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"From János Maksai we know today not only his pictures showing the country, the tiny islands of the idyllic existence, his portraits giving evidence of his deep character-sensitivity and knowledge of mankind, but also a series of paintings of concrete form-world the meaning-sphere of which draws itself wider in more transfered shades where the seen elements of the picture: the face, the bench, the tree, the woman or the bunch of flowers can be regarded as symbols. These signs - touching each other in their meaning - show a play of metamorphosis and by means of the free identification of the creator and receiver they become metaphors.

In the representation of the living environment the series of nude studies meant a new stage. The background became lively from inside radiation of the human body and from the compulsion of nakedness. Going out from a realistic approach the space was filled with more and more impressive elements which made it personal. The painter could break away from the direct portrayal of the environment, instead he wanted to grip its character.

In the symbolic pictures of Maksai the woman's part can be identified roughly with that of a flower, so it has an aesthetic, ethical, biological and also a psychically interpretative meaning and by means of her transfer into a fictive, dreamlike world stress is laid on remembrance and phantasy. The woman usually gets into a composition which creates another frame inside the frame. Apparently she is portrayed in a static situation, between two movements, but the time-layers projected on one another make her position active."

Ferenc Vitéz