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L\u00c1SZL\u00d3 MOLN\u00c1R | New Paintings<\/h2>\n
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Budapest Gal\u00e9ria<\/p>\n
1036 Budapest, Lajos utca 158.<\/p>\n
6 February \u2013 16 March 2014<\/p>\n
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Curator of the exhibition:<\/p>\n
Mikl\u00f3s Sulyok<\/p>\n
[\/vc_column_text][vc_empty_space][\/vc_column][vc_column width=”2\/3″ el_class=”full-2″][vc_column_text]L\u00e1szl\u00f3 Moln\u00e1r\u2019s master in Budapest was (his namesake) S\u00e1ndor Moln\u00e1r. He joined the Zugl\u00f3 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 J\u00e1nos Pilinszky and the dramatic expressivity of L\u00e1szl\u00f3 Medny\u00e1nszky; the subject of his work is often an episode from the Passion.<\/p>\n
Solo exhibitions:<\/strong>
\n1980 Head office of the Geodesy and Cartography Corporation \u2022 J\u00f3zsef Attila Cultural Centre – 1984 Gallery of Gy\u00f6ngy\u00f6s \u2022 \u00d3budai Cellar Gallery, Budapest – 1986 \u00d3buda Gallery, Budapest – 1989 Vachot S. Municipal Library, Gy\u00f6ngy\u00f6s – 1992 F\u00e9szek Club, Budapest – 1993 Csepel Gallery, Budapest 1994 Vigad\u00f3 Gallery, Budapest – 1996 Galerie Bieberach – 1997 B\u00fcrghaus “Kelter”, Winterbach – 1998 Szinyei Salon, Budapest – 1999 Budapest Gallery – 2003 Gallery 13, Soroks\u00e1r-Budapest – 2007 Gy\u00f6ngy\u00f6spata, Cultural Centre.<\/p>\n
Selected Group Exhibitions: <\/strong>
\n1989 \u2022 Hungarian Art in the 1980s, Passauer Kunstverein, St. Anne Chapel, Passau \u2022 Passau I-II., \u00d3budai T\u00e1rsask\u00f6r Gallery, Budapest – 1992 \u2022 VI. Drawing Biennial of Salg\u00f3tarj\u00e1n – 1993 \u2022 Zugl\u00f3 Circle 1958\u20131968, No. 5 Gallery, Budapest. Works in Public Collections: Hungarian National Gallery, Budapest.<\/p>\n
Bibliography:<\/strong>
\nANDR\u00c1SI G\u00e1bor: The Exhibition of L\u00e1szl\u00f3 Moln\u00e1r at the \u00d3buda Cellar Gallery, M\u0171v\u00e9szet, 1984\/8 (in Hungarian). ANDR\u00c1SI G\u00e1bor: The Zugl\u00f3 Circle 1958-1968, Ars Hungarica (in Hungarian), 1991\/1. SINKOVITS P\u00e9ter: Painting as a Cry in the Night, \u00daj M\u0171v\u00e9szet, 1992\/3 (in Hungarian). SINK\u00d3 Istv\u00e1n: “Archai”. The Exhibition of L\u00e1szl\u00f3 Moln\u00e1r at the Vigad\u00f3 Gallery, \u00daj M\u0171v\u00e9szet, 1995\/5 (in Hungarian). ANDR\u00c1SI G\u00e1bor: Abstraction and Concealing Motifs in the Works of the Zugl\u00f3 Circle Artists, Ars Hungarica, 1998\/1 (in Hungarian). 1992: VI. National Biennial of Small Graphic Works, Salg\u00f3tarj\u00e1n, award presented by \u00daj M\u0171v\u00e9szet.
\nSource: www.artportal.hu<\/a>[\/vc_column_text][vc_separator type=”normal” up=”25″ down=”25″][vc_column_text]L\u00e1szl\u00f3 Moln\u00e1r 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 \u2013 the masterful control of his skill \u2013 is based on decades of experience and discernment. Moln\u00e1r 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.<\/p>\n
L\u00e1szl\u00f3 Moln\u00e1r is an iconoclast painter. He destroys tradition in that he does not accept the differentiation that categorizes artists into aesthetic camps of \u201cabstract\u201d (i.e. non- representational) or figurative (representational), a differentiation that has had a sad history in Hungarian art. For Moln\u00e1r has been both an \u201cabstract\u201d 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 \u201crepresented\u201d motifs. For Moln\u00e1r, the spheres of painting are permeable. The key to his work is the phenomenon of interpenetration: we recognize figures on pictures that appear \u201cabstract\u201d at first glance, but these figures can by the same right also be interpreted as the elements of a landscape.<\/p>\n
G\u00e1bor Andr\u00e1si, 1999<\/p>\n
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