András Bernát: Configuration of the Landscape


The House of Arts Veszprém is awaiting You with several art gallery in the Dubniczay palace and in the Vass László Collection. More Shorter

András Bernát: Configuration of the Landscape

András Bernát is one of the greatest artists of his generation; surprisingly, his career path is undiminished and follows a straight line.

During his academic years, András Bernát together with Zoltán Ádám, József Bullás and István Mazzag has already participated in the development of Hungarian painting.

He found his own expressive style relatively soon. He developed his painting style connected to nature, what we can call a bit primly abstract impressionism, according to the tradition of Turner and the French impressionists. His pictures painted during the mid to late 80s show soft structures and refer to the principles of composition of classical landscapes thus evoking the traditional perspective, but his way of self expression justifies the natural forms. In the 80-90s something had changed in the paintings of Bernát. From then on, the motives of his pictures started to bear some resemblance to land art. The abstraction and the strict objectivity appear at the same time in the paintings from that time. However, his depiction of motion is an individual paradox: his combination of land art with the so called Turner’s storm is a special of expressing emotions.

Otherwise, it seems that with the paintings he tries to illustrate or to interpret the honest words of Rainer Maria Rilke about the paintings of Wordspede artists: ’Being an artist means, not reckoning and counting, but ripening like the tree which does not force its sap’.

In the last 10-15 years his painting style became completely unique. István Hajdu said: ’These pictures are monochrome images, meaning that they are made of a single colour each - at first sight; not at the second and not only because there is no such thing as pure monochrome but also because András Bernát smuggles colours into the base colour via light; what is more, he mixes metal granules with organic pigments, creating a silky-iridescent surface that keeps turning into an opaque, vivid body.’


András Bernát

He was born in 1957 in Törökszentmiklós.

Between 1980 and 1986 studied at The Hungarian University of Fine Arts. His Masters were Ignac Kokas and Gabor Dienes.

1986. Hermann Lipot-award, Soros Foundation Sizarship

1987-1990. Derkovits sizarship

2000. Munkacsy-award, Wien City award

2004. NKÖM award (Exhibition called ’Egyhetes’)

He lives in Budapest.

The exhibition can be seen every day from 10.09.2017 from 10am to 6pm, except on Monday.

Dóra Maurer – Object of Observation

Dóra Maurer, the laureate of the Munkácsy Award and Kossuth Award, is a graphic artist, painter, film director and also an art teacher. She is the Professor emeritus at the University for Arts, Budapest. She is usually mentioned for her activity as an art organizer. Dóra Maurer is a prominent representative of the Hungarian neo-avant-garde movement. After her individual exhibition at the White Cube at Mason's Yard, now You can visit her colletion in Modern Gallery – László Vass Collection.

Object of Observation

Dóra Maurer is characterized by versatility when we talk about her artistic side: one ego of her is playful, witty and womanlike, while the other ego is decisive, exact and well-organized. Due to her activities started to appear several exhibitions of concrete, systematic and serial art in Hungary from the 70s. But her serial works rarely miss some conceptual element, for example, she has the series where the coloured motifs painted on white background follow the frames of certain canvases; however, the vertical right side of the frame is displaced onto the next canvas.

Her ’quasi-pictures’, which type of work is also related to displacements, and can be retraced to her investigations about magic squares, is also belong to concrete art. According to Maurer’s own interpretation, “The departure and the scene is a rectangular surface with 4:5 proportion sides, which is divided into 10x10 units by a grid. Two congruent planes lying on this surface. Both layers are divided into four parts of equivalent territories. The lower part is marked with diagonal lines of warm colour, while upper one is marked with lines of cold colours. On the basis of the rule, these are the elements of displacement. According to the grid units, the fields are displaced by one step from left to right. By moving the cold colours in diagonal and the warm colours in vertical and horizontal directions, we can observe very complex situations of overlapping.”

The expression of quasi-picture is an apt formulation of the fact that these painted works of art are not really pictures (no representations of something). She can choose from a variety of methods to create a “picture”: to enlarge the overlapping grid units, apply anamorphosis, and “soft corners”. From 1986, she began cutting out the “white”, “blank” fields from the picture projections, creating real, transparent spatial grids and breaking the grid constellation into irregular shapes. The use of the method came when she received a commission to decorate the tower chamber of Buchberg Castle. She used two-dimensional aquarelle designs, with which she gradually transformed an area of fourteen square metres into an elusive spatial arrangement. (The procedure was documented in 1983 through the film called Térfestés (Spatial Painting)). She continued this project when she realized that the colours used in her quasi-pictures continually changed due to the different light and lighting circumstances. She painted the phenomena over and over again using eight colours, thus she has arrived at her Hommage à Monet-type series she calls “relative quasi-pictures”. (...) The original quasi-picture colours are hardly mixed, conceptual, industrial colours. The changes of light blend them with another, exterior system, owing to which they become indefinable qualities. The standard colours are vivid and variable, responding to every condition. The colours of the relative quasi-pictures are experiential colours that subsequently absorb extreme conditions of light and eventually expire.”

This quasi-picture concept is in constant development, for way back in 1991 it began to become independent of the wall (Quasi-Picture Slipped Down), and moreover, as the author mentions in a notice, “even the presence of the initial colours is challenged”.

During the last years she experimented with the additive subtractive colour mixing on space and time.

László Beke – expert from the essay appeared in the catalogue Dóra Mauer: Works 1970-1993’.

The exhibition can be seen every day from 10am to 6pm, except on Sunday to 28.10.2017.


Reflection – Exhibition of Gyula Zoltán Feledy

The graphic artist, István Halász declares for the work of Gyula Feledy:

’Gyula Feledy is rather focusing on the colour in his works. He uses the colour in a radical way. He makes more than just imaging, he creates something entirely new and we are part of it. However, not just the colour has the main role in his works, but the object he paints on.

The way he uses the colour is called monochrome painting. The best known ancestors of this style, who still have effect on the artists nowadays, are Mark Rothko and Yves Klein.

Gyula Zoltán Feledy

I was born in Sajtószentpéter on April 12, 1945. I was born in a mine camp, and we lived there in my childhood. I started the primary education here until I went to the Rákóczi Gimnázium in Sárospatak, where I graduated in 1963.

After the college preparatory in 1964, I passed into the University of Veterinary Medicine, Budapest, where in 1979 I received my postgraduate diploma as a veterinary surgeon.

I practiced as a veterinary surgeon in the collective farm at Balatonszabadi in Somogy County. After a half year I became the veterinary surgeon of the State Farm of Balaton-Nagyberek.

My first long lasting workplace was in Szentgotthárd, where I worked as veterinary surgeon at the Szombathelyi Tangazdaság ltd. Later I became the principal veterinary surgeon in a 1000-seat capacity milk-farm.

In 1976 I moved again to Somogy County in Kötcse. Since that time I live here with my family. At the beginning I worked as a veterinary surgeon in the collective farm at Balatonszárszó. Later I worked as a local and as an official veterinarian, and now I am a retired private veterinarian.

I married to Katalin Trifusz in 1972 when I was in Szentgotthárd. We have two adult children and three grandchildren.

Since 1990, I am the independent mayor of the village, Kötcse. To honour my autonomous and also public work, in 1998 I was rewarded with the Silver Cross of Merit of the Hungarian Republic.

As a child, I was already interested in graphic arts. Through my Kossuth Prize winner uncle, Gyula Feledy, I had the opportunity to get acquainted with his teachers (Károly Koffán, Sándsor Ék, György Konecsni), friends and colleges (Béla Kondor, Károly Reich, Kálmán Csohány, Ádám Würtz, Ferenc Czirke, Zoltán Lenkey, János Kass, Pál Barczi, László Lukovszky), who were outstanding representatives of graphic arts, yet in those days.

I have familiarized myself with their personality, individuality and artistic work. They were role models for me, which awakened the interest of art and relatively soon I became the lover of modern graphic art, as well as avant-garde graphic art. My original profession was totally different, and at the beginning it did not allow me to be more than a votary of art. After planning and trying for several decades, I studied the theory of colours and in 2004 I first started to paint as an autodidact. Since then, I am the representative of non-figurative art. At the beginning of my career, János Megyik and György Szőke helped me and paved the way for becoming the person I am today. As time wore, I began to reduce the number of colours and became the artist of monochromic painting (using only a single colour).

Over the past years, I am interested mainly in monochrome painting and monochrome abstract. My aim for the future is to acquire a more indepth knowledge of the monochrome painting.

I think that a composition painted with one colour also has an innovative power, which gives the painting the impression that it is emotionally charged. I could increase the interest and the fantasy of people.

At the beginning, I worked only with paper, but today I also use canvas and wood and I paint with my unique techniques only with acrylic and lacquer.

In 2008 the Chief Technical Examiner affiliated me in the Association of Hungarian Graphic Artists, and in 2013 I became part of the Society of Hungarian Painters.

From 2005, I am continuously involved in several individual and group exhibitions.

Some of my paintings can be seen in the Antal-Lusztig Collection, László Vass Collection, Kálmán Imre Museum in Siófok, in the Rippl-Rónai Museum in Kaposvár and by private painting collectors, artists and friends.

The painting is a source of comfort and joy for me, through which I can express artistic freedom.

The exhibition can be seen every day from 09.09.2017 to 05. 11. 2017 from 10am to 6pm and in 01.11.2017 from 10am to 5pm, except on Mondays.

Address: Veszprém, Vár u. 17.