In the 1970s and 1980s, the opportunity of free studio creation opened creative space for Stanislav Harangozó. The technological  quality of his pastel allowed him exercise his creative vitality in numerous variations of landscape motifs, which led to still lifes and figures. In this work he was testing his relationship to painting and its expressional possibilities. From an introductory fixation to a more refined atmosphere closely related to reality, he progressed towards more relaxed positions liberated from actual shapes and forms until he finally reached compositions that were abstract transpositions of the original source of inspiration. As a result, color was first and foremost in the painting -–- distinctive color surfaces and blotches, their contrast and rhythm. Lines were similarly relaxed; in the place of disciplined, defining shapes they were suddenly found in the middle of color conglomerates, supporting or emphasizing the spontaneous nature of his style. The author attributes these compositions to his relationship with the landscape, and with a certain dose of metaphor, through them he also reveals his subjective feelings.
During the above-mentioned period, the artist's studio was filling up with paintings, although by that time he had become a famous creator of designs and implementations of natural stone mosaics. This work was developed according to the actual functions of the premises of the various buildings and the requirements of architects and investors. Working with natural stone best suited his creative character and it was here that his artistic ambitions and activities in cooperation with architects reached their culmination. It was distinguished by genuine technology, discipline and sophistication. The technological requirements, the scope of the work and especially the author's implementation of mosaics required considerable concentration and time. In spite of this and other obligations, especially his teaching duties, he constantly returned to creation in his studio. His goal-orientation and the systematic approach through which he cultivated it resulted in the fact that his style acquired its characteristic contours and maturity relatively early on. In the 1990s, when community orders for works of fine art connected with architecture were practically non-existent, Harangozó's painting took on a new accelerated impulse. Fired by changes in the conditions for fine art creation, the opportunity arose for him to focus on this issue and embrace all of its creative potential. In addition to the inspirations of natural landscape forms and phenomena, the register of the painter s interest expanded into urban landscapes, and in particular, Bratislava motifs, along with f igural compositions predominantly related to female nudes, still lifes and religious themes. He achieved the opportunity to use his acquired experience and fulfill his ideas regarding painting. He attempts to maximize the use of the qualities of pastel as an expressive means, the symbiotic possibilities of painting and drawing approaches that it offers in combination with other techniques in the process of creation. Building on his work from previous years he develops the characteristic features of his painting based on the expressive value of color, color contrast and the stylization of shapes and forms that, together with various degrees of abstraction, functionally subordinates the theme or depicted motif. Although at first glance it appears that the author prefers the visual qualities of painting and composition, it can be argued that he attaches to them his capacity f or a certain statement. He strives for the codification of an appropriate degree of relationships and the potential points of intersections of the values of fine art and meaning. Depending on the theme, motif and meanings that he assigns to them, we encounter compositions sometimes expressing the priority of fine art motivations, and sometimes emphasizing the ideological essence of the theme or the functional sense of his canvas.
Even today, the landscape motif — natural and urban – provides the widest space for the self-realization of Stanislav Harangozó, the painter. He finds in it the greatest possibilities for abstraction, liberation from objective specificity, and relative freedom. His frequent blending of figurative and landscape motifs reinforces the imaginative nature and metaphoric sense of the painting, along with a multiplication of its contentual associations. The contemporary painting of the author, while a natural and logical continuation of his previous creation, is more concentrated, deeper, richer in genre and meaning, thus documenting new moments in his authorial profile.

PhDr. Peter Mikloš

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