaneously. Present on the local and national scene, Szentgróti is a teacher at the Secondary School of Art in Pécs. He lives and works in Pécs.

Dávid Szentgróti is one of the most outstanding abstract gestural painters of the generation that emerged following the turn of the millennium, who cherishes the decades-old tradition of colourism and non-figurativity typical of Pécs. According to art historian György Várkonyi, "Dávid Szentgróti's paintings meet the timeless criteria of the 'easel painting' in every respect. These paintings are about painting itself: about the first movement and decision (...), about the poetic possibilities of the "application" of paint, the mixing/blending of colours relying on a variety of technical solutions, and the unfolding poetic possibilities." Szentgróti, born in Zalaegerszeg, graduated in painting from the Faculty of Arts of the University of Pécs in 2006 and obtained his doctoral degree (DLA) in 2013. Since the 2000s, his œuvre has been enriched by the non-figurative painting tradition of Pécs, from the surrealist forms of Ferenc Martyn to the colourism of Ilona Keserü, to the compositional logic of Ernő Tolvaly. Vivid colours, expressive brushwork and figurative motifs between these gestures defined Szentgróti's works from the 2000s. In the 2010s, as he simplified his motifs, the abstract gesture applied with a broad brush became increasingly dominant. Towards the end of the decade, Szentgróti's non-figurative imagery – with its varied surface treatment – became increasingly dense. In contrast, the alternation of broad brushstrokes and expressive surfaces was replaced by fields of acrylic paint mixed with pigments, transforming the canvases into an increasingly bright and translucent direction. The paintings, built up from thin coats of paint, evoke the aesthetics and layering of digital image editing software. Although the seemingly spontaneous gestures evoke the instinctive image-making of Informel Painting, Szentgróti follows a carefully pre-determined artistic program. In the words of art historian János Schneller: "The superimposition of the paint layers on the surface of the canvas, i.e. the consciously evoked structures, is perhaps the most important aspect of the concept." This artistic process, which questions the ontology of painting, cultivates and rewrites tradition simultaneously. Present on the local and national scene, Szentgróti is a teacher at the Secondary School of Art in Pécs. He lives and works in Pécs.

Dávid Szentgróti is one of the most outstanding abstract gestural painters of the generation that emerged following the turn of the millennium, who cherishes the decades-old tradition of colourism and non-figurativity typical of Pécs. According to art historian György Várkonyi, "Dávid Szentgróti's paintings meet the timeless criteria of the 'easel painting' in every respect. These paintings are about painting itself: about the first movement and decision (...), about the poetic possibilities of the "application" of paint, the mixing/blending of colours relying on a variety of technical solutions, and the unfolding poetic possibilities." Szentgróti, born in Zalaegerszeg, graduated in painting from the Faculty of Arts of the University of Pécs in 2006 and obtained his doctoral degree (DLA) in 2013. Since the 2000s, his œuvre has been enriched by the non-figurative painting tradition of Pécs, from the surrealist forms of Ferenc Martyn to the colourism of Ilona Keserü, to the compositional logic of Ernő Tolvaly. Vivid colours, expressive brushwork and figurative motifs between these gestures defined Szentgróti's works from the 2000s. In the 2010s, as he simplified his motifs, the abstract gesture applied with a broad brush became increasingly dominant. Towards the end of the decade, Szentgróti's non-figurative imagery – with its varied surface treatment – became increasingly dense. In contrast, the alternation of broad brushstrokes and expressive surfaces was replaced by fields of acrylic paint mixed with pigments, transforming the canvases into an increasingly bright and translucent direction. The paintings, built up from thin coats of paint, evoke the aesthetics and layering of digital image editing software. Although the seemingly spontaneous gestures evoke the instinctive image-making of Informel Painting, Szentgróti follows a carefully pre-determined artistic program. In the words of art historian János Schneller: "The superimposition of the paint layers on the surface of the canvas, i.e. the consciously evoked structures, is perhaps the most important aspect of the concept." This artistic process, which questions the ontology of painting, cultivates and rewrites tradition simultaneously. Present on the local and national scene, Szentgróti is a teacher at the Secondary School of Art in Pécs. He lives and works in Pécs.