Dimitar Pandilov, or: Sublimation of Color
#11 Due to the fact that the structure of Pandilov’s painting is built on chromatic postulates (most often), they gradually win a superior position in the work itself. The gesture, the shape, perspective and composition become coloring. Its glorification deletes the great illusions of painting before impressionism (line, perspective, interior lighting). When Pandilov started to practice this sensibility, impressionism for the purpose of emphasizing the values of color as a category of highest rank, he became the greatest colorist in the generation of Macedonian artists that laid down the foundation of Modern Painting. This is the actual field where we can find his greatest contributions to our painting.
#12 Pandilov discovered the real meaning of color immediately after finishing his studies on the Academy (“By the Water” 1925). However, what intuition stated for him, practice approved at his direct contact with the impressionists in Paris. His works that were exhibited on his first solo exhibition in Skopje, 1927, still follow the example of planning and academic realism.
Hayredin (Bulgaria) is the space where he developed his theory on coloring etymology as phenomenological dominant feature. The paintings of harvesters and farmers are the appropriate medium for expansion of the three primal colors and their deviates. The warm shades of yellow and the plentiful use of the white color, as dominant ones, are contrasted to the azure blue or the spring green. Within these chromatic combinations, the palette becomes light and transparent, and the expression lapidarian. Through their modification we may discover/evaluate light “as the primary code of life”.
Alike Monet, he also came to the conclusion that the changeable light effects have certain organic powers to unite figure and landscape: the picture thus becomes source of light, “the color becomes the basic fine-art theme”.
Dimitar Avramovski Pandilov, monography, Museum of Contemporary Art, Skopje, 1984