Lazar Drljača @ MAK

 

O čovjeku koji je uvijek naglašavao kako slika zato što voli, a izlaže zato što mora, o onome koji je koračajući po zabačenim božanskim vrletima i sam pronašao autentičan način da se približi tom božanskom činu stvaranja, rečeno je mnogo. Dok sam čitala zapise ljudi koji su ga poznavali i koji su o njegovim djelima raspravljali, učinilo mi se da se o starom seizmografu, zapisničaru drhtave granice između nebesa i zemlje, ipak nije reklo dovoljno. Stoga me uisitinu razveselilo kada je povodom obilježavanja 110. godine svog postojanja, srpsko prosvjetno-kulturno društvo Prosvjeta priredilo izlozbu ovog slikara, jednog od Prosvjetinih prvih stipendista. Autori izložbe su Vojislav Vujanović i Ljubica Žikić. Pored postavljanja  62 umjetnikova djela pred publiku, autori projekta su se odlučili i za štampanje kataloga sa reprodukcijama Drljačinih dijela i neizmjerno kvalitetnom Vujanovićevom analizom koja pravi korak dalje od puke rasprave o likovnim elementima i umiljato se približava čitatelju povezujući detalje umjetnikovog života sa njegovim likovnim opusom.

Vujanovićev tekst duboko zalazi u sve segmente Drljačinih radova: preko već pomenutog ispreplitanja dijela sa socijoloskim i povijesnim determinirantama, do čistih likovnih i filozofskih uputa prema čijim smjernicama uistinu možemo pronaći bogatstvo u Drljačinim radovima. Dok još jednom prevrćem listove ovog kataloga, uvijek me iznova zadivi kako širok interes za likovne tehnike, tako i različitost likovnog jezika kojim Drljača tretira svoje motive. Možda još uvijek pod snažnim uticajem Drljačinog karaktera o kojem sam prethodnih dana čitala, ali sam u Prosvjetinom katalogu na momente vidjela nešto od Rouaultovih oštrih lica, likove drvosječa izvajane sličnim rukama kao i Cezzanove kupačice, vidjela sam plavetnilo Kirchnera, Madonu rađenu prema Tizijanovim studijama, Derrainove inverzije boja i snažnu, takoreći “goyinu,” ekspresiju na ulju sa prikazom pračovjeka. Upravo se kroz nit jednog  autentičnog “derivata” ekspresije sapliće i raspliće Drljačino tkanje svijeta. Od realističnih portreta na početku umjetničkog stvaralaštva do naizgled neurednih mrlja koje se u brzom putu od oka do mozga pretvaraju u kamenje i oblake, Drljačina umjetnost je zapečaćena nimalo uhvatljivim iskustvom Blatine, austrougarskog Beča, mediteranskog Rima, Pariza, Konjica, Mostara. Svaka promjena koordinata, za Drljaču je označavala profiliranje vlastitog stila, ali nužno sa strastvenim i širokim nanosima kista kakvim je krenuo u egzistencijalnu i stvaralačku avanturu. Pročitah da je Drljača kao evropski đak bio ozračen bečkim plenerizmom, ali mi se čini da je Drljača napravio mnogo veći iskorak iz svoje kolibe-ateljea. Lazar Drljača je od rijetkih ljudi sa kojima se priroda pomiješala baš onako kako je vidimo ustreptalu i bezgraničnu na njegovim slikama, tako da nisam posve sigurna je li Drljača iskoračio u prirodu ili priroda u umjetnika. On nikada ne propovijeda, već pripovijeda: on je od onih suptilnih naratora čija skromnost ne dozvoljava zaborav vlastitog klijanja. Pa tako na njegovim platnima bosanskohercegovački pejzaž i arhitektura dobivaju, kako Vojislav Vujanović kaže, dimenziju mističnosti. Drljačin vizuelni putopis ispisan bojama, crticama, mrljama, flekama i oblicima prevazilazi primarni poriv posmatrača da detektivski utvrdi mjesto i vrijeme radnje, već se u neozbiljnoj igri razmazanih boja rađa posve ozbiljno divljenje prema onom koji davno viđjeno i pomalo dosadno vidi svojim neobičnim očima.

Ostavljam Vas bez mnogo detalja o Drljačinom životu i djelu. Mnogo takvih priča je vjerovatno izgorjelo u požaru koji je odnio veliki dio umjetnikovih dijela, ali ću svakako napomenuti što postavka ovakve izložbe znači za one koje nisu odrasli gledajući Van Gogha, Rembrandta ili Klimta: znači da se prije 19. oktobra kada je planirano zatvaranje izložbe, jos uvijek možemo odmetnuti i napraviti nekoliko stvaračkih izleta u svijet (ironicno, ali posredstvom zarobljenika bosanskoheregovačke planinske ljepote).

It has been a lot about the man who has always stressed that he paints because he loves, and exhibits because it has to, about the one whose stepping on remote cliffs has found found an authentic way to get closer to the divine act of creation. While I was reading the records of people who knew him and who were discussing about his works of art, it seemed to me that about the old seismograph, the minut taker who scored the tremulant border between heaven and earth, it was not said enough. Thus, I was really cheered when the Serbian educational-cultural society Prosvjeta, marking the 110th years of its existence, organized an exhibition of this artist, one of the first scholars Prosvjeta. The autors of the exhibition are Vojislav Vujanović and Ljubica Žikić. In addition to setting 62 of the artist’s works in front of an audience, the authors have opted for printing the catalog with reproductions Drljača’s works and immensely quality analysis by Vojislav Vujanović  that real step beyond mere discussion of visual elements and cuddly approaches to the reader connecting the details of the artist’s life with his art work.

Vujanović’s text deeply sets into all segments od Drljača’s work: over the already mentioned intertwining parts with sociological and historical determinants, to the pure visual and philosophical directions under whose guidance we can find wealth in Drljača’s works. While once again diging this catalog sheets, it always amazes me this wide interest in art techniques and the diversity of visual language that Drljača treats his motives. Perhaps still under the strong influence of Drljača’s character about whom I have read the past few days, but in this Prosvjeta’s catalog I saw at the moments some of Rouault’s sharp faces, figures of loggers sculpted with the arms as Cezanne’s bathers, I saw the blue Kirchner, Madonna performed according Tizian’s studies, Derrain’s inversion of colors and strong, so to speak, “Goya’s” expression on the oil with depicting human. It is through the thread of authentic “derivatives” of expression that falters and unfolds Drljaca’s weaving the world. From realistic portraits at the beginning of artistic creativity, to seemingly messy stains that during the fast track from the eye to the brain are converted into stones and clouds, Drljaca’s art is sealed with unintractable experience of Blatina, Vienna, Mediterranean Rome, Paris, Konjic, Mostar. Every single change of coordinates, for Drljača denoted profiling his own style, but with preserved passionate and broad brush form the time he went into existential and creative adventure. I read that, as the European schoolboy, Drljača was irradiated Viennese plein air painting, but it seems to me that Drljača made ​​a much bigger step forward from his cottage-studio. Lazar Drljača is from the few people with whom nature is mixed exactly on the way we see it in the temperamental and boundless in his paintings, so I’m not quite sure whether Drljača stepped out into nature, or nature stepped into the artist. He never preached, but narrates: he was one of those subtle narrator whose modesty prevents the germination of own oblivion. So on his canvases Bosnian landscape and architecture get, as Vojislav Vujanović said, the dimension of mystery. Drljača’s visual travelogue written with colors, lines, spots, blotches and forms goes beyond the primary detective urge of the viewer to determine the time and place of action, but from frivolous game of smeared colors is born quite serious admiration for the one  who beyond long and a bit boring could see an unusual sight.

I leave you without a lot of detail about the life and work of Drljača. Lots of these stories were probably burned in the fire that took away a large part of the artist’s works, but I will definitely mention what such exhibition means for those of us who have not grown up watching Van Gogh, Rembrandt or Klimt: it means that before the 19th October, when  the closure of the exhibition is scheduled, we can still make a few rogue creative excursions into the world (ironically, through the prisoner of Bosnian mountain beauty).

Elma Hodžić

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