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Approaches to Historiography
Life Fragment with Sugarbowl, 30 × 40 cm, acrylic and oil on canvas, Lehel Kovács was born in as the fourth child in Sfântu Gheorghe Romania. His great-great-grandfather was the portrait painter Miklós Sikó — His father Zoltán Kovács was a school inspector and teacher of chemistry and biology, his mother Éva Márta Sinka was a primary school teacher.
Because of the clerical origin the paternal grandfather was a pastor and the move of an uncle to West Germany, the family came under great pressure in the s under the Ceauşescu dictatorship.
After his parents applied to emigrate to Hungary inthey were forced to give up the teaching profession. The insecure family situation and life within the Hungarian minority had a strong impact on Lehel Kovács' personality. Education His parents paid a lot of attention to Kovács' painterly ambitions, so they had a private tutor, the artist Gusztáv Ütő, teach him.
The family emigrated to Hungary in Kovács finished high school in Sümega small Transdanubian town.
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Although year-old Kovács was greatly disturbed by emigration, he got closer and home work macerata assembly to his dream of becoming a home work macerata assembly. His uncle, the architect József Finta, who had been living in Hungary for some time, made the painter Pál Gerzson aware of Kovács' talent. So Kovács became Gerzson's student. After graduating from high school, he studied for a year at a decorator school and then at the Hungarian Academy of Fine Arts.
During his studies, he made a study trip to Romewhich determined his way of thinking about art and painting for many years. In Rome and a year later in Florence he felt how wonderful the timelessness of art can be.
Lehel Kovács
The art treasures of the Italian museums and churches had a great impact on Kovác's work at the time. Although his university professors emphasized the importance of always orienting oneself towards contemporary art, for Kovács the European traditions were clearly in the foreground.
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The two perspectives had caused an internal conflict in him. This conflict was resolved by Frigyes Kőnig by saying that painting is contemporary as soon as it is honest. His thesis consisted of a series of landscape paintingsa genre to which he has paid his full attention ever since. Artistic creation and styles Landscape images Termik,90 × cm, oil on canvas The French painting of the 19th century had a more profound effect on the young artist.
Idyllic, sunny landscapes were the immediate result. These were then quickly replaced by more current impressions.
Motifs of nature changed by humans, but also other thought-provoking scenes, now appeared in his pictures. Later the contrast between twilight and artificial light sources was the focus of his interest. Paintings were increasingly created with the help of photos, both outdoors and in the studio.
The abstract and the real Blue and Orange, 70 × 80 cm, acrylic and oil on canvas, In he painted in the Plein-Air artists' colony in Katwijk.
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- (PDF) Approaches to Historiography | Róbert Káli, Vilmos Erős, and László Dávid Törő - szegedimusorkalauz.hu
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This trip to the Netherlands led to a radical renewal of his painting. Paradoxically, Kovács then turned away from the landscape genre. The second epoch of his artistic work was characterized by more expressive brushwork, stronger colors and a combination of abstract surfaces with realistic motifs. Objects standing in front of a wall became the starting point.
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This relatively puristic formula later turns into a playful one, in that the wall becomes an abstract surface in front of which the object stands in the room. Lines of paint painted into the object call into question the uniqueness of the space. Sharp demarcation lines vanish between real and abstract levels.
Salmon Run, × cm, acrylic on canvas, The art historian János Schneller comments on Kovác's art as hogyan kell megérteni egy forex diagramot "The relation between the objects and the background behind them can hardly be interpreted.
As a result we have the feeling that the stained, patterned old walls have become the main focus of the paintings. The joy of the detailed and eye-tricking way of depicting which was familiar from his former paintings can be recognized in the painting method of his objects in the foreground.
The backgrounds of his paintings have evolved with time and have become main motives of his paintings, while the objects in the foreground, instead of emphasizing their presence, accentuate their temporary, banal, evanescent character. In the confrontation of the two different ways of painting we can also recognize two different periods of his life.
