#1 Dimitar Pandilov was unpretentious, noble and emotional romantic person, but his achievements bequeathed an “aggressive” trace in the styling of the first pages of the Macedonian contemporary painting. Impressionism was able to give an insight to an artist of such attributes most of all because it was painterly close to the artfulness felt by him and the one in which he was looking for throughout his existing and creative lifetime. The works of Dimitar Pandilov show that he surpassed the level of the planning manner and impressionism practiced in our region by means of immerging into the very essence of light, its quintessence and its color. Pandilov’s advantage was having P.Klisurov and N.Marinov for his educators who gave him the adequate stimulation for his own research of light, the amalgamation and flow of color beneath its own “shell”. His experience with these people and his close touch with the direct source of impressionism in Paris (1927-1928) bequeathed him with the certain tutoring and experiences, which established the foundation of his painterly maturity.
#2 His orientation toward impressionism a natural light accorded the golden-yellow color of wheat fields in his landscapes. In addition, his absorption with movement and change of color upon light stream meant transferring from illustration of atmosphere to elucidation of the matter. The problem arisen from his dialogue provoked the planner gesture – the multi-layered trail of color over the canvas. Pandilov revealed his profound, organic bond with nature through spontaneous discharge of color and gesture poetics with a true understanding of its impulses, with a moderate but enthusiastic passion secluded beneath the impression of the scenery.
#3 Dimitar Pandilov – The Uncle, was painting his landscape and the simple local people in the way he himself was – with a romantic spirit. He simply accepted the untamed blows of destiny that sometimes happened to be inauspicious to him and his clear eyes and warm gaze were concealing the solitude of a subtle, emotional and truly creative man. We must also consider that his achievements as well as those of his colleagues, establishers of Macedonian modern painting, Lazar Ličenoski, Nikola Martinovski, Dimo Todorovski etc., had been done by a witness of “dramatic historic events leading to and afterwards being a part of the struggle of #4the Macedonian people for liberty, which is a historic effort in the process of the creation and development of modern Macedonian fine art.”
This particular occasion and all the future events celebrating his creative work always will be too modest when compared to the significance of his works and to the immense trust of ours to him as an artist and a painter of the poetics of the Macedonian landscape.