Gavrilovits Sándor: Úton (Szentendre, Szabadtéri Néprajzi Múzeum, 2012)

EXCLAMATION MARK The phenomenon "Szentendre" in the 20th century had a significant effect on the further evolution of arts in Hungary. If we look upon the place and time where and when artists' groups have been formed and art works created for representing new ideas - from the beginning in the thirties of the 20th century - we find Szentendre always in the limelight. This process is permanent and insistent. It is remarkable that the progress taking place in Szentendre has been fostered by those who completed academy education and - with growing intensity - by those who became artists by their own effort and education. We have been always aware of the fact that the majority of artists having contributed a renewing aspect to the development of arts in the 20th century, are not among those possessing academic qualifications. This is the case of Sándor Gavrilovits too. Born in Szentendre he has become an artist here after a hard struggle, although he had learned from important masters, as we read in his curriculum. We can add that these masters do not share all the same aspirations and artistic approach but they have become more or less mythical personalities in the Hungarian art world and in the Szentendre phenomenon. Vilmos Szamosi Sós, a sculptor belonging to the previous generation is an excellent teacher having a fulfilled and interesting course of life and giving an important human example. János Pirk is a colourist always near to earth and at the same time swinging off from the earth and whose example in the art is at least as important as his exemplary human conduct; further, Pál Deim the meditative and obstinate real native of Szentendre, always engaged in building structures and whose artistic and human qualities grow from the same roots. Sándor Gavrilovits was a student in their schools. That is why his art has a wide horizon where visual arts are in the centre but where he is drifted towards poesy. He was able to drive different branches and authors representing different artistic manifestations into one pool. Doing so, his lifework has become part of the immersion of people, art works and artists in each other. He couldn't expect success but he built his rich experiences into his works. Universal and personnel problems give him food for thought - his art's formal character and innovative nature are no doubt typical for Szentendre. He often repeats his applied motifs and shapes of them both a prayer (sacral) and a structure (profane), creating a personnel quality. He avoids improvisation; he follows a method, a method in being constructive. He is economic with colours and even when forced by circumstances, his materials become organic in his works. For many years he has not had a sole exhibition. He experienced internal and external struggles, far from the public. His present exhibition is an exclamation mark. Without the art of Sándor Gavrilovits there is no contemporary native art in Szentendre. August 2012 Balázs Feledy 3