Etudes II. 

From the 30th of November, 2018 to the 31st of March, 2019

Art has always meant more than just a decorative element. Works of art are not only mere objects in the space surrounding us, but significant stations in the viewer’s life. Artworks, beyond beauty and comfort, represent a value which, ideally, always presents a different aspect to its audience. And this encounter can last for a lifetime.

The most difficult moment of starting a collection: the first encounter, the first picture, the first step which determines all that follows. What should be taken into consideration, what is our purpose when collecting art and what is our relation to the artworks? Should we follow the learned eye and collect artworks which determine their tradition? Or should we follow our own unique and personal taste and choose to collect along a horizontal perspective? Should our collection tell a story about us or do we want to tell an independent story through our artworks – is the two even separable?

Countless answers could be given to these questions in which the diversity of the contemporary Hungarian art can be of great help. The artworks presented and offered for purchase by the Kovács Gábor Art Foundation introduce the viewer to the various segments of fine art, serving as a kind of guide to those who are committed to art. Through the artworks we are able to get a glimpse into a rich tradition, which provides a context for the works and offers new possibilities of interpretation. The personal encounter with artworks, the occupation of the same space creates a personal connection between the artwork and its audience, which addresses the viewer’s taste.




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Selected from the rich material of the KOGART collections, our permanent exhibition presents the art of one of the greatest sculptors of the 20th century, Miklós Borsos(1906–1990), who spent all his summers in Tihany from 1943. He was not only fond of music, but played the violin himself. It is not difficult to see his sculptural work as a well-balanced, harmonic musical piece, a composition perfect in form and thought, in which every note and bar has its own character, but is also at the service of the score as a whole.

"Like a tree that runs its roots deep so as to be able to outgrow its peers in the forest, this outstanding figure of 20thcenturyHungarian art was profoundly attached to the universal values of humanity, the world of the Bible and Christian culture, Greco–Roman mythology, the humanism of the Renaissance and its praise of the mind, to music and to nature.

His schooling was not formal, he did not attend academies of art. Wandering around the streets of Nagyszeben (Sibiu), he watched for hours on end the work of stonemasons and goldsmiths. He learned the essential tricks of their trades by watching, almost subconsciously. He later "enrolled" in the oldest, and to this day best, "academy" known to art history, when he spent a long time in Italy, and then travelled on foot along the coastal region of the Mediterranean Sea, from Marseilles to Venice. In the great museums of Europe, the galleries and churches of Florence, he honed his knowledge on the ancient sculpture of Egypt and Greece, the work of later masters like Masaccio, Leonardo, Michelangelo, Dürer, Rembrandt and Rodin. At the same time, he also became familiar with the major trends of contemporary painting and sculpture. In addition to Picasso, Brâncuşi and Henry Moore, his interest was stimulated mostly by the work of László Mednyánszky, Lajos Gulácsy, József Egry, Gyula Derkovits, Jenő Barcsay, Fülöp Beck Ö., Ferenc Medgyessy and Pál Pátzay.

Beside visual artists, he soon became acquainted or friends with some of the nation's best writers, poets, composers and other intellectuals, whose writings, music and ideas became integral parts of his own artistic world." 



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