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LOSSONCZY, Tamás
LOSSONCZY, Tamás
Painter
(Budapest, 12th August, 1904 – )
1923–1926: College of Fine Arts, Budapest; masters: István Bosznay and János Vaszary. 1928 and 1929: study tours to Paris and Amsterdam. 1929–1931: College of Applied Arts, Budapest, Interior Design Faculty; master: Gyula Kaesz. Lossonczy was a member of the Group of Socialist Fine Artists from 1934. 1937: Study tour to Paris. Between 1945 and 1946 he was a member of the group Európai Iskola /European School/, and of the Hungarian Section of the group named the Elvont Művészek /Recondite Artists/. In 1992 Lossonczy was one of the founding members of the Széchenyi Academy of Arts; 1994: Kossuth Award. In 2004 the municipality of the 2nd district of Budapest awarded him with the title of honorary citizen. Following his first nonfigurative works, he prepared organic-constructive spatial constructions around the end of the 1920’s, after which he gave up producing fine art works many years. He worked at the office of Farkas Molnár, conducting interior design tasks. He began painting once again, at the encouragement of his wife Ibolya Lossonczy, from 1939. His paintings, labeled configurations, as a representation of the bio-romanticism of Ernő Kállai, depict forms floating in spaces, twin triangles, which became typical motifs of Lossonczy’s works later on, and different sorts of beams. He furthermore prepared expressive imprints, with dramatic effects, which were depictions of the ominous mood of the period. His art climaxed for the first time during the period spanning from 1945 to 1948. He continued producing his strong, suggestive compositions, which by then were based largely on the mirroring of the “deeper realms” of the spirit (Fájdalom és Remény /Pain and Hope/, 1945, Temetés /Burial/, 1946), furthermore on the proliferation and clashing of his motifs. Lossonczy, through circle compositions, worked on the production of an ethereal pictorial system, one ‘exempt of psycho-logics’ according to his defining, one of subtle essence. The same clear, frill-free form production character was characteristic of his work labeled ‘meditative object’ by Béla Hamvas and a number of his other interpreters, entitled Tíz tábla /Ten Tables/ (1946–1947). This was when he produced his series entitled Spárga képek /String Images/ consisting of different sized wooden tables, filled with nails, onto which long treads of string are wound, thus producing playful compositions. From 1949 onwards, yielding to his left-wing political ideals he prepared a number of Social-Realist works, and then abandoned his artistic work, once again. Following a long period of agonizing he painted his work entitled Tisztító nagy vihar /Large Cleansing Storm/, which he finished in 1962, and may be viewed as a summarization of his work up until that point, incorporating into his works both his disappointments, and hopes. The work consists of two spirals around which he paraded his motifs, thus simultaneously paying tribute to the revolution of 1956. From thereon he dealt with his troubles through large-scale works with reoccurring problems and motifs, for instance: light filled figures floating in space, forms spread out as cards, the proliferation of motifs consisting of robust funnels, resembling primordial beings, the flashing of lighting bolts, etc. Together with a few figurative periods, his art produced from the middle of the 1960’s is a profession of faith to the sovereignty of art, the artistic behavior, which is capable of accepting opposite poles. This sort of unscrupulous artistic attitude, which is capable of freely combining the most diverse sorts of elements, advanced the postmodern ideals, even though the effects of one of the climax points of Hungarian Non-Figurative painting may only be felt in relation to a handful of artists such as Imre Bak and Sándor Molnár. Besides his painting works his graphics and sculptoring activities, which may be considered a sort of visual diary, are also quite significant.
(Budapest, 12th August, 1904 – )
1923–1926: College of Fine Arts, Budapest; masters: István Bosznay and János Vaszary. 1928 and 1929: study tours to Paris and Amsterdam. 1929–1931: College of Applied Arts, Budapest, Interior Design Faculty; master: Gyula Kaesz. Lossonczy was a member of the Group of Socialist Fine Artists from 1934. 1937: Study tour to Paris. Between 1945 and 1946 he was a member of the group Európai Iskola /European School/, and of the Hungarian Section of the group named the Elvont Művészek /Recondite Artists/. In 1992 Lossonczy was one of the founding members of the Széchenyi Academy of Arts; 1994: Kossuth Award. In 2004 the municipality of the 2nd district of Budapest awarded him with the title of honorary citizen. Following his first nonfigurative works, he prepared organic-constructive spatial constructions around the end of the 1920’s, after which he gave up producing fine art works many years. He worked at the office of Farkas Molnár, conducting interior design tasks. He began painting once again, at the encouragement of his wife Ibolya Lossonczy, from 1939. His paintings, labeled configurations, as a representation of the bio-romanticism of Ernő Kállai, depict forms floating in spaces, twin triangles, which became typical motifs of Lossonczy’s works later on, and different sorts of beams. He furthermore prepared expressive imprints, with dramatic effects, which were depictions of the ominous mood of the period. His art climaxed for the first time during the period spanning from 1945 to 1948. He continued producing his strong, suggestive compositions, which by then were based largely on the mirroring of the “deeper realms” of the spirit (Fájdalom és Remény /Pain and Hope/, 1945, Temetés /Burial/, 1946), furthermore on the proliferation and clashing of his motifs. Lossonczy, through circle compositions, worked on the production of an ethereal pictorial system, one ‘exempt of psycho-logics’ according to his defining, one of subtle essence. The same clear, frill-free form production character was characteristic of his work labeled ‘meditative object’ by Béla Hamvas and a number of his other interpreters, entitled Tíz tábla /Ten Tables/ (1946–1947). This was when he produced his series entitled Spárga képek /String Images/ consisting of different sized wooden tables, filled with nails, onto which long treads of string are wound, thus producing playful compositions. From 1949 onwards, yielding to his left-wing political ideals he prepared a number of Social-Realist works, and then abandoned his artistic work, once again. Following a long period of agonizing he painted his work entitled Tisztító nagy vihar /Large Cleansing Storm/, which he finished in 1962, and may be viewed as a summarization of his work up until that point, incorporating into his works both his disappointments, and hopes. The work consists of two spirals around which he paraded his motifs, thus simultaneously paying tribute to the revolution of 1956. From thereon he dealt with his troubles through large-scale works with reoccurring problems and motifs, for instance: light filled figures floating in space, forms spread out as cards, the proliferation of motifs consisting of robust funnels, resembling primordial beings, the flashing of lighting bolts, etc. Together with a few figurative periods, his art produced from the middle of the 1960’s is a profession of faith to the sovereignty of art, the artistic behavior, which is capable of accepting opposite poles. This sort of unscrupulous artistic attitude, which is capable of freely combining the most diverse sorts of elements, advanced the postmodern ideals, even though the effects of one of the climax points of Hungarian Non-Figurative painting may only be felt in relation to a handful of artists such as Imre Bak and Sándor Molnár. Besides his painting works his graphics and sculptoring activities, which may be considered a sort of visual diary, are also quite significant.
