PAINTINGS ON CANVAS
tragedy as a destiny
tragedy as a destiny
Pedja Djakovic Brings into the contemporary European painting an uncommon starting point: a painted legend. As an artistic genre, painted legends evolved from and were inspired by the ideas of the classical tradition. In the Middle Ages legends frequently took form of versified or prose epic telling of the lives, deeds, miracles, and martyrdoms of various saints. as a literary genre, it transcended the confines of religion and has been cultivated from the romanticism to this day. Djakovic’s style, however, cannot be entirely identified with tradition. he draws his inspiration from it, and in fact the essence of his paintings reflects this artistic genre as a starting point. for example, he has avoided merging of the spirituality with the folk tradition, he doesn’t rely on the religion but brings about the epic devoid of theological didactics and naive naturalism. He is a modern painter who has forged his own brand of existential drama from a symbiosis of expression and impression. He does not return, either compositionally or in his drawings, to the Renaissance stereotypes which combine the sense of perspective and optics, even though he studied the subjects thoroughly. he rather seeks his vision of the world in the spirit of modern art and the synthesis of decorative and the symbolic... In his painting, Pedja Djakovic presents us with what we could call sublimeness of vision that comes to life in the magnificence of colors and the perception of reality through the psychology of figures. humbleness, desire, despair, heroism, decisiveness of the spirit, and many other human feelings speak to us from Djakovic’s paintings.
Dr. Miroslav Klivar
Masaryk Academy of Art in Prague
What is essential for Djaković’s creative method is the dynamism of the plastic force of the form when the contour does not end but symbolizes the volume of colour but also the fact that all the motives and forms are united by an unreal colour, a certain magical radiation which increases during the stay in Prague, in the contact with the culture of the baroque. It can be said that the sense of the secret has deepened precisely in this period with an unusual force. It is obvious especially in Djaković’s paintings where the painted area comes to the fore and we can in fact say “various lives of the areas” but also in his Prague motives where he connects dreamt-up motives (for instance a sequence of bridges within a street etc.) these pictures bring something special – the simultaneity of symbolic character and painting, the interpenetrating fragments of the city, and this fragmentary character of his aesthetic method is close to that Kafka’s literary work. Motive as a fragment, form as a fragment, colour as a fragment, light as a fragment. Let’s remember that it is an unreal light – whole respecting the local colour. Djaković arrived farthest in his painting where he is transforming the atmospheric space into an artificially constructed one. He presents the subject simultaneously, for instance in a still life, but also in figurative compositions.
The new Djaković’s creation, quite different from the Yugoslav experience, is the deep fascination by the Jewish culture of Prague which has always been a syncresis of the Czech, german and jewish cultural milieu. That’s why he paints Golem in the work “ The Prague Golem”, inspired by Meyrink’s novel “The Golem”, looks for the dramatic mysteriousness and feels a mythical horrification. Djaković is fascinated by the fate of the solitary Kafka and returns to its time and time again when he lives over the destinies of the Prague underground under the totality, when he visits the coffee-house Slavia etc.
Dr. Miroslav Klivar
Member of the American Society
THE PRAGUE HAGGADAH
ALL THAT JAZZ
pedja djaković in not only the painter, but he is also a very good musician with a wide melodic imagination and colourful sound sensibility. the magic pulsation of the jazz music together with a unique atmosphere of concerts and of friendly or human meetings with musicians represent a huge potential for his exression and understanding of himself in his work. the jazz power set against the bright tones of the painter's Yugoslav temperament and, at the same time, combined, with pure and straight forward human behaviour, leads him to search his individual symbolic condensation. djaković has a nice gift - the gift of the feeling and imagination of melody and rythm in colour and in shape. he cultivated this sense through a combination of his two artistic expressions - in painting and in music. during his studies at the Academy of Fine Arts he often visited the Prague Reduta club where a number of incentives originated for the jazz cycle (this is why in June 1990 we had the possibility to see his paintings for the first time in this very place). you can see for yourselves how Djaković's paintings enforce and accomplish the Press jazz club atmosphere. free musicial motives exposed by the author are based on a careful drawing preparation. figure studies of movements but on characteristic lines of musical instruments as well. the drawing itself - the ink drawing or a gently watered drawing - gives the impression of air dynamism and inteprets the power of Djaković's artistic message. in the last months the painter composes a vigorous and stylized line awaken by a gentle chord of a colour (often blue or yellow) evoking silhouttes of musicians with their instruments, set against newspaper collages. This is an aspect of social actualization brought to Djaković's paintings.
Dr. Oldřiška Tylová
In his painting, Pedja Djaković presents us with what we could call sublimeness of vision, transmitted primarily in the refined colours which are wed with the harsh vision of reality in the psychology of figures. Feelings of humbleness, desire, despair, heroism, certainty of the spirit, and many other human feelings speak out from Djaković’s paiantings with a sense of urgency. Another significant theme woven into the paintings is masculinity and the fragility of femininity. For example, the painting of princess Drahomira is not an historic idyll, but rather a symbol of human psychology which has continued to grow from legend to this day. This is the meaning found in the legends as conceived and portrayed by Pedja Djaković …. We should also recall his capacity of synaesthetic imagination, i.e. of the transfer of stimuli from one sense to another, e. g. from the sight to the hearing, and vice versa; but there is also another capacity, that of visual haptic receptivity, which is quite special because it is connected with the capacity to perceive smell, odour, atmospheric changes. We shall comprehend the relationship between the visual perception and music with Djaković for instance in his pictures “Lakatoš”, “The Jazzmen”, “The Phantom of the Opera” etc. to Djaković’s dramatic expression corresponds the jazz improvisation as a musical principle. Djaković’s creation is likable above all because he is courageously looking for new horizons of his style, in the spirit of the modern world art.
Dr. Miroslav Klivar
Member of the American Aesthetic Society
LOVE AS THE WAY OF LIVING
The artist is doing fine in the surrounding of quite different vocation transferring to his canvases not only the pictures but also the fine psychological bonds connecting the two arts: music and paintings. By his paintings Djaković’s provokes the feeling that the paintings should have been even larger in size creating, at the same time, a far tenser atmosphere through a condensed, colorful explosion.
Djaković skillfully includes certain details from his homeland, for instance a part of the POLITIKA newspaper title, into the paintings painted in Prague. The unreal stream of these misty or Lighted up human beings forms a special ring made of color and music that surrounds the whole planet of Earth.
Using his specific drawing, sometimes made passionate by a layer of paint, as a background for his oil paintings, the author destroys the myth about the universal symbolics of the tragic entertainers. The portraits in these paintings are very impressive, characterized by an effective picturesque contour. The figures are balanced, expressing a pronounced action, while the elements of expressionism and eroticism help us to enter the mystic world of that part of Djakovi’cs being that has created these paintings and donated them to us.
Dr. Žako Dimić
He passes the drawing comprehensibly of collages to the color in greater pictures. The author passes from figure motives of historical scenes and from the musical atmosphere to the symbolism of shapes and pure colorful areas tuned in different harmonious unison. Once again, the blue and yellow colors are stressed. The pictures of Djaković’s cannot be perceived only with our eyes; it is necessary to listen to them, to submerge in the rhythmical play of colorful composition through our individual knowledge and experience. And it is only then when Djaković’s art rings out completely.