as for the Exhibition of Dimitar Pandilov

/, Gallery, Blesok no. 10-11/as for the Exhibition of Dimitar Pandilov

as for the Exhibition of Dimitar Pandilov

Viktorija Vaseva Dimeska
Cvetan Grozdanov
Elena Macan Chukikj
Boris Petkovski
Sonja Abadzhieva-Dimitrova

#5 The unexpected encounter with Dimitar Pandilov on a May morning full of the aroma of the lime trees growing along Orce Nikolov Street remained undone. The painter of patty human joys, of the quiet whisper of suburban people and of the lonesome train cars on by the platforms illustrated Prlicev’s epic on Kuzman. Pandilov felt that this odyssey of changing places, his exodus, poverty and earning of the daily bread were over and thought that his new life as an artist was starting with working hours from early morning until late night. He was angry at the TV cameras that were trying to capture his 40 years long efforts on a tape thus disturbing the peace of his quiet home, his first studio. Yet, he was somewhat pleased, because the media hardly ever interposed between him and art funs…
#6 … The first painterly steps of Pandilov didn’t pass through the dilemma of the traditional icon painting and impressionism that attracted like magic the new generations of painters of the peripheral Balkan academies. Quiet and without any dramatic moves, he accepted impressionism the way it has been accepted everywhere beyond Paris: the drawing tissue didn’t make concessions of the colored relations, the coloring never triumphantly enslaved the other elements, it didn’t resolve itself into fluid airy layers that overpower the objects to the visible world. Pandilov didn’t create a sort of rivalry between the drawing and colored values; and even in his first works he managed to mediate the two elements and created balance between the rational and emotional components. In other words, Pandilov couldn’t sacrifice the drawing at any cost, not because he was an extraordinary good drawer; his painterly world of the time between 1925 and 1930 which has surpassed later, and in its basic importance it delivered human figure.

“Dimitar Pandilov”, Razgledi, Skopje 1963

AuthorVarious authors
2018-08-21T17:23:57+00:00 October 1st, 1999|Categories: Reviews, Gallery, Blesok no. 10-11|0 Comments