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MOLNAR Anton
Anton Molnar was born in Budapest in 1957. He received his education in art from the well-established Art School of Hungary where he obtained a full diploma {Diplõmé de l’Acad´mie des Beaux - Arts de Hongrie} in the diverse fields of painting, anatomy, history of art and fresco.
During his early years as a student, Molnar destroyed many of his works that failed to meet his own standard of perfection. In 1988, Molnar finally decided to leave Hungary because he could stand no more of the smothering political climate. For the past 30 years, he had constantly felt incapable of fully expressing himself. After his emigration to France (Paris), he has been known to say that he could “now breathe and burst”.
It has been commented that the artist is blessed with the gift for fusing the old epoch’s sumptuousness with the Existentialist attitude that is entirely modern. By juxtaposing modern subjects and antique contexts, Molnar creates great ambiguity. The exact time and venue are never specified but merely suggested. This elusive feeling of antiquity may be attributed to Molnar’s technique and use of colours. The irregularity in hues and textures as if he was painting on wood creates the impression of the effect of time.
One major factor contributing to Molnar’s originality lies in his ability to see the extra-ordinary in the ordinary. As a result, he comes up with exceptionally creative compositions perceived from unwonted angles. In certain cases, these unusual viewpoints add to the aura of mystery encircling Molnar’s works. Being a perfectionist, he intends every object, shade and angle to play a certain role and to speak volumes. This combination of ingenious compositions and the hyper-realistic painting technique can be compared to photographic images.
For Molnar, there is too much of instant gratification in the “user-friendly” world today and people take things for granted. He wants his paintings to serve as a departure point for the spectators to imagine their own stories. In the end, each individual comes up with his or her own interpretation and creates a special rapport with the paintings.
It is difficult to identify the sources of influence on Molnar’s art or to do a comparison between him and other artists, since his style is so innovative. His painting technique, however, does run parallel with that of the Flemish Masters (15th to 17th centuries). He could also have been inspired by the American Pop Culture of the 80s.
Being so young and dedicated to his work, it is doubtless that Molnar’s flexibility as a painter, photographer, and graphic artist will lead him to attain greater heights.
PRINCIPAL EXHIBITIONS
<sum> 1989 - S.M. International - Gevrey-Chambertin
<sum> Les Ateliers de la Tour - Dijon
<sum> Hôtel de la Cloche - Dijon
<sum> 1990 - Galerie au Carré d’Art - Paris
<sum> Espace Jean de Joigny - Joigny
<sum> Grand Palais - Paris (participation à la Biennale des Antiquaires)
<sum> Galerie pro Arte Kasper - Morges (Suisse)
<sum> 1991 - Galerie Everarts - Paris
<sum> Espace Miramar - Cannes
<sum> Galerie La Source - Dijon
<sum> 1992 - Cercle Munster - Luxembourg
<sum> Espace Pierre Cardin - Paris
<sum> 1993 - Galerie Becker - Luxembourg
<sum> Espace Pierre Cardin - Paris
<sum> Galerie Michael - Los Angeles
<sum> Hôtel Bouhier de Savigny - Dijon
<sum> 1994 - Galerie pro Arte Kasper - Morges (Suisse)
<sum> Espace Pierre Cardin - Paris
<sum> 1997 - Opera Gallery - Singapore: “Bali mon Amour”
<sum> 1998 - Opera Gallery - Singapore: “L’Art de Vivre”
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