TtftCOR MIR8C8 SFIBGEL MI80IH
August 5-U, 1975
The materiał cołłected for tMs show reflects a few aspects of
tb.8 mirror oniy.
The mirror xs the greatest coumonpla.ce ot art*
The mirror has a dualisfcic charaeter, beiag dali and ereryday on
the one aide, brilliant and incomprehenaifele on the otber. It is
coldly rat i ona! and mysterious ia the same tiae.
The single possibiiity to face ourself is the asirror. The reflect
is the most perfect and aost transitory image.
The origin of the mirror; Karcyss seeing himself is the nur tace
of the water.
Painters make their autoportraite from the mirror.
In the Hiddle Ages, mirror is the attribute of the vanity.
Brunelleschi discovers the perspectire by seans of an apparatus
In the Metherłands, the paintisg eąuals to the mirror /The Araol-
phinis by Jan ran Bjck/,
The mirror is a magie object.Apotropsicon. In the popular arts,
there is a spadał genre of the paintings on mirror /Spiegeibiid/.
The baroąue erploites some ch&racteristics of the mirror to the
utmost /Corridor of Mirrors in Yersaiłles, illusion of endless
Fastening of the mirror imśga the first tiae by Baguerre. He
discorers the photogrsph.
Furnitures, carpets, priated sheets aiso have a "mirror”. Symmetry,
inrersion can be Łsterpreted as mirrors too.
In the modem technics, mirror is indispensable. In the photograph,
film, Op Art, Kinetics using modern technics, the application of
mirrors happens freąuently.
The mirror image is a picture. The art is the refłection of the
The types of mirror: plain mirror, distorting mirror, transparent
The mirror is the metaphor of the art,
The mirror is the greatest coaiaonpłace of art.
Budapest, August 3, 1973.
3. Laszló Beke, Tuko! Mirror, 1973