PAINTINGS OF YOUNG ANTAL NEMCSICS, BASED ON THE NATURE PRINCIPLE

PAINTINGS OF YOUNG

ANTAL NEMCSICS,

BASED ON THE NATURE

PRINCIPLE

The interrelation of colours

learned when viewing nature

spurred me to explore

relations among colours.

I learned the love of art and the desire for seeking the relations from my parents. Maulbertsch taught me to admire colours. As a young schoolboy, I used to spend many, many hours in the Great Church of Pápa under the frescoes of Maulbertsch. I was staring at the harmonies of the fine, broken green, blue and yellow colours, and how these colours were reflected in the choices of colours of the walls, pillars, girths and other architectural elements, on the marble, stone, wooden and painted plaster surfaces. I liked venturing into the nearby cemetery, where I admired the contrast of the dark green pines, cypresses and the pale yellow, mauve pink and bluish-grey tombstones.

In the Academy of Fine Arts for one year Béla Kontuly was my master, followed by János Kmetty and István Szőnyi. From Kontuly I learned the technique of painting frescoes, from Kmetty the commitment to art, from Szőnyi the expression of emotions, lyric moods by colours. I was an eager student of this because lyricism has always been close to my very nature. I do not like drama, I do not like the fitful swirl of light and shadows, contracted into knots. I do not like surrealistic prophecies implying cataclysms. I do not like roaring waterfalls. I resonate with quiet creeks that water the land and create life. I admire the slowly running water, which is always present in the circle of life, but by its persistent work it can hollow even the hardest rock, so it can turn into a roaring waterfall, if necessary. I became a painter in the Szőnyi class of the college…