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G\u00e1l Andr\u00e1s<\/p>\n

Tryptichon in three parts<\/em>, 2012, oil, canvas, each 197\u00d7191 cm<\/p>\n

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Andr\u00e1s G\u00e1l | Radical Paintings 2008\u20132018<\/em><\/h1>\n
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BUDAPEST GALLERY<\/p>\n
1036 Budapest, Lajos utca 158.<\/p>\n
11 September \u2013 13 October 2019<\/p>\n
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Opening:<\/p>\n
10 September, 2019, 17:30<\/p>\n
Opening speech by:<\/p>\n
M\u00f3nika ZSIKLA<\/p>\n
art historian<\/p>\n
[\/vc_column_text][vc_empty_space height=”32″][\/vc_column][vc_column width=”2\/3″ el_class=”full-2″][vc_column_text]For the practice of painting as a continuing art form, the essential question remains – What does the painter do after the invention of the camera? There is now being developed a new paradigm for the investigation of its form. It is a paradigm to present the concrete actuality of the form itself.<\/p>\n
What is referred to as Monochrome Painting comes out of the easel form of portraiture. The intent of the portrait is, not only to present how the subject looks, i.e., their outer appearance, but also to capture the personality or inner character of the individual being represented.<\/p>\n
The intention of presenting a painting as a single color image is not just to make a colored object, but also to reveal the inner nature of its specific color. So all questions about the function of the painting are subordinate to the charter or personality of its color. The image is presented to elicit our feeling response to its color, and it is the actual painted quality of the color that determines the image identity of the painting. Andr\u00e1s G\u00e1l is a player in the development of this new paradigm.<\/p>\n
Joseph Marioni painter May 28. 2019 NYC<\/p>\n
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Andr\u00e1s G\u00e1l<\/p>\n
Untitled\/red,<\/em> 2018, oil, canvas, 90\u00d790 cm<\/p>\n
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