Szilard Banyi - Pietá

Name: - Szilard Banyi, Hungarian, born in Romania and live in Germany from 2021
Title of work;Tehnique- Oil colors and charcoal on Paper
Dimensions: 90x70cm
Signature: yes, corner left side
Prints: Not available
Provenence: No
Condition: New
Shipping: Rolled
Year: March 2026


Hello everyone! Glad to be here. Hope that you can see my works as a part of me.
My story starts when i was a little kid, i had a lot of problems in my family, i wasn't doing too well, but i found myself in art. the first time i noticed an attraction to art was when i saw my older brother drawing. i was curious, i was attentive, i liked it...
after a while i started studying at art school in romania, where i graduated.
we had olympiads every year, i was always selected first to participate.
I didn't have many exhibitions because of money, the situation wasn't very good, as I mentioned. But at some point, during high school, I came across an association that helps young people with difficulties. There I managed to meet Prince Charles, in year 2017 ,he collaborated with that association in Romania. He invited me to London, me and some young people, to a festival, where I also made him a painting as a gift. It was an amazing experience! I had the chance to visit London and also to meet such a gentle and calm man. So I hope you managed to get to know me mostly. My works represent people, nature, in a contemporary style.

Pietá

- The painting is made with oil colors and charcoal on strong paper. I was inspired by a very famous sculpture created by Ippolito Scalza in 1579, under the same name.

Also the painting is a personal reinterpretation of the timeless Pietà, approached through a contemporary visual language that balances structure and dissolution. The figures emerge from a restrained, almost fragile palette, where muted greys and earthy tones evoke a sense of silence and suspended time.

Rather than pursuing anatomical perfection, I focused on emotional weight — the quiet tension between presence and absence, between the physical body and its fading imprint. The composition is intentionally left partially unresolved, allowing the viewer to enter the space of the painting and complete it through their own perception.

Subtle gestures of red interrupt the calm surface, acting as both a symbolic and visual pulse — a trace of life, sacrifice, and memory. These accents are not descriptive, but evocative, guiding the eye without dictating meaning.

The brushwork alternates between controlled passages and raw, exposed marks, revealing the process itself as part of the final image. In this way, the painting exists between construction and erosion, echoing the fragility of the subject it represents.

This work is not a reproduction of a classical image, but a meditation on it — a reflection on loss, tenderness, and the enduring human need to hold and to let go.