Norbert Garay Nagy

Life and Education[edit]

Norbert Garay Nagy [1] had been studying woodworks, when his passion for artistic drawing has evoked. Thus, in 1993 he enrolled in Dániel Kornél’s free drawing school. Parallel to his studies, he worked as a graphic designer intern. In 1997, he was accepted to study painting at Eszterházy Károly University under László Molnár [2], a recognized master who also received a Munkácsy Prize. Garay graduated in 2002, his diploma work/dissertation was named “The curtain and what is behind it”.

From mid 2002, his life can be characterized as a lone quest for purpose. While studying realism and other styles of the XX century France, he discovered interwar period painting, automatist calligraphy (George Mathieu, Hantai Simon) and surrealism. During summer he worked at Szőnyi art colony while in Csernus Tibor has a significant impact on his painting. His works between 2005-2011 suggest the adoption of a surrealist approach. During this period he created numerous etching pieces as well. Garay’s art was also widely applied in book illustrations (Ilona Matkovich: The cupboar; Claudia Kaszala: In the shadow of Koló).

In 2012 he turned to hyperrealism, inspiring the creation of photographic and figural pictures, yet not naming his still life works. During 2014, Garay adopted Sándorfi’s style hence painting multiple-figure, pseudo academic act compositions, fashion photograph scenes and still life pieces. His most outstanding work in 2013 was a monumental expressive-realist series named the Atelier [3], inspired by the spectacle of worn harbour walls. He has two sons; Erik(2004) and Titusz(2014)

Garay’s Style[edit]

Norbert N. Garay’s [4] mature artistry can be described as mosaic painting that carries elements of surrealism and hyperrealism. Due to a number of his museum study tours, his style can be defined as “realist”. His current work is heavily inspired by fashion photographs, which also gave birth to the “Réalité Pilée” style, created by himself co-jointly with a school. Consequently, he is often classified as a hyperrealist by art critics although he never categorized himself as one because of the intentional deformations on his paintings that broke its photorealistic effect.

Garay’s art collections[edit]

Redhouse Collection, Vác
Pope John Paul II., Franciscan temple, Vác
Panno, Gallery, local council of Vác
Uvaterv, Budapest/ Art Avalanche Gallery fresco, Vác
Saint Stephen House, Vatican, Rome, Italy
UNESCO, Troyes, Franciaország
House of Hungarians, Paris, France
Viski – Mányoki Memorial, Szokolya
Benetton Collection, Venice, Italy
Bishop Palace, Vác
The Seavest Collection of Contemporary Realism, New York, United States

Sources[edit]

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