Benedek Csaba – H. Bathó Edit – Gulyás Katalin – Horváth László – Kaposvári Gyöngyi szerk.: Tisicum - A Jász-Nagykun-Szolnok Megyei Múzeumok Évkönyve 14. (2004)

Egri Mária: Jüri Arrak az „Üzenethozó" - Jüri Arrak the „Messenger"

lény népesíti oeuvrejét, egyikük másikuk alkati jellemzőjével kerül szimbólumai közé. Elefántormány — szexualitás, (Kerítés mögött 13, Elefánt 14) madárcsőr — erőszakosság (Őrzők 16, Kötélen / 7), szamárfül — ostobaság (Élettöredék II. 18) egyszarvú — férfiasság, erő, a védelmező, (a grafikában, szőnyegen is megjelenő Egyszarvú 19. Nézete szerint az ember és az állatok együttesen egy egészet alkotnak: a biológiai világot, amelyben az ember az absztrakt agyával, szellemi energiájával kissé feljebb áll. 20. A Törvény átadása Order Giving 22. Tehervivök — The Carries Művészete pályája kezdetétől figurális. Nemcsak azért, mert a rajzi kifejezés lényéből ered és ceruzája mindig, 24. Aranyborjú — The Golden Calf mindenütt agyával együtt működik, minden benyomásra automatikusan beindul. Hanem azért is, mert mindenről He has always been interested in the contamination of Man and Animál. There are several humán figures with animál heads in his oeuvre; somé of them have become symbols by their constructional characteristics. Elephant's trunk sexuality (Behind The Fence 13, Elephant 14, Bírd 15), bird's beak - aggression (The Guards 16, On The Tightrope 17), donkey's ear - stupidity (The Fragment of Life II. 18), unicorn - masculinity, protective power (The Unicorn 19 - both in graphics and in dorsal). He views man and animál together as one unit: the biological world, where man, with his abstract brain and intellectual energy, stands somewhat higher. His art has been figurative since the beginning of his career. Not only because drawing naturally flows from his being and his pencil always goes along with his brain, he automatically reflects all impressions. But alsó because he has an opinion on everything, and his phraseology is basically anthropomorphic. That is how his angular figures with dominant facial aspects and waving hair came intő existence, with whom he is able to represent all humán situations. Their nature, intentions and activities are reflected in their movement, hands and gestures expressed by their eyes and 21. Tápláló — The Feeder 23. Bábel tornya — The Tower of Bábel face. The typical manifestations of humán nature, the instinctive forms of behaviour have always brought his imagination intő action. The individual malformation, fear, being locked, violence and negative emotions were oriented by the political situation for decades. But from the 1980's onwards, his symbolism has widened out, he has taken his associations from a broader area. In Estonian fine árts, the fruitful presence of folk art has always been remarkable in order to strengthen the national identity. In 1974, for the order of the Tallinn museum, Arrack created 12 coloured lino-cuts based upon Estonian 524