Barcsay 120

Barcsay 120

Jenő Barcsay’s (1900–1988) oeuvre is defined by his constant experimentation in painting. As one of the most prominent figures of 20th-century Hungarian painting, his artistic perspective culminated in a synthesis of his respect for the classical traditions on the one hand, and the momentum of modern tendencies on the other. An artist of Transylvanian origins, Barcsay studied at the Hungarian Academy of Fine Arts, followed by travels to Paris and Italy on scholarship. It was these experiences, along with his visits to several artists’ colonies in Hungary, that helped shape his unique, abstract style. By creating a tension between a perspective of space based purely on what is seen, geometric construction and figurativity, the artist left an unparalleled oeuvre behind. In addition to painting, he had a significant body of graphic and mural works as well. Between 1945 and 1975, as a professor at the Academy, he passed his in-depth knowledge and skill of representing the human figure onto several generations of artists. His volume entitled Anatomy for the Artist has been translated to fifteen languages and remains an authoritative textbook in art education to this day. As of 1929, he became a member of the Society of Szentendre Painters and the Artists’ Colony of Szentendre. The motifs which Barcsay sought as he wandered Szentendre’s cobblestoned streets – and which were present throughout his entire body of work – were inspired by the vistas of the Danube River town with its narrow passageways and atmospheric buildings.

Barcsay bequeathed a nearly 200-piece selection of his oeuvre to the Ferenczy Museum Center in 1977. On the occasion of the 120th anniversary of the artist’s birth, FMC presents a selection from its Barcsay Collection.



Between 2 November 2019 and 29 February 2020 Ferenczy Museum Center’s museums can be visited with shorter opening hours:
Tuesday–Sunday: 10 am – 5 pm
Ticket office is open until 5 pm.
Kovács Margit Ceramics Museum:
Monday–Sunday: 10 am – 5 pm
Ticket office is open until 5 pm.


Hungarian Surrealism

Due to high interest, the exhibition Hungarian Surrealism will remain open for two additional weeks, until 15 September 2019, at the Ferenczy Museum.

For a detailed description of the exhibition, please refer to this link.


Reconstructing Eden at Art Capital

This year, the video art review organized annually by the French-Swiss curator duo of Paul Ardenne and Barbara Polla is held at the ArtMill in Szentendre, within the framework of Art Capital 2018. As their central theme, the featured video works focus on the relationship between the human being and nature: the global effects of – and ecological questions raised by – human interventions, as well as the rediscovery and possible rebuilding of Paradise Lost.

The exhibition is characterized by an atmosphere of deep harmony and serenity. The screens hanging at eye-height on the walls of the Mill space, which is filled with nooks and crannies, show majestic, pristine landscapes uninhabited by humans: the icebergs of the polar region, the depths of the ocean and seemingly endless forests. Fish swim in sync with the slow movement of the water, we catch fleeting glimpses of animals appearing and disappearing in harmony with the pulsating rhythms of the forest. Human beings who seek to penetrate as pioneers these realms ruled by nature – be it by boat or motorcycle – have no choice but to act in a cooperative manner and regard themselves as tiny particles surrounded by immenseness. The artistic expressions of ecological awareness range from surrealism and minimalistic beauty to practicality. We see Miguel Angel Ríos’s transparent cubes levitating in a red-sanded, desolate plateau and Janet Biggs’s Mars simulation with a graphic artist wearing a space suit in a desert in Utah. The stream of water, projected onto the stairs of the ArtMill as it trickles upward in the direction of the Fountain of Life, is a sight specific installation by Gianluigi Maria Masucci. Ursula Biemann’s video presents a researcher’s measurement results pertaining to a period of the Subatlantic Age, twelve thousand years ago, at the end of the last ice age. Finally, and perhaps most importantly, we can sneak a peek through Ali Kazma’s camera into the Safe where samples are kept of every single type of seed known to humanity. While the exhibition reminds us of the power and self-destructive forces of nature, it also offers us various paths out of this frightening situation: Eden can be rebuilt.

The exhibition, just as all other exhibitions of Art Capital 2018, is on view until 2 September.