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Personal exhibition of Adalbert Erdelyi
Exhibition 20 September − 27 October 2018
Gallery NY ART presentedsolo exhibition an outstanding Ukrainian artist, one of the founders of the Transcarpathian school of painting Adalbert Erdelyi. The exhibition became part of a large-scale project called «10 outstanding artists of Ukraine».
Adalbert Erdeli (1891 - 1955) - a gifted painter and poet who knew seven languages, extraordinary and expressive, all his life faithfully served the ideals of harmony and spirituality. He studied at the Budapest Academy of Arts, then went to Munich, where in 1923 he held an exhibition of his works in one of the largest exhibition centers in Europe - «Glass palace». In 1927, together with Joseph Bokshay, he founded the Public School of Painting, which later became the basis «Transcarpathian school of painting».
In the late 1940s, the Soviet totalitarian system launched an active offensive against «clean» art. Erdely accused of «formalism» and «bourgeois aestheticism», gradually removed from all positions and sent to retire. The outstanding artist who conquered Munich with his paintings, Paris, Brussels, Prague was pushed back into the backyards of the then «advanced» art, humiliated and forgotten.
Adalbert Erdeli (1891 - 1955) - a gifted painter and poet who knew seven languages, extraordinary and expressive, all his life faithfully served the ideals of harmony and spirituality. He studied at the Budapest Academy of Arts, then went to Munich, where in 1923 he held an exhibition of his works in one of the largest exhibition centers in Europe - «Glass palace». In 1927, together with Joseph Bokshay, he founded the Public School of Painting, which later became the basis «Transcarpathian school of painting».
In the late 1940s, the Soviet totalitarian system launched an active offensive against «clean» art. Erdely accused of «formalism» and «bourgeois aestheticism», gradually removed from all positions and sent to retire. The outstanding artist who conquered Munich with his paintings, Paris, Brussels, Prague was pushed back into the backyards of the then «advanced» art, humiliated and forgotten.
