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Albert Alcalay
Wendy Artin
Distant Lens
Ruth Eckstein
Rubin Gold
Dinora Justice
Ivan Massar
Anne Mastrangelo
Helen Meyrowitz
Elliot Offner
Jonathan Palmer
Miklos Pogany
Arthur Polonsky
Eleanor Rubin
Sloat Shaw

Miklos Pogany

14 November ~ 12 December, 2004

KANTAR FINE ARTS presents the artist and master printmaker, MIKLOS POGANY, in a retrospective exhibition of his unique collage monotypes. Mixed Media showcases a selection and evolution of his work over the past twenty years.

Detail: Une Jour de Marriage

Miklos Pogany, whose grandmother was the Mlle. Pogany who inspired the famous Brancusi sculpture of that name, was hailed as “an artist of great sensitivity...(and) also a fine colorist,” by Willem de Looper, the former Curator of The Phillips Collection, at the time of Pogany’s solo show there, in 1985. A self-taught artist, Pogany has continually stretched the limits of each printing technique he explored, particularly monotype, realizing wonderfully complex surfaces, by using a unique technique, which he developed, with different papers (including supermarket shopping bags!) and other materials for his plate, and overlaying the surface with layers of ink, oil colors, pastels, crayons, chalks, and oil stick. His abstractions and more representational works emanate a mysterious, emotional quality, and suggest a moment in the passage of time, a moment of being that could transform itself at the next glance. Colors, textures, lines and shapes are subtly connected and interdependent.

Bird of Paradise

Pogany has had many solo exhibitions, including a major show at The Phillips Collection, Washington, D.C., at Associated American Artists, New York, the Paul Mellon Art Center, Wallingford, CT, Miklos Pogany, “Artist’s Showcase”, sponsored by The Connecticut Commision on the Arts, Hartford, CT, at the Mattatuck Museum, Waterbury, CT, and at Impressions Gallery (NY and Boston), and Victoria Munroe Gallery (New York). His work is in many prestigious public collections, including the Victoria and Albert Museum, London, England, and, nationally, The Phillips Collection, Washington, D.C., The Metropolitan Museum of Art, New York, the National Museum of American Art, Smithsonian Institution, New York Public Library, Yale University Art Gallery, the Philadelphia Museum of Art, the Christian Science Center, Boston, The Lois and Michael Torf Collection, Boston, MA, and the Achenbach Foundation for the Graphic Arts in San Francisco.

Une Jour de Marriage

He is also represented in the collection of global corporations, including AT&T, The Bank of America, Biogen, Chemical Bank, Mobil Corporation, and Solomon Brothers.

Miklos Pogany was born in Budapest, Hungary, in 1945, educated in Italy and the United States, receiving an MA and PhD from the University of Chicago. In 1972, after being a Professor of Humanities and Comparative Literature for several years, he decided to become an artist. He is self-taught. He is currently on the Faculty of the Art Department at Buckingham, Browne & Nichols Schools, in Cambridge, MA.

Detail: Une Jour de Marriage (2)

“One of the strongest traditions in contemporary American art is exemplified by the self-taught artist. In Pogany’s case, the application of self-taught, often innovative technique in monotype, their influence on his work in other mediums, has been strongly affected by the artist’s thorough grounding in literature and philosophy. In fact, what distinguishes his abstractions from those of his contemporaries is their metaphysical content.


Une Jour de Marriage (2)

Une Jour de Marriage

Une Jour de Marriage

Isolated against an abstract ground, Pogany’s highly evolved form seems to exist in the timeless moment before or after some indescribable event. His ability to induce an air of mystery in his work not only sets him apart from most abstract artists...the almost supernatural feeling of wonder his paintings and monotypes embody is the direct result of a carefully orchestrated interaction between technique and image, process and form.

Pogany has continually tested the limits of each medium he explored, particularly monotype. Since he treats his monotypes as paintings, not prints, he feels free to rework them with any material he chooses. It is not unusual for him to go back into a monotype with gesso, wax, oil paint, watercolor, or collage.” John Lau, Miklos Pogany: Paintings and Works on Paper, The Phillips Collection, Washington, D.C., March 30 – May 26, 1985

Study for Large Female Monument (3)

Desert Stillness Hiding Its Delight

Klarika, 1988

In discussing the Klarika series, John Lau notes, “It is with this series that Pogany emerged as a major abstract artist.  Typically, a scaffold of lines is used to locate the form in profile against a crefully worked, evocative ground. Counterpointing the form’s severity, its diagnonal thrust, is a moon-like shape pushing out from each side. The lines and interlocking shapes have been tightly orchestrated, so that the viewer almost immediately perceives the stalemate between the image’s vertical placement and its diagonal thrust.  Consequently, there is both an extreme stillness and a hint of movement, as if the figural presence is floating across our perceptual field. The essence of Klarika’s abstract form is harsh, standoffish, angular, sensual, sturdy, and ghostly. It is physical and ethereal, palpable and elusive.  In its combination of attenuated triangles, rectangles, lines, scimitar-like arcs, the abstract form has affinities with the geometric compositions of both Piero della Francesca and the Russian Constructivists...”  




“Color is used to evoke a season and a place, or a specific kind of light....” - John Lau, The Phillips Collection, Washington, D.C., 1985

Richard S. Field, former Curator, Yale University Art Gallery, in an essay for Pogany’s catalogue for his Associated American Artists exhibit, December 1989, extolled Pogany’s work, calling it “a rich and monumental series of prints.”

“Pogany’s monotypes, though suffused with the compression of printing, and unfailingly responsive to the beautiful papers on which they are printed, appear very much like painted low reliefs; and the etchings, though composed of line and texture, only spring to life when endowed with the mysterious space of Pogany’s color, applied both before and after printing.” Richard S. Field, AAA catalogue, 1989

Wings of the Gifted Child

The Very Thought of You

The Very Thought of You (2)

In recent years, other natural forms, including the human form, have entered Pogany’s artistic language using the vitrograph process, or sandblasting several glass plates, infusing them with color, then printing.

The Place where the words come from

Editions of 20 or 30 were possible, with each print often enhanced by the artist with pastel or printer’s ink, making for a ‘variant edition.’

Lost Manís River

Fontis Ninphae








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