Etienne Hajdu's sculptures and prints can be found in numerous public collections. These include museums in France, such as the Musée National d’Art Moderne in Paris and the Musée de Grenoble. His work is also held internationally. Examples can be found at the Museum of Fine Arts in Budapest, Hungary, and the Kröller-Müller Museum in Otterlo, Netherlands. Several pieces are located in the United Kingdom, including at the Tate Gallery, the Victoria and Albert Museum, and the Fitzwilliam Museum in Cambridge. Hajdu's work has been the subject of many gallery and museum exhibitions since the mid-20th century. Major retrospectives were mounted during his lifetime and after his death in 1996^[1]. Check museum websites and exhibition catalogues for current and past exhibition information. Auction records may also indicate the present location of specific pieces.

Etienne Hajdu (1907^[1]-1996^[1]) was a French-Hungarian sculptor and printmaker known for abstract geometric forms. When considering Hajdu's prints, there are several factors to bear in mind. An 'original print' is an image conceived as a print, executed solely as a print, usually in a numbered edition, and signed by the artist. Each print in the edition is an original, printed from a plate, stone, screen or block created for that purpose. The artist decides the number of prints in the edition. The numbering of prints has only recently become a standard convention. Early prints were usually not numbered or signed; in some cases the artist might have signed the plate or stone itself, with no pencilled signature on each print. The edition claim is written as a pair of numbers on the left bottom margin of the print itself: it consists of a print number and an edition number written as a group with a short separating line between them. The print number is written above or to the left; the edition size is written below or to the right. The title of the print is written in the middle of the bottom margin of the print. The signature (and/or chop mark) is on the right of the bottom margin of the print. Edition descriptions are always signed in pencil.

Etienne Hajdu (1907^[1]-1996^[1]) was a Hungarian-French sculptor known for his abstract, biomorphic forms. His artistic journey moved from early figurative work to a distinctive style using carved and polished stone, often marble or slate. After the Second World War, there was a desire for memorialisation, including the construction of museums and monuments, the institutionalisation of archives, and patrimonial declarations. Critical assessments of the institutions created by this desire have to consider how there is always a surplus of meaning in these practices and institutions that exceeds ideological set boundaries, opening spaces for reflection and counter-hegemonic discourses. Hajdu's sculptures offer a sense of serenity and contemplation. His works provide a counterpoint to more aggressive or overtly political art. They invite viewers to engage with form and texture in a way that encourages introspection. This quality is particularly relevant in today's world, where art is often expected to be confrontational or didactic. Hajdu's work reminds us of the value of quiet, aesthetic experience.

Étienne Hajdu was a sculptor who developed an abstract visual language based on natural forms. Born in Transylvania, he trained in Budapest, Vienna, and Paris, and became part of the Parisian émigré art scene. Hajdu is known for his organic, flowing sculptures in marble, onyx, and bronze.

Etienne Hajdu (1907^[1]-1996^[1]) was a French-Hungarian sculptor known for his direct carving and experimentation with materials. He began his artistic journey as a self-taught artist, initially working with wood. Hajdu's early sculptures were often figurative, but he gradually moved towards abstraction. Stone became a favoured material, particularly marble, which he carved with great sensitivity. He aimed to reveal the inherent qualities of the stone, creating forms that were both simple and expressive. Hajdu often polished his sculptures to a high sheen, emphasising their tactile nature. Beyond stone, Hajdu explored other materials, including metal and plaster. He developed a unique technique called "dépouillage," which involved creating plaster moulds from carved wood, then removing the wood to leave a hollow form. These plaster casts were then used to create bronze or aluminium sculptures. This method allowed him to achieve a lightness and delicacy in his metalwork that would have been difficult to achieve through traditional casting methods. Hajdu also produced reliefs in copper and experimented with folded paper.

Etienne Hajdu's work and ideas had an impact on several artists and critics, particularly within the context of post-war French art. Charles Estienne, an art critic initially fascinated by geometric abstraction, shifted his focus to a more individualistic and expressive form of abstraction. Estienne's writings, such as his 1950^[1] pamphlet, critiqued the academicisation of abstract art and advocated for artistic freedom. He drew upon ideas from Kandinsky and Surrealism, encouraging artists to reject rules and embrace the unknown. Breton's writing in the 1950s displays its enthusiastic take up of Estienne’s ideas in that decade. This is further attested to in his evaluation of Sérusier in 1958 at the time of Dessins Symbolistes as, alongside Charles Filiger, the ‘most important [artist] to emerge from Pont-Aven . . . whose theoretical speculations, A B C de la peinture , lead quite naturally to later credos such as Kandinsky’s Concerning the Spiritual in Art.’. Michel Tapié, another critic, also promoted a new type of art called Art Autre, which rejected traditional categories and styles.

It is difficult to name one single work as Etienne Hajdu's "most famous". He worked across sculpture and printmaking, and his reputation rests on his abstract sculptures made from stone, plaster, and other materials. Hajdu began his artistic career as a painter. He studied in Budapest, then moved to Paris in 1927^[1]. During the 1930s, he was associated with geometric abstraction. After the Second World War, his work moved toward organic forms. Hajdu is known for developing a direct-carving method. This approach involved working directly with materials, rather than relying on preparatory models. He aimed to reveal the inherent qualities and forms within the material itself. His work is held in collections such as the Tate, in London, and the Centre Pompidou, in Paris.

Etienne Hajdu (1907^[1]-1996^[1]) was associated with the abstract movement, though his work resists easy categorisation. Born in Romania, he moved to Paris in 1927^[1] and initially studied sculpture. Hajdu's early work was influenced by Constantin Brâncuși and Hans Arp. These artists favoured simplified forms. During the 1930s, Hajdu explored a more figurative style, but he returned to abstraction in the late 1940s. He developed a distinctive style of non-representational sculpture. His sculptures often feature smooth, polished surfaces and organic shapes. While Hajdu is primarily known as a sculptor, he also produced prints and drawings. These works share similar aesthetic qualities with his three-dimensional pieces. Throughout his career, Hajdu experimented with different materials, including stone, metal, and plaster. His work is characterised by a sense of balance, harmony, and refined simplicity. Hajdu's art contributed to the development of abstraction in post-war Europe. He exhibited internationally and received numerous awards for his contributions to the field.