A Veszprém Megyei Múzeumok Közleményei 23. (Veszprém, 2004)

Gopcsa Katalin: A provincia bűvöletében. Adatok Bognár Zoltán pályaképéhez

lemészárolt kisdedekre vonatkozó „aprószentek" elnevezést a képek címéül. Szotyory László festőművész emlékezik a Bognár Zoltánról készült poszthumusz portréfilmben a Veszprém Televízió Kép a képben művészeti magazinjának 1993. májusi adásában. Szerk./Ed.: Gopcsa K. A veszprémi Csikasz Galériában 1993. április 16-tól május 5-ig Nagy Károly rendezte meg emlékkiállítását. A kiállításhoz készített katalógus több, mint ötven reprodukciója mind ez ideig a leggazdagabb anyagot mutat be a művész munkásságából, hangsúlyozottan szerepeltetve utolsó korszakának alkotásait. A megnyitón Wehner Tibor méltatta munkásságát. Az emlékkiállítás kapcsán Mezei Ottó írt a művészről „A linóleummetszettől a lemezplasztikáig" címmel (MEZEI The artist, who was born in Paris, worked for a short time as a scenery designer following his studies at the Budapest College of Arts, then settled in Vörösberény in Veszprém County. Here he linked in with the life of the educational colony of artists, held every summer. Undertaking work as a teacher first in Balatonfüred then in Veszprém, the artist received most towards the formation of his artistic approach from György Konecsni. Bognár plays an active role in the cultural life of the region, and is a regular contributor to collective exhibitions. His independent exhibitions bear witness to his finding an individual voice, developed with much labour. For this, as a result of experimentation, he has discovered the trickled enamel picture, which allows the predominance of the decorative play of the material. He calls this the enamel graphics genre. These pictures produced at the beginning of the seventies revive the world of farce and the Peasant Decameron, with their large, dominant, sensual black blotches, treating the legends of the Bakony forests and the tales of the Pannónia countryside (Death of the Bakony highwayman, Spring festival, Legend of the Tihany fairy stones). The examples of largescale works, which can be classified as monumental tableaux, radiate a pagan joy of life. On the later lino-cuts, this vitality is tamed into a quieter, anecdotal mood, a wise cheerfulness. The quotation marks in the paraphrase of folkloristic 1993). Bognár arcképcsarnokáról több fórumon is elismerő értékelések jelentek meg (MEZEI 1990; GOPCSA 1989). MEZEI 1993 Ircsik József veszprémi festő (1932-1986) emlékkiállításának, és a Bognár-emlékszobának az avatása egy időben volt, 1994. november 19-én, Veszprémben, a Művészetek Házában. BALOGH 1994 Köszönet illeti Bognár Zoltánnét hogy lehetőséget adott a Bognár-hagyaték kutatására, és a Művészetek Háza, valamint a Lovassy László Gimnázium munkatársait a Bognár-gyűjteményeik tanulmányozásának lehetőségéért. forms in Bognár's pictures are provided by humour. On the surfaces of his individual graphics, but also in the series, the joyfulness of re-release and invocation comes to the fore. His canvasses immortalising figures of speech, and his comical grave verses depicting „laughing wooden grave-posts" also speak of wise insight into character. The other large group of Bognár's graphics is represented by the canvasses of dramatic effect: The ballad of Clement the mason, The foundation of Tihany church, The Funeral Oration. These are characterised by the use of large-scale linoleum-cuts, realised by the application of several blocks several times on one picture. A separate chapter in his work is formed by these large-scale lino-cut picture-pairs, printed from several blocks, in which he was influenced by the carvings of pastoral artists depicting the highwayman's life. This artist of independent spirit has adhered to the traditions of the local countryside, and the spirit preserved in the traditions. This study does not deal in detail with the portrait series of his final period or with his sheet-metal sculptures. Bognár always remained faithful to his ars poetica: „Creed: for me, artistic expression is represented by the facials expressions of the village wayside tin Christs. Primarily the painting methods, naivety, simplicity, sincerity, and what they have to say about flesh and blood humanity." ENCHANTED BY THE PROVINCE Data on the career of Zoltán Bognár 285