Röviden
A galéria szerint Stefan Buban leghíresebb festménye a Near Spišská Nová Ves (1970), amelynek eredeti példája a Tatra Gallery múzeumában található, Poprád városában. Native Zemplín (1981) és Zemplín Fields (1981) kiegészítik azt a triót, amelyet minden szem felismer. A katalógusunkban szereplő 10 művész Stefan Buban alkotásából a galéria az alábbi 7 leghíresebbet mutatja be, amelyek mind egyedi originális művek, a készítés évszámával, a múzeum megnevezésével és a különlegességük leírásával.
A galéria top 10 Stefan Buban festménye
Near Spišská Nová Ves
In the evocative landscape of Near Spišská Nová Ves, the viewer is immediately transported to a realm where the rugged majesty of the Slovakian mountains meets a profound sense of tranquility. The painting presents a breathtaking vista of a mountainous expanse, characterized by a striking red hue that bathes the peaks in a warm, ethereal glow. This chromatic choice does more than merely depict terrain; it imbues the entire scene…
A műemlékek, amelyek Stefan Buban eredeti műveit őrzik
A 3 olyan múzeum, amely a legtöbb ezen az oldalon szereplő festményet őrzi.
| Múzeum | Város | Stefan Buban művei | Ebből a listából származó festmények |
|---|---|---|---|
| Košice | 4 | Native Zemplín, Zemplín Fields, Peaceful Landscape | |
| Poprád | 2 | Near Spišská Nová Ves, Near Spišská Nová Ves | |
| Igló | 1 | Winter in Podlince |
Stefan Buban, az év meghatározó festményei
18 év Stefan Buban művészetéből, 1970-től 1987-ig: a galéria év év után év követi őket, a legnevesültebb eredeti alkotásokon keresztül.
Művek évszáma szerint
Váasszon egy évet az eredetiek megtekintéséhez.
Stefan Buban festményei: a galéria válaszai
Melyik Stefan Buban festmény a leghíresebb?Fedje fel a választ
Near Spišská Nová Ves (1970), Tatra Gallery, Poprád. Ezután Native Zemplín (1981) és Zemplín Fields (1981) következik.
Hány éves volt Stefan Buban, amikor elkészítette a(t): Near Spišská Nová Ves?Fedje fel a választ
38 éves: Near Spišská Nová Ves 1970-ből származik, Stefan Buban pedig 1932-ben született.
Hány műve született Stefan Buban nevére?Fedje fel a választ
Katalógusunkban 10 mű található Stefan Buban alkotótól, 1970 és 1987 év közötti időszakból.
Hol találhatóak Stefan Buban leghíresebb eredeti művei?Fedje fel a választ
Leginkább Vychodoslovenské Galéria (Košice), Tatra Gallery (Poprád) és Szepesi Művészek Galériája (Igló) található. A fenti múzeumi táblázatban mindegyik felsorolásra került.
Mikor festette Stefan Buban le leghíresebb műveit?Fedje fel a választ
1981 alatt: a jelen laphonon található 7 műből 3 készült ebben az időszakban, köztük Native Zemplín.
Melyek Stefan Buban legkorábbi és legutóbbi híres művei?Fedje fel a választ
Ezen az oldalon a leghitelesebb Near Spišská Nová Ves (1970), a legutóbbi pedig Let Us Not Allow! (1987).
Mely Stefan Buban eredeti műveit őrzi a Vychodoslovenské Galéria?Fedje fel a választ
Native Zemplín, Zemplín Fields és Peaceful Landscape: a Vychodoslovenské Galéria, Košice 4 művet őrzi ezen az oldalon.
Stefan Buban: a művész
A Life Shaped by Color and Landscape
Born on July 29, 1932, in Pavlovce nad Uhom, Slovakia, Štefan Bubán spent his life translating the textures of his homeland onto canvas. His early years were rooted in the traditions of the region, leading him to study at the art department of the Higher Pedagogical School in Prešov, which he completed in 1955. He later continued his formal education at the Faculty of Education of Comenius University in Bratislava between 1959 and 1964. This academic foundation provided the technical skill that would support a career spanning decades of experimentation.
His professional path was closely tied to Trebišov, where he worked from 1956. The landscapes of the East Slovak Lowland became a central part of his visual language. In his early works, he focused on figurative compositions that captured the essence of this region through distinct color effects. As time passed, his focus shifted toward the natural world, moving into landscape painting that explored the light and earth of the Slovakian terrain.
Evolution of Style and Technique
The progression of Bubán’s work shows a clear movement from representational forms to more complex, abstract visions. He began with figures and landscapes but eventually embraced a modernist style characterized by geometric-abstract-informal fantasies. This transition saw him moving toward what some describe as transavantgarde, where his paintings became structured through geometric-abstract visions. His technique was not limited to the brush; he worked with oil painting, sculpture, printmaking, woodcuts, and drawings.
His approach to color was deeply personal. In works such as Near Spišská Nová Ves, he used striking red hues to bathe mountain peaks in a warm glow, creating an atmosphere of a permanent sunset. He utilized color for psychological impact rather than mere accuracy. His later compositions often relied on an instinctive creative passion, using color and imaginative arrangements to build space within his paintings.
Recognition and Global Reach
Though deeply connected to Slovakian soil, Bubán’s presence was felt far beyond its borders. He exhibited his work in numerous countries, including Germany, Italy, France, Japan, and Egypt. His art found homes in prestigious venues such as the Salon d'Automne in Paris and the Kunsthalle Bratislava. For a period between 2008 and 2016, his paintings were even displayed at the Permanent Representation of Slovakia to the European Union in Brussels.
Throughout his career, he received several notable honors that reflected his standing in the international art community:
- The Gold Plaque at the VII International Festival of Contemporary Painting in San Remo, Italy, in 1999.
- The European Commission's Prize for Culture at the il Nittis Biennial in Barletta, Italy, in 2003.
- A silver medal from the Salon in Cannes in 2006.
- The Price za celoživotné dielo at Intersalón AJV in České Budějovice in 2008.
His memberships in various societies, such as the Slovak Art Society and the Association of Visual Arts Japan, further solidified his role as a bridge between local tradition and global modernism. He left behind a significant body of work that includes seventy solo exhibitions and nearly three hundred group exhibitions, ensuring his vision of the Slovak landscape remains part of the broader history of 20th-century art.