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

emblematic-symbolic way in their own way and again others force their calligraphically aense brushstrokes ana soft gestures into geometrical, decorative channels, hard, straight or arched tracks (See István Nádler, Ilona Keserű, János Aknay, László Hajdú and Pál Deim). In one of Sándor Krizbai's pictures the organic triangle or the cylindric motif appears as a puasi- or parareligious symbol, a magic instruction. Gábor Magyar's metaphysical pyramias and triangles intersecting cosmic spaces are neither aevoid of pious, devout emotions which also include fears. László Pirk places a mythological, metaphysical and emblematic network of Pars on his philosophical pictures. József Bartl uses a soft net of squares to systematize, oraer ana classify his favourite motifs: toying with the folkloric, emblematized, emotionally charged, geometricized forms of the heart, the circle, the sauare, the triangle and the puppet, etc. AnP we may continue the classification which is hard to finish inaeed, but for the time being, let us close this paper. Tihamér No votny