( 1937 Békéscsaba en Hongrie – 1985 Paris )




Patinated and gilded bronze proof


Marked EPR, Blanchet Foundry


Height : 8 cm

Length : 8.5 cm





Retour aux contemporains



Biography :

The beginnings

In 1956, after a few weeks at the School of Decorative Arts where he was admitted, Ervin Patkai took part in the events in Budapest, then chose to go into exile in France. Refugee in Paris, he began his years of training at the National School of Fine Arts, in a sculpture studio, but he gradually distanced himself from the professed post-cubist tendencies, to engage in personal research on form. and the materials.

Monumental works

The quality of the works he exhibited in the Salons or group exhibitions, and his participation in the Grenoble symposium in 1967, brought him to the notice of official authorities, and the State entrusted him with his first order under the 1% in 1969. Over the years, he will thus produce a large number of monumental works in various schools and universities in several regions of France.

Workshop works

Driven by a reflection on art and spirituality, Patkai rejects art for art’s sake and focuses on translating his personal visions into diverse materials and complex forms. In reaction to cubism, he works on symmetry and moves towards a sculpture which, even in small formats, gives off a monumental effect. From the end of the 1970s, his work on urban planning did not fail to influence his production of studio works.

Patkai and Urbanism

His positions on the role of art and the artist in the city, but also his monumental achievements, where he was led to work closely with architects, appointed him to the artistic adviser for new towns when the Epamarne (Marne-la-Vallée public development establishment) proposes to carry out an experiment in a district of the new town, consisting of integrating a sculptor into its team of town planners and architects. Patkai will respond with an original and generous approach which, unfortunately, could not be carried out with the necessary means and time.

The writings

Convinced that he had a mission to fulfill as an artist, to awaken his contemporaries to a certain spirituality, Patkai has, on several occasions, expressed his ideas, his inspiration and his art, in the catalogs of his exhibitions, in conferences, in interviews. These texts help to better understand his work and reveal a man with a tormented and mystical personality.

The Hungarian Workshop

Patkai has been associated with this artistic review of Hungarians in exile since its creation. He was one of the founding members. He was more specifically responsible for what touched on the plastic arts


Collective exhibitions:

Paris Biennial: 1961

Salon de la Jeune sculpture: 1964, 1965, 1966.

Salon of New Realities, Paris: 1967

Maywald Gallery, Paris: 1967

Sculpture Symposium, Grenoble: 1967

Avignon Festival, The Eye Listens Exhibition: 1969

Outdoor sculpture exhibition, Mâcon: 1970

Plastic Arts Festival, Montargis: 1970

Exhibition of the Ministry of Cultural Affairs, Art and Architecture, assessment and problem of 1%, Halles de Baltard, Paris: 1970

Exhibition of the National Center for Contemporary Art, Parc Floral, Vincennes: 1971

Sénart Pheasantry Symposium: 1971

IV Morgan’s Paint International Biennial, Ravenna: 1972

Traveling exhibition organized by the Ministry of Foreign Affairs, Contemporary French Sculpture, New Zealand, Australia, Mexico: 1973

Exhibition Sculptures in the mountains, Plateau d’Assy: 1973


Personal exhibitions:

Sun Gallery, Paris: 1973

Traveling exhibition, Vesvres, Saint-Étienne, Orléans: 1974



Denys Chevalier, Patkai, Sun Gallery, 1973

Patkai: Villedieu Cultural Center, Saint-Quentin en Yvelines, February 8 – February 29, 1980, Aries, 1979 (catalogue)

Marie-Paule Ritz, Art in the City: Artists’ Collaboration in Urban Planning; for example the participation of the sculptor Ervin Patkai in the Pavé Neuf district in the Ville Nouvelle of Marne la Vallée; an attempt to generalize the law of “10, 1980