Szilard Banyi - Vulpine Abyss





Catawiki Buyer Protection
Your payment’s safe with us until you receive your object.View details
Trustpilot 4.4 | 143313 reviews
Rated Excellent on Trustpilot.
Szilard Banyi, Vulpine Abyss, an original, contemporary 100 × 80 cm oil painting executed in egg-oil tempera, hand signed and dated 2026, depicting a fox in a dark-green forest with black and orange accents, sold direct from the artist.
Description from the seller
Name: - Szilard Banyi, ハンガリー人、ルーマニア生まれ、2021年からドイツ在住
Education: アートスクール・ルーマニア 2001-2015
Exhibitions: ルーマニアの地域展、Galerie Venschott、Artsy。
Major milestone of these years was the personal recognition I recived from British royalty where on October 2016 I met Prince Charles at Buckingham Palce in London, during an anniversary event for an association sponsored by Prince.
And for that occasion I gave him a painting as a gift.
Title of work;Tehnique- Egg Oil Tempera
Dimensions: 100x80cm
Signature: Yes
Prints: Not Available
Provenence: No
Condition: New
Shipping: Yes, On the Back
Year: 2026
Frames: Not Available
Description:
•Vulpine Abyss•
- Executed in egg-oil tempera, a demanding traditional painting technique rooted in the long history of tempera painting, which dates back to Antiquity and flourished in medieval and Renaissance art. Combining the binding qualities of egg emulsion with oil, this medium requires patience, precision, and a carefully controlled layering process. Each passage is developed through deliberate applications of colour, making the technique both time-intensive and technically intricate. The resulting surface balances subtle luminosity with expressive, gestural brushwork.
A solitary fox emerges from the dense, shadowed undergrowth, suspended between presence and disappearance. Vulpine Abyss explores the tension between the animal’s alert, almost confrontational gaze and the surrounding forest, where forms dissolve into layers of darkness, muted greens, and fragmented light.
The fox becomes both a physical presence and a psychological figure—a moment of awareness within an environment that remains elusive and unstable. The loosely articulated vegetation, reflective passages, and controlled drips create a sense of depth without fully describing the space, allowing the forest to exist somewhere between landscape and abstraction.
Name: - Szilard Banyi, ハンガリー人、ルーマニア生まれ、2021年からドイツ在住
Education: アートスクール・ルーマニア 2001-2015
Exhibitions: ルーマニアの地域展、Galerie Venschott、Artsy。
Major milestone of these years was the personal recognition I recived from British royalty where on October 2016 I met Prince Charles at Buckingham Palce in London, during an anniversary event for an association sponsored by Prince.
And for that occasion I gave him a painting as a gift.
Title of work;Tehnique- Egg Oil Tempera
Dimensions: 100x80cm
Signature: Yes
Prints: Not Available
Provenence: No
Condition: New
Shipping: Yes, On the Back
Year: 2026
Frames: Not Available
Description:
•Vulpine Abyss•
- Executed in egg-oil tempera, a demanding traditional painting technique rooted in the long history of tempera painting, which dates back to Antiquity and flourished in medieval and Renaissance art. Combining the binding qualities of egg emulsion with oil, this medium requires patience, precision, and a carefully controlled layering process. Each passage is developed through deliberate applications of colour, making the technique both time-intensive and technically intricate. The resulting surface balances subtle luminosity with expressive, gestural brushwork.
A solitary fox emerges from the dense, shadowed undergrowth, suspended between presence and disappearance. Vulpine Abyss explores the tension between the animal’s alert, almost confrontational gaze and the surrounding forest, where forms dissolve into layers of darkness, muted greens, and fragmented light.
The fox becomes both a physical presence and a psychological figure—a moment of awareness within an environment that remains elusive and unstable. The loosely articulated vegetation, reflective passages, and controlled drips create a sense of depth without fully describing the space, allowing the forest to exist somewhere between landscape and abstraction.

