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Piroska Szanto Painter Graphic

1913 - 1998

Plowing Piroska painter, graphic artist (Kiskunfélegyháza, December 7, 1913 - Budapest, August 2, 1998) In 1931 he was admitted to the Hungarian College of Applied Arts, and after a year he transferred to the Hungarian College of Fine Arts, in the class of István 5zőnyi, from which he was expelled due to his left-wing political activities. After that, he attended the course of János V / aszary at the private school of Klára Rázsó. Her first husband was photo artist Gusztáv Seiden, her second husband was poet István Vas. In 1934 he joined the Socialist Fine Artists Group and then its successor, the Society of Socialist Fine Artists, which was formed around 1939-1940. In 1937, at the invitation of Endre Bálint, he went to Szentendre for the first time, where he joined a group of young people around Dezső Korniss and Lajos Vajda. From that time until his death he was a figure in the art life of Szentendre. 1945 Until 1948, until his dissolution, he was a member of the European School. His early landscapes, figural compositions and drawings are characterized by a striking expressive tone in his later work. From the beginning of the 1940s, Vajda found one of the cyclically recurring images of his pictorial thinking, the surrealistic5, anthropomorphized depictions of plants and animals as a result of his late surreal works: The intimate relationship with nature has remained an essential feature of his art throughout, despite stylistic changes. In the 1950s, illustration works provided a livelihood for the artist. In the second half of the 1950s, new features appeared in his works through the construction of solid black lines of sparkling colors. Despite his material references in this conception, his works are related to the line of French lyrical abstraction represented by A. Manessier, among others. Although his artistic thinking has been in the past It was characterized by the tendency to process a theme in series, and from the 1960s onwards, it intensified, and in addition to the identity of image-building, the artist often associated technical procedures and the use of materials. Confronted with the rapidly declining folk culture and the abolition of traditional moral values, he was inspired by the roadside crosses falling from the late 1960s onwards.

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