Painter, graphic artist. She studied in the School of Applied Arts from 1931 and then after one year of study she became a student of István Szőnyi in the Academy of Fine Arts. She was expelled from school because of her leftist political activity. She then attended a course of János Vaszary in his private school. In 1934 she joined the Group of Socialist Artists. She visited Szentendre for the first time in 1937 upon the invitation of Endre Bálint, and here she joined the group of young artists gathering around Dezső Korniss and Lajos Vajda. From this time on she participated in the life of the artists working in Szentendre till the end of her life. She was a member of the European School from 1945 to 1948, the year the group dispersed. Her early works are characterised by an expressive tone that appeared in later phases of her art as well.

Influenced by the surrealistic paintings of Vajda characteristic of his late artistic period, from the early forties she stumbled upon one of the typical patterns of her visual thinking that recurred later in cycles, notably the surrealistic, antropomorphous plant and animal representations: withering corn plants, proliferating cabbage-heads, unyielding, hard poppy-heads and dead butterflies testify to the feelings of the artists. New stylistic traits appeared in her works in the second half of the fifties upon the influence of the French tendency of lyric abstraction: the sparkling colours are forced into a web gently woven from thick, black lines. Her intention to provide an artistic rendering of various themes in the form of series became stronger from the sixties. In these series the artist often varied identical composition of images with different technical methods and use of materials. This is how the series of frail roadside crucifixes, sagging iron-plate Christ-figures, crumbling cemetery pietas painted in lapidary simplicity were born from the shock of seeing the rapid perishing of folk culture and the fading away of traditional moral values. Similar experience and her memories of the war inspired her monumental sequence of the women of Bajót showing figures softened by the pastel technique to a lyric mood, as made in the second half of the seventies.

The cycle titled 'Lovers' began also in the 1970s. In the earlier pieces of this series the embracing figures naked to the skeleton and depicted in tendrillar lines, gold, silver, black and white colours, painted decoratively and by overpouring are further interpretations of the archetypes conceived in secession both in terms of their theme and style. In the pieces of this series made in the last decade of her artistic career and touched by postmodern painting, a richer colouration can be observed, and the so-called 'dappling' technique renders a more sensuous depiction of the couples stretching against each other, expressed in the material itself.

She donated her oeuvre to the Szombathely Gallery in 1988. Her short stories of literary value include recollections of the turning points of her life and erect literary monuments to the memory of her contemporaries.