Game (1950)

Gyula Marosán started his career as a pupil of Vilmos Aba Novak, and his talent as a painter soon developed. In 1935, at the age of twenty, he had a solo exhibition at the Ernst Museum. In the same year, he was awarded the "Young People's Prize" of the Szinyei Society. At the end of the 1930s, through his future wife Magda Zemplényi, he came into contact with Ernő Kállai. In addition to his constructive expressionist paintings, he also made abstract and surrealist attempts. After 1945, he participated in groups and exhibitions of abstract artists (Dunavölgyi Avantgárdok, Konkrét Művészek Magyarországi Gruppe, Elvont Művészek I. és II. csoportsausstellung, Galéria a 4 Világtájhoz). In November 1956 he emigrated and settled in Canada.

Less than a year later, in November 1958, he exhibited his abstract paintings and a series of drawings depicting the events of the October Revolution of 1956 at the Park Gallery in Toronto. Marosán's art, which was open to everything and regularly renewed, saw the emergence of pop-art elements in his work in the early 1960s, alongside lyrical abstraction. It was also at this time that he began his plastic experiments and his series of coins. Later, in addition to a few conceptual works in colour grids, he mainly used elements of colour with a softness of wadding, which became more expressive in the 1980s, and in the 1990s he also produced a decorative geometric series of pure colour planes. His ironic collages are also significant. In 1986, his older works and his Canadian paintings were shown in Canada in 1994. 

Gyula Marosán has been making non-figurative works since the early forties. His work entitled The Game combines the light, playful art of Miró, Klee and Arp with the Szentendre tradition. It is interesting to note that the painting was made at a time when abstract art was banned in Hungary, and Marosán exhibited his realistic paintings.