The artist always deals with his subject in depth, creating variations on a given composition and rearranging form, colour and scale in several different paintings. He thoroughly explores each possible version in a process of deep analysis. His selected topics, Childhood Moments, the Esther series, his spatial analyses and still lifes run parallel throughout his repertoire and exert a mutual influence on one another. Analysis is the characteristic sign of a conscious painter – the “pictor doctus” – but for Kőnig creation in the act of painting itself is an act of instinct.
Frigyes Kőnig is a collector. In his book entitled Orbis Pictus he collects artistic spatial analyses, and in Castles and Fortresses in the Carpathian Basin he assembles his own drawings, much in the same way as the collection of pipes and various other objects adorning his flat. The current series of works is also a collection, and a most unique one at that. What Frigyes Kőnig has done here is nothing less than to use the nude – that highest of all categories in the academic hierarchy of depiction – as the basis for unifying different possible modes in the art of painting.