|
His
artistic activity started in the interwar period, it evolved in
the 40s and experienced a continuous inner development until the
beginning of the 70s. Until the end of the 40s, his sculpture
was closely connected with the Hungarian sculptural tendency
represented by Ö. Fülöp Beck, Béni Ferenczy and Ferenc Medgyessy.
From the end of the 40s, it continued to deepen in a classical
direction of new pace, on the other hand in the direction of
more intellectual, abstract, on the one hand of more
experiential, life-like but lyrical, sensuous sculpture attached
in every case basically to the experience of reality and rich in
thoughts.
His
sculpture integrates in itself achievements of classical and
archaic as well as modern sculpture as regards content and form.
The range of his subjects and the world of his form broadened
through deepening of his attitude to art and experiences of form.
He bequethed the significant pieces of his activity to the city
of Győr in his lifetime.
In
the roofed part of the snug yard, we can see bronze reliefs of
large size, the stone statue entitled "Lamenting Woman", the
full-length small-sized figure of Janus Pannonius, and in the
evergreen surroundings of the small yard, the visitor is
received by his creation entitled "Primavera".The works
exhibited downstairs and up- stairs give an overall picture of
his drawing art, his early painting and his complete sculpture.
Miklós
Borsos started out a painter, than from 1932 he began to create
sculptures, meanwhile he painted all along. He practised all
sculptural genres on a high level and enriched them with several
new solutions. He developed embossing of copper plates, which
had been rare up to that time, to an autonomous genre. He
produced creations for public places and sepulchral monuments
springing from modern environmental culture and demands of
cultivated mind, of human scales, bearing a personal message and
intimacy, in which he combined symbolic motifs of natural
culture as well as, qualities of the personality producing
cultural values (János Ferencsik’s and Béla Bartók’s sepulchral
monuments).
In
the field of portraiture, he practised on a high level portrait
sculpture giving expression to outer and inner characteristics
of the personality presented in a vivid form, and enriched
Hungarian and universal art with the abstract portrait as a new
genre integrating in itself nature, atmosphere, cultural
tradition of the landscape as well expressing inner spiritual
happenings (Portrait of József Egry, 1952; Sybilla Pannonica,
1963; Lighea, 1968; The Young Parca, 1964; Canticus Canticorum,
1977).
In
his sculptural art, he combined classical sculptural and human
values of contect with his intuitive way of seeing things.
In
his medal art, as one of the most impressive reformers of this
genre he showed us uncomparably rich possibilities of modern
artistic expression, having respect for the noblest traditions,
enhancing further the international rank of Hungarian medal art
(Buba with a Bird, 1949; Rembrandt-Medal, 1952; Picasso-Medal,
1955; Odyssea-Serie, 1956; Explosion, 1968; Musical Days of
Nyírbátor). |
