KONDOR, Béla
painter, graphic artist
(17 Febr., 1931, Pestszentlőrinc – 12 Dec., 1972, Budapest) 1950-1956: College of Fine Arts, first painting, then graphics major from his third year; masters: Jenõ Barcsay, János Kmetty, Endre Domanovszky, and Károly Koffán. 1963: Grand Award of the Hungarian National Graphics Biennial in Miskolc; 1965: Award of the International Graphics Biennial of Tokyo; 1965 and 1971: Munkácsy Award; 1966: Special Guest of the Graphics Biennial of Lugano; 1970: Award of the International Graphics Biennial of Krakow; 1990: posthumous Kossuth Award. Kondor regularly worked at the artistic camps of Miskolc and Kecskemét, and traveled on study tours to France, Yugoslavia, Poland, Czechoslovakia, and the Soviet Union. During the course of his career he prepared a number of wood and copper etchings, cold needle works, lithography pieces, monotypes, paper cuts, and photographs. He prepared his paintings on canvas, wood, glass, walls, and wrote a number of poems and a few prose works. He was also a fine organ player, which is why he was labeled a uomo-universal. Due to his uncompromising personality, and self-made rules, in both his personal life and his works, he was surrounded by a great deal of controversy, already during his college years. His masters Barcsay and Koffán, having discovered his talents early on, saved Kondor from being expelled from the Painting Faculty, by having him moved to the Graphics Faculty of the College of Fine Arts of Budapest. He prepared his diploma work for the piece by Ferenc Juhász entitled: Tékozló Ország /Prodigal Country/. The first writing written on Kondor was published in the periodical entitled Új Hang /New Voice/, in 1956 (edited by György Bodnár). Lajos Németh, art historian, who was the friend and analyst of Kondor, and later on became his monographer, wrote the article. During the course of his career he often came into confrontation with the dictators of the art politics. Kondor produced works rather in a narrative style, tied to the great historical traditions, rather then the Avant-Garde tendencies of the period. His artistic ideals and individual views stood far from the artistic attitude of the 1960's era. His adopted masters such as Giotto, Dürer, Rembrandt, Goya, Blake, Picasso, and others meant guidance points along the course of his career, he did not however ever become archaic or eclectic. He created an individual style and a mythology, which often seemed difficult to follow, still many of his contemporaries, and artists from later generations were influenced by his work. Kondor, within the framework of his oeuvre, reinterpreted universal symbols, and motifs, searching for answers to the problems of his time. The human-Christ (e.g.: Krisztus a kereszten /Christ on the Cross/, monotype series, 1960; Szerb Krisztus /Serbian Christ/, 1962; Útszéli feszület /Roadside Crucifix/, copper etching, 1963; Pléh Krisztus /Tin Christ/, 1964; Krisztus I., II., III. /Christ no. 1., 2., and 3./, 1971) and the human-angel (e.g.: Négy angyal /Four Angels/, copper etching, 1957; Pártütõ angyal /Rebellious Angel/, copper etching, 1957; A mennyország meghódítása /The Conquering of Heaven/, copper etching, 1957; Angyal és a festõ /Angel and the Painter/, 1961; Angyal kalitkával /Angel with cage/, monotype, 1963; A géprepülés géniusza /The genius of machinery flying/, 1964; Angyal /Angel/, 1968; Ítélkezõ /Judge/, 1968; Rajz I. /Drawing 1./, 1969; Szobrász /Sculptor/, 1970; Bukott angyal /Fallen Angel/, 1970; Angyal a város fölött /Angel above the city/, 1972) were recurring motifs of Kondor's career. The emblematic piece of Kondor's oeuvre, his period designing work, was the work entitled Darázskirály /Wasp King/. The work may be interpreted as the concrete and figurative portrayal of an insect, a bird, an angel, and the motif of flight. His works Két fej /Two Heads/ (1958); A mûtücsök felbocsátása /The launching of the synthetic cricket/ (1958); Apostol kis repülõvel /Apostle with small airplane/ (1960); Férfi konstrukcióval /Man with Construction/ (1964) and the Öreg király /Old King/ (1968) were works consisting of similar symbolic systems, and compositional methods. His apocalyptic visions speak of the infertile struggles of mankind. Such works as the Apokalipszis bábokkal és masinákkal /Apocalypse with puppets and machines/ (1956), Az atomágyú felállítása /The erection of the Atomic Cannon/ (1959), A romantikus tanulmányok I., II., III. /Romantic Studies I., II., and III. (1964), and the a Rakétakilövõ állvány /Rocket Launching Pad/ (1966) were all visionary compositions concerned with the fate of humanity, dealing with the moral questions of civilization. He received his first commission for the completion of the ceramic wall of the Nursery School of Uránváros, however the jury, following a long debate, failed to accept the entered work. These dismissed panno-pieces may be found at the permanent exhibition of the Modern Museum of Pécs. The history of his work entitled Szentek bevonulása a városba /Saints March into the City/ is quite similar, which he painted in the last year of his life. The work, which was originally prepared for the wall of the Chamber of Commerce of Hungary, was later purchased by the Kiscelli Museum, following his death. Museums rarely purchased his works during the course of his life; therefore he produced the majority of his livelihood from the preparation of book illustrations. His drawings were published in a number of periodicals, including the Élet és Irodalom /Life and Literature/, of which László Nagy was a co-worker. Twenty books were published containing his illustrations among them F. Dürrenmatt: A baleset /The Accident/, 1958; Ébredõ Afrika /Awakening Africa/, 1961; E. Hemingway: Az öreg halász és a tenger /The Old Man and the Sea/, 1965; J. Paul: Gyámoltalan hõsök /Awkward Heroes/, 1966. His wide-rage interests and constant experimentation lead to his trying of a number of new techniques. He prepared photographs during the course of his last years, the subjects of which were the airplane structures prepared from sticks, within his work-shop (Csend /Quiet/ and Katasztrófa /Catastrophe/ Series). Perhaps the person of greatest stature in Hungarian art in most recent times was the graphic artist and painter Béla Kondor. He did not have an easy start to his career: after taking his school leaving certificate he worked in the Ganz Shipyard, drawing on the side; he was then noticed through a talent-spotting initiative. He thus attended the Academy of Fine Art from 1951 - 1956, the Stalinist period in Hungary. Conflicts naturally arose; the professors who recognised his talent early on saved him by redirecting him from painting to drawing. But this worked to his advantage: he became a superb draughtsman. Like all his contemporaries was not in a position to get to know modern art so he buried himself all the deeper in the art of the old masters, Bosch, Goya, Blake. In the print archive of the Museum of Fine Art he was introduced to the classics, especially Rembrandt, who had a particular influence on him. What he learnt from them was not just craft but revolt; and above all, meticulousness. In a time of minimal art (painting reduced to colours) he practised maximal art - as his chief mentor, the art historian Lajos Németh has so strikingly observed. He had barely acquired his diploma when he won the Derkovits prize in 1957; he put on his first exhibition in 1960, was awarded the Munkácsy prize in 1965 and was allowed to travel, i.e. the world was opening up before him..... Kondor did not change, however; he remained a perfectionist. Learning from the old masters and the modern Hungarians and from the Activists too, he developed his own world, which reveals continuity with the European heritage in both its themes and its methods. There is no hint of Neoclassicism, however: Kondor very much took up a position on issues of the day; he was preoccupied by war, human tyranny, the new relationship between men and women, mankind's growing sense of isolation. He painted angels and saints, historical figures and Christ crucified in such a way that the viewer was never in any doubt: his pictures were analysing current tragedies and anomalies - something which his opponents picked up and criticised. He was able to work more or less freely in his studio but was not given any larger tasks or commissions for murals. Over and above his sensitivity this suffocating atmosphere doubtless contributed to his early death. (Lajos Németh: Béla Kondor. Budapest, 1977, with excerpts in French, German and English)
[József Vadas: Hungarian Masterpieces (Vadas József : A magyar festészet remekei), translator: Godfrey Offord, Corvina Publishers, 2004.] One-Man Shows:
1960 • Adolf Fényes Hall, Budapest
1962 • Miami Museum of Modern Art
1963 • FMK, Club of Young Artists, Budapest
1963 • Jókai Club, Budapest
1964 • King Saint Stephen Museum, Székesfehérvár (HU) (cat.)
1964 • Dürer Hall, Budapest
1964 • Salon Gradskoj M., Szabadka
1965 • Ernst Museum, Budapest (cat.)
1966 • Mihály Munkácsy Museum, Békéscsaba (HU)
1968 • Club of the Patriotic People’s Front, Budapest
1970 • Műcsarnok, Budapest (cat.)
1970 • Kossuth Lajos University, Debrecen (HU)
1972 • Institute of Cultural Relations (Exhibition Room), Budapest [with Miklós Melocco and Gábor Pásztor]
1972 • Petőfi Literary Museum, Budapest
1973 • Helikon Gallery, Budapest.
Permanent Exhibitions:
1977-1985 • Gallery of Ottó Herman Museum, Miskolc (HU)
1992-1997 • Hunyadi Street Exhibition Room of Miskolc Gallery, Miskolc (HU) (cat.)
2000 • Miskolc Gallery, Miskolc (HU) • Béla Kondor Hall, Budapest.
Memorial Exhibitions:
1973 • Tihany (HU) (cat.)
1974 • Hungarian National Gallery, Budapest
1975 • Miskolc Gallery, Miskolc (HU) • Szentendre (HU)
1977 • Fészek Club, Budapest • József Koszta Museum, Szentes (HU)
1979 • Hungarian Institute, Warsow
1980 • József Rippl-Rónai Museum, Kaposvár (HU)
1981 • Lajos Hatvany Museum, Hatvan (cat.) • Vigadó Gallery, Budapest (cat.)
1984 • Hungarian National Gallery, Budapest (life work exhibition, cat.)
1985-1986 • Miskolc, Salgótarján, Szombathely, Szabadka, Beograd, Warsow, Prag, Vienna, Berlin
1989 • Árkád Gallery, Budapest
1991 • Miskolc Gallery, Miskolc (HU)
1996 • Nagykanizsa (HU)
1997 • Csók Gallery, Székesfehérvár (HU) (cat.)
1998 • Tihany Gallery, Tihany (HU)
1999 • Kecskemét. Selected Group Exhibitions:
1953, 1954, 1955, 1959, 1962, 1965 • 4th, 5th, 6th, 7th, 9th, 10th Hungarian Fine Art Exhibition, Műcsarnok, Budapest
1957 • Spring Exhibition, Műcsarnok, Budapest
1958 • Hungarian Poesy – Contemporary Hungarian Graphic Art, Petőfi Literary Museum, Budapest
1961 • First National Biennial of Graphic Art, Miskolc (HU)
1963 • 2nd National Biennial of Graphic Art, Miskolc (HU) • Young Artists. 3rd International Biennial of Paris, Musée d'Art Moderne, Paris
1964 • Contemporary Hungarian Art, Neue Galerie der Stadt, Linz • Contemporary Hungarian Artists, Locarno • 8th National Fine Art Exhibition of Miskolc, Ottó Herman Museum, Miskolc (HU) • Imre Madách Memorial Exhibition, Petőfi Literary Exhibition, Budapest • 4th International Biennial of Graphic Art, Tokio
1966 • Art in Hungary, Graz • 9th Biennial of Graphic Art, Lugano
First International Biennial of Graphic Art, Cracow
1968 • Contemporary Hungarian Graphic Art, Hungarian National Gallery, Budapest • Contemporary Hungarian Art, Essen • XXXIV Biennial of Venice, Venice [with Ignác Kokas and Tibor Vilt] • 11th Hungarian Fine Art Exhibition, Műcsarnok, Budapest
1969 • Hungarian Art 1945-1969, Műcsarnok, Budapest
1970 • 3rd International Biennial of Graphic Art, Cracow
1971 • A Hundred Years of Art in Hungary, Museum am Ostwal, Dortmund
1973 • Contemporary Hungarian Graphic Art, Hungarian Academy, Rome
1974 • Hungarian Art, Taidehalli, Helsinki
1976 • Twentieth Century Hungarian Painting, Palazzo Reale, Milan
1977 • Collection of Iván Dévényi, Műcsarnok, Győr (HU)
1979 • Hungarian Painting in the Twentieth Century, Fundacao Calouste Gulbenkian, Lissboa, Palacio de Cristal, Madrid • Private Collection of Dr. István Rácz, Somogy Gallery, Kaposvár (HU)
1981 • Selection from Hungarian Private Collections, Hungarian National Gallery, Budapest.
Works in Public Places:
Tabernacle door [wood, oil, 1961, Cserépváralja (HU), Rom. Catholic Church, repainted in the 70’s with boat laque, brought off in 1982, restaurated but in scuffed condition]
Christ on the Cross, The Marriage at Cana, The Sacrifice of Melchisedek, The Miracle of the Bread [coloured glass corpus with metal inlay and three glass windows, 1962, Rom. Catholic Church, Balatonföldvár (HU)]
Legend of Saint Margaret (panno, 1968, Grand Hotel Margitsziget, Budapest)
Triptichon - Warrior, King, Monk (sgraffito, 1968, Duna Intercontinental, Budapest, walled off)
Statio painting (walnut mordant, 1970, Rom. Catholic Church, Sajószentpéter, ruined).
Poems:
Boldogságtöredék, Budapest, 1971
Jelet hagyni (edit.: Győri J.), Budapest, 1974
Angyal a város felett (edit.: Győri J.), Budapest, 1987.
Works in Public Collection:
Bakony Museum, Veszprém (HU)
Municipal Picture Gallery, Budapest
Szombathely Gallery, Szombathely (HU)
Ferenczy Museum, Szentendre (HU)
Lajos Hatvany Museum, Hatvan (HU)
Ottó Herman Museum, Miskolc (HU)
King Saint Stephen Museum, Székesfehérvár (HU)
Janus Pannonius Museum, Pécs (HU)
Ferenc Móra Museum, Szeged (HU)
Hungarian National Gallery, Budapest
Miskolc Gallery, Miskolc (HU)
Mihály Munkácsy Museum, Békéscsaba (HU)
Sándor Nógrádi Museum, Salgótarján (HU)
Petőfi Literary Museum, Budapest
Somogy Gallery, Kaposvár (HU)
City Gallery, Linz.
Films:
Zsigmondi, B.: portrait film, MTV, 1974
~’s exhibitions (editor.: Nagy T. K.) MŰ-TEREMT-ÉS, 1997, 1998.
Bibliography:
Németh, L.: ~ rézkarcairól, Új Hang, 1956/8.
Németh, L.: ~ művészetéről, Művészet, 1964/4.
B. Supka, M.: A magyar képzőművészet költői, Művészet, 1964/10.
Frank, J.: ~ , Élet és Irodalom, 1965. augusztus 28.
Széles, K.: Szövevények és szerkezetek, ~ rajzairól, Alföld, 1967/9.
Németh, L.: ~ pannója a Margitszigeti Nagyszállóban, Kritika, 1968/4.
Németh, L.: Modern magyar művészet, Budapest, 1968.
Pilinszky, J.: Egyszerre szólnak valamennyi nyelven, Élet és Irodalom, 1970. január 3.
Miklós, P.: Ikonográfia, Kritika, 1970/6.
Kovács, P.: Az utolsó ikonfestő, Kortárs, 1973/3.
Németh, L.: ~ művészi világképe, Művészet, 1973/3.
Rózsa, Gy.: ~ , Új Írás, 1974/3.
Németh, L.: ~, Budapest, 1976
Krunák, E.: ~ grafikai munkássága, Nógrád megyei Múzeumok Évkönyve, 1979
Tóth, É.: Samu levelei, Jelenkor, 1980/8.
Tóbiás, Á.: ~ és a zene, Művészet, 1980/7.
Bolgár, K.-Nagy T., K.: ~ (life work cat., Hungarian National Gallery, 1984)
Peternák, M.: ~ fényképeiről, Művészet, 1984/8.
Ruttkay, H.: A kondori "művészattitűd", Új Auróra, 1986/3.
Rényi, A.: A mítosz képétől a kép mítoszáig, Művészettörténeti Értesítő, 1988/1-2.
Nagy T., K.: Adalékok ~ életművének utóéletéhez, Új Művészet, 1991/5.
Nagy T., K.: (cat., intro., Miskolc Gallery, 1992)
Szípőcs, K.: ~ prófétákkal vacsorázik, Magyar Szemle, 1993/3.
Andrási, G.-Pataki, G.-Szücs, Gy.-Zwickl, A.: Magyar képzőművészet a 20. században, Budapest, 1999.
painter, graphic artist
(17 Febr., 1931, Pestszentlőrinc – 12 Dec., 1972, Budapest) 1950-1956: College of Fine Arts, first painting, then graphics major from his third year; masters: Jenõ Barcsay, János Kmetty, Endre Domanovszky, and Károly Koffán. 1963: Grand Award of the Hungarian National Graphics Biennial in Miskolc; 1965: Award of the International Graphics Biennial of Tokyo; 1965 and 1971: Munkácsy Award; 1966: Special Guest of the Graphics Biennial of Lugano; 1970: Award of the International Graphics Biennial of Krakow; 1990: posthumous Kossuth Award. Kondor regularly worked at the artistic camps of Miskolc and Kecskemét, and traveled on study tours to France, Yugoslavia, Poland, Czechoslovakia, and the Soviet Union. During the course of his career he prepared a number of wood and copper etchings, cold needle works, lithography pieces, monotypes, paper cuts, and photographs. He prepared his paintings on canvas, wood, glass, walls, and wrote a number of poems and a few prose works. He was also a fine organ player, which is why he was labeled a uomo-universal. Due to his uncompromising personality, and self-made rules, in both his personal life and his works, he was surrounded by a great deal of controversy, already during his college years. His masters Barcsay and Koffán, having discovered his talents early on, saved Kondor from being expelled from the Painting Faculty, by having him moved to the Graphics Faculty of the College of Fine Arts of Budapest. He prepared his diploma work for the piece by Ferenc Juhász entitled: Tékozló Ország /Prodigal Country/. The first writing written on Kondor was published in the periodical entitled Új Hang /New Voice/, in 1956 (edited by György Bodnár). Lajos Németh, art historian, who was the friend and analyst of Kondor, and later on became his monographer, wrote the article. During the course of his career he often came into confrontation with the dictators of the art politics. Kondor produced works rather in a narrative style, tied to the great historical traditions, rather then the Avant-Garde tendencies of the period. His artistic ideals and individual views stood far from the artistic attitude of the 1960's era. His adopted masters such as Giotto, Dürer, Rembrandt, Goya, Blake, Picasso, and others meant guidance points along the course of his career, he did not however ever become archaic or eclectic. He created an individual style and a mythology, which often seemed difficult to follow, still many of his contemporaries, and artists from later generations were influenced by his work. Kondor, within the framework of his oeuvre, reinterpreted universal symbols, and motifs, searching for answers to the problems of his time. The human-Christ (e.g.: Krisztus a kereszten /Christ on the Cross/, monotype series, 1960; Szerb Krisztus /Serbian Christ/, 1962; Útszéli feszület /Roadside Crucifix/, copper etching, 1963; Pléh Krisztus /Tin Christ/, 1964; Krisztus I., II., III. /Christ no. 1., 2., and 3./, 1971) and the human-angel (e.g.: Négy angyal /Four Angels/, copper etching, 1957; Pártütõ angyal /Rebellious Angel/, copper etching, 1957; A mennyország meghódítása /The Conquering of Heaven/, copper etching, 1957; Angyal és a festõ /Angel and the Painter/, 1961; Angyal kalitkával /Angel with cage/, monotype, 1963; A géprepülés géniusza /The genius of machinery flying/, 1964; Angyal /Angel/, 1968; Ítélkezõ /Judge/, 1968; Rajz I. /Drawing 1./, 1969; Szobrász /Sculptor/, 1970; Bukott angyal /Fallen Angel/, 1970; Angyal a város fölött /Angel above the city/, 1972) were recurring motifs of Kondor's career. The emblematic piece of Kondor's oeuvre, his period designing work, was the work entitled Darázskirály /Wasp King/. The work may be interpreted as the concrete and figurative portrayal of an insect, a bird, an angel, and the motif of flight. His works Két fej /Two Heads/ (1958); A mûtücsök felbocsátása /The launching of the synthetic cricket/ (1958); Apostol kis repülõvel /Apostle with small airplane/ (1960); Férfi konstrukcióval /Man with Construction/ (1964) and the Öreg király /Old King/ (1968) were works consisting of similar symbolic systems, and compositional methods. His apocalyptic visions speak of the infertile struggles of mankind. Such works as the Apokalipszis bábokkal és masinákkal /Apocalypse with puppets and machines/ (1956), Az atomágyú felállítása /The erection of the Atomic Cannon/ (1959), A romantikus tanulmányok I., II., III. /Romantic Studies I., II., and III. (1964), and the a Rakétakilövõ állvány /Rocket Launching Pad/ (1966) were all visionary compositions concerned with the fate of humanity, dealing with the moral questions of civilization. He received his first commission for the completion of the ceramic wall of the Nursery School of Uránváros, however the jury, following a long debate, failed to accept the entered work. These dismissed panno-pieces may be found at the permanent exhibition of the Modern Museum of Pécs. The history of his work entitled Szentek bevonulása a városba /Saints March into the City/ is quite similar, which he painted in the last year of his life. The work, which was originally prepared for the wall of the Chamber of Commerce of Hungary, was later purchased by the Kiscelli Museum, following his death. Museums rarely purchased his works during the course of his life; therefore he produced the majority of his livelihood from the preparation of book illustrations. His drawings were published in a number of periodicals, including the Élet és Irodalom /Life and Literature/, of which László Nagy was a co-worker. Twenty books were published containing his illustrations among them F. Dürrenmatt: A baleset /The Accident/, 1958; Ébredõ Afrika /Awakening Africa/, 1961; E. Hemingway: Az öreg halász és a tenger /The Old Man and the Sea/, 1965; J. Paul: Gyámoltalan hõsök /Awkward Heroes/, 1966. His wide-rage interests and constant experimentation lead to his trying of a number of new techniques. He prepared photographs during the course of his last years, the subjects of which were the airplane structures prepared from sticks, within his work-shop (Csend /Quiet/ and Katasztrófa /Catastrophe/ Series). Perhaps the person of greatest stature in Hungarian art in most recent times was the graphic artist and painter Béla Kondor. He did not have an easy start to his career: after taking his school leaving certificate he worked in the Ganz Shipyard, drawing on the side; he was then noticed through a talent-spotting initiative. He thus attended the Academy of Fine Art from 1951 - 1956, the Stalinist period in Hungary. Conflicts naturally arose; the professors who recognised his talent early on saved him by redirecting him from painting to drawing. But this worked to his advantage: he became a superb draughtsman. Like all his contemporaries was not in a position to get to know modern art so he buried himself all the deeper in the art of the old masters, Bosch, Goya, Blake. In the print archive of the Museum of Fine Art he was introduced to the classics, especially Rembrandt, who had a particular influence on him. What he learnt from them was not just craft but revolt; and above all, meticulousness. In a time of minimal art (painting reduced to colours) he practised maximal art - as his chief mentor, the art historian Lajos Németh has so strikingly observed. He had barely acquired his diploma when he won the Derkovits prize in 1957; he put on his first exhibition in 1960, was awarded the Munkácsy prize in 1965 and was allowed to travel, i.e. the world was opening up before him..... Kondor did not change, however; he remained a perfectionist. Learning from the old masters and the modern Hungarians and from the Activists too, he developed his own world, which reveals continuity with the European heritage in both its themes and its methods. There is no hint of Neoclassicism, however: Kondor very much took up a position on issues of the day; he was preoccupied by war, human tyranny, the new relationship between men and women, mankind's growing sense of isolation. He painted angels and saints, historical figures and Christ crucified in such a way that the viewer was never in any doubt: his pictures were analysing current tragedies and anomalies - something which his opponents picked up and criticised. He was able to work more or less freely in his studio but was not given any larger tasks or commissions for murals. Over and above his sensitivity this suffocating atmosphere doubtless contributed to his early death. (Lajos Németh: Béla Kondor. Budapest, 1977, with excerpts in French, German and English)
[József Vadas: Hungarian Masterpieces (Vadas József : A magyar festészet remekei), translator: Godfrey Offord, Corvina Publishers, 2004.] One-Man Shows:
1960 • Adolf Fényes Hall, Budapest
1962 • Miami Museum of Modern Art
1963 • FMK, Club of Young Artists, Budapest
1963 • Jókai Club, Budapest
1964 • King Saint Stephen Museum, Székesfehérvár (HU) (cat.)
1964 • Dürer Hall, Budapest
1964 • Salon Gradskoj M., Szabadka
1965 • Ernst Museum, Budapest (cat.)
1966 • Mihály Munkácsy Museum, Békéscsaba (HU)
1968 • Club of the Patriotic People’s Front, Budapest
1970 • Műcsarnok, Budapest (cat.)
1970 • Kossuth Lajos University, Debrecen (HU)
1972 • Institute of Cultural Relations (Exhibition Room), Budapest [with Miklós Melocco and Gábor Pásztor]
1972 • Petőfi Literary Museum, Budapest
1973 • Helikon Gallery, Budapest.
Permanent Exhibitions:
1977-1985 • Gallery of Ottó Herman Museum, Miskolc (HU)
1992-1997 • Hunyadi Street Exhibition Room of Miskolc Gallery, Miskolc (HU) (cat.)
2000 • Miskolc Gallery, Miskolc (HU) • Béla Kondor Hall, Budapest.
Memorial Exhibitions:
1973 • Tihany (HU) (cat.)
1974 • Hungarian National Gallery, Budapest
1975 • Miskolc Gallery, Miskolc (HU) • Szentendre (HU)
1977 • Fészek Club, Budapest • József Koszta Museum, Szentes (HU)
1979 • Hungarian Institute, Warsow
1980 • József Rippl-Rónai Museum, Kaposvár (HU)
1981 • Lajos Hatvany Museum, Hatvan (cat.) • Vigadó Gallery, Budapest (cat.)
1984 • Hungarian National Gallery, Budapest (life work exhibition, cat.)
1985-1986 • Miskolc, Salgótarján, Szombathely, Szabadka, Beograd, Warsow, Prag, Vienna, Berlin
1989 • Árkád Gallery, Budapest
1991 • Miskolc Gallery, Miskolc (HU)
1996 • Nagykanizsa (HU)
1997 • Csók Gallery, Székesfehérvár (HU) (cat.)
1998 • Tihany Gallery, Tihany (HU)
1999 • Kecskemét. Selected Group Exhibitions:
1953, 1954, 1955, 1959, 1962, 1965 • 4th, 5th, 6th, 7th, 9th, 10th Hungarian Fine Art Exhibition, Műcsarnok, Budapest
1957 • Spring Exhibition, Műcsarnok, Budapest
1958 • Hungarian Poesy – Contemporary Hungarian Graphic Art, Petőfi Literary Museum, Budapest
1961 • First National Biennial of Graphic Art, Miskolc (HU)
1963 • 2nd National Biennial of Graphic Art, Miskolc (HU) • Young Artists. 3rd International Biennial of Paris, Musée d'Art Moderne, Paris
1964 • Contemporary Hungarian Art, Neue Galerie der Stadt, Linz • Contemporary Hungarian Artists, Locarno • 8th National Fine Art Exhibition of Miskolc, Ottó Herman Museum, Miskolc (HU) • Imre Madách Memorial Exhibition, Petőfi Literary Exhibition, Budapest • 4th International Biennial of Graphic Art, Tokio
1966 • Art in Hungary, Graz • 9th Biennial of Graphic Art, Lugano
First International Biennial of Graphic Art, Cracow
1968 • Contemporary Hungarian Graphic Art, Hungarian National Gallery, Budapest • Contemporary Hungarian Art, Essen • XXXIV Biennial of Venice, Venice [with Ignác Kokas and Tibor Vilt] • 11th Hungarian Fine Art Exhibition, Műcsarnok, Budapest
1969 • Hungarian Art 1945-1969, Műcsarnok, Budapest
1970 • 3rd International Biennial of Graphic Art, Cracow
1971 • A Hundred Years of Art in Hungary, Museum am Ostwal, Dortmund
1973 • Contemporary Hungarian Graphic Art, Hungarian Academy, Rome
1974 • Hungarian Art, Taidehalli, Helsinki
1976 • Twentieth Century Hungarian Painting, Palazzo Reale, Milan
1977 • Collection of Iván Dévényi, Műcsarnok, Győr (HU)
1979 • Hungarian Painting in the Twentieth Century, Fundacao Calouste Gulbenkian, Lissboa, Palacio de Cristal, Madrid • Private Collection of Dr. István Rácz, Somogy Gallery, Kaposvár (HU)
1981 • Selection from Hungarian Private Collections, Hungarian National Gallery, Budapest.
Works in Public Places:
Tabernacle door [wood, oil, 1961, Cserépváralja (HU), Rom. Catholic Church, repainted in the 70’s with boat laque, brought off in 1982, restaurated but in scuffed condition]
Christ on the Cross, The Marriage at Cana, The Sacrifice of Melchisedek, The Miracle of the Bread [coloured glass corpus with metal inlay and three glass windows, 1962, Rom. Catholic Church, Balatonföldvár (HU)]
Legend of Saint Margaret (panno, 1968, Grand Hotel Margitsziget, Budapest)
Triptichon - Warrior, King, Monk (sgraffito, 1968, Duna Intercontinental, Budapest, walled off)
Statio painting (walnut mordant, 1970, Rom. Catholic Church, Sajószentpéter, ruined).
Poems:
Boldogságtöredék, Budapest, 1971
Jelet hagyni (edit.: Győri J.), Budapest, 1974
Angyal a város felett (edit.: Győri J.), Budapest, 1987.
Works in Public Collection:
Bakony Museum, Veszprém (HU)
Municipal Picture Gallery, Budapest
Szombathely Gallery, Szombathely (HU)
Ferenczy Museum, Szentendre (HU)
Lajos Hatvany Museum, Hatvan (HU)
Ottó Herman Museum, Miskolc (HU)
King Saint Stephen Museum, Székesfehérvár (HU)
Janus Pannonius Museum, Pécs (HU)
Ferenc Móra Museum, Szeged (HU)
Hungarian National Gallery, Budapest
Miskolc Gallery, Miskolc (HU)
Mihály Munkácsy Museum, Békéscsaba (HU)
Sándor Nógrádi Museum, Salgótarján (HU)
Petőfi Literary Museum, Budapest
Somogy Gallery, Kaposvár (HU)
City Gallery, Linz.
Films:
Zsigmondi, B.: portrait film, MTV, 1974
~’s exhibitions (editor.: Nagy T. K.) MŰ-TEREMT-ÉS, 1997, 1998.
Bibliography:
Németh, L.: ~ rézkarcairól, Új Hang, 1956/8.
Németh, L.: ~ művészetéről, Művészet, 1964/4.
B. Supka, M.: A magyar képzőművészet költői, Művészet, 1964/10.
Frank, J.: ~ , Élet és Irodalom, 1965. augusztus 28.
Széles, K.: Szövevények és szerkezetek, ~ rajzairól, Alföld, 1967/9.
Németh, L.: ~ pannója a Margitszigeti Nagyszállóban, Kritika, 1968/4.
Németh, L.: Modern magyar művészet, Budapest, 1968.
Pilinszky, J.: Egyszerre szólnak valamennyi nyelven, Élet és Irodalom, 1970. január 3.
Miklós, P.: Ikonográfia, Kritika, 1970/6.
Kovács, P.: Az utolsó ikonfestő, Kortárs, 1973/3.
Németh, L.: ~ művészi világképe, Művészet, 1973/3.
Rózsa, Gy.: ~ , Új Írás, 1974/3.
Németh, L.: ~, Budapest, 1976
Krunák, E.: ~ grafikai munkássága, Nógrád megyei Múzeumok Évkönyve, 1979
Tóth, É.: Samu levelei, Jelenkor, 1980/8.
Tóbiás, Á.: ~ és a zene, Művészet, 1980/7.
Bolgár, K.-Nagy T., K.: ~ (life work cat., Hungarian National Gallery, 1984)
Peternák, M.: ~ fényképeiről, Művészet, 1984/8.
Ruttkay, H.: A kondori "művészattitűd", Új Auróra, 1986/3.
Rényi, A.: A mítosz képétől a kép mítoszáig, Művészettörténeti Értesítő, 1988/1-2.
Nagy T., K.: Adalékok ~ életművének utóéletéhez, Új Művészet, 1991/5.
Nagy T., K.: (cat., intro., Miskolc Gallery, 1992)
Szípőcs, K.: ~ prófétákkal vacsorázik, Magyar Szemle, 1993/3.
Andrási, G.-Pataki, G.-Szücs, Gy.-Zwickl, A.: Magyar képzőművészet a 20. században, Budapest, 1999.
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