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

group and their spirituality, that is, they group around the idea of two specific stylistic trends which have Peen crystallized in Szentendre: 1, Constructivism that fully evolved in the 1930s ana has had profound traditions ana remarkable spiritual energies in Szentendre ever since (Constructive and Emblematic Surrealism included); 2. The Surrealist-Neo-Dadaist „school" of the Lajos Vajda Studio which has incorporated Fluxus and Anti-Art gestures thus creating a versatile subculture. These two basic tendencies have - although not fully inaepenPently from international trenas - an internal aeveiopment and a specific genesis. As opposed to this the other styles represented in Szentendre silkscreens may be classified as personal, „isolatory" trends which have not become a movement. These artists are (and have long been) over the collectivity of a „school" or group. (See: PostNagybánya School, European School) The old masters who used to work in the Graphic Workshop have all died since. The young ones have joined some new international trend or are about to do so or follow their own ways. The analysis of the present situation is apparently impossible in the network of the multifold personal ana creative-artistic connections based on mutual interests. The artistic palette of Szentendre is thus simultaneously rich and complicated: artists often not independent from stylistic tendencies and connections construct an uneven conglomerate which is looser at one place ana aenser at another. Apart from similarities due to technology and epuipment there is one collective momentum above all: the presence of geometry which has a thousand faces (although there are exceptions to this, as well). By geometry we do not mean the field of mathematics which deals with spatial forms or their special characteristics but the abstract, emblematic, surrealistic, symbolic and spatial geometrical forms, signs and systems of denotation that have been accepted in art, namely, circles, sectors, triangles, squares, rectangles, rhomboids, paralelograms and cross motifs, lines of different stress, parallelled, intersecting, waving straights that might construct a coordinate system as they appear in different size, colour and formal context. Abstract geometry might be an organizing, systematizing principle: subjective, decorative, anthropomorphically architectonic worlds and cool, impersonal, purely structured, subtle pseudoplans might both be created by this constructive framework (See Jenő Barcsay, Pál Deim, János Aknay, László Balogh, Sándor Gavrilovics, Ottó Vincze, Tamás Konok, István Bodóczky, Endre Lukoviczky, József Baska and István Csík). Geometrical ana abstract forms are often merged with natural motifs that are either shaped as pointed or abstract structures of lines, patches and forms (See Piroska Jávor, Ildikó Bálint, József Buhály). Geometry often makes even figurai compositions appear angular and thus the human figure becomes in a aecorative, lyrical, philosophical or extremely ironic way a geometrical emblem. The opposite may also happen: anthropomorphic geometrical forms are turned into universal symbols or even an abstract mythology (See András Wahorn, László feLugossy, Péter Bereznai, László Hajdú and Pál Deim). Even the landscape itself, the earth, the air, the water-jet, machines, sowing and the crop might also be restructured according to straight lines, rectangles, triangles, squares and diagonals (Imre Bukta). There are others who loosen or annihilate Malevich's paralelogram elevated into the position of an artistic canon by their outspoken gestures or paint a geometrical form interpreted in an