partnereink
KORNISS, Dezső
KORNISS, Dezső
painter
(1 Dec. 1908, Beszterce – 17 Aug. 1984, Budapest) 1925-1929: College of Fine Arts, Budapest, masters: István Csók, János Vaszary. 1978: meritorious artist. In 1930 Korniss was a member of the group named the Új proressziv mûvészek /New Progressive Artists/; between 1930 and 1931 he was an active member of the Munka kör /Work Group/. From 1929 he was a member of the Képzõmûvészek Új Társasága /New Society of Fine Artists/, then from 1946 of the Szentendrei Festõk Társasága /Society of the Painters of Szentendre/, he was also one of the founding members of the Európai Iskola /European School/ (1946). Between 1922 and 1939 he lived in Pesterzsébet, and worked in Szentendre and Budapest from 1934. Between 1947 and 1948 he was a teacher at the Applied Arts College of Budapest, he was relieved of the task however, in 1948. Between 1949 and 1956 he made a living from the coloring of advertisement signs and the painting of puppets Between 1963 and 1969 he worked at the Pannónia Film Stúdió /Pannónia Film Studio/. Koniss was one of the most defining masters of the fine arts of Hungary during the course of the Twentieth Century. He was connected to the reforming avant-garde tendencies of his age, as well as to the art of Szentendre through a number of ties. He was a devotee of the honor of craftsmanship and of aesthetic formal perfection. Multifold language diversity, constant attitudes towards searching for new forms, which was often parallel to other art activities, and the production of a number of vastly different creative periods were all-important traits of his works. He began his fine arts education at the Podolini-Volkmann Free School, at the age of 15. Between 1923 and 1924 he spent an entire year in the Netherlands, where, amongst others, the art of Rembrandt and De Stijl had a significant influence upon his works. In 1925 he was admitted to the class of István Csók at the College of Fine Arts in Budapest. The archaic, cubist head composition, which preserved the influence of Mediterranean Classicist Art, and simultaneously were characterized by strict plastic formation, dark colors and the playful portrayal of light and shadow were prepared between 1927 and 1928. Korniss became acquainted with Lajos Varga during his college years. Of his classmates he upheld stronger ties with György Kepes, Sándor Trauner, and Ernõ Schubert. The studying of French and Russian Art and the integration of the elements of these schools was characteristic of his work during the period. The compositions prepared by him during this time were based on a constructivist style of forms, which were at once realistic, yet contained Cubist and Symbolic elements and held Surrealist meanings (e.g.: Galambász /Pigeon Breeder/, 1927). His artistic program was characterized furthermore by strong social sensitivity and an interest in Social Sciences. He often made use of the technique of photographic montages. Independent of the positive critique he received at the Young Artist's Exhibition, held at the Art Gallery of Budapest in 1927, the College of Fine Arts initiated an investigation into painting teachers and their pupils who had interests in and orientations towards western painting styles, including Korniss. In 1930 Kassák invited Korniss, among a number of other young artists, to join the Munka kör /Work Group/. Korniss prepared a number of drawings for the periodical entitled Munka /Work/. Together with his friends from college he founded a new artistic grouping named the Új Progresszív Mûvészek /New Progressive Artists/. The first introduction of the group took place at the Tamás Gallery, in 1930. The artistic group broke up in the very same year and their relationship with the Munka kör deteriorated. With the exception of Ernõ Scubert all of the artists of the group left the country. Korniss traveled to Paris where he discovered the values of Mediterranean Humanist traditions, and the modern meanings of those. Following his return to Hungary he backed the work of the group named the Szocialist Képzõmûvészek Csoportja /Group of Socialist Fine Artists/. He began the systematic collection of folk art and architectural motifs, together with Vajda, in Szentendre, in 1935. In contrast to the convention filled art of the time, similar to Russian Avant-garde, they found the traditions of art, i.e. its basic forms, in folk and provincial art. Their program, under the influence of the program of Bartók, was the integration of a number of the achievements of both western and eastern art into a new Central-Eastern European Art Movement. Vajda and Korniss labeled this new program, related closely to Szentendre, the "Constructive-Surrealist System". They built up their compositions from collective type abstract and folk forms. Korniss, in his so-called microcosm-compositions, worked with a set of motifs, which recalled the surroundings and the life of the city, which he enriched with symbolic contents (Szentendrei motívum I-IV. /Motif of Szentendre I-IV/, 1935). The architectural closed form floated within an imaginary space. Korniss, in order to produce fine sensual surfaces used primarily pastels for the preparation of his works. His first period of Szentendre lasted up until 1937. Between 1940 and 1943 he participated at the exhibitions of the New Society of Fine Artists with a number of interior designs. Due to his experiences during the Second World War, the sense of existential danger, distracted brushwork, and plastic formation of facture became typical of his works (Búcsú, Halott Katona, /Farewell Dead Soldier/ 1944). Following his soldier years and time spent as a prisoner of war, during the course of his European School period, he prepared works of clear patches of color of constructivist styled figurality as well as works containing expressive percale graphic solutions side by side (Ellentét /Contrast/, 1947; Laokoon, 1948). His second Szentendre Period spanned between 1945 and 1950. A rich world of associational motifs, with symbolic contents appeared in his compositions, the usage of typical architectural forms and elements of Szentendre increased, and the figures of his miniature worlds became larger. He began working with a new method of image composition in which color became a much more important structuring element in his works then ever before (e.g.: Sárkányos /Dragonly/, 1945; Kántálók /Chatters/, 1946; Bölcsõ variációk /Cradle Variations/, 1947; Reménytelen harc /Hopeless struggle/, 1948). Besides musical rhythmic patterns, the associative imagery of folk songs may be discovered in his works. The defining summarizing work of the period was the Tücsöklakodalom /Cricket Wedding Celebration/, of 1948, in which he painted the Hungarian "joie de vivre". In 1945 he began working on his monotype series entitled Illuminációk /Illuminations/, composed of hundreds of pages, which was inspired by the poetry of Rimbaud. The base motif of each of the pages is an architectural frame and a head, depicted through a recondite, emblematic line structure. In 1948 he was fired from his teacher's position. From 1950 Korniss moved into inner-emigration within Hungary, making a living from the painting of puppets and the coloring of advertisements plaquettes. Besides small sized Surrealist Paintings he prepared a number of photographic collages. During the course of the 1950's he began the formation of the picture surface and the color surface of his images. He researched the relation of different colors with one another (e.g.: Narancs ás kék /Orange and Blue/, 1954). His first calligraphy was produced in 1956. He prepared a number of large-scale glaze-calligraphies during the period spanning between 1956 and 1962. Korniss first exhibited his calligraphies, together with Endre Bálint, in Amersfoort, in 1958. Within these works, independent of their spontaneity, a sense of unseen structuralism was present. He began painting his series entitled Metamorfózis-variációk /Metamorphosis Variations/ from 1963. The compositions did not contain object elements. As the glaze paint became thicker, and dissolved, did the outlines of different landscapes, cities and interior details appear. Between the period spanning from 1963 and 1968 Korniss's attention was drawn to the world of collages and that of animation films. Together with György Kovásznai he prepared eight animation films for the Pannonia Film Studio. His brush drawings were prepared between 1963 and 1967. 1968 was the beginning of his last creative period. An abstract world of motifs, drawn from folk art appeared in his images painted in a hard-edge style (Szûrmotívum /Cloak Motif/, 1968; Pásztorok /Shepherds/, 1968; Rablók /Thieves/, 1977). The motif of the cloak (of Hungarian shepherds), or that of the flag became the beholders of clear systems of forms. The summarizing piece of this period of Korniss's was the work entitled Allegro barbaro (1975). In the year of 1970 Korniss participated in the exhibition entitled "R" held by the group of Neo-Avant-Garde artists. Within the course of this period he once again created works in the style of Geometric Abstraction, making use of the principle forms of geometry, analyzing signs simplified to their fullest (e.g.: Horizontális-vertikális /Horizontal - Vertical/, 1975). The Hungarian Gallery of Art organized the retrospective, collective exhibition of Korniss's works in 1980. His decorative works in public building were also of great significance. Dezsõ Korniss, a member of the second generation of the Hungarian avant-garde, was a pupil of István Csók's at the Academy of Fine Art, yet at the outset of his career it was from the circle surrounding Lajos Kassák, the leading figure in the Hungarian avant-garde, that he got more of what he needed by way of intellectual sustenance. He did paint a few Constructivist pieces, but after that he headed off in a different direction; a new trend - fundamentally at odds with geometric rationalism - took him over: Surrealism. When he got to know Vajda and made friends with him, they went collecting folk-art artefacts in Szentendre, and following Bartók's example they had the idea of marrying the two styles, calling it the "Constructivist-Surrealist Schematic". By contrast with Vajda, Korniss was positive by nature and despite the coming war, and later its devastation, he viewed the future with optimism. It was an unkind quirk of fate that his personal life offered him little cause to be cheerful. In the 1950s he was forced into total seclusion, and he did not become one of the darlings of cultural policy in later years either; and since he had no studio he worked in his own little room, with no official recognition and no serious commissions. He was probably helped through these difficulties by having faith in the harmony he created in his pictures. This is borne out by the whole of the rest of his career: one of his masterpieces, the Crickets' Wedding painted in 1948, the Corpuses that suggest the faith of people overcoming suffering and death, and the grotesque and playful pieces he produced from the sixties on, where he uses the most varied elements of contemporary art (calligraphy, for instance) to show how much hidden beauty is to be found in the world. (Lóránd Hegyi: Dezsõ Korniss. Budapest, 1982, with excerpts in English)
[József Vadas: Hungarian Masterpieces (Vadas József : A magyar festészet remekei), translator: Godfrey Offord, Corvina Publishers, 2004.] One-Man Shows:
1946 • Illuminations, Exhibition Hall of the European School (Európai Iskola), Budapest (cat.)
1947 • Exhibition Hall of the European School (Európai Iskola), Budapest (cat.)
1948 • Chiltern Gallery [with Margit Anna], London
1958 • G. 'tOude Wewershuys [with Endre Bálint], Amersfoort
1965 • King Saint Stephen Museum, Székesfehérvár (HU) (cat.)
1972 • "Rezeda 9" [with Gábor Attalai, Imre Bak and Tibor Csiky], Rezeda Street, Budapest
1975 • The works of Endre Bálint and Dezső Korniss in the Kolozsváry Collection, Gallery of the Artist Colony, Szentendre (HU) (cat.) • Paintbrush Drawings, Lajos Hatvany Museum, Hatvan (HU) (leporello)
1977 • Rezeda 9. The Robbers and the Shepherds, Lajos Hatvany Museum, Hatvan (HU) (cat.)
1978 • Illuminations, Lajos Hatvany Museum, Hatvan (HU) (cat.) • Library of the Community Centre, Szentendre (HU)
1979 • In honour of the 70 years old ~ , Ferenczy Museum, Szentendre (HU) (cat.)
1980 • Hungarian National Gallery, Budapest (cat.)
1981 • Bartók in my pictures, Gallery of the Artist Colony, Szentendre (HU) (cat.)
1983 • Workshop Gallery, Szentendre (HU) (cat.)
1984 • F. Erdei Community Centre, Kecskemét (HU) (cat.) • Youth House, Eger (HU)
1985 • Selection from the ~ bequest, Fészek Club (cat.)
1987 • Workshop Gallery, Szentendre (HU)
1990 • Christian Museum, Esztergom (HU)
1994 • Works in the collection of dr. Imre Merics, Művészetek Háza, Pécs (kat.) • Fészek Club, Budapest (cat.) • Barcsay School Gallery, Szentendre (HU)(cat.)
1998 • ~. Ismeretlen művek. Art'éria Galéria, Szentendre. Selected Group Exhibitions:
1945 • Miklós Rózsa memorial exhibition, Anonymus Literary and Art Institute, Budapest • Artists Society of the Social Democratic Party and invited artists in the Ernst Museum, Budapest
1946 • Graphic Art and Small Sculpture Exhibition of the European School (Európai Iskola), Exhibition Room of the Hungarian Women’s Democratic Union, Kossuth Street, Budapest • Movement for the Hungarian Fine Art, 1st Exhibition, Ernst Museum, Budapest • Town Restoration Exhibition, Town Hall, Szentendre (HU) • 11th Group Exhibition of the European School, Exhibition Room of the MKSZSZ • Moderne Kunst aus Ungarn, Galerie les Eaux-Vives, Zurich
1947 • Hungarian Art Weeks. Fine Art Exhibition, Ernst Museum, Budapest • Fine Artists for the War Prisoners, Ernst Museum, Budapest • The European School I-II-III. ”clinical exhibitions” , Rusznyák, Horányi and Germán Clinic, Budapest • Two Faces of the Artist, Alkotás Art House, Budapest • 2nd Free National Exhibition of the Hungarian Fine Artists’ Free Organization, Municipal Picture Gallery, Budapest • 2nd Exhibition of the Fókusz Gallery, Budapest • Our Fine Art since the Liberation, Municipal Picture Gallery, Budapest
1948 • New Trends of the Hungarian Fine Arts, National Salon, Budapest • Ourselves. The 33rd Exhibition of the European School, Exhibition Room of the Hungarian Women’s Democratic Union, Üllői Road, Budapest • Exhibition of 90 Artists, National Salon, Budapest • Exhibition of Contemporary Arts in Hungary, London
1952, 1953 • 2nd, 3rd Exhibition of The Szentendre Painters, Ferenczy Museum, Szentendre (HU)
1954 • Pintores Hungaros Contemporáneos (Selection from the Collection of Makarius Saamer), G. Krayd, Buenos Aires
1956 • Jubilee Exhibition of the Szentendre Artists Colony 1926-1956, Ferenczy Museum, Szentendre (HU) • Seven Artists, Balassa Museum, Esztergom (HU)
1957 • Spring Exhibition, Műcsarnok, Budapest
1961, 1964, 1965, 1967, 1969 • Exhibition of the Szentetndre Painters, Ferenczy Museum, Szentendre (HU)
1962 • Liberty and People, Csók Gallery, Székesfehérvár (HU)
1963 • Twentieth-Century Works from Budapest Collections, Hungarian National Gallery, Budapest • Painting of Szentendre, Ferenczy Museum, Szentendre (HU)
1964 • Group of The Socialist Fine Artists 1934-1944, Hungarian National Gallery, Budapest • Painting of Szentendre, King Saint Stephen Museum, Székesfehérvár (HU)
1965 • Hungarian Fine Artists Against Fascism, Hungarian National Gallery, Budapest
1966 • Summer Exhibition of The Szentendre Painters, Ferenczy Museum, Szentendre (HU) • Exhibition of The Szentendre Painters, Balassa Museum, Esztergom • 125 Years of The Hungarian Photo Art, Hungarian National Gallery, Budapest
1967 • Exhibition of The Szentendre Painters, King Mathias Museum, Visegrád (HU)
1968 • Exhibition of the senior and the young generation, Budapest University of Technology, Vásárhelyi Hall, Budapest • Hommage à Kassák, King Saint Stephen Museum, Székesfehérvár (HU) • Painting of Szentendre. 40 Years Jubilee Exhibition. Ferenczy Museum, Szentendre (HU)
1969 • Hungarian Art 1945-1969, Műcsarnok, Budapest • Art of Szentendre, Csók Gallery, Székesfehérvár (HU)
1970 • Movement '70, Modern Hungarian Gallery, Pécs (HU) • "R" Exhibition, R Club, Budapest
1971 • New Works, Műcsarnok, Budapest • 100 Jahre Kunst in Ungarn, Museum am Ostwall, Dortmund • Summer Exhibition of Szentendre, Town Hall, Szentendre (HU) • 3rd National Biennial of Small Sculpture, Pécs (HU) • Exhibition of Pest County, Hungarian National Gallery, Budapest • Die Ungarische Avantgarde 1909-1930, G. del Levante, Munich
1972 • The Old Artist Colony, Gallery of the Artist Colony, Szentendre (HU) • Material and Form in Fine Art, TIT Studio, Budapest
1973 • Copernicus Exhibition, Budapest University of Technology, Budapest • European School. Hungarian Art of the Twentieth Century, Csók Gallery, Budapest, Székesfehérvár (HU) • Artists of Angyalföld, Műcsarnok, Budapest
1974 • L'Art Hongrois du 20e siècle, Galerie Moderne, Strasbourg • Hungarian Graphic Art of The Twentieth Century, Savaria Museum, Szombathely (HU) • 7th Balaton Summer Exhibition, Balaton Museum, Keszthely (HU) • Autumn Exhibition, Gallery of Artist Colony, Szentendre (HU)
1975 • Jubilee Fine Arts Exhibition, Műcsarnok, Budapest • Pictures on the castle wall, Hungarian National Gallery, Budapest • Art of Szentendre, Hungarian National Gallery, Budapest • Vision and Creation, Miskolc (HU) • XXXVII. Biennial of Venice, Venice • Art of Szentendre Today, Gallery of Artist Colony, Szentendre (HU)
1976 • Exposition. Photo/Art, Lajos Hatvany Museum, Hatvan (HU)
1977 • Pictures-Sculptures, Budapest Historical Museum, Budapest • Private Collection of Iván Dévényi, Municipal Gallery, Győr (HU) • In the Spirit of Folk Art, József Katona Museum, Kecskemét (HU) • Hungarian Art 1945-49. Hungarian Art of the Twentieth Century, Csók Gallery, Székesfehérvár (HU)
1978-1979 • 50 Years in the Art of Szentendre, Szentendre Gallery
1978 • Hongaarse Konstruktivische Kunst 1920-1977, Kruithuis Citadellen, Den Bosch (NL)
1979 • Pintura Hungara no seculo XX., G. de Exposicoes Tempraria, Lisbon • Hungarian Graphic Art '78, Hungarian National Gallery, Budapest • Jubilee Exhibition of the Old Artist Colony of Szentendre, Szentendre Gallery, Szentendre (HU)
1980 • L'Arte ungherese degli anni settanta • XXXIX. Biennial of Venice, Venice • Art and Society, Műcsarnok, Budapest • In memoriam Kassák, Lajos Kassák Museum, Budapest • New Acquisitions, Hungarian National Gallery, Budapest
1981 • Allegro barbaro, Béla Bartók and the Fine Arts, Wilhelm-Lehmbruck Museum Duisburg, Kunstmuseum, Hannover, Hungarian National Gallery, Budapest • Hommage à Bartók, Vigadó Gallery, Budapest • Art of Szentendre, Tóparti Gallery, Boglárlelle (HU) • XI. National Biennial of Graphic Art, Miskolc (HU) • Ungerske konst 1905-1980, Liljevalchs Konsthall, Stockholm, Konstmuseum, Göteborg (SVE) • Kunst von Szentendre II., Kulturzentrum, Mattersburg (A) • Selection from Hungarian Private Collections, Hungarian National Gallery, Budapest
1982 • Memory of Ernő Kállai, Óbuda Gallery, Budapest • Contemporary Hungarian Art, Marseille, Menton, Lyon, Clermont-Ferrand, Paris • Exhibition of the Graphic Workshop of Szentendre, Vigadó Gallery, Budapest • Selection from Private Collections of Győr, Műcsarnok, Budapest • Ungarische Malerei des 20. Jahrhunderts, Nationalgalerie, Berlin
1983 • For The New Art 1960-1975, Ferenc Móra Museum, Szeged (HU) • Selection from the acquisitions of the last 3 years, Hungarian National Gallery, Budapest • Painting of Szentendre, Hatvan Gallery, Hatvan (HU) • Ungarische Kunst, Staatliche Museum, Meiningen • The Years of Development around 1960, Csók Gallery, Székesfehérvár (HU)
1984 • National Fine Art Exhibition '84, Műcsarnok, Budapest • Bartók in the Contemporary Hungarian Graphic Art, Békés Gallery, Békéscsaba (HU) • Ten Hungarian Artists 1920-1984, Hungarian Art Center, New York
1985 • 40 Creative Years, Műcsarnok, Budapest • Unkarin maalaustaidetta 1955-1985, Helsingin Kaupungintalon Ala-Aula, Helsinki • Salon Kaupungin Nayttelytila, Salo (FIN) • Collection of Ákos Vörösváry, Budapest Gallery, Budapest
1986 • New Acquisitions, Budapest Historical Museum, Budapest • Exhibition of the Graphic Workshop of Szentendre, Szentendre Gallery
1987 • Hungary in Netherlands, Műcsarnok, Fodor M., Amsterdam • The Old Avant-Garde - 8 Artists from Szentendre, Workshop Gallery, Szentendre (HU) • Old and New Avant-Garde (1967-1975). Hungarian Art of the Twentieth Century, Csók Gallery, Székesfehérvár (HU) • Hundred Years of Hungarian Fine Art, Rome
1988 • Sixty Years of the Artist Colony of Szentendre 1928-1988, Szentendre Gallery, Szentendre (HU) • Avant-Garde and Proletar Culture, Lajos Kassák Museum, Budapest • Second Wave of the Hungarian Avant-Garde, Kövesdy Gallery, New York • Begegnungen - Encounters, Hungarian National Gallery, Budapest, Zentralsparkasse, Vienna
1989 • Maîarské výtvarné umění XX. století (1945-1988), Národní g., Prague • Dom umenia, Bratislava • Meisterwerke der Ungarischen Moderne Schloss Plankenwart, Graz
1990 • Tausend Gesicher der Geometrie. Siebdrucke aus Ungarn, Otto Nagel-haus der Staatlichen Museum, Berlin, Galerie am Domhof, Zwickau • Motion '70-90, Modern Hungarian Gallery, Pécs (HU)
1991 • The Sixties. New Tendencies in Hungarian Art. Hungarian National Gallery, Budapest • The Music as Vision, Szekszárd (HU) • 10+1 Years Old The Graphic Workshop of Szentendre, Szentendre Gallery, Szentendre (HU)
1993 • Encounter... Dunamente Folk Festival, Szekszárd (HU) • Hungarica, Art of the 80’s. M. di Roma, Rome
1994 • Heads, Fészek Gallery, Budapest • Art of Szentendre between 1926 and 1935, Szentendre Gallery, Szentendre (HU)
1995 • Bartók in Fine Art, Museum of Music History, Budapest
1996 • Genius Loci. Szentendre in paintings and photos. Szentendre Gallery, Szentendre (HU) • Reconstruction of The Spring Exhibition, Műcsarnok, Budapest
1997 • 114/7920 Selection from the Contemporary Collection, Hungarian National Gallery, Budapest • Kolozsváry Collection, Műcsarnok, Budapest
1998 • Hungarian Avant-Garde in the Twentieth Century, Neue Galerie der Stadt, Linz
1999 • Farewell to the the Twentieth Century, Hungarian National Gallery, Budapest • The Years of the Changes, Hungarian National Gallery, Budapest
1999 • Aspekte/Positionen – 50 Jahre Kunst aus Mitteleuropa 1949-1999, Museum Moderner Kunst, Vienna, Museum of Contemporary Art/Ludwig Museum, Budapest.
Works in Public Places:
Rhythm (sgraffito, 1958, Dereglye Street, Budapest)
mosaic pillar (1959, Hotel Royal, Budapest)
glass wall [(Kecel (HU)]
Esperanto Fountain (1967, Rác Bath, Budapest)
glass wall [Hotel Auróra, Balatonalmádi (HU)] Works in Public Collection:
Ferenczy Museum, Szentendre (HU)
Municipal Picture Gallery, Budapest
Lajos Hatvany Museum, Hatvan (HU)
Ottó Herman Museum, Miskolc (HU)
King Saint Stephen Museum, Székesfehérvár (HU)
Janus Pannonius Museum, Pécs (HU)
Hungarian National Gallery, Budapest
Municipal Gallery, Székesfehérvár (HU). Bibliography:
Rabinovszky, M.: ~ képei, Tér és forma, 1946/11.
Mezei, Á.: (cat., intro., Európai Iskola Könyvtára, 9. sz., 1946)
Pán, I.: (cat., Európai Iskola, 1947)
Kassák, L.: ~, in.: Képzőművészetünk Nagybányától napjainkig, Budapest, 1947
Mezei, Á.: ~ képei, Nagyvilág, 1947/12.
Pogány Ö., G.: ~, Valóság, 1947/12.
Solymár, I.: A Monológ és ~, Művészet, 1964/8.
Frank, J.: Kiállítási napló: ~, Élet és Irodalom, 1965. szeptember 11.
Ungváry, R.: ~ kiállítása, Jelenkor, 1966. március
Zelk, Z.: Négyszemközt. Beszélgetés ~vel, Tükör, 1967. március 28.
Ungváry, R.: ~ alkotói útja, Magyar Műhely, 1967. május 12.
Frank, J.: ~nél, Élet és Irodalom, 1968. október 30.
Solymár, I.: ~ születésnapjára, Művészet, 1968/12.
Dévényi, I.: ~ 60 éves, Vigilia, 1968/12.
Körner, É.: Szentendre és a kelet-európai avantgarde, Valóság, 1971/2.
Körner, É.: ~ (monogr.), Budapest, 1971
A MŰVÉSZET folyóirat ~ különszáma, 1974/11.
Mucsi, A.: (cat., intro., Művésztelepi Galéria, Szentendre, 1975)
Hegyi, L.: (leporello, intro., Lajos Hatvany Museum, Hatvan, 1975)
Hegyi, L.: ~: Tücsöklakodalom, Janus Pannonius Múzeum Évkönyv, 1975-76/20-21.
Hegyi, L.-Keserü, K.: (cat., intro., Hatvany Lajos Múzeum, füzetei, No. 3., Hatvan, 1977)
Hegyi, L.: ~ három kompozíciója, Művészet Évkönyv, 1978
Hegyi, L.: ~ első alkotói korszaka. 1923-1933, Ars Hungarica, 1976/1.
Keserü, K.: Kántálók - képelemzés, Janus Pannonius Múzeum É (XX-XXI) 1977
Hegyi, L.: ~ második alkotói korszaka 1933-1937, Ars Hungarica (XX-XXI) 1977
Németh, L.: (cat., intro., Magyar Nemzeti Galéria, 1980)
Keserü, K.: Illuminációk. ~ regénye, Kortárs, 1980/1.
Hegyi, L.: ~ művészete, Művészet, 1980/4.
Hegyi, L.: (cat., intro., Művésztelepi Galéria, Szentendre, 1981)
Szakolczay, L.: "Az idén nem mentem sehová..." Beszélgetés ~ vel, Budapest, 1982/2.
Hegyi, L.: (cat., intro., Erdei F. Művelődési Központ, Kecskemét, 1984)
Hegyi, L.: ~ (monogr.), Budapest, 1984
Boros, J.: Tökéletes gondolatból a hazugság menekül. ~ről, Kortárs, 1985/11.
Körner, É.: ~, in: Magyar Művészet 1919-1945 (szerk.: Kontha, S.) Budapest, 1985
Várkonyi, Gy.: (cat., intro., Művészetek Háza, Pécs, 1994)
Hegyi, L.: (cat., intro., Fészek Klub, 1994)
Kovalovszky, M.: Kristályház. ~ kiállítása, Új Művészet, 1995/1-2.
Film:
Kovásznay, Gy.-gyel: Nő a tükör előtt, Monológ (1963), Gitáros fiú a régi képtárban, Reggeltől estig, Gondolat, Egy festő naplója, Házasodik a tücsök (1968).
painter
(1 Dec. 1908, Beszterce – 17 Aug. 1984, Budapest) 1925-1929: College of Fine Arts, Budapest, masters: István Csók, János Vaszary. 1978: meritorious artist. In 1930 Korniss was a member of the group named the Új proressziv mûvészek /New Progressive Artists/; between 1930 and 1931 he was an active member of the Munka kör /Work Group/. From 1929 he was a member of the Képzõmûvészek Új Társasága /New Society of Fine Artists/, then from 1946 of the Szentendrei Festõk Társasága /Society of the Painters of Szentendre/, he was also one of the founding members of the Európai Iskola /European School/ (1946). Between 1922 and 1939 he lived in Pesterzsébet, and worked in Szentendre and Budapest from 1934. Between 1947 and 1948 he was a teacher at the Applied Arts College of Budapest, he was relieved of the task however, in 1948. Between 1949 and 1956 he made a living from the coloring of advertisement signs and the painting of puppets Between 1963 and 1969 he worked at the Pannónia Film Stúdió /Pannónia Film Studio/. Koniss was one of the most defining masters of the fine arts of Hungary during the course of the Twentieth Century. He was connected to the reforming avant-garde tendencies of his age, as well as to the art of Szentendre through a number of ties. He was a devotee of the honor of craftsmanship and of aesthetic formal perfection. Multifold language diversity, constant attitudes towards searching for new forms, which was often parallel to other art activities, and the production of a number of vastly different creative periods were all-important traits of his works. He began his fine arts education at the Podolini-Volkmann Free School, at the age of 15. Between 1923 and 1924 he spent an entire year in the Netherlands, where, amongst others, the art of Rembrandt and De Stijl had a significant influence upon his works. In 1925 he was admitted to the class of István Csók at the College of Fine Arts in Budapest. The archaic, cubist head composition, which preserved the influence of Mediterranean Classicist Art, and simultaneously were characterized by strict plastic formation, dark colors and the playful portrayal of light and shadow were prepared between 1927 and 1928. Korniss became acquainted with Lajos Varga during his college years. Of his classmates he upheld stronger ties with György Kepes, Sándor Trauner, and Ernõ Schubert. The studying of French and Russian Art and the integration of the elements of these schools was characteristic of his work during the period. The compositions prepared by him during this time were based on a constructivist style of forms, which were at once realistic, yet contained Cubist and Symbolic elements and held Surrealist meanings (e.g.: Galambász /Pigeon Breeder/, 1927). His artistic program was characterized furthermore by strong social sensitivity and an interest in Social Sciences. He often made use of the technique of photographic montages. Independent of the positive critique he received at the Young Artist's Exhibition, held at the Art Gallery of Budapest in 1927, the College of Fine Arts initiated an investigation into painting teachers and their pupils who had interests in and orientations towards western painting styles, including Korniss. In 1930 Kassák invited Korniss, among a number of other young artists, to join the Munka kör /Work Group/. Korniss prepared a number of drawings for the periodical entitled Munka /Work/. Together with his friends from college he founded a new artistic grouping named the Új Progresszív Mûvészek /New Progressive Artists/. The first introduction of the group took place at the Tamás Gallery, in 1930. The artistic group broke up in the very same year and their relationship with the Munka kör deteriorated. With the exception of Ernõ Scubert all of the artists of the group left the country. Korniss traveled to Paris where he discovered the values of Mediterranean Humanist traditions, and the modern meanings of those. Following his return to Hungary he backed the work of the group named the Szocialist Képzõmûvészek Csoportja /Group of Socialist Fine Artists/. He began the systematic collection of folk art and architectural motifs, together with Vajda, in Szentendre, in 1935. In contrast to the convention filled art of the time, similar to Russian Avant-garde, they found the traditions of art, i.e. its basic forms, in folk and provincial art. Their program, under the influence of the program of Bartók, was the integration of a number of the achievements of both western and eastern art into a new Central-Eastern European Art Movement. Vajda and Korniss labeled this new program, related closely to Szentendre, the "Constructive-Surrealist System". They built up their compositions from collective type abstract and folk forms. Korniss, in his so-called microcosm-compositions, worked with a set of motifs, which recalled the surroundings and the life of the city, which he enriched with symbolic contents (Szentendrei motívum I-IV. /Motif of Szentendre I-IV/, 1935). The architectural closed form floated within an imaginary space. Korniss, in order to produce fine sensual surfaces used primarily pastels for the preparation of his works. His first period of Szentendre lasted up until 1937. Between 1940 and 1943 he participated at the exhibitions of the New Society of Fine Artists with a number of interior designs. Due to his experiences during the Second World War, the sense of existential danger, distracted brushwork, and plastic formation of facture became typical of his works (Búcsú, Halott Katona, /Farewell Dead Soldier/ 1944). Following his soldier years and time spent as a prisoner of war, during the course of his European School period, he prepared works of clear patches of color of constructivist styled figurality as well as works containing expressive percale graphic solutions side by side (Ellentét /Contrast/, 1947; Laokoon, 1948). His second Szentendre Period spanned between 1945 and 1950. A rich world of associational motifs, with symbolic contents appeared in his compositions, the usage of typical architectural forms and elements of Szentendre increased, and the figures of his miniature worlds became larger. He began working with a new method of image composition in which color became a much more important structuring element in his works then ever before (e.g.: Sárkányos /Dragonly/, 1945; Kántálók /Chatters/, 1946; Bölcsõ variációk /Cradle Variations/, 1947; Reménytelen harc /Hopeless struggle/, 1948). Besides musical rhythmic patterns, the associative imagery of folk songs may be discovered in his works. The defining summarizing work of the period was the Tücsöklakodalom /Cricket Wedding Celebration/, of 1948, in which he painted the Hungarian "joie de vivre". In 1945 he began working on his monotype series entitled Illuminációk /Illuminations/, composed of hundreds of pages, which was inspired by the poetry of Rimbaud. The base motif of each of the pages is an architectural frame and a head, depicted through a recondite, emblematic line structure. In 1948 he was fired from his teacher's position. From 1950 Korniss moved into inner-emigration within Hungary, making a living from the painting of puppets and the coloring of advertisements plaquettes. Besides small sized Surrealist Paintings he prepared a number of photographic collages. During the course of the 1950's he began the formation of the picture surface and the color surface of his images. He researched the relation of different colors with one another (e.g.: Narancs ás kék /Orange and Blue/, 1954). His first calligraphy was produced in 1956. He prepared a number of large-scale glaze-calligraphies during the period spanning between 1956 and 1962. Korniss first exhibited his calligraphies, together with Endre Bálint, in Amersfoort, in 1958. Within these works, independent of their spontaneity, a sense of unseen structuralism was present. He began painting his series entitled Metamorfózis-variációk /Metamorphosis Variations/ from 1963. The compositions did not contain object elements. As the glaze paint became thicker, and dissolved, did the outlines of different landscapes, cities and interior details appear. Between the period spanning from 1963 and 1968 Korniss's attention was drawn to the world of collages and that of animation films. Together with György Kovásznai he prepared eight animation films for the Pannonia Film Studio. His brush drawings were prepared between 1963 and 1967. 1968 was the beginning of his last creative period. An abstract world of motifs, drawn from folk art appeared in his images painted in a hard-edge style (Szûrmotívum /Cloak Motif/, 1968; Pásztorok /Shepherds/, 1968; Rablók /Thieves/, 1977). The motif of the cloak (of Hungarian shepherds), or that of the flag became the beholders of clear systems of forms. The summarizing piece of this period of Korniss's was the work entitled Allegro barbaro (1975). In the year of 1970 Korniss participated in the exhibition entitled "R" held by the group of Neo-Avant-Garde artists. Within the course of this period he once again created works in the style of Geometric Abstraction, making use of the principle forms of geometry, analyzing signs simplified to their fullest (e.g.: Horizontális-vertikális /Horizontal - Vertical/, 1975). The Hungarian Gallery of Art organized the retrospective, collective exhibition of Korniss's works in 1980. His decorative works in public building were also of great significance. Dezsõ Korniss, a member of the second generation of the Hungarian avant-garde, was a pupil of István Csók's at the Academy of Fine Art, yet at the outset of his career it was from the circle surrounding Lajos Kassák, the leading figure in the Hungarian avant-garde, that he got more of what he needed by way of intellectual sustenance. He did paint a few Constructivist pieces, but after that he headed off in a different direction; a new trend - fundamentally at odds with geometric rationalism - took him over: Surrealism. When he got to know Vajda and made friends with him, they went collecting folk-art artefacts in Szentendre, and following Bartók's example they had the idea of marrying the two styles, calling it the "Constructivist-Surrealist Schematic". By contrast with Vajda, Korniss was positive by nature and despite the coming war, and later its devastation, he viewed the future with optimism. It was an unkind quirk of fate that his personal life offered him little cause to be cheerful. In the 1950s he was forced into total seclusion, and he did not become one of the darlings of cultural policy in later years either; and since he had no studio he worked in his own little room, with no official recognition and no serious commissions. He was probably helped through these difficulties by having faith in the harmony he created in his pictures. This is borne out by the whole of the rest of his career: one of his masterpieces, the Crickets' Wedding painted in 1948, the Corpuses that suggest the faith of people overcoming suffering and death, and the grotesque and playful pieces he produced from the sixties on, where he uses the most varied elements of contemporary art (calligraphy, for instance) to show how much hidden beauty is to be found in the world. (Lóránd Hegyi: Dezsõ Korniss. Budapest, 1982, with excerpts in English)
[József Vadas: Hungarian Masterpieces (Vadas József : A magyar festészet remekei), translator: Godfrey Offord, Corvina Publishers, 2004.] One-Man Shows:
1946 • Illuminations, Exhibition Hall of the European School (Európai Iskola), Budapest (cat.)
1947 • Exhibition Hall of the European School (Európai Iskola), Budapest (cat.)
1948 • Chiltern Gallery [with Margit Anna], London
1958 • G. 'tOude Wewershuys [with Endre Bálint], Amersfoort
1965 • King Saint Stephen Museum, Székesfehérvár (HU) (cat.)
1972 • "Rezeda 9" [with Gábor Attalai, Imre Bak and Tibor Csiky], Rezeda Street, Budapest
1975 • The works of Endre Bálint and Dezső Korniss in the Kolozsváry Collection, Gallery of the Artist Colony, Szentendre (HU) (cat.) • Paintbrush Drawings, Lajos Hatvany Museum, Hatvan (HU) (leporello)
1977 • Rezeda 9. The Robbers and the Shepherds, Lajos Hatvany Museum, Hatvan (HU) (cat.)
1978 • Illuminations, Lajos Hatvany Museum, Hatvan (HU) (cat.) • Library of the Community Centre, Szentendre (HU)
1979 • In honour of the 70 years old ~ , Ferenczy Museum, Szentendre (HU) (cat.)
1980 • Hungarian National Gallery, Budapest (cat.)
1981 • Bartók in my pictures, Gallery of the Artist Colony, Szentendre (HU) (cat.)
1983 • Workshop Gallery, Szentendre (HU) (cat.)
1984 • F. Erdei Community Centre, Kecskemét (HU) (cat.) • Youth House, Eger (HU)
1985 • Selection from the ~ bequest, Fészek Club (cat.)
1987 • Workshop Gallery, Szentendre (HU)
1990 • Christian Museum, Esztergom (HU)
1994 • Works in the collection of dr. Imre Merics, Művészetek Háza, Pécs (kat.) • Fészek Club, Budapest (cat.) • Barcsay School Gallery, Szentendre (HU)(cat.)
1998 • ~. Ismeretlen művek. Art'éria Galéria, Szentendre. Selected Group Exhibitions:
1945 • Miklós Rózsa memorial exhibition, Anonymus Literary and Art Institute, Budapest • Artists Society of the Social Democratic Party and invited artists in the Ernst Museum, Budapest
1946 • Graphic Art and Small Sculpture Exhibition of the European School (Európai Iskola), Exhibition Room of the Hungarian Women’s Democratic Union, Kossuth Street, Budapest • Movement for the Hungarian Fine Art, 1st Exhibition, Ernst Museum, Budapest • Town Restoration Exhibition, Town Hall, Szentendre (HU) • 11th Group Exhibition of the European School, Exhibition Room of the MKSZSZ • Moderne Kunst aus Ungarn, Galerie les Eaux-Vives, Zurich
1947 • Hungarian Art Weeks. Fine Art Exhibition, Ernst Museum, Budapest • Fine Artists for the War Prisoners, Ernst Museum, Budapest • The European School I-II-III. ”clinical exhibitions” , Rusznyák, Horányi and Germán Clinic, Budapest • Two Faces of the Artist, Alkotás Art House, Budapest • 2nd Free National Exhibition of the Hungarian Fine Artists’ Free Organization, Municipal Picture Gallery, Budapest • 2nd Exhibition of the Fókusz Gallery, Budapest • Our Fine Art since the Liberation, Municipal Picture Gallery, Budapest
1948 • New Trends of the Hungarian Fine Arts, National Salon, Budapest • Ourselves. The 33rd Exhibition of the European School, Exhibition Room of the Hungarian Women’s Democratic Union, Üllői Road, Budapest • Exhibition of 90 Artists, National Salon, Budapest • Exhibition of Contemporary Arts in Hungary, London
1952, 1953 • 2nd, 3rd Exhibition of The Szentendre Painters, Ferenczy Museum, Szentendre (HU)
1954 • Pintores Hungaros Contemporáneos (Selection from the Collection of Makarius Saamer), G. Krayd, Buenos Aires
1956 • Jubilee Exhibition of the Szentendre Artists Colony 1926-1956, Ferenczy Museum, Szentendre (HU) • Seven Artists, Balassa Museum, Esztergom (HU)
1957 • Spring Exhibition, Műcsarnok, Budapest
1961, 1964, 1965, 1967, 1969 • Exhibition of the Szentetndre Painters, Ferenczy Museum, Szentendre (HU)
1962 • Liberty and People, Csók Gallery, Székesfehérvár (HU)
1963 • Twentieth-Century Works from Budapest Collections, Hungarian National Gallery, Budapest • Painting of Szentendre, Ferenczy Museum, Szentendre (HU)
1964 • Group of The Socialist Fine Artists 1934-1944, Hungarian National Gallery, Budapest • Painting of Szentendre, King Saint Stephen Museum, Székesfehérvár (HU)
1965 • Hungarian Fine Artists Against Fascism, Hungarian National Gallery, Budapest
1966 • Summer Exhibition of The Szentendre Painters, Ferenczy Museum, Szentendre (HU) • Exhibition of The Szentendre Painters, Balassa Museum, Esztergom • 125 Years of The Hungarian Photo Art, Hungarian National Gallery, Budapest
1967 • Exhibition of The Szentendre Painters, King Mathias Museum, Visegrád (HU)
1968 • Exhibition of the senior and the young generation, Budapest University of Technology, Vásárhelyi Hall, Budapest • Hommage à Kassák, King Saint Stephen Museum, Székesfehérvár (HU) • Painting of Szentendre. 40 Years Jubilee Exhibition. Ferenczy Museum, Szentendre (HU)
1969 • Hungarian Art 1945-1969, Műcsarnok, Budapest • Art of Szentendre, Csók Gallery, Székesfehérvár (HU)
1970 • Movement '70, Modern Hungarian Gallery, Pécs (HU) • "R" Exhibition, R Club, Budapest
1971 • New Works, Műcsarnok, Budapest • 100 Jahre Kunst in Ungarn, Museum am Ostwall, Dortmund • Summer Exhibition of Szentendre, Town Hall, Szentendre (HU) • 3rd National Biennial of Small Sculpture, Pécs (HU) • Exhibition of Pest County, Hungarian National Gallery, Budapest • Die Ungarische Avantgarde 1909-1930, G. del Levante, Munich
1972 • The Old Artist Colony, Gallery of the Artist Colony, Szentendre (HU) • Material and Form in Fine Art, TIT Studio, Budapest
1973 • Copernicus Exhibition, Budapest University of Technology, Budapest • European School. Hungarian Art of the Twentieth Century, Csók Gallery, Budapest, Székesfehérvár (HU) • Artists of Angyalföld, Műcsarnok, Budapest
1974 • L'Art Hongrois du 20e siècle, Galerie Moderne, Strasbourg • Hungarian Graphic Art of The Twentieth Century, Savaria Museum, Szombathely (HU) • 7th Balaton Summer Exhibition, Balaton Museum, Keszthely (HU) • Autumn Exhibition, Gallery of Artist Colony, Szentendre (HU)
1975 • Jubilee Fine Arts Exhibition, Műcsarnok, Budapest • Pictures on the castle wall, Hungarian National Gallery, Budapest • Art of Szentendre, Hungarian National Gallery, Budapest • Vision and Creation, Miskolc (HU) • XXXVII. Biennial of Venice, Venice • Art of Szentendre Today, Gallery of Artist Colony, Szentendre (HU)
1976 • Exposition. Photo/Art, Lajos Hatvany Museum, Hatvan (HU)
1977 • Pictures-Sculptures, Budapest Historical Museum, Budapest • Private Collection of Iván Dévényi, Municipal Gallery, Győr (HU) • In the Spirit of Folk Art, József Katona Museum, Kecskemét (HU) • Hungarian Art 1945-49. Hungarian Art of the Twentieth Century, Csók Gallery, Székesfehérvár (HU)
1978-1979 • 50 Years in the Art of Szentendre, Szentendre Gallery
1978 • Hongaarse Konstruktivische Kunst 1920-1977, Kruithuis Citadellen, Den Bosch (NL)
1979 • Pintura Hungara no seculo XX., G. de Exposicoes Tempraria, Lisbon • Hungarian Graphic Art '78, Hungarian National Gallery, Budapest • Jubilee Exhibition of the Old Artist Colony of Szentendre, Szentendre Gallery, Szentendre (HU)
1980 • L'Arte ungherese degli anni settanta • XXXIX. Biennial of Venice, Venice • Art and Society, Műcsarnok, Budapest • In memoriam Kassák, Lajos Kassák Museum, Budapest • New Acquisitions, Hungarian National Gallery, Budapest
1981 • Allegro barbaro, Béla Bartók and the Fine Arts, Wilhelm-Lehmbruck Museum Duisburg, Kunstmuseum, Hannover, Hungarian National Gallery, Budapest • Hommage à Bartók, Vigadó Gallery, Budapest • Art of Szentendre, Tóparti Gallery, Boglárlelle (HU) • XI. National Biennial of Graphic Art, Miskolc (HU) • Ungerske konst 1905-1980, Liljevalchs Konsthall, Stockholm, Konstmuseum, Göteborg (SVE) • Kunst von Szentendre II., Kulturzentrum, Mattersburg (A) • Selection from Hungarian Private Collections, Hungarian National Gallery, Budapest
1982 • Memory of Ernő Kállai, Óbuda Gallery, Budapest • Contemporary Hungarian Art, Marseille, Menton, Lyon, Clermont-Ferrand, Paris • Exhibition of the Graphic Workshop of Szentendre, Vigadó Gallery, Budapest • Selection from Private Collections of Győr, Műcsarnok, Budapest • Ungarische Malerei des 20. Jahrhunderts, Nationalgalerie, Berlin
1983 • For The New Art 1960-1975, Ferenc Móra Museum, Szeged (HU) • Selection from the acquisitions of the last 3 years, Hungarian National Gallery, Budapest • Painting of Szentendre, Hatvan Gallery, Hatvan (HU) • Ungarische Kunst, Staatliche Museum, Meiningen • The Years of Development around 1960, Csók Gallery, Székesfehérvár (HU)
1984 • National Fine Art Exhibition '84, Műcsarnok, Budapest • Bartók in the Contemporary Hungarian Graphic Art, Békés Gallery, Békéscsaba (HU) • Ten Hungarian Artists 1920-1984, Hungarian Art Center, New York
1985 • 40 Creative Years, Műcsarnok, Budapest • Unkarin maalaustaidetta 1955-1985, Helsingin Kaupungintalon Ala-Aula, Helsinki • Salon Kaupungin Nayttelytila, Salo (FIN) • Collection of Ákos Vörösváry, Budapest Gallery, Budapest
1986 • New Acquisitions, Budapest Historical Museum, Budapest • Exhibition of the Graphic Workshop of Szentendre, Szentendre Gallery
1987 • Hungary in Netherlands, Műcsarnok, Fodor M., Amsterdam • The Old Avant-Garde - 8 Artists from Szentendre, Workshop Gallery, Szentendre (HU) • Old and New Avant-Garde (1967-1975). Hungarian Art of the Twentieth Century, Csók Gallery, Székesfehérvár (HU) • Hundred Years of Hungarian Fine Art, Rome
1988 • Sixty Years of the Artist Colony of Szentendre 1928-1988, Szentendre Gallery, Szentendre (HU) • Avant-Garde and Proletar Culture, Lajos Kassák Museum, Budapest • Second Wave of the Hungarian Avant-Garde, Kövesdy Gallery, New York • Begegnungen - Encounters, Hungarian National Gallery, Budapest, Zentralsparkasse, Vienna
1989 • Maîarské výtvarné umění XX. století (1945-1988), Národní g., Prague • Dom umenia, Bratislava • Meisterwerke der Ungarischen Moderne Schloss Plankenwart, Graz
1990 • Tausend Gesicher der Geometrie. Siebdrucke aus Ungarn, Otto Nagel-haus der Staatlichen Museum, Berlin, Galerie am Domhof, Zwickau • Motion '70-90, Modern Hungarian Gallery, Pécs (HU)
1991 • The Sixties. New Tendencies in Hungarian Art. Hungarian National Gallery, Budapest • The Music as Vision, Szekszárd (HU) • 10+1 Years Old The Graphic Workshop of Szentendre, Szentendre Gallery, Szentendre (HU)
1993 • Encounter... Dunamente Folk Festival, Szekszárd (HU) • Hungarica, Art of the 80’s. M. di Roma, Rome
1994 • Heads, Fészek Gallery, Budapest • Art of Szentendre between 1926 and 1935, Szentendre Gallery, Szentendre (HU)
1995 • Bartók in Fine Art, Museum of Music History, Budapest
1996 • Genius Loci. Szentendre in paintings and photos. Szentendre Gallery, Szentendre (HU) • Reconstruction of The Spring Exhibition, Műcsarnok, Budapest
1997 • 114/7920 Selection from the Contemporary Collection, Hungarian National Gallery, Budapest • Kolozsváry Collection, Műcsarnok, Budapest
1998 • Hungarian Avant-Garde in the Twentieth Century, Neue Galerie der Stadt, Linz
1999 • Farewell to the the Twentieth Century, Hungarian National Gallery, Budapest • The Years of the Changes, Hungarian National Gallery, Budapest
1999 • Aspekte/Positionen – 50 Jahre Kunst aus Mitteleuropa 1949-1999, Museum Moderner Kunst, Vienna, Museum of Contemporary Art/Ludwig Museum, Budapest.
Works in Public Places:
Rhythm (sgraffito, 1958, Dereglye Street, Budapest)
mosaic pillar (1959, Hotel Royal, Budapest)
glass wall [(Kecel (HU)]
Esperanto Fountain (1967, Rác Bath, Budapest)
glass wall [Hotel Auróra, Balatonalmádi (HU)] Works in Public Collection:
Ferenczy Museum, Szentendre (HU)
Municipal Picture Gallery, Budapest
Lajos Hatvany Museum, Hatvan (HU)
Ottó Herman Museum, Miskolc (HU)
King Saint Stephen Museum, Székesfehérvár (HU)
Janus Pannonius Museum, Pécs (HU)
Hungarian National Gallery, Budapest
Municipal Gallery, Székesfehérvár (HU). Bibliography:
Rabinovszky, M.: ~ képei, Tér és forma, 1946/11.
Mezei, Á.: (cat., intro., Európai Iskola Könyvtára, 9. sz., 1946)
Pán, I.: (cat., Európai Iskola, 1947)
Kassák, L.: ~, in.: Képzőművészetünk Nagybányától napjainkig, Budapest, 1947
Mezei, Á.: ~ képei, Nagyvilág, 1947/12.
Pogány Ö., G.: ~, Valóság, 1947/12.
Solymár, I.: A Monológ és ~, Művészet, 1964/8.
Frank, J.: Kiállítási napló: ~, Élet és Irodalom, 1965. szeptember 11.
Ungváry, R.: ~ kiállítása, Jelenkor, 1966. március
Zelk, Z.: Négyszemközt. Beszélgetés ~vel, Tükör, 1967. március 28.
Ungváry, R.: ~ alkotói útja, Magyar Műhely, 1967. május 12.
Frank, J.: ~nél, Élet és Irodalom, 1968. október 30.
Solymár, I.: ~ születésnapjára, Művészet, 1968/12.
Dévényi, I.: ~ 60 éves, Vigilia, 1968/12.
Körner, É.: Szentendre és a kelet-európai avantgarde, Valóság, 1971/2.
Körner, É.: ~ (monogr.), Budapest, 1971
A MŰVÉSZET folyóirat ~ különszáma, 1974/11.
Mucsi, A.: (cat., intro., Művésztelepi Galéria, Szentendre, 1975)
Hegyi, L.: (leporello, intro., Lajos Hatvany Museum, Hatvan, 1975)
Hegyi, L.: ~: Tücsöklakodalom, Janus Pannonius Múzeum Évkönyv, 1975-76/20-21.
Hegyi, L.-Keserü, K.: (cat., intro., Hatvany Lajos Múzeum, füzetei, No. 3., Hatvan, 1977)
Hegyi, L.: ~ három kompozíciója, Művészet Évkönyv, 1978
Hegyi, L.: ~ első alkotói korszaka. 1923-1933, Ars Hungarica, 1976/1.
Keserü, K.: Kántálók - képelemzés, Janus Pannonius Múzeum É (XX-XXI) 1977
Hegyi, L.: ~ második alkotói korszaka 1933-1937, Ars Hungarica (XX-XXI) 1977
Németh, L.: (cat., intro., Magyar Nemzeti Galéria, 1980)
Keserü, K.: Illuminációk. ~ regénye, Kortárs, 1980/1.
Hegyi, L.: ~ művészete, Művészet, 1980/4.
Hegyi, L.: (cat., intro., Művésztelepi Galéria, Szentendre, 1981)
Szakolczay, L.: "Az idén nem mentem sehová..." Beszélgetés ~ vel, Budapest, 1982/2.
Hegyi, L.: (cat., intro., Erdei F. Művelődési Központ, Kecskemét, 1984)
Hegyi, L.: ~ (monogr.), Budapest, 1984
Boros, J.: Tökéletes gondolatból a hazugság menekül. ~ről, Kortárs, 1985/11.
Körner, É.: ~, in: Magyar Művészet 1919-1945 (szerk.: Kontha, S.) Budapest, 1985
Várkonyi, Gy.: (cat., intro., Művészetek Háza, Pécs, 1994)
Hegyi, L.: (cat., intro., Fészek Klub, 1994)
Kovalovszky, M.: Kristályház. ~ kiállítása, Új Művészet, 1995/1-2.
Film:
Kovásznay, Gy.-gyel: Nő a tükör előtt, Monológ (1963), Gitáros fiú a régi képtárban, Reggeltől estig, Gondolat, Egy festő naplója, Házasodik a tücsök (1968).
