Igor Rumanský (March 10, 1946 – August 10, 2006) was a respected artist, painter, graphic artist, experienced illustrator, long-time university professor, and a member of the influential artistic generation which entered our artistic development in the 1970s. He contributed to shaping of this generation through his peculiar and very early artistically mature graphic and illustrative output. Although not numerous but very significant stamp graphic implementations are also part of a spectrum of his output. He created the first stamp graphics for Czechoslovakian stamp production of that time towards the end of the 1970s (issue Ice Hockey World and European Championship 1978). It covered mainly sports themes. However, he had an ambition to create stamps also on different themes which would enable him to present his art and express his opinion on more demanding themes requiring a greater extent of creativity through visual art. In the Slovak stamp Peace and Freedom from the international series EUROPA as well as in the issue the World Year of Slovaks, the author worked with an absolutely serious topic through application of an allegory quite rarely found in stamp graphic.
Rumanský’s model was demanding from the point of view of concord of attitude of fine artist and engraver in both mentioned issues. The resulting effect of both issues arose from a perfect cooperation with an engraver Rudolf Cigánik. Collective works of the creative couple Rumanský – Cigánik represent top-class implementations of our stamp output with an equal authorial participation of a fine artist and an engraver. The stamp Peace and Freedom was awarded the Prize of the Minister of Transport, Posts and Telecommunications of the Slovak Republic especially for contribution to the application of means of expression rarely found in stamp creation.
 Igor Rumanský is the most noticeable representative of this movement who builds on his personal characteristics inherent in free and illustrative creations also in stamp graphic and applies them on a high inventive and as well implementation level also in stamp graphic. In the issue drafts Cigánik expresses just those values and characteristics of Rumanský’s output which connect them in creation and also in friendship. They are not only a memory of Rumanský’s stamp graphic but also a tribute to all his output, confirmation of values of Rumanský’s work, artistic allegory of his works and a creative statement of a friend. 
                                                                                                                                                                           Antónia Paulinyová