Papageorgiu Andrea


I am greatly inspired by the world of artists’ colonies. I am present at at least five-six artists’ colony a year. I met the horses there as well. Everyone rode; there was nothing to do except to try it. The experience and my first horse had a so strong influence that I can not give up my oil painting depicting it.




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I am interested in the scenic problems, and the colours. Van Gogh and Gauguin influenced me at most. I do not believe the scholastic treatments that the relation of the complementary colours is the most important.

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The cool shades are closer to me, but I deliberately leave out smaller spots for the warm colours. If these are more, the picture becomes over-define. The much red colours make the Nagybánya landscape unrealistic, even if the hillside is full of red cranberries. Preparing myself to the Hungarian group exhibition at Beijing, I was called that I had not sent enough pictures. Having no time, I painted lot of red coming out of me.


The landscapes, the sceneries affect me. I omit all of the trivial things, cars, and traffic signs. Be the picture more general, more ageless. I endeavour to use sketches.


To bring up emotions and memories, I convert the landscape freely, not exactly in accordance with the facts. Your eyes will notice such details, what do not appear in a photo. The camera records such perspectives, what we perceive differently.

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I like the plants, so a tree is exciting for me. In bare form, because it loses its individuality if the leaves obscure the branches. Its trunk and branches have character.

Last year I painted several fruit trees. Apples were on them, rarely leaves.

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I had some favourite subjects: pubs, dancers, horses, but I am unable to think on series. I am not motivated to do so. I can absorb myself into a work in such a way, that, finishing a picture, I exhaust, being unable to warm up again. I did not want to be driven by the routine.

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I wish to return to the portrayal, but it is difficult to find an appropriate model. For me, it is important that the model be well-looking and I see him nice. Have something mysterious, something to decipher. I like to see behind the curtains, I am interesting in hidden things.

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The composition is the predominant. I select the elements as the picture and the proportions dictate them. If something is necessary, I paint it to the picture. If something is unfit into the composition, I leave it, so the dog has three legs, or the chair has two.

I painted thickly before, but now I prefer to create a picture for a long time. I am constrained to work out the small spots.

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Difficult to answer why my recent pictures are so strong and intense. Perhaps caused by the lack of opportunities. Nobody appealed what I made. It is a reaction to the fact that the opinion leaders in art do not recognise me. Oil paintings are considered obsolete and backward. ‘Painters are hundred years behind’ — they say. Critics award the brainstorming, appreciating the provocative. Contemporary galleries follow the foreign trendy. Painters and collectors are few who are thinking like me.





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