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Marián Čunderlík

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painter, graphic artist, illustrator
 
 
 
Marián Čunderlík (1926-1983) was born in Motyčky near Banská Bystrica. He spent his childhood with his family in Staré Hory and Šalková. In 1946, he began studying at the Faculty of Education in Bratislava, where the drawing and painting department led by prof. J. Mudroch. In 1949, he transferred to VŠVU, he was accepted into the second year of the department of monumental painting (Prof. Ľ. Fulla, later Prof. J. Želibský). In 1953, he graduated from VŠVU as one of the first students. In addition to painting, he began regularly drawing caricatures and political satire for the weekly Roháč. In the beginning of his work, he focused primarily on one motif - the study of a female figure, a half-figure (mostly called the Bride, Ždiaranka or Mother), which he realized using tempera, gouache or oil techniques. From the cycle of Brides (marked by the influence of P. Picasso, but also by the study of folk ornamentation), Architectural (1958-1959) and Archaic figures (1959-1962) later emerged. Around 1957, the author's direction was close to the efforts of the Galands (in a certain ethnicity of the subject and the effort for a synthetic form), but he never became a member of this group. The gradual anaitic process began in the author's work around 1958 in Architectural figures (male and female figures in the gouache technique reminiscent of Cubist phrasing) to reach in Archaic figures the dissolution of form into the matter of colored matter, work with matter replaced work with form (for the first time they discover the methods of informal painting in the author's work). The informal work culminates in the series Mirrors (1961-1962), which represents the peak of the author's work (full of multiple meanings with prints of unidentifiable objects). The problem of pushing away objects and their fragments also appeared in the author's work in the series Corpuses. A separate group of works consists of Skins from 1963, in which the author significantly shifted his interest to pure informal matter (they resemble, for example, the Texturology and Materiology cycles of J. Dubuffet from 1957-1960), they are fragile paper materials, almost monochrome with a few color accents. The objects from 1964 marked a return to the object by using concrete details of a technical nature (eg tubes, nuts, can lids). A change also occurred in graphics and collages (around 1965) using a raster basis, which in the years 1967-1970 resulted in silver monochromes (Satellites and Topography - interest in technology). In his work, Autr explored and reflected in various variations the relationships between the present, the past, national, universal, universal, archaic, realism and abstraction. His answer was "concreteness, concretism and concretization of visual stimuli" (O. Čepan). He created a substantial part of his work in the 1960s. As an author of the late avant-garde, he was closely associated with the work of Ľ. Fullu, programmatically revived domestic modern ideas and strove to rehabilitate the artistic experiment. He was the organizer of program exhibitions of the young generation and the initiator of the foundation of the Cyprián Majerník Gallery in Bratislava (1957), where his solo exhibition was banned a year later. After this censorship, he became one of the participants and organizers of the Bratislava Confrontations (infidel exhibitions of informal abstraction and structural graphics, 1961-1964). In addition to the aforementioned activities, the author also worked as an illustrator (until 1980 he illustrated more than 100 titles of poetry and prose), book graphics and monumental-decorative work for architecture (between 1961 and 1979). He exhibited independently in 1958 (C. Majerník Gallery in Bratislava, censored exhibition), then in 1986 (Rozkvet, Bratislava - memorial exhibition, after his death), 1990 (Palisády Gallery, Bratislava), 1992 (SNG, P. M. Bohúň Gallery - collective exhibition), 1997 (Zichy Palace, Bratsilava), 2000 (Galéria Marat Art, Bratislava, State Gallery in Banská Bystrica), collectively since 1954 (Bratislava), further: 1958 - Prague, Brno; 1961 to 1964 (Bratislava, 1st - 4th Confrontations), 1964 - Poland, Brazil, 1966 - Prague (Slovak book graphics), 1967 - Kiel, Essen, Rome; 1970 - Prague. In 1963, he received an award from the Smena publishing house. After being expelled from ZSVU, he left Bratislava for Demänovská dolina (Tri studničky settlement), where he tragically died. In 1993, he was awarded the Martin Benka Award in memoriam.

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