SCHAÁR, Erzsébet
sculptor
(27 July, 1908, Budafok – 29 Aug., 1975, Budapest) 1924: Technical Drawing School; 1924-1926: College of Fine Arts, Budapest, mater: Zsigmond Strobl Kisfaludi. 1932: Szinyei Award of the Society of Young Artists; 1962: Munkácsy Award; 1972: Meritorious Artist Award. She has been an exhibiting artist since 1926. He traveled on a study tour to Paris in 1926, and then lived for a period in Munich and Vienna. She was a member of the Society of Hungarian Fine and Applied Artists. She spent her life in Hungary. Schaár was one of the defining characters of the art of Hungary during the past half century. At the time of the beginning of her career little was said about female equality, much less about feminism, it would however be difficult not to take into consideration her being of the “weaker sex”. Speaking in stereotypical terms, one usually pictures sculptors as robust, strong men, not tiny women. As for biographical facts, her artistic career was delayed by her motherhood (she married the sculptor, Tibor Vilt in 1935, her son Pál was born in 1950), as well as her father’s slow death in the microcosm-like house in Budafok, and her husband’s dominant life style. The life of the married couple is most easy to imagine through stereotypes as well: the tall thin male figure as opposed to short female one, the cold intellectual and sparkling wit opposed to an emotional one in need of love, and a constantly present rivalry due ‘fate-vectors’. Their living together, filled with conflicts may also be unstitched through a sublimated form: the small bronze statue prepared by Schaár entitled Székek /Chairs/ (1967-1972). The suggestive influences of the obsessed sense of vocation of Rudolf Berczeller, another eminent sculptor who was in close relationship with the family, must also be taken into consideration. This influence was later compensated later on by the young contemporary Lili Ország, and in the end appearance of the two literary figures of János Pilinszky and Mikós Mészöly. Schaár began her career with realist modeling (Édesanyám /My mother/, 1925). One may observe a socially determined, national characteristic in the works of her newly continued career, composed of modeled (terracotta) small sculptures (1947-1950, and relief works carved from wood: due to the fact that few had the opportunity to produce large scale works in Hungary at the time (due to the fact that this was upheld for public, memorial works near to the political regime), the slightly self-deceiving ideology of “small sculptures, monumental independent of their size” was adopted by both Schaár and others. From the end of the 1950’s an always self-renewing artistic style was came about. A much more expressive mode of expression characterized her works prepared in the first half of the 1960’s, independent of whether she was preparing compositions composed of wasp-waisted bronze figures (Kórus /Chorus/ 1963), or small terracotta metallic relief works (Halott Katonák /Dead Soldiers/, 1965). The movements of her life took form for the first time, during the 1960’s, in a style resembling the works of Giacometti: sculptures, especially small sculptures, modeled in a quite rough style, the wirily expressive formulation of which may worthily be entitled “existentialist”. The figure of her father, seated in a chair, grown very thin, on the verge between life and death (1965), is only the beginning. More characteristic is the thin silhouette of the figures passing by on the streets (Bundás Nők /Women in Firs/, 1965), which is followed by other themes incorporating women. Similar later works include scenes at beauty-parlors, or occurring in front of mirrors or shop windows, and the portraits, the new series of which we may begin with the portrait of Máté Major of 1942, or the work entitled Férfifej /Male head/ of 1944. These works are followed by the bust of Irén Psota, Klári Tolnay and un-incidentally of Vilma Hugonnai, the first Hungarian female doctor, as well as of Béla Bartók and Mihály Károlyi (both in 1965) and of Miklós Radnóti (1969). The series of recumbent sculptures, functioning as relief works may also be considered novelties (Fekvő /Recumbent figure/, 1964; Halott katonák /Dead Soldiers/ and Szerelmesek /In love/, both from 1965). Two new innovations enriched the series of small figures at the turning point of the 1960’s and 1970’s. New experiences with space and fields lead to new small sculptures, as a result of which the box-like formulation of given spaces gains greater significance, then the objects placed into them. We may label these micro-spaces, in a seemingly uncustomary manner in relation to sculpturing, as “lyrical spaces”. One of the most magnificent pieces of this series of forms, incorporating the magnification of different architectural details such as doors and windows is the work entitled Ajtók /Doors/ which was prepared in the Light-Metal Factory of Székesfehérvár in 1967. This was followed by the two aluminum figures entitled Fal előtt és fal mögött /In front of and behind the wall/ of 1968. Furthermore Schaár discovered the death-mask as a motif able to express a tragic awareness of life, this however was represented in a contradictory manner in her work. The mask depicts a pretty, expressive (in most cases) female face, mostly life-like, as if the figures were merely closing their eyes. The hair of the figures is composed of a thick bunch of wires, while the life sized body consisted of a column of the then popular Styrofoam. These works constitute modern mummy-portraits, antic, stele, frivolous, and pop-art-like ideals of beauty, all in one. The billet-like “bodies” resemble columns or pillars, therefore become architectural elements, while the truly architectural accessories, such as segments of walls, a door or window, with their intimacy and lyrical power of expression, stand closer to the expressiveness of the human figure. The anthropomorphic character is upheld in the lank doors and windows lacking figures. The issue of gender is repressed in a peculiar manner in these works: though the model, in most cases, was undoubtedly a young woman, the enclosed sense of the columns and the mask-characters were formulated in ethereally cleanly almost “angel-like” figures. A new type of memorial was formed, but it combined pathos and everydayness in such a surprising manner, that the society (better speaking the aesthetic-critic stratum, responsible for sculpture exhibitions) eas almost unable to digest the outcome. Schaár was however able to summarize in one large-scale composition (which we would today call an installation) the multiple-figured Utca /Street/ everything she wished to say about the relationship between man and space surrounding him. In 1967 she recalled an experience related to her perception of space: “[…] I opened the window, threw open the door. These stood so resolutely in the space surrounding them, cut into the air in such a manner, as if the air were a solid mass. I watched the three doors opening into the neighboring rooms. All three of the doors stood in different directions. I stood there, in the center like a small point, and in three directions from me the heal of three different doors, three very resolute forms.” This experience may be re-lived by the viewer who walks between the two walls of the Utca /Street/, along its windows and doors and “fossilized” figures. We may not even say that one walks under their “watching eyes”, since they are stiffened dead, who once were left alone in the given space, not even concealing their non-existence. Now they have become heroic, still timely pieces of a wax-figure exhibition, holding the viewers between themselves. Possibly only representatives of Hungarian film of the era, directors such as Miklós Jancsó and János Gulyás were capable of producing such antromrph spaces and life-like burial memorials, during the circumstances present in the since then infamous Hungary of the 1970’s.
One-Man Shows:
1930 • Budapest
1932 • Tamás Gallery, Budapest [with Józsa Járitz]
1960 • Műcsarnok (chamber room), Budapest
1966 • King Saint Stephen Museum, Székesfehérvár (HU) • Collegium Hungaricum, Vienna
1970 • Műcsarnok, Budapest
1972 • Academy of Fine Arts, Antwerpen • Cultural Center, Gent
1974 • Csók Gallery, Székesfehérvár (HU) (the Street) • Kunstmuseum, Luzern (the Street) • Museum of Applied Arts, Budapest
1977 • ~ and Tibor Vilt, King Saint Stephen Museum, Székesfehérvár (HU) • Wilhelm-Lehmbruck-Museum, Duisburg
1981 • Memorial Exhibition • 5th International Biennial of Small Sculpture, Műcsarnok, Budapest
1982 • XL. Biennial of Venice, Venice
1983 • Hungarian National Gallery, Budapest. Selected Group Exhibitions:
1948 • Towards the Public Art, Budapest
1967 • Biennale of Open Air Sculpture, Middelheim
1979 • Contemporary Hungarian Art, Florence • Milan
1983 • Contemporary Hungarian Art, Warsow • Cracow • Wrocław • Bytom
1985 • Contemporary Visual Art in Hungary. Eighteen Artists, The Third Eye Centre, Glasgow
1991 • The Sixties - New Tendencies in Hungarian Art, Hungarian National Gallery, Budapest
1994 • Variations on Pop Art. Chapters in The History of Hungarian Art between 1950 and 1990, Ernst Museum, Budapest Works in Public Places:
Déryné (limestone, 1953)
Béla Bartók (1965, Budapest)
Mihály Károlyi (1965, Budapest)
Woman figure (1965, Rác Bath, Budapest)
Woman figure [1966, building estate, Ajka (HU)]
Scholars [imestone, 1968-1970, MTA Institute of Biology, Tihany (HU)]
Miklós Radnóti (bronze 1969, Budapest)
Adolf Káldor (bronze 1969, Budapest)
Imre Henszlmann (bronze 1972, Budapest)
György Goldmann (bronze 1972, Budapest)
Károly Kernstok (bronze 1974, Budapest, Margitsziget)
Memorial of Sachsenhausen (1974)
Vilma Hugonnai (bronze, 1980, Budapest). Works in Public Collections:
King Saint Stephen Museum, Székesfehérvár (HU)
Janus Pannonius Museum, Pécs (HU) (the Street, permanent exhibition since 1991)
Kolozsváry Collection, Győr (HU)
Hungarian National Gallery, Budapest
Wilhelm-Lehmbruck-Museum, Duisburg. Films:
Kovács, A.: Két arckép (Two Portrait), 1965
Gulyás, J.-Fitz, P.: Terek, BBS, 1974.
Bibliography:
Hubay, M.: ~ szobraihoz, Magyar Művészet, 1948
Ferenczy, B.: ~ről, Új Hang, 1956/9.
Dobrovits, A.: (cat., intro., Műcsarnok Kamaraterme, 1960)
Makrisz, Agamemnon: Gondolatok ~ kiállításán, Magyar Építőművészet, 1960/2.
Hubay, M.: Változandó változatlan, Film Színház Muzsika, 1962. október 26.
Rozgonyi, I.: A hitújító (~ szobrászművész, 1965), in: Párbeszéd művekkel. Interjúk 1955-1981, MTA Művészettörténeti Kutató Csoport, Budapest, 1988
Kovalovszky, M.: (cat., intro., Szent István Király Múzeum, Székesfehérvár, 1966)
Major, M.: ~ kiállítása Fehérvárott, Magyar Építőművészet, 1966/5.
Perneczky, G.: ~ szobrainak kiállítása Székesfehérvárott, in: Tanulmányút a Pávakertbe, Budapest, 1969
Frank, J.: ~ kiállítása, Élet és Irodalom, 1966. augusztus 13.
Kovács, P.: ~, Művészet, 1966/12.
Frank, J.: ~nél, Élet és Irodalom, 1967. július 15.
Körner, É.: In Search of a Synthesis. The Sculpture of ~, New Hungarian Quarterly, 1967. No. 25
Németh, L.: Modern magyar művészet, Budapest, é. n. (1968)
Perneczky, G.: (cat., Műcsarnok, 1970)
Németh, L.: ~ szobrai a Műcsarnokban, Kritika, 1970/8.
Modern mûvészet... (Tóbiás, Á. interjúja ~tel és Vilt Tiborral), Múzsák, 1970/2.
Németh, L.: Hungarian Art 1945-1969, New Hungarian Quarterly, 1970. No. 37
Patkó, I.: Three Expositions - Three Worlds, New Hungarian Quarterly, 1970. No. 40
Beke, L.: Impresszók ~ műtermében, Képzőművészeti Almanach 2., Budapest, 1970
Németh, L.: The 1971 Salon, New Hungarian Quarterly, 1971. No. 43
Beke, L.: ~, Budapest, 1973 (p. Emmanuel előszavával)
~-Pilinszky, J.: Tér és kapcsolat, Budapest, 1975
~: Egy kapcsolat története (fotó: Gulyás, J.), h. n., é. n. (önkiadás, Budapest, 1975?)
Sík, Cs.: Obituary for ~, New Hungarian Quarterly, 1976. No. 69
Fitz, P.: ~ The Three Marks, Alba Regia, 16. 1978
Kovács, P.: ~ (kat. bev., Szent István Király Múzeum, Székesfehérvár, 1980)
Nagy, I.: Contemporary Hungarian Art in Székesfehérvár and Florence, New Hungarian Quarterly, 1980. No. 77
Sinkovits, P.: Tendencies 1970-1980, New Hungarian Quarterly, 1981. No. 84
Kovalovszky, M.: Áttetsző tér, Művészet, 1981/9.
Kovalovszky, M.: Translucent Space (cat., intro., Biennial of Venice, 1982)
Ember, M.: The Street, New Hungarian Quarterly, 1984. No. 93
Frank, J.: Plaster of Paris and Paint - and Glass, New Hungarian Quarterly, 1985. No. 97
Kovács, P.: A tegnap szobrai. Fejezetek a magyar szobrászat közelmúltjából, Szombathely, 1992
Kovács, P.: ~, Budapest, 1995.
sculptor
(27 July, 1908, Budafok – 29 Aug., 1975, Budapest) 1924: Technical Drawing School; 1924-1926: College of Fine Arts, Budapest, mater: Zsigmond Strobl Kisfaludi. 1932: Szinyei Award of the Society of Young Artists; 1962: Munkácsy Award; 1972: Meritorious Artist Award. She has been an exhibiting artist since 1926. He traveled on a study tour to Paris in 1926, and then lived for a period in Munich and Vienna. She was a member of the Society of Hungarian Fine and Applied Artists. She spent her life in Hungary. Schaár was one of the defining characters of the art of Hungary during the past half century. At the time of the beginning of her career little was said about female equality, much less about feminism, it would however be difficult not to take into consideration her being of the “weaker sex”. Speaking in stereotypical terms, one usually pictures sculptors as robust, strong men, not tiny women. As for biographical facts, her artistic career was delayed by her motherhood (she married the sculptor, Tibor Vilt in 1935, her son Pál was born in 1950), as well as her father’s slow death in the microcosm-like house in Budafok, and her husband’s dominant life style. The life of the married couple is most easy to imagine through stereotypes as well: the tall thin male figure as opposed to short female one, the cold intellectual and sparkling wit opposed to an emotional one in need of love, and a constantly present rivalry due ‘fate-vectors’. Their living together, filled with conflicts may also be unstitched through a sublimated form: the small bronze statue prepared by Schaár entitled Székek /Chairs/ (1967-1972). The suggestive influences of the obsessed sense of vocation of Rudolf Berczeller, another eminent sculptor who was in close relationship with the family, must also be taken into consideration. This influence was later compensated later on by the young contemporary Lili Ország, and in the end appearance of the two literary figures of János Pilinszky and Mikós Mészöly. Schaár began her career with realist modeling (Édesanyám /My mother/, 1925). One may observe a socially determined, national characteristic in the works of her newly continued career, composed of modeled (terracotta) small sculptures (1947-1950, and relief works carved from wood: due to the fact that few had the opportunity to produce large scale works in Hungary at the time (due to the fact that this was upheld for public, memorial works near to the political regime), the slightly self-deceiving ideology of “small sculptures, monumental independent of their size” was adopted by both Schaár and others. From the end of the 1950’s an always self-renewing artistic style was came about. A much more expressive mode of expression characterized her works prepared in the first half of the 1960’s, independent of whether she was preparing compositions composed of wasp-waisted bronze figures (Kórus /Chorus/ 1963), or small terracotta metallic relief works (Halott Katonák /Dead Soldiers/, 1965). The movements of her life took form for the first time, during the 1960’s, in a style resembling the works of Giacometti: sculptures, especially small sculptures, modeled in a quite rough style, the wirily expressive formulation of which may worthily be entitled “existentialist”. The figure of her father, seated in a chair, grown very thin, on the verge between life and death (1965), is only the beginning. More characteristic is the thin silhouette of the figures passing by on the streets (Bundás Nők /Women in Firs/, 1965), which is followed by other themes incorporating women. Similar later works include scenes at beauty-parlors, or occurring in front of mirrors or shop windows, and the portraits, the new series of which we may begin with the portrait of Máté Major of 1942, or the work entitled Férfifej /Male head/ of 1944. These works are followed by the bust of Irén Psota, Klári Tolnay and un-incidentally of Vilma Hugonnai, the first Hungarian female doctor, as well as of Béla Bartók and Mihály Károlyi (both in 1965) and of Miklós Radnóti (1969). The series of recumbent sculptures, functioning as relief works may also be considered novelties (Fekvő /Recumbent figure/, 1964; Halott katonák /Dead Soldiers/ and Szerelmesek /In love/, both from 1965). Two new innovations enriched the series of small figures at the turning point of the 1960’s and 1970’s. New experiences with space and fields lead to new small sculptures, as a result of which the box-like formulation of given spaces gains greater significance, then the objects placed into them. We may label these micro-spaces, in a seemingly uncustomary manner in relation to sculpturing, as “lyrical spaces”. One of the most magnificent pieces of this series of forms, incorporating the magnification of different architectural details such as doors and windows is the work entitled Ajtók /Doors/ which was prepared in the Light-Metal Factory of Székesfehérvár in 1967. This was followed by the two aluminum figures entitled Fal előtt és fal mögött /In front of and behind the wall/ of 1968. Furthermore Schaár discovered the death-mask as a motif able to express a tragic awareness of life, this however was represented in a contradictory manner in her work. The mask depicts a pretty, expressive (in most cases) female face, mostly life-like, as if the figures were merely closing their eyes. The hair of the figures is composed of a thick bunch of wires, while the life sized body consisted of a column of the then popular Styrofoam. These works constitute modern mummy-portraits, antic, stele, frivolous, and pop-art-like ideals of beauty, all in one. The billet-like “bodies” resemble columns or pillars, therefore become architectural elements, while the truly architectural accessories, such as segments of walls, a door or window, with their intimacy and lyrical power of expression, stand closer to the expressiveness of the human figure. The anthropomorphic character is upheld in the lank doors and windows lacking figures. The issue of gender is repressed in a peculiar manner in these works: though the model, in most cases, was undoubtedly a young woman, the enclosed sense of the columns and the mask-characters were formulated in ethereally cleanly almost “angel-like” figures. A new type of memorial was formed, but it combined pathos and everydayness in such a surprising manner, that the society (better speaking the aesthetic-critic stratum, responsible for sculpture exhibitions) eas almost unable to digest the outcome. Schaár was however able to summarize in one large-scale composition (which we would today call an installation) the multiple-figured Utca /Street/ everything she wished to say about the relationship between man and space surrounding him. In 1967 she recalled an experience related to her perception of space: “[…] I opened the window, threw open the door. These stood so resolutely in the space surrounding them, cut into the air in such a manner, as if the air were a solid mass. I watched the three doors opening into the neighboring rooms. All three of the doors stood in different directions. I stood there, in the center like a small point, and in three directions from me the heal of three different doors, three very resolute forms.” This experience may be re-lived by the viewer who walks between the two walls of the Utca /Street/, along its windows and doors and “fossilized” figures. We may not even say that one walks under their “watching eyes”, since they are stiffened dead, who once were left alone in the given space, not even concealing their non-existence. Now they have become heroic, still timely pieces of a wax-figure exhibition, holding the viewers between themselves. Possibly only representatives of Hungarian film of the era, directors such as Miklós Jancsó and János Gulyás were capable of producing such antromrph spaces and life-like burial memorials, during the circumstances present in the since then infamous Hungary of the 1970’s.
One-Man Shows:
1930 • Budapest
1932 • Tamás Gallery, Budapest [with Józsa Járitz]
1960 • Műcsarnok (chamber room), Budapest
1966 • King Saint Stephen Museum, Székesfehérvár (HU) • Collegium Hungaricum, Vienna
1970 • Műcsarnok, Budapest
1972 • Academy of Fine Arts, Antwerpen • Cultural Center, Gent
1974 • Csók Gallery, Székesfehérvár (HU) (the Street) • Kunstmuseum, Luzern (the Street) • Museum of Applied Arts, Budapest
1977 • ~ and Tibor Vilt, King Saint Stephen Museum, Székesfehérvár (HU) • Wilhelm-Lehmbruck-Museum, Duisburg
1981 • Memorial Exhibition • 5th International Biennial of Small Sculpture, Műcsarnok, Budapest
1982 • XL. Biennial of Venice, Venice
1983 • Hungarian National Gallery, Budapest. Selected Group Exhibitions:
1948 • Towards the Public Art, Budapest
1967 • Biennale of Open Air Sculpture, Middelheim
1979 • Contemporary Hungarian Art, Florence • Milan
1983 • Contemporary Hungarian Art, Warsow • Cracow • Wrocław • Bytom
1985 • Contemporary Visual Art in Hungary. Eighteen Artists, The Third Eye Centre, Glasgow
1991 • The Sixties - New Tendencies in Hungarian Art, Hungarian National Gallery, Budapest
1994 • Variations on Pop Art. Chapters in The History of Hungarian Art between 1950 and 1990, Ernst Museum, Budapest Works in Public Places:
Déryné (limestone, 1953)
Béla Bartók (1965, Budapest)
Mihály Károlyi (1965, Budapest)
Woman figure (1965, Rác Bath, Budapest)
Woman figure [1966, building estate, Ajka (HU)]
Scholars [imestone, 1968-1970, MTA Institute of Biology, Tihany (HU)]
Miklós Radnóti (bronze 1969, Budapest)
Adolf Káldor (bronze 1969, Budapest)
Imre Henszlmann (bronze 1972, Budapest)
György Goldmann (bronze 1972, Budapest)
Károly Kernstok (bronze 1974, Budapest, Margitsziget)
Memorial of Sachsenhausen (1974)
Vilma Hugonnai (bronze, 1980, Budapest). Works in Public Collections:
King Saint Stephen Museum, Székesfehérvár (HU)
Janus Pannonius Museum, Pécs (HU) (the Street, permanent exhibition since 1991)
Kolozsváry Collection, Győr (HU)
Hungarian National Gallery, Budapest
Wilhelm-Lehmbruck-Museum, Duisburg. Films:
Kovács, A.: Két arckép (Two Portrait), 1965
Gulyás, J.-Fitz, P.: Terek, BBS, 1974.
Bibliography:
Hubay, M.: ~ szobraihoz, Magyar Művészet, 1948
Ferenczy, B.: ~ről, Új Hang, 1956/9.
Dobrovits, A.: (cat., intro., Műcsarnok Kamaraterme, 1960)
Makrisz, Agamemnon: Gondolatok ~ kiállításán, Magyar Építőművészet, 1960/2.
Hubay, M.: Változandó változatlan, Film Színház Muzsika, 1962. október 26.
Rozgonyi, I.: A hitújító (~ szobrászművész, 1965), in: Párbeszéd művekkel. Interjúk 1955-1981, MTA Művészettörténeti Kutató Csoport, Budapest, 1988
Kovalovszky, M.: (cat., intro., Szent István Király Múzeum, Székesfehérvár, 1966)
Major, M.: ~ kiállítása Fehérvárott, Magyar Építőművészet, 1966/5.
Perneczky, G.: ~ szobrainak kiállítása Székesfehérvárott, in: Tanulmányút a Pávakertbe, Budapest, 1969
Frank, J.: ~ kiállítása, Élet és Irodalom, 1966. augusztus 13.
Kovács, P.: ~, Művészet, 1966/12.
Frank, J.: ~nél, Élet és Irodalom, 1967. július 15.
Körner, É.: In Search of a Synthesis. The Sculpture of ~, New Hungarian Quarterly, 1967. No. 25
Németh, L.: Modern magyar művészet, Budapest, é. n. (1968)
Perneczky, G.: (cat., Műcsarnok, 1970)
Németh, L.: ~ szobrai a Műcsarnokban, Kritika, 1970/8.
Modern mûvészet... (Tóbiás, Á. interjúja ~tel és Vilt Tiborral), Múzsák, 1970/2.
Németh, L.: Hungarian Art 1945-1969, New Hungarian Quarterly, 1970. No. 37
Patkó, I.: Three Expositions - Three Worlds, New Hungarian Quarterly, 1970. No. 40
Beke, L.: Impresszók ~ műtermében, Képzőművészeti Almanach 2., Budapest, 1970
Németh, L.: The 1971 Salon, New Hungarian Quarterly, 1971. No. 43
Beke, L.: ~, Budapest, 1973 (p. Emmanuel előszavával)
~-Pilinszky, J.: Tér és kapcsolat, Budapest, 1975
~: Egy kapcsolat története (fotó: Gulyás, J.), h. n., é. n. (önkiadás, Budapest, 1975?)
Sík, Cs.: Obituary for ~, New Hungarian Quarterly, 1976. No. 69
Fitz, P.: ~ The Three Marks, Alba Regia, 16. 1978
Kovács, P.: ~ (kat. bev., Szent István Király Múzeum, Székesfehérvár, 1980)
Nagy, I.: Contemporary Hungarian Art in Székesfehérvár and Florence, New Hungarian Quarterly, 1980. No. 77
Sinkovits, P.: Tendencies 1970-1980, New Hungarian Quarterly, 1981. No. 84
Kovalovszky, M.: Áttetsző tér, Művészet, 1981/9.
Kovalovszky, M.: Translucent Space (cat., intro., Biennial of Venice, 1982)
Ember, M.: The Street, New Hungarian Quarterly, 1984. No. 93
Frank, J.: Plaster of Paris and Paint - and Glass, New Hungarian Quarterly, 1985. No. 97
Kovács, P.: A tegnap szobrai. Fejezetek a magyar szobrászat közelmúltjából, Szombathely, 1992
Kovács, P.: ~, Budapest, 1995.
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