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Budapest Gallery<\/p>\n
1036 Budapest, Lajos utca 158.<\/p>\n
20 March \u2013 27 April 2014<\/p>\n
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Curator of the exhibition:<\/p>\n
G\u00e1bor Andr\u00e1si<\/p>\n
[\/vc_column_text][vc_column_text][vc_empty_space height=”32px”][\/vc_column][vc_column width=”2\/3″ el_class=”full-2″][vc_column_text]The representational pictorial style of G\u00e9za G\u00f6rgey is based on a thorough knowledge of the \u201cold masters\u201d \u2013 primarily the technical questions addressed in 17th century Dutch painting. He builds his own personal visual world on this, a world which is somewhat wry and not lacking in overtones of self-reflexive irony. He either scatters his works onto the canvases quickly, with great passion, in swift, wide brushstrokes, or he works out the seemingly unimportant details with minute precision. As to which side of his painting he decides to show, this stems from the inner directives that determine the various, shifting periods: if we consider his research on the techniques of painting and his camera obscura experiments, it is the latter form; if we recall his passionate, argumentative-polemical side, we find an explanation for the former.<\/p>\n
The changes that have taken place in the world around him and in his lifestyle have left a mark on this works: as ministers of the Reformed Church, he and his wife moved to P\u00e1lfa in Tolna County. The landscape, the meadows, the yard and the animals in it appeared in his pictures.<\/p>\n
The titled of the exhibition in \u00d3buda calls attention to how the experiences that befall the painter are transformed into pictures not in nature, outdoors, but rather inside his studio: as the results of visual memories and the formal forces that shape the paintings.<\/p>\n
G\u00f6rgey takes his painterly task seriously, however bizarre the subject of his selection may seem: portraits of pigs or donkeys are simultaneously unbiased and empathetic. His \u201ccommitment\u201d to and his distance from his subjects are concurrently present in his works, just as one can also discern in them the self-consciousness of painting and the confirmation and self-criticism of the painter\u2019s position.<\/p>\n
G\u00e1bor Andr\u00e1si<\/p>\n
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