Itzchak Tarkay (Israeli, 1935–2012) pursued formal art training at the Bezalel Academy and later the Avni Institute of Art in Tel Aviv, where he studied under leading Israeli modernists. These formative experiences shaped his approach to composition, color, and narrative, anchoring his work in a strong figurative tradition enriched by European influences.
Tarkay’s artistic style fused elements of Impressionism and Post-Impressionism, characterised by fluid lines, rich color palettes, and layered textures. Working in acrylics, watercolors, and serigraphy, he developed a unique visual language to explore themes of femininity, introspection, and leisure.
Tarkay’s work is characterised by a dreamlike quality, blending soft, flowing lines with vibrant, layered colors, noting the influence of Henri Matisse’s chromatic sophistication and Henri de Toulouse-Lautrec’s fluid linework
Over time, Tarkay gained global recognition through international exhibitions and widespread acclaim among collectors. His legacy endures in both his prolific body of work and the impact he made on contemporary figurative art.
Itzchak Tarkay was one of the most beloved modern artists, known for his graceful depictions of women in moments of quiet reflection. Born in Subotica, Yugoslavia, his early hardships infused his art with depth and resilience.
Tarkay’s style blends the color-rich elegance of Matisse with the fluidity of Toulouse-Lautrec, creating dreamlike scenes of cafés, gardens, and private interiors. With layered acrylics, watercolors, and serigraphy, he brought his figures to life with softness and strength. More than beauty, he captured emotion—timeless, introspective, and deeply human.
Though widely celebrated, Tarkay remained humble, mentoring younger artists and focusing on the quiet poetry of everyday life. His legacy endures in the serene power of his paintings and the joy they continue to bring.
For years, I admired Tarkay’s mastery of color and form, but I was drawn to something beyond his familiar depictions of nostalgic femininity. I was looking for a deeper, more inclusive voice in his work—something that looked forward, not back. When I came across Autumn in the Country and Sailing Softly, I felt that shift. These pieces held universal appeal—open, thoughtful, and quietly stirring. I knew they were what I had been waiting for.
I’ve lived with them for over thirteen years now, and they’ve brought a unique warmth and presence to my home. But my walls are full, and it’s time to let these beautiful works find a new space—a new set of eyes to connect with, and another life to be part of.
(Photographed in April 2025)