Lóska Lajos szerk.: Művészettörténeti tanulmányok Pest megyéből (Studia Comitatensia 20. Szentendre, 1990)

Szentendre képzőművészete 1945–1985 - Kiss Joakim Margit: A művészeti közeg változásai, a művészet rétegződése Szentendrén a hetvenes–nyolcvanas években

THE NEO-AVANTGARDE GENERATION IN SZENTENDRE Dissatisfaction with social order and perspectives was first articulated among the fans of beat groups. The core of the later Vajda Studio belonged to them. They did not intend to challenge or follow Szentendre art yet they tried to find roots in the artistic precedents. The turning point was 1974 when László fe Lugossy moved to Szentendre. His message was conveyed through photos, inscriptions and cultic objects. István ef Zámbó defined this art as "automatic and instinctive therapeutical activity". Their message was likewise articulated in the happenings at the opening of their shows as well as communal musical compositions. As amateurs they rebelled against conformism, traditional forms of art relying on the grotesque, ironic, accidental and absurd in an often shocking mariner. They responded to social deformations which "trained" artists forgot about. The group thus provided an artistic attitude based on Dadaism and supported by Conceptualism preferring anti-aesthetic ordinariness and individuality to the fulfilment of a traditional task. THE BIG SYNTHESIS: THE MAGIC TYPE OF PICTURES AND NEO-OBJECTIVISM A decisive oeuvre — apart from those of the old masters — is Pál Deim's who has learnt various styles ranging from Naturalism to Expressionism, Constructivism to Surrealism, Minimal Art to gesture painting integrating some of their elements into his individual tone with the leitmotif of the puppet referring to the constant active and conscious presence of Man in Universe. They are intérieurs open towards cosmos having a magic character similarly to the pieces of the members of the LVS though Deim's motifs are rather intellectual than profane which characterizes the latter oeuvres. The stylistic spectrum of Szentendre in the late 70s was enriched by the Expressionism and gesture painting of László Hajdu and Károly Klimó. Klimó's abstraction had a still life character which has been elaborated through the years and with the integration of the collage technique it has become an adequate means to express metaphysical messages. Hajdu's abstraction was rather emotional relying on gestures but in the 1980s the earlier large size gestures were replaced by smaller ones inspired by minimal art which try to define the relations between Man and Universe in a magic character using codes. One of the most genuine figures ef the younger generation in the early 70s was Imre Kocsis whose Hyperrealism conveyed a perfect sociological awareness. His earlier objectivism has since tuned into individual, romantic landscapes composed into the keyhole shape. His last pieces are rather conceptual in their ritual magical gestures. Ilona Keserű, although she worked from 1979 to 1986 in Szentendre, has not attained a specific Szentendre character, her oeuvre simply has become subtler here. THE CONCEPT OF SZENTENDRE ART It is doubtful whether Szentendre art is to be interpreted rather as a geographically or as an intellectually defined phenomenon. Though the marked increase of the number of artists in town suggests the former artists themselves regard the Szentendre character as a following of traditions — either those of the Old Artists' Colony or those of Vajda and his circle. EPILOGUE AND FORECAST While Szentendre has attained a symbolic value for the artists who live here the image of Szentendre art has become more diverse adapting the scenical trends apart from the maintenance of Constructivism. It has an overall meditative character, more lyrical than Western Neo-Constructivism. Ritual and Surrealistic character has become stronger though it has a more popular then Elitist feature. Szentendre is rather a melting pot than a workshop with a common program. Szentendre art is a comprehensive concept which, in its diversity, has never been represented in the permanent shows. According to the author a profound analysis as well as a comprehensive show of Szentendre artists would be necessary. 81