1931–35: Hungarian Academy of Fine Arts; department of sculptural arts, his master: Jenő Bory. After graduating he worked in Ferenc Medgyessy’s studio. 1968, 1971: award of excellence; 1981: honorary citizen of Sárospatak; 1992: Cross of Distinction of the Hungarian Republic Medal. Leading member of UME (Union of New Artists), KUT (New Society of Artists), the Hungarian Arts Academy, and the Union of Hungarian Artists. Lives in Budapest. Has his works exhibited from 1931. His works appear at group exhibitions of the Műcsarnok and of the Nemzeti Szalon, as well as at ones organised by KUT and UME. He loses his place in the arts life after1945, and resumes his position as an artist with commissions and exhibitions only after 1954. Apart from sculptures he also produces paintings and drawings. His writings on art are published in various periodicals and daily newspapers. In 1975 he bestows his life’s work on the town of Sárospatak. In 1982 his permanent exhibition at the Sárospatak Gallery was opened, which was later restored in 1991. His art is well characterised by his works born in the 1930s, which are gigantic, realist pieces of closed composition, making good use of the features of their material, along with relieves and statuettes of great force and density. In his religious pieces he made an attempt to find the Hungarian style.

Poor genre characters of symbolic and religious approach as well as popular motifs are represented in his works. He depicts the typical movements of the working people. His statuettes are characterised by strong social sensitivity. He has an inclination to produce stout figures embedded in monumental blocks. His sculptures are simple compositions, chiefly characteristic portraits. He has a populist way of looking at things. His relieves are of fine tracing. In the 1940s he took up collecting surviving artefacts of popular sculpture, with the aim of producing new pieces based on popular forms and themes. His works of the 1940s experience a shift of topics toward female nudes (Léda etc), new solutions in plasticism, rounded shapes and common beauty, his lively techniques of surface dressing become softer, he abandons his dramatic tools of expression and the block-like shapes, and explores the play of light and shadow on the surface. From the mid-1950s he produces pieces aimed for public places, and pairs of his statuettes born in the 1930s. In the years between 1954 and 1960 he carves great female figures of lyric beauty. They are again block-like, ignoring details, instead concentrating on proportions and on the expression of a movement. From the late-1940s he makes nude statuettes in bronze. His more relaxed sculptures of the 1960s are also more abstract, with rounded shapes, his technique is characterised by curved statuettes and figures outlined in one line.