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Jeno Barcsay
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Biography:
Painter, graphic artist. Jeno Barcsay, a descendant of an
aristocratic family inTransylvania, went to Budapest in 1919 and
began his studies at the Art School where hegraduated in 1924. His
masters were Jnos Vaszary and Gyula Rudnay. He spent thesummer of
1926 in Mak and Hdmezovsrhely, which made him discover
theconstructive structural powers in landscapes. He spent a year in
Paris on fellowship fromthe autumn of 1926, where he was
particularly influenced by Czanne, whose paintingsput him under a
spell until the rest of his life. He visited Italy in 1927, where
he met theideals of the quattrocento and where he was particularly
influenced by the way figureswere portrayed.
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In spring 1929 he visited Szentendre, where he kept returning,
and of which he became aresident. 1929-30 saw him again in Paris
again on a fellowship to acquire the rules ofcubism. From 1931 to
1945 he was a teacher of the Municipal Apprentice School and
from1945 to his retirement that of the Art School, where he taught
figure sketching to allHungarian modern artists influenced by him
until the rest of their lives.../
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.../His early works are characterized by a sense of dramatic
power and strong light -shadow effects. The year 1926 is marked by
impressionistic works. Structure became abasic factor of
visualization after his stay in Paris. His study trip to Italy
produced pictures
of people without psychic gestures in static balanced poses. His
style, a Hungarian versionof constructivism, appeared mostly in his
pictures of Szentendre and its neighbourhood.His approach is
characterized by emphasizing structure, studying the problems of
spaceand form, as well as by order based on constructivism. In his
works, compositionsabstracted on a geometrical principle,
constructivist landscapes and figures appear handin hand with each
other. Besides paintings, his mural works and drawings mark his
careerall through his life. He is the most significant
representative of Hungarian constructivist -geometrical art, who
had a very strong influence on his contemporaries and
thegenerations to follow. Some of his characteristic works: "Organ
Grinder" (1924), "Working
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Girl" (1928), "Szentendre" (copper engraving, 1931), "Landscape
with Hills" (1934), "Self-Portrait" (chalk,1949), "Sitting Woman"
(1958), "Church in Szentendre with Cross" (1962),"Picture
Architecture" (1963), mosaic design for Szentendre (1968), mosaic
for the foyer ofthe National Theatre (1968), "Blue Mood" (1972),
"Composition in Black and White"(1981). His works often appear in
tapestry and offset printing.
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