“There seems to be some truth in the fact that ancient heritage can affect through centuries. The tendency and talent for an artistic craft breaks to the surface like a hidden river and is reborn in the offspring. The Transylvanian prince György I. Rákóczi re-elevated one of the ancestors of Imre Égerházi to the nobility, as he painted the court council hall and walls and ceiling of the Alvinc castle in Gyulafehérvár to his satisfaction, under the forename “Képíró”. But in Imre Égerházi, born in the Great Plain but came from there, not only the tendency towards painting was reborn, but also his attraction to the Transylvanian landscapes. The consequence of this is that he meets the Székely and Csángó villages on both sides of the Carpathians almost every year, and that he draws the motifs of his paintings largely from the repositories of this region.
The picture changes when the landscapes of Hajdúság come out from under his brush: we meet typical homesteads, the bony-faced people of Hajdúság, cemeteries with an elegiac atmosphere (Houses of Hajdúböszörmény, Street scene of Böszörmény, People of Hajdúság in the fields).
From the fact that the image fields are spread widely next to each other and separated by line, we must deduce a geometric editing method. He even displays the human face with strict geometry without pushing it towards unrecognizability.”
Rezső Szíj
Alföld, 1972 November issue