The Grand Canyon-Original painting by Victor Horvath in 2002.|
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Victor Horvath started to draw when he was five years old. By fifth grade, Victor was so talented at creating drawings that teachers asked him to begin taking special classes to enrich his natural talents. When Victor was 17 (1956), the Hungarian Revolution began. In fear of his life Victor was forced to flee his country. He left Budapest, Hungary for Alberta, Canada in 1957. Victor bought his first painting kit in 1958 while in Canada. With this kit he started painting mountain scenes in Jasper Park. He moved to Montreal in 1960. In 1961 he started taking life drawing art classes at the Montreal Museum of Fine Arts.
Victor moved to California in 1962, and took several fine art classes in San Rafael (Marine County) outside of San Francisco. After the Kennedy assassination (November 22, 1963) Victor left for Paris, France where he sketched several drawings of popular Paris landmarks (Eiffel Tower, The Notre Dame).
He then traveled to Vienna, Austria to attend the Vienna Art Academy for the summer session in 1964. Victor's professors were so impressed when seeing examples of his original style that they offered him free classes at the summer session. The professors were impressed with his original style.
Victor asked his favorite professor at the Vienna Art Academy, "Professor Eisner, should I pick up on the modern arts or should I continue to study the classical arts?"
Professor Eisner responded, "You are better off to study classical art and master it. After mastering the classics learn to abstract the classics. By doing this you will have learned how to make the abstract function in a classical fashion."
This idea shaped Victor's future.
Victor then headed back to California where he opened a studio in San Rafael. In 1967, Victor Horvath invented his abstract fine art technique (following his professor's advice that he should master fine art before abstracting it). He called it Transparent Squares.
He used large brush strokes (3 1/2" brush) to create overlapping squares on a scene of the San Francisco skyline.
He then enlarged them and made them transparent.
He completed the painting by superimposing a classical realistic painting of the Golden Gate Bridge on the surface of his Transparent Squares.
Now, Victor had created a technique that abstracted classic ar