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ISSN 1409-6900 | UDK 82+7     Blesok no. 113 | volume  | May-June, 2017



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                     Peer-reviewed journal
Blesok no. 113May-June, 2017
Gallery Reviews

From: Expressionism in Macedonian Painting…

(Кродо, Скопје, 2007, pp. 91-93)


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p. 1
Ljuben Paunoski

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From: Expressionism in Macedonian Painting (In the Context of Expressionism as Permanent Artistic Occurrence)

Vladimir Georgievski became involved in art in 1968 when he graduated from the art academy in Belgrade, where he also completed his graduate studies. Georgievski is a rate type of artist. He is a man who has become a living library of valuable and qualified words, sounds, images, constructions on the “integral pain… of man under the stars” (Клетников, catalogue 1995). Archaic, literary painting? Yes! And of the best kind of great masters both for all artistic elements and the visions that are possible only with a master who has opened a round table to religion, philosophy, literature, music and painting. Georgievski has constantly moved to the desired absolute painting. Just like that, Georgievski has included all round table orators in his painting and nobody bothers anybody. Let us break his painting to its parts, such as: Entry to Jerusalem (1994/95), Pieta (1993), Don Quixote in Macedonia (1992), He (1993), The Demon (1994), Mocking of Jesus (1988), Requiem (1987), Wedding (1987), Golden Autumn (1983), Monastery Night (1988) and you will understand the old age, archaic character and the currency of the integral pain and you shall see the absolute painting that has opened itself to the painting e, including our own. The scope that should be covered with one’s eye and mind, unconditionally with our heart and blood demands a lot since it offers a lot. It is of course shocking, and it can of course not be placed in any of the styles, which is not an issue of the public, but of the profession. It slips away from the classification in style drawers, and it does not confuse. A personal experience, during a careful and I would say thorough visit to his studio by an experienced commissioner of Drouot auction house from Paris, Mr. Claude Robert, following a comprehensive review of his paintings, which he had previously studied via numerous reproduction, stated that “this is hard art for most of the people, but I am certain of one thing, that these paintings would one day, sometimes, maybe even in our time, end in the big museums”. This is because Georgievski is also a classy painter and thinker and a dedicated spiritual man, and because he is close to Goya’s thought that “Fantasy abandoned by reason produces impossible monsters: united with her (reason)






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