„The Sun King” by Róbert Csáki alloys technical precisity of old masters with query of today. The title of the painting already refers to withered styles, the baroque, and it’s visual world rather to the rococo. Portraits of the XVII. and XVIII. century fill the figures with life, by movement, coquetry of red cheeks, gracefulness of folds, clairvoyant visage. Csáki applies the playful usage of lights and colors of these styles, the figure of „The Sun King” is illuminated from the depth of the background. The body is clotted in whirling by many gradation of green, it is a cadocous texture, which represents the mistique of baroque fold. What truly modern is in the painting, that Csáki not only visualizeses the figure, but also dissects it, overwrites the genre of portrait. „The Sun King” does not have visage, which encumbers to look at it as a human. Although, this feeling of hiatus and the surly darkness of colors is overwritten by the open mouth of the figure, which transforms the lifeless atmosphere of the painting. Like he would moan, breathing his fear and angst into the world. This act becomes the sign of cut-off between life and death, which pervades the picture. Thus Csáki interweaves the vital blandness of baroque, and the blow-up of inner suffering (as by Francis Bacon) in this masterpiece.
written by: Zsófi Máté
The Sun King (78×66 cm, oil on canvas, 2013)
„Uptown Workshop (Philadelphia)” by László Gyémánt is a realistic detail of a city, understandable by Paul Cézanne’s the idea about landscape: man is absent from it, but completely within the brain. Sense of leaving behind dominates the picture, incarnated in the dying workshop or the unowned car. These are the stock of the painting, which could be defined as the objective world of a social class, milieu, standard of living. However, Gyémánt’s unmoved, willfully void-profundity portrayal alienates from the underlying,these objects should refer to. They do not advert to a bigger context, do not become symbols of a bigger reality, do not lead to the people they belong to. What is there on „Uptown Workshop” by László Gyémánt, shows indeed what is absent. All this goes beyond the alienation of people from their objective world, and captures visually their irreversible fragmentation, in stony, inexorably precise style.
written by: Zsófi Máté
Uptown Workshop, Philadelphia (50×70 cm, oil on canvas, 2009)
„Missed Moment” by Mózes Incze thickens time. Stationarity dominates everything, the sitting figure in the foreground and the stone standing in front of him. The clouds and smoke wreathing behind him, the lifeless grey body, the white feather are floating with ease, but the strained permanence int them doesn’t permits motion. The lights and shadows, the bodies and the fold are stiffen.
The sand-glass in front of the main figure reports the suspicion which encompasses the whole picture: time has been stopped on the painting. Mózes Incze locked temporality into this tiny object. The sand cannot twirl because of the status of the sand-glass.
Windup the passing of time raises a question: what is that missed moment the title refers to? Is it possible to talk about moments, if time doesn’t pass, if the chain of momentary nows is torn?
The sand-glass on a key-holder becomes the actual key to the painting. The lens of the camera, holded by the blindfold figure is also aiming at it. It is laying on a surface, overtopping from the space of the picture, if it would tilt down, passing of time, running of the world, lives of the people in the paiting could start over. Maybe the photographer is waiting for this, he wants to record this inevitable moment. Hope of the shifting of the sand-glass is holded up by tender brushstrokes, but the blindness of the man with the camera is hamstring it. He wouldn’t be able to see the change, he will not have loophole from this closed space. The thick timelessness, weighing on the painting by Mózes Incze is only understandable through the lines of Attila József: „Blue, yellow, red, they flocked my dream,/ smudged images the mind had taken,/ I felt the cosmic order gleam-/ and not a speck of dust was shaken.”
written by: Zsófi Máté
Missed moments (190×140cm, oil on canvas, 2011)
„Champagne” by PAF hides it’s secret behind coatings. It involves the viewer into a game, who is forced to move between visible and undercover. The picture imperously expects from us the reconstruction of everything, that is obscured by the painter. On „Champagne” this tendency materializes through the figure.We don’t know about the hand reaching from the background, wheter a body belongs to it, or not. This scepticism creates the game with the artwork. We are not able to accept the fact, that the spectacle given by the picture is not, what we really supposed to see.
Champagne in the title of the painting is the attachment and symbol of celebration. On the picture the hand, holding the glass fitfully, is the focus of the artwork, since it’s the zero point of the red gesture, which overarches the whole painting.
PAF’s glass is empty. A smashing red gesture is flowing out of it. The blues guttering onto the arm of the incomplete figure are hiding the color of her skin. The processes on the picture rule the subject of the picture. They show as strange something well known, hamstring something lightsome.
written by: Zsófi Máté
PAF – Champagne (100×100cm, mixed technique on wood, 2013)
„Cathedral” by György Szabó is a self-constitutive and self-supporting organism. The scuplture, made with lost-wax technique, has all of it’s components in connection, their dependence to eachother creates necessity, although we expect eventuality for the first sight. György Szabó’s construction’s salients -mainly in the case of the raising towers- enwreathe like they were joints, holding a body together. The erection of bronze dispenses with static, it is a living structure, in which all the portions effect the whole, establishing fragile balance. The partials of the buliding remind of a cathedral, but the artist reshapes these. What we see are only imprints of well-known architectural features. The „Cathedral” connotes sacrality, but only consits it’s vestige. This hiatus originates the incomprehensible glumness, which surrounds the scuplture by György Szabó.
Cathedral (180x22x20 cm, lost-wax bronze, iron, limestone, 2009)
„Midnight Rainbow” by Róbert Csáki consists incomprehensible ambivalence. In the warm coloured, easeful foreground faceless, colourful figures are looking into the background, creating an inner frame on the picture. In the blinding white city in front of them, seems like the time has been stopped, only the trusses of buildings stretch to the dark sky. Bridgings transform into constellations, spur wheels into luminaries. Down below a grey man is standing, is unable to see what the group of people rolled in varicoloured rag can: appeariance of a pale rainbow. We don’t know whether these people are leaving, or just entering this nonsensical space, who the sinister grey man is, what this bright, strange world is like. Although on Róbert Csáki’s painting all the doubtfulness, threatening stationarity is dissolved by the panorama of shimerring stars and evanescent rainbow, which seems in its universality such instantaneous, so worldly.
Our new series IN THE FOCUS…
On every second monday we are planning to introduce one Masterpiece of our Artists.
Zsófi Máté Bachelor of Arts student writes short description about the Masterpieces.
Standing in front of an almost two meters high and three meters wide canvas, we usually get confused, try to see the details and the whole at once. On Imre Barna Balázs’s Flux … the system of pulsating gestures simply lets us into the painting. We are too close to stay away.
The streaks of colourful gestures weigh heavily, float effortless, or wreathe mysteriously on the surface. They get in interaction, frame eachother. Cold and warm colours trigger incompatible feelings, and create total, pure order in us and also on the painting.
On the masterpiece by Imre Barna Balázs the moitonless moves and the unimaginable becomes visible, perceptible.
Imre Barna Balázs – Flux 57 (190×290cm, oil on canvas, 2013)