Gyergyádesz László, ifj.: Félbeszakadt prófécia Lantos Ferenc zománcművészeti alkotásai 1967-1976 (Kecskemét, 2006)
THE INTERRUPTED PROPHECY
most characteristic notion that also cuts through the whole oeuvre is the systematic and planned investigation of the relation between nature and art. This is shown by the presence of countless variations of large numbers, positions and sequences of differently collared tulip-elements that are even rotated with respect to one another as well as by the very thorough photographic documentation in various seasons, weather situations and angles, respectively (colorplates 35-41). No doubt this experimental series was not a closed item itself but was rather closely linked to enamel friezes. Lantos was trying to prove first of all that with the tools and methods of art, which in that period was fairly near to the ideas of American hard-edge painting, one is able to model nature and is able to create basic elements, and visual signs therefrom, that are based on the laws of nature. But above all he believed that with this approach a more organic relation, a higher order harmony, could be re-established between mankind and nature through and by art. The fourth sub-group could be anchored in two years: 1968 and 1976. The first year is that of the first Bonyhád symposium where, upon Lantos's invitation as we mentioned, Oszkár Pap, Gyula Pauer and Tihamér Gyarmathy (page 13) were also present. The last two artists were enchanted basically by the sight of raw material and pots accumulated in the storeroom of the factory (page 25], "What else would an abstract sculptor need? We went crazy by the sight. Gyarmathy came as a painter and lelt as a sculptor".'5 Knowing Lantos's experimenting taste most likely he was the engine behind sculptural experiences. A proof to this is given by his enamel sculptures that, with their colour photographs fortunately saved, were exhibited once only at the square before the Ferenc Móra Museum in Szeged (1976, colorplates 47-49). These works, indeed made for open air, however, did not make Lantos a sculptor. While the enamel works by Pauer, such as the Wash Basins, and the Welding made at the same time and same place, are pre-cursors of his later pseudo-spheres, that is they indeed are part of Pauer's sculptural oeuvre, Lantos's work could rather be considered as the projection into the space of his works on the plane.15 16 Lantos's semi-spheres, resembling combat helmets (at least considered as such by the contemporary authorities) 15. The author’s interview with Gyula Pauer, 27 February, 1998. 16. The other difference is that the very strong colors of industrial enamel were used and occasionally strengthened by spraying guns by both, yet the "objet trouvé” feature was used by Pauer only. But even in his case it is difficult to find relations to ready made or with the new realists. Here we rather have a smart and fortunate use of the opportunities offered by the industrial symposia. 28
