Mészáros Júlia, N.: 35 éves a Győri Művésztelep. Történeti áttekintés, művek, életrajzi adatok, beszámoló a jubileumi találkozóról - Győri művészettörténet 4. (Győr, 2003)
N. Mészáros Júlia: A Győri Művésztelep működésének és alkotótevékenységének 35 éve
Of the artists working in Győr in the second creative period, Zoltán Bohus. Tibor Csiky, István Nádler, János Fajó, György Galántai, László Győri, Katalin Hetey, Mária Lugossy, Antal Lux, Ádám Misch, István Nádler, Valéria Sass, István ef Zámbó, István Haraszty, Tamás Trombitás, Ildikó Várnagy, Rezső Móder furthermore two pupils of Tibor Csiky, Tibor Budahelyi and László Horváth returned to Győr several times, the creative work here is an important part of their activity. Apart from them the new graduates who settled in the city -László Hefter, Csaba Illés, István Ézsiás - and also some foreign artists (Gabriella Fekete, Paavo Halonen, Kari Juutilainen, Lutz Ackermann, Wojciech Bukowiecki, Jaakko Rönkkö etc) - created works of high standard. Among the sculptural works made at this time, we can find stainless steel, cast iron, bronze and concrete sculptures, bronze or metal and glass statuettes as well as ones combined with plastic, works of geometric form of expression, ones tending towards structuralism, minimal art and clear conceptual thinking, kinetic sculptures or mobiles as well as from the second half of the period - that is a little late - lyrical abstract, neo-expressionistic paintings and ones that can be classed as Hard-edge, finally conceptual and analytic paintings and drawings, and - catching up with contemporary endeavours again - sculptures and paintings belonging to neo-sensibility, plaster sculptures embodying personal mythology, installations and some performaces. Although the number of artists working in Győr one summer decreased but the participation of artists from Finnish, German and Polish twin towns, among them also numerous sculptors - e.g. Lutz Ackermann, Giotto Dimitrou, Gabriella Fekete, Paavo Halonen, Harald Stieding, Karl Heger - in the artists’ symposium of Győr became regular from this time on. The period starting with rapturous enthusiasm ended at the transition, but the ’’epoch-making” artists had dropped out by the middle of the 80s owing to the mistakes made by the old - kimarad leaders of the artists’ symposia destined for the realization of the new conception again and again and conservation of the initial level of financing provided for the opearation of the artists’ symposium, so the neo-geometric tendency which had been the most typical for the beginning of the new creative period was gradually succeded by the parallel presence of many kinds of individual artistic ideas in the second half of the 80s without any artistic ambition becoming decisive. Albeit the receptivity of factories remained in the second half of the 80s but the working conditions were worsening: there were hitches in the availability of machines and skilled workers helping with the execution of the works by prearranged time, the qualitiy of realization seldom met the expectations of the artists, especially the foreigners, they only got restricted quantities of rusting iron and materials treated as refuse or waste instead of basic material of legendary quantities and good quality. 79
