(introduction of the catalogue)

The material collected for this show reflects a few aspects of the mirror only.

The mirror is the greatest commonplace of art.

The mirror has a dualistic character, being dull and everyday on the one side, brilliant and incomprehensible on the other. It is coldly rational and mysterious in the same time.

The single possibility to face ourself is the mirror. The reflect is the most perfect and most transitory image.

The origin of the mirror: Narcyss seeing himself in the surface of the water.

Painters make their autoportraits from the mirror.

In the Middle Ages, mirror is the attribute of the vanity.

Brunelleschi discovers the perspective by means of an apparatus with mirror.

In the Netherlands, the painting equals to the mirror/ The Arnolphinis by Ian van Eyck/.

The mirror is a magic object. Apotropsicon. In the popular arts, there is a special genre of the paintings on mirror. /Spiegelbild/.

The baroque exploites some characteristics of the mirror to the utmost / Corridor of Mirrors in Versailles, illusion of endless spaces/.

Fastening of the mirror image the first time by Daguerre. He discovers the photograph.

Furnitures, carpets, printed sheets also have a “mirror”. Symmetry, inversion can be interpreted as mirrors too.

In the modern technics, mirror is indispensable. In the photograph, film, Op Art, Kinetics using modern technics, the application of mirrors happens frequently.

The mirror image is a picture. The art is the reflection of the reality.

The types of mirror: plain mirror, distorting mirror, transparent mirror etc.

The mirror is the metaphor of the art.

The mirror is the greatest commonplace of art.

Budapest, August 3, 1973
László Beke