#9 Dimitar Pandilov Avramovski graduated from the Academy of Fine Arts in Sofia (1924), where he has adopted the academic realism of his educators Petar Klisurski and Stefan Ivanov. Nikola Marinov, the prominent Bulgarian watercolor painter, has influenced exceptionally the development of Pandilov. The works of Pandilov created in the course of his education and immediately afterwards, show the developing phases of Pandilov and in that sense we can feel his departing from the academic realism. The paintings presented at his solo exhibition in Cuprija (1926) and Skopje (1927) indicate certain more liberated treatment, a sort of “protoimpressionism”. The motifs are those constantly treated by Pandilov: portraits of “little people”, nudes, genre-scenes, landscapes etc.
(“Study” 1922, “My uncle the Icon-painter Krste” 1925, “Harvesters” 1926).
The stay of Pandilov in Montpellier and Paris was of great significance for his development. By embracing some experiences of the realistic painters of T.Rousseau and Milieu#10, and especially those of impressionists Monet and Pissaro, Pandilov ultimately found his own variant of lyrical, intimate, “folk” impressionism. He advanced this tendency especially during his stay in Bulgaria (1929-1943). The stage of academic realism is overcome, a rather independent treatment of the sketches is promoted in the creation of the landscape. Still, the basic fine-art logic of Pandilov remains related to some elements of realism. His coloring has become lighter, mostly done with discrete shades ranging between red, ochre, nuances of orange and “antiquated gold”. We can feel the effect of his water-color paintings, the technique used by Pandilov simultaneously with the oil technique (“Beside the water”, “Harvesters” 1933, “Thresher” 1936, “Field rest” 1937 etc.).
Modern Macedonian Painting, Macedonian Review, Skopje 1981