Church Bench in Csaroda Village Painting

Andras Arnoti Painter Born in Budapest – Hungary on November 11, 1949 His master: Mihaly Meszaros 1970-1974: Art School 1974: graduates in Debrecen, on the faculty of public education and library 1974-76: guest visitor at ELTE (the university of liberal arts in Budapest) on the faculty of the history of arts Studies at the Greek philology faculty of ELTE 1984-95: lives in Budapest and Cyprus 1983-86: art director of the Young Artists Studio Hungarian Art Foundation 1989-1992: journalist, arteditor Art Magazin, Pesti Hírlap 1994-1997: teacher of painting, Art University Szarvas 1995-2002: Co-chairman Painting Division, Hungarian Association of Fine Artist 2005- guest teacher of Budapest University of Technology and Economics (color-study and workshop) 1983-92: participates in the work of the colony of artists in Nagyatad, Dunaujvaros, Sopron, Salgotarjan and Stuttgart (Germany) In the eighties and nineties he published several literary, theoretical and publicistic works. Writings on him describe him as a “collector of art genres”. In the background of his pictorial art the occurrence, i.e. the clear epic concentration behind his abstractions, is always present. He is an artist with ideas whose important – nearly compulsory – target is the accuracy of the message, the autonomy of the opinion handled with modesty and playfulness. Compared to his earlier works, as of the mid-nineties he starts to minimize his canvases; mostly it is about the system of relations of two or three (mostly actual) forms with attractive picturesque methods. He handles attractivity and decorativeness as a not negligible and first of all not as a pictorial problem. As one of the explanations to that in the last years he likes to use other types of materials too. At the beginning this was the metal; one of the examples for that is his large-sized work erected in a public place (in Nagykoros), the “Cityflat” in 1994, later on his picture-like but three dimension marble-series or the glass (“San atout” in 2001, “In memoriam V.L.” in 1999) but also his textile-plaited works belong to this category, the clear motive-order of which comes back on his panel-pictures too (“XXth century” in 1995, “History” in 1995, “Synthesized in points” in 1991). The reduction seen already on his canvases is in the case of these materials even more articulated, his research subject, the analysis of the relation of the part and entirety is even more intensive. As V.