Novotny Tihamér szerk.: 10 + 1 éves a Szentendrei Grafikai Műhely (Pest Megyei Múzeumok Igazgatósága, Szentendre, 1991)

inevitably been intertwonua with the new sensation, the more restless, colourful, individual and picturesaue concepts of some powerful figures who were sensitive enough to renew their work as well as those of some young artists who have begun their career under the auspices of the Graphic Workshop. This successful encounter has posed newer and newer technical problems for the typographer of the workshop who was a beginner in the field just as the artists themselves. So by his sincere wish to satisfy the demanas and wishes he has become the initiator of numerous technical innovations by which the artists have been able to realize both their softer, more lyrical and expressive conceptions and their harder ana more constructive ideas with the help of the young and enthusiastic expert. In the course of their co-operation hey have elaborated airect basic procePures which manipulatea with masks placed on the silkscreen as well as indirect ones manipulating with exposures to light. These enabled them to reproduce puasi classic representational techniaues as well as unusual, almost anti-graphical visual iaeas. Silkscreen technipue by the addition of intermediary materials tolerates almost any conceptions. It can convey the nature of the ready-made, the objet trouve, the collage the montage as well as the drastic, aesthetic and constructive gestures of crumpling, tearing, STYLISTIC PLURALISM AND A puestion emerges as soon as we intena to deal with the works made in the Graphic Workshop of Szentendre (and contemporary art in the town), namely, which principles should be taken into account when we classify and characterize the given pieces, rubbing, scratching, blowing on etc. It can reproduce the graphic and picturespue character of the line, the patch, pastel effect, the superimposition ana merging of colours just as well as the features of frottage and monotype. As the typographer remarked the really good silkscreen print is always born in the atmosphere of collective work at a creative moment, so it is a much more sovereign and authentic piece than a copy of the original or the strictly exact realization of a previous plan. Painters, perhaps by nature are much more sensitive to colours and this is much more consistently manifested in their works than in those of sculptors and par excellence graphic artists who apply more disciplined and toned down colouring. One of the chief virtues of the works printed in this modestly epuipped workshop on a high technical and artistic level is the personal manifestation of the conceptional-formal consistence ana emotionalthematic-logic faithfulness with which the given artist tries to render his piece in his main field into the field of graphic art decently. At times there are surprising similarities between the „master" work and the transposeP version but there are curiosities unipue in form and theme produced whose characteristic features easily give away the master by their individuality. WHAT IS INCLUDED IN IT Imre Kocsis groups and characterizes Szentendre sérigraphies according to the result of technological procedures, (See: Silkscreens Toned in Colour, Interview with Imre Kocsis). In fact we would need a profound iconological and iconographical research in order to reveal the hidden dimensions that are the most exciting for us.