Kunstenaar: Geza PERNECZKY (1936- KESZTHELY HUNGARY) Medium: Monotype op stevig glanspapier The monotype technique is an art printing technique without engraving that produces a single print. The process combines elements of drawing, painting and printing. The result is a print from an image traced on a non-porous surface, usually a glass or metal plate, by applying ink or paint. This is a single impression, hence the name monotype, obtained by pressing the paper against the plate. Unlike the etching technique, this creative process is carried out without having to chisel or notch the plate. The image is created directly on the plate, covered with an appropriate medium (ink, acrylic or oil paint), which is then transferred to paper, either using a printing press or manual pressure. The monotype gives rise to a unique print, so it's an original work. Datering: 1965 Genummerd: Gesigneerd: met gouache rechtsonder Conditie: In goede staat (lichte vouwen in de omliggende witte marges NIET in de voorstelling zelf! Getiteld: untitled losbladig - bladmaat 50 x 65 cm Géza Perneczky (1936, Keszthely) is one of the Hungarian Neo-Avant-garde conceptual art's key protagonists. In 1957 he graduated from the piano and choirmaster department at the Bartók Béla Music Academy in Budapest. From 1957 to 1962 he studied art history and Hungarian language and literature at the Loránd Eötvös Science University (ELTE) in Budapest. From 1962 on he was an editor at the Hungary Art Publishing House and worked as an art critic. Perneczky's work can be divided into several categories, the most prominent being conceptual photography. He created artists' books between 1973 and 1974. He would distribute the artists' books in A4 folders with eight works on sheets on paper. His use of rubber stamps is seen in his conceptual works created mostly on A4 sheets of paper. Some of his photographic series include Identification Programme (1971), Concepts Like Commentary (1971), Art Balls (1971), the Yes-No series of works (1971 – 1972), Art Bubble (1972), Snail Action (1972) and others. Perneczky's use of mirrors is constitutive for his photographic work, which at the same time represents a mirror image of art in its time. From 1987 to 1994 Perneczky created The Story of the Colorful Ribbons, a series of conceptual book-objects made from wood, cardboard and ribbons. From 1984 he became increasingly interested in painting, creating a large body of works titled String Pictures (on canvas, paper, and woodworks). In 1970, he moved to Cologne. From 1973 he took part more intensively in the Post-Fluxus movements, created Stamp Art, Mail Art, Artist's Books.