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SOMOGYI, Győző
SOMOGYI, Győző
graphic artist, painter
(28 July, 1942, Budapest) 1956-1960: High School of Fine Arts; 1962-1968: Roman Catholic Theological Academy. 1977: Grand Award of the National Graphics Biennial in Miskolc; 1978: golden diploma of the Landscape Biennial of Hatvan. 1983: March 15th Award; 1988: Munkácsy Award; 1992: Award for Hungarian Art; 1993: Pro Natura; 1994: Mednyánnszky László Award; 1997: Outstanding Artist Award. Between 1960 and 1964 he worked at the Kossuth Publishing House, where he became acquainted with the modern techniques of copying. In 1967 he was ordained, and acquired a doctorate of ecclesiastical history. Besides his work at the church he undertook a number of jobs involving physical labor. In 1972 György Markó taught him the technique of sifter printing. In 1972 he traveled to Paris and Rome, on study tours. He also traveled to Romania, and his visits to Greece had a significant influence on his artistic development. He has been an exhibiting artist ever since 1973, and has participated with graphics and later with paintings at a number of Hungarian and international exhibitions. In 1975 he left his church services and began working as a freelance fine artist. He settled down in Salföld during the 1980’s. He is a member of the Environmental Protection Group of the Kali Basin, the Art Guild of Veszprém and the Hungarian Arts Academy. From 1983 onward he illustrated books with primarily war history topics, and has produced a large quantity of writings. From the beginning of his career, in 1973, for entire decade he produced primarily graphic works, while from the 1980’s onwards he worked almost solely with paint, though a number of paintings were produced during the middle of the 1970’s. He drew the majority of his themes from Hungarian historical events, religion, and everyday life. He was primarily interested in the turns of fortune of the Hungarian people. The depiction of these historical figures no longer resembled the commonplace depiction mode characteristic of his earlier works: his figures gain a grotesque effect, by their hand and faces being enlarged to such a degree. During the meantime, however, he attempted to remain completely loyal to the portrayed periods: his illustrations are of scientific quality. From the field of religion he was intrigued most by the earliest explanations of existence, the world of myths and miracles, a number of his papers were inspired, besides the Bible, by Apocryphal writings. He was especially interested in the figure and life of Jesus, the unique icon-graphics of village churches may be discovered in his works. Stressed, grotesque forms, and very vibrant tones of red, yellow and blue provide the main characteristic of his work. His tempera works have a graphical effect due to his usage of strong contours and homogenous color plains, as if the artist had colored in the pre-drawn contours on his paintings. Somogyi may not be categorized into any of the painting styles. Only a single component of his works is composed of the specifically interpretable content, their expressiveness is due primarily to their unusual mode of formulation. Within the scope of his first canvases he paid tribute to the northern bank of the Lake Balaton, he also painted a number of his previously favored historic themes, and dedicates an entire series to his Greek experiences. In the latter the landscapes covered with the rays of the southern sun convey a sense of tranquility, a feeling of permanence. An anthology of a number of his portraits of famous Hungarian historical figures was collected and displayed by the Ethnological Museum of Hungary under the title of Magyar Hősök Arcképcsarnoka (The Portrait Gallery of Hungarian Heroes), in 1996. The series including 100 portraits was a salute, on the 1100th anniversary of the conquest of Hungary, to the many million anonymous soldiers who protected the Hungarian nation during its stormy history. The series is lead by Attila the Hun and is closed off by Colonel Pál Maléter. The artist took great care in the depiction of the clothing worn by the portrayed heroes: the uniforms, weapons, bearings and decorations are all very exact, their detailed working reveals a detailed pre-research. The bright colors and well-known decorativeness of the artist may be observed on the caricature like, slightly grotesque half-length portraits. The goal of the series is the revival and tending of the national traditions of Hungary, and the recalling of the moral values of the past, through depiction of the heroic concrete ideals.
One-Man Shows:
1973 • Derkovits Club, Budapest
1974 • Cellar Exhibition of Ferencváros, Budapest
1975 • Studio Gallery, Budapest • County Library, Kaposvár (HU)
1976 • Csepel Gallery, Budapest • County Library, Kaposvár (HU) • Puth Galerie, Frankfurt
1977 • Community Centre, Balmazújváros (HU) • Attila József Library, Miskolc (HU) • Bracht Galerie, Amberg
1978 • Béla Bartók Community Centre, Szeged (HU) • Community Centre, Komló (HU) • Jókai Club, Budapest
1979 • Kossuth Picture-theatre, Mohács (HU) • Community Centre, Veszprém (HU) • Community Centre, Tapolca (HU)
1980 • Helikon Gallery, Budapest • Eötvös Club, Budapest • Hungarian Institute, Sophia
1981 • Attila József Library, Miskolc (HU) • Galerie beim Minoritensaal, Graz • Galerie Untern Dach, Offenbach
1982 • Szinyei Hall, Szekszárd (HU)
1983 • Produzentengalerie, Zurich • South Balaton Cultural Centre, Siófok (HU) • Chapel Exhibition of Balatonboglár, Balatonboglár (HU) • Csokonai Community Centre, Komárom (HU)
1984 • Liget Gallery, Budapest • Hospital Gallery, Kiskunhalas (HU) • Youth Park, Veszprém (HU) • Almássy Square Cultural Centre, Budapest
1985 • Community Centre, Mór (HU) • Gallery of Kecskemét, Kecskemét (HU) • Museum of Tihany, Tihany (HU) • Goldmark Community Centre, Keszthely (HU)
1986 • Town Gallery, Zalaegerszeg (HU) • Gallery of Erzsébetváros, Budapest
1987 • Collegium Hungaricum, Vienna • Gallery of Dömös, Dömös (HU) • Nádasdy castle, Sárvár (HU)
1988 • Community Centre, Gödöllő (HU) • Budapest Gallery, Budapest
1990 • House of Free Civilization, Székesfehérvár (HU) • Sándor Petőfi Museum, Aszód (HU) • Gallery of Révfülöp, Révfülöp (HU)
1991 • Gallery of Ladány, Püspökladány (HU) • L. Nagy Community Centre, Ajka (HU) • Castle, Sandomierz
1992 • Ernst Museum, Budapest (cat.) • Gallery of Tapolca, Tapolca (HU) • South Balaton Cultural Centre, Siófok (HU)
1993 • Gallery of Pécs, Pécs (HU) • Gallery of Dombóvár, Dombóvár (HU) • Gallery of Kaposfüred, Kaposvár (HU) • Theatre Club, Keszthely (HU). Selected Group Exhibitions:
First Hungarian Spectacle Store, Budapest • Biennial of Landscapes, Hatvan (HU), Biennial of Graphic Art, Miskolc (HU). Works in Public Collections:
First Hungarian Spectacle Store, Budapest
Ottó Herman Museum, Miskolc (HU)
József Katona Museum, Kecskemét (HU)
Dezső Laczkó Museum, Veszprém (HU). Books and Illustrations:
Káli medence, with Szelényi, K. photos, 1992
Belső tárlat. Naplórészletek, egyéb írások, s a. r.
Parcsami, G.-Kovács, I., 1993
Tihany, co-authors: Géczi, J., Székely, P., 1995
Magyar hősök arcképcsarnoka, text: Hermann, R., epilogue: Basics, B., 1996.
Páncélos lovagok, text: Bodor, F., 1983
A szabadságharc hadserege, text: Barcy, Z., 1986
Magyar huszárok, text: Barcy, Z., 1987
Királyért és hazáért, text: Barcy, Z., 1989
Az erdélyi fejedelemség hadserege, text: B. Szabó, J., 1996
Nagy huszárkönyv, text: Ságvári, Gy., 1999
Elfelejtett háborúk, text: B. Szabó, J., Budapest, 2000
Kis huszárkönyv, text: Szabó, P., Budapest, 2001. Bibliography:
Erdély, M.: Bemutatjuk ~ grafikáit, Élet és Irodalom, 1975. május 31.
Vasadi, P.: A Vigilia Galériája: ~, Vigilia, 1976/4.
Dévényi, I.: Tények mellett tények. ~ grafikáiról, Művészet, 1976/10.
P. Szűcs, J.: Az ember arca. ~ műtermében, Palócföld, 1979/5.
Sinkovits, P.: Látszólagos irónia. Beszélgetés ~vel, Művészet, 1980/8.
P. Szabó, E.: ~ festményei, Új Tükör, 1984. június 10.
Katona, T.: Magyar hadviselet. ~ kiállítása (cat., intro., Tihany, 1985)
Krunák, E.: ~, Budapest, 1987
Liszkai, Z.: ~ játszik, Vigilia, 1989/3.
Megay, L.: Mintha ikonról néznének ránk. ~ grafikái, Vigilia, 1989/12.
Nagy, Z.: Jövőnk-e a múlt? ~ kiállítása a Budapest Galériában, Művészet, 1989/4.
Sz. Koncz, I.: A tyúkokat sosem lehet megunni. Salföldi beszélgetés ~ festőművésszel, A Helyzet, 1990. május 26.
Tillmann, J.: A Vigilia beszélgetése ~vel, Vigilia, 1990/6.
Fejér, E.: Salföld. ~ grafikusművésznél, Családi Ház, 1991/1.
Hernádi, M.: ~ és a földi nyomorúság (cat., intro., Budapest, 1992)
Rózsa, Gy.: ~ három kiállítása, Mozgó Világ, 1992/5.
Kapiller, F.: Aranykor rekonstrukcióval, Életünk, 1995/8.
Gyarmati, L.: Isten tenyerén avagy otthon a tájban (A méz így meg úgy. Tizenegy kortárs beszélgetés, Budapest 1999).
graphic artist, painter
(28 July, 1942, Budapest) 1956-1960: High School of Fine Arts; 1962-1968: Roman Catholic Theological Academy. 1977: Grand Award of the National Graphics Biennial in Miskolc; 1978: golden diploma of the Landscape Biennial of Hatvan. 1983: March 15th Award; 1988: Munkácsy Award; 1992: Award for Hungarian Art; 1993: Pro Natura; 1994: Mednyánnszky László Award; 1997: Outstanding Artist Award. Between 1960 and 1964 he worked at the Kossuth Publishing House, where he became acquainted with the modern techniques of copying. In 1967 he was ordained, and acquired a doctorate of ecclesiastical history. Besides his work at the church he undertook a number of jobs involving physical labor. In 1972 György Markó taught him the technique of sifter printing. In 1972 he traveled to Paris and Rome, on study tours. He also traveled to Romania, and his visits to Greece had a significant influence on his artistic development. He has been an exhibiting artist ever since 1973, and has participated with graphics and later with paintings at a number of Hungarian and international exhibitions. In 1975 he left his church services and began working as a freelance fine artist. He settled down in Salföld during the 1980’s. He is a member of the Environmental Protection Group of the Kali Basin, the Art Guild of Veszprém and the Hungarian Arts Academy. From 1983 onward he illustrated books with primarily war history topics, and has produced a large quantity of writings. From the beginning of his career, in 1973, for entire decade he produced primarily graphic works, while from the 1980’s onwards he worked almost solely with paint, though a number of paintings were produced during the middle of the 1970’s. He drew the majority of his themes from Hungarian historical events, religion, and everyday life. He was primarily interested in the turns of fortune of the Hungarian people. The depiction of these historical figures no longer resembled the commonplace depiction mode characteristic of his earlier works: his figures gain a grotesque effect, by their hand and faces being enlarged to such a degree. During the meantime, however, he attempted to remain completely loyal to the portrayed periods: his illustrations are of scientific quality. From the field of religion he was intrigued most by the earliest explanations of existence, the world of myths and miracles, a number of his papers were inspired, besides the Bible, by Apocryphal writings. He was especially interested in the figure and life of Jesus, the unique icon-graphics of village churches may be discovered in his works. Stressed, grotesque forms, and very vibrant tones of red, yellow and blue provide the main characteristic of his work. His tempera works have a graphical effect due to his usage of strong contours and homogenous color plains, as if the artist had colored in the pre-drawn contours on his paintings. Somogyi may not be categorized into any of the painting styles. Only a single component of his works is composed of the specifically interpretable content, their expressiveness is due primarily to their unusual mode of formulation. Within the scope of his first canvases he paid tribute to the northern bank of the Lake Balaton, he also painted a number of his previously favored historic themes, and dedicates an entire series to his Greek experiences. In the latter the landscapes covered with the rays of the southern sun convey a sense of tranquility, a feeling of permanence. An anthology of a number of his portraits of famous Hungarian historical figures was collected and displayed by the Ethnological Museum of Hungary under the title of Magyar Hősök Arcképcsarnoka (The Portrait Gallery of Hungarian Heroes), in 1996. The series including 100 portraits was a salute, on the 1100th anniversary of the conquest of Hungary, to the many million anonymous soldiers who protected the Hungarian nation during its stormy history. The series is lead by Attila the Hun and is closed off by Colonel Pál Maléter. The artist took great care in the depiction of the clothing worn by the portrayed heroes: the uniforms, weapons, bearings and decorations are all very exact, their detailed working reveals a detailed pre-research. The bright colors and well-known decorativeness of the artist may be observed on the caricature like, slightly grotesque half-length portraits. The goal of the series is the revival and tending of the national traditions of Hungary, and the recalling of the moral values of the past, through depiction of the heroic concrete ideals.
One-Man Shows:
1973 • Derkovits Club, Budapest
1974 • Cellar Exhibition of Ferencváros, Budapest
1975 • Studio Gallery, Budapest • County Library, Kaposvár (HU)
1976 • Csepel Gallery, Budapest • County Library, Kaposvár (HU) • Puth Galerie, Frankfurt
1977 • Community Centre, Balmazújváros (HU) • Attila József Library, Miskolc (HU) • Bracht Galerie, Amberg
1978 • Béla Bartók Community Centre, Szeged (HU) • Community Centre, Komló (HU) • Jókai Club, Budapest
1979 • Kossuth Picture-theatre, Mohács (HU) • Community Centre, Veszprém (HU) • Community Centre, Tapolca (HU)
1980 • Helikon Gallery, Budapest • Eötvös Club, Budapest • Hungarian Institute, Sophia
1981 • Attila József Library, Miskolc (HU) • Galerie beim Minoritensaal, Graz • Galerie Untern Dach, Offenbach
1982 • Szinyei Hall, Szekszárd (HU)
1983 • Produzentengalerie, Zurich • South Balaton Cultural Centre, Siófok (HU) • Chapel Exhibition of Balatonboglár, Balatonboglár (HU) • Csokonai Community Centre, Komárom (HU)
1984 • Liget Gallery, Budapest • Hospital Gallery, Kiskunhalas (HU) • Youth Park, Veszprém (HU) • Almássy Square Cultural Centre, Budapest
1985 • Community Centre, Mór (HU) • Gallery of Kecskemét, Kecskemét (HU) • Museum of Tihany, Tihany (HU) • Goldmark Community Centre, Keszthely (HU)
1986 • Town Gallery, Zalaegerszeg (HU) • Gallery of Erzsébetváros, Budapest
1987 • Collegium Hungaricum, Vienna • Gallery of Dömös, Dömös (HU) • Nádasdy castle, Sárvár (HU)
1988 • Community Centre, Gödöllő (HU) • Budapest Gallery, Budapest
1990 • House of Free Civilization, Székesfehérvár (HU) • Sándor Petőfi Museum, Aszód (HU) • Gallery of Révfülöp, Révfülöp (HU)
1991 • Gallery of Ladány, Püspökladány (HU) • L. Nagy Community Centre, Ajka (HU) • Castle, Sandomierz
1992 • Ernst Museum, Budapest (cat.) • Gallery of Tapolca, Tapolca (HU) • South Balaton Cultural Centre, Siófok (HU)
1993 • Gallery of Pécs, Pécs (HU) • Gallery of Dombóvár, Dombóvár (HU) • Gallery of Kaposfüred, Kaposvár (HU) • Theatre Club, Keszthely (HU). Selected Group Exhibitions:
First Hungarian Spectacle Store, Budapest • Biennial of Landscapes, Hatvan (HU), Biennial of Graphic Art, Miskolc (HU). Works in Public Collections:
First Hungarian Spectacle Store, Budapest
Ottó Herman Museum, Miskolc (HU)
József Katona Museum, Kecskemét (HU)
Dezső Laczkó Museum, Veszprém (HU). Books and Illustrations:
Káli medence, with Szelényi, K. photos, 1992
Belső tárlat. Naplórészletek, egyéb írások, s a. r.
Parcsami, G.-Kovács, I., 1993
Tihany, co-authors: Géczi, J., Székely, P., 1995
Magyar hősök arcképcsarnoka, text: Hermann, R., epilogue: Basics, B., 1996.
Páncélos lovagok, text: Bodor, F., 1983
A szabadságharc hadserege, text: Barcy, Z., 1986
Magyar huszárok, text: Barcy, Z., 1987
Királyért és hazáért, text: Barcy, Z., 1989
Az erdélyi fejedelemség hadserege, text: B. Szabó, J., 1996
Nagy huszárkönyv, text: Ságvári, Gy., 1999
Elfelejtett háborúk, text: B. Szabó, J., Budapest, 2000
Kis huszárkönyv, text: Szabó, P., Budapest, 2001. Bibliography:
Erdély, M.: Bemutatjuk ~ grafikáit, Élet és Irodalom, 1975. május 31.
Vasadi, P.: A Vigilia Galériája: ~, Vigilia, 1976/4.
Dévényi, I.: Tények mellett tények. ~ grafikáiról, Művészet, 1976/10.
P. Szűcs, J.: Az ember arca. ~ műtermében, Palócföld, 1979/5.
Sinkovits, P.: Látszólagos irónia. Beszélgetés ~vel, Művészet, 1980/8.
P. Szabó, E.: ~ festményei, Új Tükör, 1984. június 10.
Katona, T.: Magyar hadviselet. ~ kiállítása (cat., intro., Tihany, 1985)
Krunák, E.: ~, Budapest, 1987
Liszkai, Z.: ~ játszik, Vigilia, 1989/3.
Megay, L.: Mintha ikonról néznének ránk. ~ grafikái, Vigilia, 1989/12.
Nagy, Z.: Jövőnk-e a múlt? ~ kiállítása a Budapest Galériában, Művészet, 1989/4.
Sz. Koncz, I.: A tyúkokat sosem lehet megunni. Salföldi beszélgetés ~ festőművésszel, A Helyzet, 1990. május 26.
Tillmann, J.: A Vigilia beszélgetése ~vel, Vigilia, 1990/6.
Fejér, E.: Salföld. ~ grafikusművésznél, Családi Ház, 1991/1.
Hernádi, M.: ~ és a földi nyomorúság (cat., intro., Budapest, 1992)
Rózsa, Gy.: ~ három kiállítása, Mozgó Világ, 1992/5.
Kapiller, F.: Aranykor rekonstrukcióval, Életünk, 1995/8.
Gyarmati, L.: Isten tenyerén avagy otthon a tájban (A méz így meg úgy. Tizenegy kortárs beszélgetés, Budapest 1999).
