{"id":8002,"date":"2018-03-11T21:06:34","date_gmt":"2018-03-11T20:06:34","guid":{"rendered":"https:\/\/balkon.art\/home\/?p=8002"},"modified":"2019-06-07T09:04:18","modified_gmt":"2019-06-07T07:04:18","slug":"laszlo-laszlo-revesz-is-both-an-illusionist-and-a-realist","status":"publish","type":"post","link":"https:\/\/balkon.art\/home\/en\/laszlo-laszlo-revesz-is-both-an-illusionist-and-a-realist\/","title":{"rendered":"L\u00e1szl\u00f3 L\u00e1szl\u00f3 R\u00e9v\u00e9sz is both an illusionist and a realist"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”20″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” top_padding=”0″ bottom_padding=”0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]When the works of L\u00e1szl\u00f3 L\u00e1szl\u00f3 R\u00e9v\u00e9sz<\/span> are compared to the works of artists like Magritte and Dali (which they often are), familiar devices of illusion can be recognized: objects are questioned, context is sculpted, and states of existence are bent. These mechanisms take shape in R\u00e9v\u00e9sz\u2019s early works, for instance an apple nailed to a chalkboard, a man chained to his toaster, a brigade of pocket knives pointing in the same direction, a woman engulfed by figure eights, and two horse heads floating in the sky. In the disparate elements of absurdity and irony sprinkled into his early works, a common process takes place: representation is created, then undermined. Realism is first offered, then twisted, enlarged, repeated, and entangled until it is ultimately revoked. In this sense, L\u00e1szl\u00f3 L\u00e1szl\u00f3 R\u00e9v\u00e9sz the illusionist is in full effect, making objects (as we know them) appear and then disappear.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” top_margin=”0″ bottom_margin=”0″ el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-40″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”padding-2-percent” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/2″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”50″][image_with_animation image_url=”8042″ alignment=”center” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][\/vc_column][vc_column column_padding=”padding-2-percent” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/2″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”50″][image_with_animation image_url=”8043″ alignment=”center” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

L\u00e1szl\u00f3 L\u00e1szl\u00f3 R\u00e9v\u00e9sz: The Apple of the Ballerina,<\/em> 1988, performance<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”cont-20-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”60″][image_with_animation image_url=”8008″ alignment=”center” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

L\u00e1szl\u00f3 L\u00e1szl\u00f3 R\u00e9v\u00e9sz: Her Makeup,<\/em> 2009, oil on canvas, 110\u00d770<\/span> cm<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” top_padding=”0″ bottom_padding=”0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Over the course of the past two decades, however, R\u00e9v\u00e9sz has departed from the Surrealist leanings of his earlier works. A new lineage can be traced that links his recent drawings and paintings to a sobered brand of expressionism which ranges as far as Edvard Munch on the one extreme to Edward Hopper on the other. This departure has yielded a progressive fading of illusion and a sentimental surrender to reality. If sentimentality can become stronger and more delicate at the same time, it does so here.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” top_margin=”0″ bottom_margin=”0″ el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-40″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”50″][image_with_animation image_url=”8012″ alignment=”center” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

L\u00e1szl\u00f3 L\u00e1szl\u00f3 R\u00e9v\u00e9sz: He is Looking at Her,<\/em> 2009, mixed media, canvas, 70\u00d7100<\/span> cm<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]R\u00e9v\u00e9sz\u2019s newer compositions are malleable and liquid, yet sharply attuned to reality. Blurred silhouettes and etched lines converge into theatric interactions between positive and negative space. When there is stillness, sensuality slinks through the composition, lingering in darkened corners of train cars, bedrooms, and obscured spaces. When there is motion, the composition is vibrant with activity and chaotic energy; flashing cameras glisten, and the glow of an iPhone permeates the canvas. This constant interplay of stillness and motion can perhaps be attributed to R\u00e9v\u00e9sz\u2019s background in film and video. Changing tempo between the likes of a 19th century period piece, a 1960\u2019s porno, and a film-noir chase scene, R\u00e9v\u00e9sz does not accept the constraints of two-dimensionality.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-40″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”50″][image_with_animation image_url=”8017″ alignment=”center” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

L\u00e1szl\u00f3 L\u00e1szl\u00f3 R\u00e9v\u00e9sz: Gulli Vera,<\/em> 2016, charcoal, pencil, paper, 120\u00d7180<\/span> cm<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]This lifelong love affair with film also influences the subject matter of R\u00e9v\u00e9sz\u2019s recent works. Subjects are presented like characters, functioning as generic types and intimate portraits simultaneously. The paintings Her Makeup<\/em> (2009), He is Looking at Her<\/em> (2009), TOHI (5)<\/em> (1999), and Gulli Vera<\/em> (2016) present a careful balance in which subjects are pulled forward and pushed back to capture a vague sense of familiarity. Subjects are vivid yet anonymous: commuters on a train, two figures walking, a woman applying makeup, four sisters, a man and woman sitting on the edge of a bed, and silhouettes in the park. Objects are similarly treated anonymously, diffusing the fierce conceptual utility that they provided in earlier works.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20-b” width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”50″][image_with_animation image_url=”8018″ alignment=”center” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

L\u00e1szl\u00f3 L\u00e1szl\u00f3 R\u00e9v\u00e9sz: Phone,<\/em> 2009, charcoal, pencil, paper, 50\u00d770<\/span> cm<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”20″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]This departure from clearly defined subject matter gives way so that compositional atmosphere may assume heightened agency, marking perhaps the largest transition between his early and recent works. Compositions feel like momentary snapshots of a greater, overarching plot. Atmospheres feel so fully formed that the viewer can only assume that they continue beyond the edges of the canvas. In many cases, these atmospheres do exist elsewhere, once again recalling R\u00e9v\u00e9sz\u2019s lifelong relationship with film and video. Recent works embark on a study of genres, investigating the typified themes and categories of human experience. R\u00e9v\u00e9sz frequently references the genres of romance, tragedy, quietness, sensuality, eroticism, power, drama, crime, vice, and intrigue. As R\u00e9v\u00e9sz comments, reflecting on recent works, \u201cCuriosity and the quest for newness is over. Surrender to what already exists.\u201d[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”50″][image_with_animation image_url=”8021″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

L\u00e1szl\u00f3 L\u00e1szl\u00f3 R\u00e9v\u00e9sz: Blue Danube,<\/em> 2010, charcoal, pencil, paper, 50\u00d727<\/span> cm<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]In a piece entitled Blue Danube<\/em> (2010), R\u00e9v\u00e9sz depicts a riverside scene with a man and a woman. The man is in a wooden rowboat with an oar in hand. His face is darkened and obscured under a shadow. The woman is on the shore in an evening gown, and her eyes are cast toward the viewer. Scratched gestures of waves on the river and cars on the bridge overhead create a sense of motion and activity that contrasts with the poised and expectant stillness of the figures. The composition is sentimental, wistful, and full of theatrical romance except for one element: a shoe-print stamped on the canvas, occupying the top right corner of the composition.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-40″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”50″][image_with_animation image_url=”8028″ alignment=”center” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

L\u00e1szl\u00f3 L\u00e1szl\u00f3 R\u00e9v\u00e9sz: Two Armours,<\/em> 1982, mixed media, canvas, 50\u00d770<\/span> cm<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Presumably, the shoe-print belongs to the artist. Elements like this affirm that R\u00e9v\u00e9sz\u2019s familiar process remains intact: creation will eventually be undermined, sentiment will eventually be followed by irony. The viewer is reminded that R\u00e9v\u00e9sz is as much the illusionist as he ever was. \u201cI hope that somehow I smuggle in a balance between ethics and disturbance,\u201d R\u00e9v\u00e9sz says, pointing at the underlying essence of his art: a tender prodding at the polarities of human experience through a careful balance between reality and illusion.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-40″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”50″][image_with_animation image_url=”8024″ alignment=”center” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

L\u00e1szl\u00f3 L\u00e1szl\u00f3 R\u00e9v\u00e9sz: Still Life with Knives,<\/em> 1984, oil on canvas, 100\u00d7120<\/span> cm<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-15″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”50″][image_with_animation image_url=”8047″ alignment=”center” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

L\u00e1szl\u00f3 L\u00e1szl\u00f3 R\u00e9v\u00e9sz: Evening,<\/em> 1988, mixed media, canvas, 100\u00d770<\/span> cm<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-15″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”50″][image_with_animation image_url=”8048″ alignment=”center” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

L\u00e1szl\u00f3 L\u00e1szl\u00f3 R\u00e9v\u00e9sz: Lady 8,<\/em> 1988, oil on canvas, 100\u00d770<\/span> cm<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-15″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”50″][image_with_animation image_url=”8030″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

L\u00e1szl\u00f3 L\u00e1szl\u00f3 R\u00e9v\u00e9sz: Paris,<\/em> 2008, charcoal, pencil, paper, 70\u00d750<\/span> cm<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-15″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”50″][image_with_animation image_url=”8032″ alignment=”center” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

L\u00e1szl\u00f3 L\u00e1szl\u00f3 R\u00e9v\u00e9sz: Wheel,<\/em> 2009, charcoal, pencil, paper, 150\u00d7120<\/span> cm<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-15″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”50″][image_with_animation image_url=”8029″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

L\u00e1szl\u00f3 L\u00e1szl\u00f3 R\u00e9v\u00e9sz: Papal Bull,<\/em> 2015, charcoal, pencil, paper, 30\u00d740<\/span> cm<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-40″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”50″][image_with_animation image_url=”8037″ alignment=”center” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

L\u00e1szl\u00f3 L\u00e1szl\u00f3 R\u00e9v\u00e9sz: They will be Never Connected,<\/em> 2015, charcoal, pencil, paper, 152\u00d7190<\/span> cm<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-40″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”80″][image_with_animation image_url=”8031″ alignment=”center” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

L\u00e1szl\u00f3 L\u00e1szl\u00f3 R\u00e9v\u00e9sz: Little Blow Up,<\/em> Karkade Company, 2016, performance<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” vertically_center_columns=”true” scene_position=”center” text_color=”dark” text_align=”center” color_overlay=”rgba(255,255,255,0.92)” overlay_strength=”0.95″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-2-1″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”]

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