ZDRAVKO GAGOVIĆ, paintings and drawings - slike i crteži

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Zdravko Gagovi

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  • ZDRAVKO GAGOVI je roen u Sarajevu 1948. godine. Zavrio je

    slikarstvo na Pedagokoj akademiji u Nikiu. Specijalizovao je

    konzervaciju i restauraciju tafelajnog i zidnog slikarstva u Istituto

    Centrale del Restauro u Rimu. Vie od 40 godina je radio u Republikom

    zavodu za zatitu spomenika kulture na Cetinju. lan je ULUCG od

    1982. godine.

    ZDRAVKO GAGOVI was born in Sarajevo 1948. year. He graduated

    in painting at the Academy of Pedagogy in Niksic. He specializes in the

    conservation and restoration of easel and mural painting at the Istituto

    Centrale del Restauro in Rome. More than 40 years he worked in the

    Institute for Protection of Cultural Monuments in Cetinje. He is a

    member of The Association of Fine Artists of Montenegro (AFAM) since

    1982. year.

  • 1982 - CETINJE, Centar za kulturu

    1996 BEOGRAD, Galerija trezor

    1998 PODGORICA, Moderna galerija

    1972 CETINJE, Salon 13 Novembar

    1974 - CETINJE, Salon 13 Novembar

    1977 - CETINJE, Likovni susreti '77, Plavi dvorac

    1977 KOTOR, Likovni susreti '77, Centar za kulturu

    1977 TIVAT, Likovni susreti '77, Centar za kulturu

    1977 BUDVA, Likovni susreti '77, Moderna galerija

    1982 CETINJE, Salon 13 Novembar

    1982 - BUDVA, Cetinjski slikari, Moderna galerija

    1983 CETINJE, Salon 13 Novembar

    1983 CETINJE, Cetinje i likovna umjetnost, Umjetniki muzej Crne Gore

    1984 BEOGRAD, Cetinje i likovna umjetnost, Umjetniki paviljon Cvijeta Zuzori

    1985 TITOGRAD, Cetinje i likovna umjetnost, Moderna galerija

    1985 KRALJEVO, Savremena crnogorska umjetnost mladih Narodni muzej

    1985 TITOGRAD, Trea izloba savremenog crnogorskog crtea, Moderna galerija

    1986 TITOGRAD, Jubilarna tradicionalna izloba ULUCG

    1986 CETINJE, Salon 13 Novembar

    1987 KLN, STUTTGART, Die Knstler von Cetinje

  • 1988 TITOGRAD, Tradicionalna izloba ULUCG

    1989 SPLIT, Jugoslavenski bijenale slika malog formata, Umjetniki paviljon

    1989 BEOGRAD, Crnogorski slikari u galeriji Kvadrat

    1990 CETINJE, Salon 13 novembar

    1991 CETINJE, Salon 13 Novembar

    1992 CETINJE, Salon 13 Novembar

    1992 BUDVA, Izloba udruenja likovnih umjetnika Crne Gore, Moderna galerija

    1993 CETINJE, Salon 13 Novembar

    1994 CETINJE, Salon 13 Novembar

    1995 PODGORICA, Tradicionalna izloba lanova ULUCG

    1996 PODGORICA, Tradicionalna izloba lanova ULUCG

    1999 - PODGORICA, Tradicionalna izloba lanova ULUCG

    1999 PODGORICA, Autoportret u crnogorskoj umjetnosti, moderna galerija

    2002 - PODGORICA, Tradicionalna izloba lanova ULUCG

    2003 - PODGORICA, Tradicionalna izloba lanova ULUCG

    2003 SVETI STEFAN, Prvi meunarodni bijenale male ikone

    2005 PARIS, Marques, Centre culturel de Serbie et Montenegro

    2006 SARAJEVO, Beljezi, TAG, Galerija Collegium Artisticum

    2006 PODGORICA, Likovni umjetnici Crnoj Gori, Umjetniki paviljon

    2007 BAR, Pedagoka akademija Niki, Jedan mogui izbor

    2012 PODGORICA Izloba radova umjetnika Doma omladine

  • ovek i kamen naseljeni su u Gagovievom slikarstvu kao na

    tolikim slikama crnogorskih umetnika od Lubarde do naih dana.

    Ali, on nije slikar neobuzdanog kra ili njegovih neobinih oblika,

    niti je slikar ljudi to vode bitke meusobno ili s prirodom. U njegovom

    kamenom pejzau dotrajavaju dela ljudskih ruku: rui se, nagriena

    vremenom, gotika crkva; fasada baroknog palaca se kruni i iz nje izniu

    biljke; iz ruevina obrasle kaljem proviruju kanelirani antiki stubovi i

    plofilisane volute; propaju napukli postamenti na kojima su nekada

    stajali kipovi paganskih heroja, sada okolo razbacani. Na mesto starog

    uao je u te ostatke novi ivot: izborana sirotica pred antikom

    kolonadom nudi papirno cvijee; ongler baca tanjire popevi se na

    plou ruevina, a pored njega je vaza sa sveim cveem, nage ene stoje

    na postamentima u stavovima nekadanjih statua; goli mladii i devojke

    u ivim pokretima zauzeli su mesta starih skulptura po proeljima

    palata. Sueljeni su tu prolost i sadanjost , odigrava se udesni susret

    razliitih epoha otvarajui vrata snovienjima. Na slikama i crteima

    Zdravka Gagovia ljudi neemu streme, napreu se da to dosegnu, dok

    su drugi, onemoali ili poraeni, posustalo sklupani. Pokadto se na

    pozornici zbivanja pojavi i sam slikar, zamiljen pred prolaznou i

    smislom stvaralatva.

    udesna je Gagovieva scena. Na njoj se deavaju irealne stvari: mrtva

    materija kakvog spomenika biva zamenjena ivim biem, reljef ljudskim

    telom, ornament cvetom, odnekud se pojavi tajanstveni osmeh Mona

    Lize... Mata Zdravka Gagovia hrani se seanjima na staru umetnost: na

    Leonarda, Peruina, flamansko slikarstvo, gotiku arhirekturu, barokne

    oltare.

  • Gagovi crta kao stari majstori bakropisci tankim, gustim linijama koje

    detaljno opisuju oblike. On ima hrabrosti da stvara mnogoljudne

    kompozicije u ijem je sklopu pojedinana figura dovoljno slobodna da

    izrazi stavom i pokretom, uvek naroito odabranim - lina

    raspoloenja.

    Prevodei crtee u slike Gagovi ne eli da jezik linije nestane pod

    naslagama boje. On trai pomirenje izmeu crtakog i koloristikog

    naela na taj nain to slino naim konstruktivistima iz devedesetih

    godina ovog veka tonsko-valerske vrednosti nadreuje bojenim

    odnosima. Tako svedena uloga boje istovremeno je u slubi stvaranja

    posebne, zaarane atmosfere i difuzne svetlosti iz ranih ili veernjih

    asova dana.

    Kako vreme prolazi figure na Gagovievim slikama sve su ledenije, boje

    sve hladnije, atmosfera sve udaljenija od realnosti. Nastupaju pretea

    vremena. Je li to mladi ovek predosetio stravu naih dana?

    Od asa kada se Lubarda otisnuo u iitavanje crnogorskog kra i u

    njemu naao istorijske tragove, astroloke znake i sudbinske predstave,

    slikari iz Crne Gore su poli za njim: kopali su po sebi i oko sebe.

    Fantazija i fantasmagorija, stvarana na susretu dveju civilizacija,

    mediteranske i balkanske, dveju tradicija, primorske, lirske, i

    montanjarske, epske, mitoloke, otvorile su novi svet slike, umetnost

    Dada uria, Voja Stania, Pravilovia, Berberovia, Odalovia, pa i

    Gagovia, a sad ve i mnogih drugih. Najvei meu njima su sa izrazitim

    linim crtama. Gagovi je meu onima, koji je u tu celinu, ve izrazitu i

    prepoznatljivu, uneo linu poetiku i samosvojnost.

    Vojislav J. uri, Beograd 1996.

  • an and stone inhabit the paintings of Zdravko Gagovi like

    so many other works by Montenegrin artist from Lubarda

    until the present day. Yet hi is not a painter of the capricous

    limestone karst or its strange forms, nor is he a painter of men waging

    combat among themselves or with nature. In his rocky landscapes works

    of the human hand decay: a Gothic church wasted by time falls to ruin,

    the facade of a Baroque palace with plants springing from it crumbles;

    from piles of ruins covered with thistle peer ancient fluted columns and

    volutes, cracked pedestals where once stood statues of pagan heroes,

    now scattered about. Instaed of the ancient a new life has entered these

    remains, a wrinkled, aging woman before a classical colonnade offers

    artifical flowers; a juggler standing on a stone slab tosses his plates and

    beside him a vase with fresh flowers; nude women stand on on pedestals

    in the pose of former statues; young men and girls unclad and in lively

    poses have assumed the places of old sculpture on the facades of palaces.

    Here past and present meet, a strange encounter takes place, opening the

    way to dreams. In the paintings and drawings of Zdravko Gagovi

    people seem to be stiving form something, while others, feeble or

    defeated, remain hobbled. Occasionally on the stage of events the painter

    himself appears, absorbed in thought over the transience and signficance

    of creativity.

    Gagovi's scene is strange. Here unreal things take place: the lifless

    material of a monument is replaced by a living creature, a relief by a

    human body , a carved ornament by flower, and from somewhere the

    mysterious smile of Mona Lisa... The imagination of Zdravko Gagovi is

    nurtured on ancient art: Leonardo, Perugino, Flemish painting, Gotic

    archicteture, Baroque altars.

    Gagovi draws like old masters of copperprints with thin or thick lines

    detailing forms. He has the courage to create compositions with many

    M

  • people in which the individual figure alwais has sufficient freedom of

    expression pose and movement, expecially selected to express

    personal moods.

    Translating his sketches into paintings, Gagovi does not wish the

    language of line to disappear under layers of paint. He seeks a

    reconcillation betwen the principles of drawing and colour so that like

    constructivists of the 1920s tonal values determine colour relations. At

    the same time the role of colour, thus reduced, has the function of

    creathing a special, enchanted atmosphere, the diffuse light of the early

    or twilight hours.

    As time passes, the figures on Gagovi's paintings become cooler, the

    colours colder, the atmosphere further from reality. Ominious times

    loom. Did this young man have premonitions of the horror of our days?

    Ever since Lubarda began to decode the Montenegrin karst, finding

    trac