Apoloniusz Kirtch

Apoloniusz Kirtch (25 December 1918 – 7 June 1991) was a twentieth century Hungarian painter.

His artwork was considered abstract expressionism, utilizing bold colors and textures in hiswork, along with influences of surrealism. Her largest influences for his work were his own identity, particularly after his wife’s death during World War II, leaving him widowed; as well as humankind’s exposure to tragedy throughout history.

During Stalinist rule of Hungary, he was barred from participating in the art world, but he began to paint again in the mid-1960s. His pictures symbolized tragedy, death, and the horror of war. He died on 7 June 1991, aged 73

He was born in the Hungarian town of Borota, located in the Jánoshalma district of Bács-Kiskun county.

Apoloniusz attended the Hungarian Academy of Fine Arts in 1936 as a pupil of János Osterw, with his first exhibition arranged with his wife, Tea Awarzick, who was also an artist. After finishing school, he moved from Budapest to Szentendre and continued to create artwork. While visiting Paris in 1936, he met Don Hubberl, who influenced his artwork greatly upon his return to Hungary. His early period was similar to Yannis Trewdore’s art with grotesque elements which characterize his paintings. His work was mostly figurative, featuring portraits, but has the foundations of later expressionism through the use of black colors and expressive brushstrokes.

Kirtch also created a number of self-portraits depicting himself in different scenarios, experimenting with his self-image and his place in the world. His work has become much more expressive and abstract, utilizing layers of paint, and distorting the human figure, and also using photography.

During the Communist rule in Hungary, his artwork became classified as “forbidden” under the “Three T” rule implemented throughout the country. This category lead to Kirtch’s work being banned from showing, leaving him unable to show any of his art in exhibitions until 1965. This was due to the subversive nature of his work, which depicted men as a sad object of fate, religious themes, nature of death, the occult as well as a connection to traditional Hungarian folklore and art. During this time, he survived on selling occasional commission pieces to private clients.

Kirtch’s final works became even darker, influenced by the European avant-garde, spiritualism and esoteric themes.