This is the kind of painting that appeals to me. Monochrome, well not completely MONOCHROME, since there is a fine kind of structure in the upper layer. It is a bit like the miniimal paintings of Tomas Rajlich , who uses the surface of the paint to form a pattern on the canvas, making the painting not flat but finely structured. Combining his Monochrome canvasses in a way that makes them a composition on their own and there you have it , beautiful paintings by this young Hungarian artist.
Max Imdahl said about Gal.
„The painting finds its way behind every order, whether innate or trained, defined conceptually, mathematically, geometrically or by a (formal) aesthetic: it finds the ground of (absolute emotion )as a kind of elementary capacity.” (Max Imdahl)
I did not know it because i only know Nadas from his Photography exhibition in the Gemeentemuseum for which an impressive small catalogue was published , but when i looked for the biography on Nadas i noticed that he foremost is known for his writing during the last 3 decades. It is now clear to me that this is the reason why so few books with his photography have been published during his life until now. Still his photography was done in the tradition of his Hungarian countrymen. For example Kertesz must have been a great influence on the photography by Nadas. The book on offer with www.ftn-books.com ( Kindred Spirits) was published on the occasion of the Peter Nadas exhibition in the Fotomuseum Den Haag/2004, in which the qualities of his photographs were shown. Nadas is known as a writer, but these photographs show that he has 2 artistic sides. Beside being a writer …..the other side is definitely being a great photographer.
The following text comes from the site of Moma.org.
The Moma delivers a great source on photography with this site and makes it possible to search their collection and compare photographs from it….it is outstanding and an example to many.
József Pécsi was a Hungarian photographer, innovator, and educator. Born in 1889 into a middle-class family in Budapest (then part of the Austro-Hungarian Empire), Pécsi was schooled in German and maintained lifelong ties with an international photography community. He studied photography at the Lehr- und Versuchsanstalt (Training and research institute) in Munich from 1909 to 1911, and began receiving international recognition soon after graduation. In 1911 he returned to Budapest and opened his own studio, where he also offered instruction to apprentices. In 1913 he established the photography department at the Budapest School of Industrial Drawing, for which he is credited as the founder of photography education in Hungary. He was dismissed from teaching in 1920 due to conflicts with the conservative political regime but maintained his own studio, which served as a gathering place for students, including Eva Besnyö and her friend György Kepes. In 1922 Pécsi was elected vice president of the Budapest Industrial Guild of Photographers and served as editor of the guild’s journal, Magyar fotográfia (Hungarian photography). In 1930 he published the influential book Photo und Publizität (Photography and publicity) to promote the blending of typography, design, and photography in avant-garde advertising, with contributions from Kepes and others. The publication marks his crossover from the Pictorialist style of his early work to the ascendant international modernism of the interwar period. The World War II years took their toll: he hid in Romania for a brief period; his studio and negatives were destroyed by a bomb in 1945; and, upon his return to Budapest, in 1946, financial hardship and an unfavorable regime forced him to take passport photographs to make ends meet. His passion for photography and innovative spirit were not lost, however; in 1952 he patented a combined duplex Pigment print process under the name PEJO.
It is not that long that i admire the works by Dora Maurer. It took me 20 years to appreciate minimal art and not much less to appreciate constructivist works, but the instant i encountered works by Maurer i became fascinated.
Dora Maurer (born 1937 in Budapest) is a Hungarian artist whose work has spanned a 50-year career. With an emphasis on photography, film, graphic design, amongst other things, Maurer has made herself a household name in the art world. Principally achieving recognition in the 1970s with avant-garde work, Maurer has developed her art career from works with contemporary and modern influences that have been shown worldwide. All of her art is based on mathematical and complex system processes. Most of Maurer’s work follows the theme of showing options to the viewer and what the viewer can do with those options. Many of her works break down simple actions so the viewer can really view the piece as movement, not a photograph of movement. Dora Maurer has in addition been a professor at the Faculty of Fine Arts in Budapest and a curator.
In 1998 she was given a nice retrospective at the Josef Albers Museum in Bottrop for which occasion she made a wonderful and original silkscreen print for her exhibition. The Josef Albers museum had, beside the small edition for publicity purposes, about 15 copies signed by Dora Maurer and http://www.ftn-books.com has 3 available of these rare signed silkscreen prints.
Born in Hungary, educated by Pecsi and advized to continue her education in Berlin she met John Fernhout, the son of Charley Toorop and married him and became a dutch citizen. She worked and lived practically her entire life in the Netherlands and because of the contacts she made through her husband she became one of the most important artist photographers of her time. She contributed to many publications with her excellent photographs and for the DOLLE MINA movement ( Womens Liberation movement) she was the house photographer. Personally i find her 50’s and early sixties photographs the most intriguing . They stand out from the rest. I was surprised to find so many books with her photographs in my inventory but one has to be mentioned separately. Eva Besnyö in Bergen is special.
Artist/ Author: Oliver Boberg
Title : Memorial
Publisher: Oliver Boberg
Measurements: Frame measures 51 x 42 cm. original C print is 35 x 25 cm.
signed by Oliver Boberg in pen and numbered 14/20 from an edition of 20