Judit Beck (Mrs. György Gombosi, Mrs. Tamás Major), painter, is a descendant of the Beck artist family of Pápa, Hungary. She was the daughter of the sculptor Fülöp Beck Ö. and the sister of the sculptor András Beck. She was admitted to the Academy of Fine Arts, Budapest in 1926. She graduated as a student of István Csók in 1930. Her early artworks are characterised by cheerful compositions constructed from a colour scheme of bright colours and decorative colour panes suggestive of tapestries. After graduating from college she toured Berlin and Paris and at the end of the thirties she spent some time in London, too, apart from Paris. Influenced by the works of Gyula Derkovits, the colouration in her art and her view of man as reflected in her portraits changed gradually after 1934. In 1935 she won an award of the Szinyei Society. From this time on she would regularly appear in exhibitions of Budapest and she became a member of the New Society of Artists.

She first came to Szentendre in 1936 upon the invitation of Mária Modok; here she worked in the company of Margit Gráber, Csaba Vilmos Perlrott and János Kmetty. Although formally she never became a member of the Old Colony of Artists at Szentendre, her painting became attached to the life of the colony from the mid-thirties in many ways. Apart from portraits she painted genres of Szentendre and her most common themes included mother nursing her child or worker absorbed in his work. At the end of the thirties the "dark age" of Judit Beck's art was manifested in deep-toned, expressive self-portraits and act compositions.

While she depicted primarily the world of people performing manual work in the forties, she became familiar with the theatre world from the fifties, thanks to her husband, Tamás Major. Most of her actor portraits are now kept in the Hungarian National Gallery and the Museum of the History of Theatre. In addition to portraits, a great part of her oeuvre consists of flower-pieces. A number of flower calendars were made in the seventies from her paintings reproducing the details of her flower garden at Szentendre. Indicative of her experimenting spirit, she not only painted but was also engaged in puppet design, ceramics, creating textile wall pictures, glass-staining using a unique technology of her own, and graphic art on raised paper. In 1990 she had a comprehensive exhibition accompanied by a catalogue in the Szentendre Gallery and Pápa City Gallery.