hrvatski

Milan Berbuč, slikarstvo 1945-1995.

The life and painting of Milan Berbuč, a painter with two homlands, was markd by duality. By participating with youthful enthusiasm in the first avant-garde developments of Slovene painting in the early fifties he repaid his native land. In his new croatian homland, aquired by his own choise in life, he was a quiet companion of the times and events since the mid-fifties. It was here, in his full artistic maturity, that prodused a complex painting work marked by characteristic figuration. Almost half century of constant presence in the Zagreb painting circle gives Milan Berbuč a legitimate proof of regional belonging, and thus an appropriate place in Croatian art. Berbučs development as a painter started in Zagreb at the Academy of Fine Arts where he studied under prof. V. becić, K. Hegedušić and M. Tartaglia.He also exibited his works first time in Zagreb. A number of stll lifes and one lanscape illustrate the earliest painting style of Berbučs formative beginnings, wich bears the characteristis features in intimate colorismof the pre-war period. Having perfected painting technique, he could readly engage in the great advanture of artistic experiments. After completing his studies in Zagreb, he returned to Ljubljana where he joined a group ambitious, noncomfoprmist youg artists who shared the same views and sought a more contemporary painting idiom like him. As one of the most avant-garde representatives, he initiated the new art movement of -The 53 Group- the group of sven youngest generation painters. In the fall of 1954 Milan berbuč embarked on a six-month study tour, first to Amstedam, and then to Paris and London.Today we can judge the works of the Amsterdam cycle as his new artistic idiom no longer had anything in common with the tree-dimenional plastic form.In the mid-fifties Milan Berbuč returned to Zagreb. Personal reasons of intimate nature induced him to take up residence in Zagreb and stay to live and work there for the rest of his life. At the moment when his painting idiom oversteped the boundaries of the two-sided, havnig reached the level of abstraction that can only be named pure painting. Without any fear thet he would be pushed to the side, he went back to the figurative representation . His resless nature continually urged him to move from one moral thought to another, from one thematic complex to anothto another, er, from one painting problem to another. In the dynamic progress he always tried to formulate various ideas in the language of painting. This duality, or more accurately, plurality of the artistic idiom and thematic layers, is the basic feature of Berbučs painting. Because of it and with it Berbuč was primarily a painter of the contemporary moment. Absolute creative freedom was his basic artistic creed. It had turned him toward the awant-garde developments in his youth, and in his mature age ensured independent progress in all the directions and marginal layers of figuration to wich his own personal creative intuition led him.

Milan Berbuč; slikarstvo 20. st.; abstrakcija; figuracija; pejzaž; portret

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