{"id":1008270,"date":"2020-09-11T12:40:25","date_gmt":"2020-09-11T10:40:25","guid":{"rendered":"http:\/\/www.femuz.hu\/?p=1008270"},"modified":"2021-06-20T19:18:11","modified_gmt":"2021-06-20T17:18:11","slug":"vivid-void","status":"publish","type":"post","link":"https:\/\/old.femuz.hu\/en\/vivid-void\/","title":{"rendered":"Vivid Void"},"content":{"rendered":"\n\t\t
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From M\u00e1ria Marghescu\u2019s Collection: Anna Mark, Alexandre Hollan, J\u00e1nos B\u00e9r<\/h3>\n\t<\/div>\r\n<\/div>\r\n\r\n\r\n\r\n\n\t\t\t<\/div> \n\t\t<\/div>\n\t<\/div> \n<\/div><\/div>\n\t\t
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12. 09. 2020. \u2013 13. 12. 2020.<\/h4>\n\t<\/div>\r\n<\/div>\r\n\r\n\r\n\r\n\r\n
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Location:<\/p>\n

Ferenczy Museum<\/p>\n\t<\/div>\r\n<\/div>\r\n\r\n\r\n\r\n\r\n

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Curator:<\/p>\n

Fruzsina Kigy\u00f3s<\/p>\n\t<\/div>\r\n<\/div>\r\n\r\n\r\n\r\n\r\n

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Opening:<\/p>\n

11 September 2020, 18:00<\/p>\n\t<\/div>\r\n<\/div>\r\n\r\n\r\n\r\n\r\n

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Art was always important for M\u00e1ria Marghescu:<\/span> after grammar school, she registered at both the medical university and the College of Applied Arts. In Paris, the heart of modern art at the time, she moved in artistic circles, and developed good relationships she could later rely on as a gallery owner. She curated her first exhibition, for painter J\u00f3zsef Breznay, in Marburg; entitled K\u00fcnstlerkreis (Artistic Circle), it was held in a private home. After moving to Munich, she opened a gallery, called Grafinger Kunstkabinet, in the nearby small town of Grafing. She went on to establish the Galerie Marika Marghescu in Hanover. Her galleries presented the works of some of the leading European contemporaries (Joan Mir\u00f3, Pierre Alechinsky, Gerhard Hoehme, Antoni T\u00e0pies, Eduardo Chillida, G\u00fcnther Uecker), Hungarian \u00e9migr\u00e9 artists (S\u00e1ndor Holl\u00e1n, J\u00e1nos B\u00e9r, Anna M\u00e1rkus, Istv\u00e1n Hajdu), as well as ones based in Szentendre (P\u00e1l Deim, Attila Orb\u00e1n, Ter\u00e9z Urb\u00e1n) and elsewhere in Hungary. Artist\u2019s books, by creators from T\u00e0pies through Walter de Maria to Anna M\u00e1rkus, also form an important part of the Marghescu Collection.<\/p>\n

Throughout her life and career, M\u00e1ria Marghescu has been searching for the meaning of life, has been moved by a desire to create harmony\u2014something that marks the pieces in the collection. She found her answers in faith, the texts of mystics, the arts, and later, inspired by the works and writings of Catalan artist Antoni T\u00e0pies, in Eastern philosophy, Christianity-based Zen meditation, and from the 1980s, in the works of B\u00e9la Hamvas.<\/p>\n

With a small segment of what is a lavish array of art, Ferenczy Museum now offers an introduction to the Marghescu Collection through works by three important Hungarian \u00e9migr\u00e9 artists \u2013 J\u00e1nos B\u00e9r, Alexandre Hollan<\/span> and Anna Mark<\/span> \u2013, which their owner donates to the museum.<\/p>\n

Alexandre Hollan (1933\u2013)<\/h4>\n

The art of the 20th century was defined by those who moved away from the traditions\u2014or who rediscovered them. Alexandre Hollan models his own art on that of C\u00e9zanne, Giacometti and Morandi, while guarding the autonomy he creates in the act.<\/p>\n

Hollan himself is an heir to the tradition that has sought to capture change in the constancy of nature.<\/p>\n

Alexandre Hollan travelled through Europe from Scotland to Tuscany, drawing landscapes everywhere he went. From the 1960s, he explored the French countryside. He spent the summer months away from home, sleeping in his car, contemplating and studying nature, drawing and painting, searching for the motif that could be the starting point for his works.<\/p>\n

The key objective of his art is to make the experience of seeing more profound, the viewer more conscious of the experience: by choosing to make dominant one of the elements of space, matter, light, movement or time, he creates, on each occasion, a different image of the same motif.<\/p>\n

His essential motif is the tree, which he usually approaches in a series of Chinese ink or charcoal drawings.
\nHis outlook changed in the early 1970s, and the white of the paper gained predominance. He put an end to his roaming life in 1984, and his work became slower, more concentrated. He also began to paint still lifes, whose palette moved towards complete darkness, opening the way to a deep inner world. Hollan accompanies his works with notes, in which he analyses the different formal possibilities inherent in viewing and contemplation.<\/p>\n

J\u00e1nos B\u00e9r (1937\u2013)<\/h4>\n

The young generation of Paris painters that came to the fore after 1945 broke with the notion of the painting as a window onto the world, or something offering insights into its palpable phenomena; it also rejected the rigorous, rational modelling of geometrical abstraction. These artists treated the canvas as a stage where the trembling of humans who had survived the Second World War was acted out under the dominance of shapeless abstraction.<\/p>\n

J\u00e1nos B\u00e9r studied art in Hungary and France, and became associated with galleries in Paris and Hanover. He is one of those Hungarian artists whose careers developed, for decades, independently of the scene of their homeland. J\u00e1nost B\u00e9r found inspiration in Henri Matisse, Mark Rothko, Sam Francis and Simon Hanta\u00ef, and the problems he confronted in his work were similar to theirs. Formerly, those of his paintings that employed the collage technique gave an important role to not only colour, form and space, but to rhythm and movement as well.<\/p>\n

With objectified representations of human space, and by referencing the foundations of abstraction, B\u00e9r explores the relationship of image, plane and space. In the late 1990s, white, the void, and absence, joined colours as elements of key importance.
\nFor a few years now, the artist has been examining the possibilities of exploiting the scales of pure colours to the full, with white as the colour of the ground, on which reds, blues and greens are laid, black framing all the other colours.<\/p>\n

Anna Mark (1928\u2013)<\/h4>\n

Anna Mark was R\u00f3bert Ber\u00e9nyi\u2019s student at the Hungarian Academy of Fine Arts. In Hungary she was friends with such artists of the European School as Lili Orsz\u00e1g, Endre B\u00e1lint and J\u00falia Vajda. When in 1956 she moved to Germany, her painting was still informed by Surrealism. In 1959 she made Paris her permanent home, and chose to re-establish her art on new foundations, turning towards abstraction.<\/p>\n

For certain forms, Anna Mark applied paint so thickly that it gave the works the character of reliefs. These attempts led her to believe that she should give a key role to shadows in her works. Experimenting to replace oil paint in her reliefs, she settled on a mixture of marble dust, sand and synthetic resin.<\/p>\n

Her works from the 1970s look like walls worn by time and other forces of nature\u2014with associative experiences behind them that bring in mind the alleys, wooden gates and arches of Szentendre.<\/p>\n

Her later work was to be greatly influenced by the photography of Lucien Herv\u00e9, and she set out to represent light and facture effects. The reliefs she made during this period became all-white.<\/p>\n

To this day, architectural compositions are an important source of inspiration for Anna Mark\u2019s work, yet the rigorous geometry and content of her works communicate the reality and inspirational power of the order of the world.<\/p>\n\t<\/div>\r\n<\/div>\r\n\r\n\r\n\r\n

<\/div><\/div>\n\t\t\t<\/div> \n\t\t<\/div>\n\t<\/div> \n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"From M\u00e1ria Marghescu\u2019s Collection: Anna Mark, Alexandre Hollan, J\u00e1nos B\u00e9r 12. 09. 2020. \u2013 13. 12. 2020. Location: Ferenczy Museum Curator: Fruzsina Kigy\u00f3s Opening: 11 September 2020, 18:00 Art was...","protected":false},"author":1,"featured_media":1006461,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[209,184],"tags":[381,380,379,377,378],"class_list":["post-1008270","post","type-post","status-publish","format-standard","has-post-thumbnail","category-exhibitions","category-exhibitions-2020","tag-alexandre-hollan-en","tag-anna-mark-en","tag-fruzsina-kigyos","tag-janos-ber","tag-maria-marghescu"],"_links":{"self":[{"href":"https:\/\/old.femuz.hu\/en\/wp-json\/wp\/v2\/posts\/1008270","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/old.femuz.hu\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/old.femuz.hu\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/old.femuz.hu\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/old.femuz.hu\/en\/wp-json\/wp\/v2\/comments?post=1008270"}],"version-history":[{"count":0,"href":"https:\/\/old.femuz.hu\/en\/wp-json\/wp\/v2\/posts\/1008270\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/old.femuz.hu\/en\/wp-json\/wp\/v2\/media\/1006461"}],"wp:attachment":[{"href":"https:\/\/old.femuz.hu\/en\/wp-json\/wp\/v2\/media?parent=1008270"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/old.femuz.hu\/en\/wp-json\/wp\/v2\/categories?post=1008270"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/old.femuz.hu\/en\/wp-json\/wp\/v2\/tags?post=1008270"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}