Lajos Máté Csurgói

Lajos Máté Csurgói (1931 - 2001) hungarian artist. Between 1958-63 he worked in the etchingpress of Képcsarnok. Besides working as a creative writer, and he also worked as a musician. His work is mainly landscape and the representation of work. One of the main caracter of the ex-libris genre.

Landscape of Somogy, 1986
etching, paper
500 × 300 mm

Albrech Dürer: Rhinoceros

Rhinoceros, 1515
woodcut, paper
214 × 298 mm

Dürer's woodcut is not an entirely accurate representation of a rhinoceros. He depicts an animal with hard plates that cover its body like sheets of armour, with a gorget at the throat, a solid-looking breastplate, and rivets along the seams; he also places a small twisted horn on its back, and gives it scaly legs and saw-like rear quarters. None of these features is present in a real rhinoceros. Despite its anatomical inaccuracies, Dürer's woodcut became very popular in Europe and was copied many times in the following three centuries. It was regarded by Westerners as a true representation of a rhinoceros into the late 18th century. Eventually, it was supplanted by more realistic drawings and paintings, particularly those of Clara the rhinoceros, who toured Europe in the 1740s and 1750s. It has been said of Dürer's woodcut: "probably no animal picture has exerted such a profound influence on the arts".

The German inscription on the woodcut reads:

"On the first of May in the year 1513 AD [sic], the powerful King of Portugal, Manuel of Lisbon, brought such a living animal from India, called the rhinoceros. This is an accurate representation. It is the colour of a speckled tortoise, and is almost entirely covered with thick scales. It is the size of an elephant but has shorter legs and is almost invulnerable. It has a strong pointed horn on the tip of its nose, which it sharpens on stones. It is the mortal enemy of the elephant. The elephant is afraid of the rhinoceros, for, when they meet, the rhinoceros charges with its head between its front legs and rips open the elephant's stomach, against which the elephant is unable to defend itself. The rhinoceros is so well-armed that the elephant cannot harm it. It is said that the rhinoceros is fast, impetuous and cunning."

Image and text source:

Hell (Pörgu), 1983

Estonian animation film by Rein Raamat. The film brings to life in one nightmarish vision three detailed engravings from the early 30's created by Estonian artist Eduard Viiralt: "The Preacher", "Cabaret" and "Hell".

 Film source:

Henri Matisse in bed

Robert Capa:
Henri Matisse in bed, 1949

"Don't wait for inspiration. It comes while one is working."
 (Henri Matisse)

Erik Desmazières

Video about Erik Desmazières (in french).

Video source:

Other techniques: Endre Bálint - Untitled

Untitled, 1985
montage, wood
300 × 600 mm

„Az én kulcsom: papírvágó ollóm, amivel képes-papírokat vagdosok össze-vissza, mint egy gyermek, aki örömét leli vandál játékában... Kendős parasztasszonyokat csonkítok meg: arcukat kivágom és ráragasztom egy asztal lapjára, kivágom egy asztal két lábát és keresztet alakítok azokból, majd kivágom a Megváltót és egy csónak kereszt alakú fenékpallójára feszítem fel és átélem állandó szenvedését, ami sajátommá lett... Régi zsidó temetők sírkövei között bolyong a képzeletem: megidézi a múltakat és megidézem a múltamat, amit kivetítek egy olyan jövő fehér kartonlapjára, amelyen az idő cigánykereket hány: a létezőből nem létezőt és a nem létezőből létezőt hazudik, és egyedül a hitem tanúskodhatna titkaimról, de hitemről csak magam tanúskodhatnék, akinek nincs is hite, vagy ha igen, egyedül a képzelet rendjében hisz és a rend fegyelmezett képzeletében... Az éjszakák kíméletesebbek velem, mint a nappalok, álmokba taszítanak az éjszakák, de ezekkel az álmokkal nincs mit kezdenem, mert nem az akaratom alakította olyanná, amilyenek, míg a nappali álmaimat az akaratom és a képzeletem mozgása egy olló és papírragasztó segítségével emeli ki a közömbösség fagyott árkaiból.”
Endre Bálint, 1981

Exhibition: Rippl-Rónai - Pieces of Art from the Hands of Old Collectors

Bretagne-i népünnep, 1896
litograph, paper

József Rippl-Rónai (1861-1927) was born 150 years ago, and this exhibition recalls his life and work. Rippl-Rónai's abundant drawing and printmaking activity is shown at the exhibition with such pieces that came into the property of the Hungarian National Gallery through the Museum of Fine Arts which received them as a gift from both the artist and three collectors playing an important role at the early 19th century Hungarian art life: Elek Petrovics, Simon Meller and Dr. Pál Majovszky.

A significant part of Rippl-Rónai's graphic works contains large-scale ink drawings prepared between the 1890s and the middle of 1910s. The pieces, originally dating from the 1890s from France, he only dated later and were most probably pre-dated. In most of the pieces, in fact dating back to the middle of 1890s, the model was Lazarine Baudrion, Rippl-Rónai's partner in Paris. On his pen drawings, sometimes coloured with aquarelle, Lazarine is dressing, lying on a bed, pedicuring, embroidering, sewing or reading with her hands under her chin. Outstanding pieces of the early pen drawings are the extremely plastic Female Nude (Marguerite Renard) and two pieces with a woman dancer on each. Some of the pen drawings were prepared in 1899 in a small Pyrenees village, Banyuls-sur-Mer where Rippl-Rónai spent three months as a guest of the sculptor Aristide Maillol. A piece of these is one of the most beautiful portraits of the artist, depicting Maillol's wife, Clotilde in a pondering, affectionate manner.

Hungarian National Gallery
Budavári Palota
A-B-C-D building
H-1014 Budapest,
Szent György tér 2.

Daily 10.00 - 18.00 except Monday
26 October 2011 - 23 September, 2012