GD Her watercolours and drawings express great freedom, being observed a powerful dynamism and an exact sense of perspective together with a complete dominion of the colour. She transforms nature with strong personal character and her works, at the same time, reunite colour, perspective and dynamic rythm Noticias Gráficas 02.09.1931

Giselle Dömötör ... will interest without doubt for her modern, constructivist vision and its beautiful colours Los Amigos del Arte en Nordiska 1932

GD’s work is characterized by its unit, the one that builds in desire to give allegorical forms and artistic imagination. This is, for times, of certain philosophical depth. Another characteristic is the ability and how she wisely administeres the watercolour not very often seen, obtaining an unexpected result: gives the sensation of solid matter an element whose fluidity is not fit for it... fundamental elements of the still life find in GD a sober interpreter of excellent direction. Los Amigos del Arte en Nordiska 1932

“She develops great excitement and joy, looks for the decorative expression of the rythm and obtains it in paintings of harmonious plasticity. ....her watercolours show an unsuspected diaphaneity and purity, raising in them light in keen dream landscapes where roses, lilacs and blue transparencies play a fundamental role in her rich palette”. 23/08/1935 La Nación

GD entitled “Mother & Child” her painting in which, an astonishingly skilful use of planes and angles, gave depth and vivid movement to the half-seen figures. GD is an illustrator in the romantic sense; colour is her first vehicle of expression, pattern is the second and she knows how to handle both. The Standard 1944.

GD Unanimous is the recognition of the legitimate and significant values built mainly in the personal although different vision from both. It existed for them only sincere art, even at risk of personal darkness and economic uneasiness. It is well noticed in their drawings that the hand of the adopted technique is not the one of a transit spectator we can feel in them that beat of the slowly experienced emotion in contemplation the landscape through different hours .... El Hogar (Magazine) Atilio Chiappori (art critic)

In her exhibition Giselle Dömötör “has the virtue to invite us to feel her paintings like twin sister of music and by both to transport us to a spiritual world in where the poetry is always possible”.

“.... in these paintings she gives us her passion for music .... space lines and colours contribute to visualize the inner rhythm of the great musical pages that she has listened with unction and joy in fecund solitude. Memorable pages of Bach, Häendel, Beethoven, Stravinsky, Debussy, Mahler, Mendelsohn, Sibelius, Béla Bartok, Zoltan Kodály and others of her preference, have served, in different degree, to transmit us her spiritual feelings, located between the sentimental projection and lyric abstraction. She has tried in each case of rescuing rhythmic sounding with equivalent exciting vibration and approach us to the swing of jazz, in peculiar compositions that are connected with the pop art”.

Romualdo Brughetti (art critic) Buenos Aires University 15/12/1969

Hugo Mund

HM “He follows the most pure neoclassic current being his drawings of a refined spirituality expressed with intimicy of monochromatic light and shade that finds in his sober drawings its primary element. Where Hugo Mund excels is in the lithography and the drawing with pencil, sorts that he dominates admirably. His basic characteristics is the great dominion of female figure where the artist prevails by the power of his technique and the wealth of his imagination. He is a refined and sensible spirit who the same uses a naked feminine figure giving the maximum of its plastic emotion, or he penetrates in the world of the mystical allegory or constructs decorative mountain landscapes”. El País (Newspaper) Montevideo 1931

HM: Possessor of a perfect technique his personality transposes the conventional thresholds This is a triumph that allows to move away from the usual standards that in art neglects talents, spoils or devours them. In the delicate accentuation of this production it is put in evidence, also, a well equipped character with sober sadness “The Blind” and “Rest” stand out these two exquisite samples of Mund.. “Pain”, “Maternity”, “Desolation” and “Forest” seems to us their better works. There is in them great sharpness of observation in his sober, severe, strong and communicative accomplishment. Los amigos del Arte Nordiska 1932

HM obtains praised effects, compositions of figures of attractive strength and touching style that prints his works with a singular enchantment. The vivid colours he uses, are always harmonious, obtaining interesting variations of tones... light and shade, so dangerous in unskillful hands, is in Mund, the most guessed correct resource to express his emotion. Small full landscapes of suggestion, heads of women and subtle figures find in him the most precise atmosphere, more fit to his intentions and an audacious privacy... HM that has done a cult of sincerity, and from art not a way of living, but a noble and necessary aim. La Prensa 1935

“Around forty works of the Hungarian painters Hugo Mund and Giselle Dömötör are in exposition at the Hall of “La Prensa”.

HM: He draws with exceptional conditions, sometimes dominated by his plasticity and in others the gentleness of his sensible stroke without looking for the effect but the accomplishment of something beautiful. Example of these extreme modalities are “The Student” and “Maddona” that we publish”. Los Amigos del Arte en Nordiska 1932

…. draws with admirable neatness that subjugates. His fifty works allow us to recognize a solitaire spirit in contemplation of the landscape and of the essencecaught by his artistic eye. The sober selection of the colours, the discreet two-dimensional scenes, the shades speaks us of solitaire that knows the invaluable gift of tenderness.... obtains great effects that can be seen with renewed attraction. Los Amigos del Arte en Nordiska 1932