LÁSZLÓ MOLNÁR | New Paintings

Budapest Galéria

1036 Budapest, Lajos utca 158.

6 February – 16 March 2014

Curator of the exhibition:

Zsuzsanna Szegedy-Maszák

László Molnár’s master in Budapest was (his namesake) Sándor Molnár. He joined the Zugló Circle in 1962. As of 1967 he has been on numerous study tours throughout Europe (Paris, London, Madrid, Vienna, Cologne, Prague, Amsterdam, Rome, Venice, Florence, etc.). At the beginning of his career his work showed similarities to French lyrical abstractionism. From the 1970s he turned his attention to the compatibility of figurative and non-figurative approach in art. His paintings are inspired by the lyric poetry of János Pilinszky and the dramatic expressivity of László Mednyánszky; the subject of his work is often an episode from the Passion.

Solo exhibitions:
1980 Head office of the Geodesy and Cartography Corporation • József Attila Cultural Centre – 1984 Gallery of Gyöngyös • Óbudai Cellar Gallery, Budapest – 1986 Óbuda Gallery, Budapest – 1989 Vachot S. Municipal Library, Gyöngyös – 1992 Fészek Club, Budapest – 1993 Csepel Gallery, Budapest 1994 Vigadó Gallery, Budapest – 1996 Galerie Bieberach – 1997 Bürghaus “Kelter”, Winterbach – 1998 Szinyei Salon, Budapest – 1999 Budapest Gallery – 2003 Gallery 13, Soroksár-Budapest – 2007 Gyöngyöspata, Cultural Centre.

Selected Group Exhibitions:
1989 • Hungarian Art in the 1980s, Passauer Kunstverein, St. Anne Chapel, Passau • Passau I-II., Óbudai Társaskör Gallery, Budapest – 1992 • VI. Drawing Biennial of Salgótarján – 1993 • Zugló Circle 1958–1968, No. 5 Gallery, Budapest. Works in Public Collections: Hungarian National Gallery, Budapest.

Bibliography:
ANDRÁSI Gábor: The Exhibition of László Molnár at the Óbuda Cellar Gallery, Művészet, 1984/8 (in Hungarian). ANDRÁSI Gábor: The Zugló Circle 1958-1968, Ars Hungarica (in Hungarian), 1991/1. SINKOVITS Péter: Painting as a Cry in the Night, Új Művészet, 1992/3 (in Hungarian). SINKÓ István: “Archai”. The Exhibition of László Molnár at the Vigadó Gallery, Új Művészet, 1995/5 (in Hungarian). ANDRÁSI Gábor: Abstraction and Concealing Motifs in the Works of the Zugló Circle Artists, Ars Hungarica, 1998/1 (in Hungarian). 1992: VI. National Biennial of Small Graphic Works, Salgótarján, award presented by Új Művészet.
Source: www.artportal.hu

László Molnár is a traditionalist painter. For the most part he uses the traditional oil technique. His pictures are the fruits of patient labour that sometimes lasts for several months. A struggle for forms; a wrestling match in which he tries to confine his fundamentally dynamic, expressive character and spontaneous perspicuity within limits. His endeavour – the masterful control of his skill – is based on decades of experience and discernment. Molnár is unsatisfied with the directness of primary forms exploding on canvases, the untrammelled personal quality. He undertakes a difficult task: he would like to transfigure the instinctively discovered forms in such a manner so as to preserve, when possible their freshness and vivacity. His biggest enemy is time. Sometimes the blink of a moment is sufficient for a successful, original painterly gesture, while other times long hours prove too short to achieve a reassuring resolution of a problem of colour or form.

László Molnár is an iconoclast painter. He destroys tradition in that he does not accept the differentiation that categorizes artists into aesthetic camps of “abstract” (i.e. non- representational) or figurative (representational), a differentiation that has had a sad history in Hungarian art. For Molnár has been both an “abstract” and a figurative painter, and presently he is both. In his non-figurative period he emphasized the objective-associative tendencies of abstract forms. In his figurative period he stressed the autonomous, par excellence painterly colour and form references of “represented” motifs. For Molnár, the spheres of painting are permeable. The key to his work is the phenomenon of interpenetration: we recognize figures on pictures that appear “abstract” at first glance, but these figures can by the same right also be interpreted as the elements of a landscape.

Gábor Andrási, 1999