Hann Ferenc: Paulovics. Kántor Lajos és Kocsis István írásaival (A PMMI kiadványai. Pest Megyei Múzeumok Igazgatósága – Ferenczy Múzeum, Szentendre, 2008)

Hann Ferenc - The artist's career: an overview

his elbow on the windowsill, playing the recorder, with an empty street behind him; a square with mysterious shadows. In the right corner of the picture, an intimate painting shows a woman with her adolescent child. These are the properties of metaphysical painting, in Paulovics's interpretation (Trie walls of silence, 1974). Among the main works of the period, the metaphysical still lifes were also made during the 1970s [Stones of ïïme-Einstein, 1972; Diana and the Elders, 1974; Music Box I., II., 1977), just like the magical and mysterious Art collector (1973) and The artist's wife (1976), both with Renaissance reminiscences, and the disenchanted, painfully ironic Museum visitors (1 976). Wedding (1975) is undoubtedly a chief d'oeuvre among the figurative and scenography-like works. Although the event is a hapoy one, no one is happy here.The bride is staring vaguely before herself, the groom is looking at us but has no chin, no mouth, no lips; the figure on the left is an indifferent puppet. The figures are staring out of the painting except for and old lady in a hat who is looking stubbornly at the strange couple. Some critics stress the attachment of Paulovics's art to expressionism. It is more accurate to say, however, that many of his works are expressive in the sense that he painted with impulsive, wide brushstrokes. This is a question of interpretation, impulse and passion, which does not mean that the artist forced his creativity into a limited range of style. (The painting of Nolde, Münther and Beckmann is quite different from that of Paulovics, which can be connected with some probability to certain periods of Rottluff.) In parallel with the colorful and rich product on in painting of this period, the amount of graphic works is also significant. The spectrum is wide: intimate small