Hollósy is descended from two turn of the century
Hungarian painters, Simon Hollósy and Csontváry Tivadar
Kosztka. Gyuri’s Hungarian parents emigrated to Germany in
1945, where he was born in Bad-Aibling in 1946.
In the mid 1950’s his family left Germany to settle in
Cleveland, Ohio. His preteen (10-12) summers were spent at a
camp held at a Hungarian Franciscan monastery outside of
Buffalo, New York. These wonderful men provided a safe
haven to the children of Hungarian immigrants. It was during
one of these summers he witnessed the building of a new
chapel at the monastery and he observed a Franciscan priest
draw images of the saints into large oak pillars with
forge-heated pokers. The smell, the visuals of the hot coals
in the hearth and the marvelous creations they created,
ignited in him the spark to be an artist.
He began his education and
practice of sculpture by apprenticing to Hungarian sculptor
Frank Varga from Detroit, Michigan. After completing his
education and five and half years of military service with
the U.S. Coast Guard he continued his career as a teacher
and has taught at a number of schools, among them Tulane
University in New Orleans, Washington University in St.
Louis and Bethany College in Lindsborg, Kansas. In the late
'80s he and his wife moved to New
Jersey to work for the Johnson Atelier Technical Institute
of Sculpture as an instructor, an academic administrator and
In the past 30 years, Hollósy
has been awarded major commissions,
including: Aspirations for Liberty, Boston, MA;
Our Heritage, New Orleans, LA; The Family,
Peoria, AZ; Cardinal Mindszenty Memorial, Cleveland,
OH; and the Hungarian War Memorial in North Olmstead,
Additionally, he has received several
exhibition awards and grants.
the Grounds for Sculpture Spring/Summer Exhibitions
Catalogue by Maggie Nijander-Brock, Education Manager:
As a sculpture Gyuri Hollósy has been endlessly captivated
with exploring and developing new approaches to the
classical human figure, specifically the female form.
Hollósy's love and fascination with Medieval armor has
subconsciously influenced him over the years.
Thin overlapping pieces of cast metal are reminiscent of
armor plates and allow the viewer to experience the
juxtaposition of the interior and exterior spaces.
He notes that with Kathy B, the unique positioning of
the torso allowed him "to portray a wide spectrum of
human emotion through a dancer's gestures, lines and
position." The artist also states, "The female figure
is important, as it is through this muse that I find the
grace and fluidity of the form."
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