Gyergyádesz László, ifj.: Félbeszakadt prófécia Lantos Ferenc zománcművészeti alkotásai 1967-1976 (Kecskemét, 2006)

THE INTERRUPTED PROPHECY

Pauer Gyula: Murális kompozíció részlete

1968, zománcozott acéllemez

this was not at all rare in the first period of Hungarian enamel art. Considering what happened until then, i.e. enamel was essentially produced by the gold and fine smith trade, and the '60s and '70s brought significant changes inasmuch as more artists popped up from various branches of fine art [sculpture, painting, graphics] interested in enamel. Lantos was searching the peculiarities of enamel, however, he did not have to change the basic concepts of his art at all. He touched with a lucky hand a genre new to him as to sincerely and openly show the decorativity so characteristic of him as well as to show the clear and hard edged forms and colours for which enamel was perhaps even more appropriate than [oil and acrylic] painting or graphics works such as serigraphy and Indian ink drawings, or collage for that matter. He just found in the right moment the industrial enamel painted and burned steel-plate.2 Let me quote here Blaise Simon [Simon Balázs], of France, who could perhaps be best related to Lantos's approach to

2. Not on tin as Ákos Koczogh assumed, see Metalic works (Hungarian industrial art). In Hungarian. Budapest, p. 46.

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