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Bulevar dr. Zorana Đinđića 44a, 11070 Novi Beograd. Tel: +381 11 311 0316


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Veljko Đurđević

  • He was born in 1981.

  • He graduated in 2005 at the Academy of Fine Arts in Belgrade, in the class of Professor Momcilo Antonovic, where he received a scholarship from the Academy as one of the best and most talented students.

  • He has exhibited at several collective exhibitions in the country and abroad.

  • Among the most important ones are: Miller Gallery in Cincinnati, Pavilion "Cvijeta Zuzoric", Gornji Milanovac Museum and Cultural Center "Monca" in Italy.

  • His paintings are in private collections in Serbia, England, the United States, France, Switzerland, Italy ...

  • He is a member of the Association of Fine Artists "Esnaf" and immediately after graduation he was admitted to the Association of Fine Artists of Serbia.

  • He lives and works in Belgrade.

  • Unobtrusively, modestly and without pomp, as it is suitable for the very beginning, the young Belgrade painter Veljko Đurđević shows in the first solo exhibition that he is serious in the intention to show the style and way of work for which he defined himself as a genuine creative process, rather than as a demonstration of skill for opening. For young Djurdjevic, even before his studies, he showed that he does not want to be a mere master-copyist or an enumerator of the great names of our and world realism. Then he realized that if he wanted to seriously deal with painting, he had two things to keep in mind - to constantly think and observe. When Đurđević successfully mastered the necessary level of school knowledge, he confidently moved on to independent work and continued at an even stronger pace. The result is the work he chose for his first public presentation

    At first glance it can be seen that Đurđević's talent is not missing. It is also seen that it has the knowledge and the will to progress. In light and matter, he is very persuasive, while his drawing is safe and flawless. He built his drawing and painting skills on good foundations. He does not hint that his role models were the great masters of European painting from the Renaissance to the realism of the nineteenth century. The larger examples, however, were the Serbian painters realists Djordje Krstic, Uros Predic and most Paja Jovanovic. Learning about their works, which he watched and watched several times in the National Museum, he complemented his student sketch block with precious notes that helped him master the realm of asbestos in the best possible way, in direct contact with the artwork. He then continued working on sketches and studies by nature, figures, act, portraits, landscapes, occasionally using a photo as a template. When he reached the necessary level of conviction of the painted matter, he ambitiously and with much flight approached the realism of the great Russian perpetrators, which was a major step further. And it is precisely in Djurdjevic's landscape landscapes that he found an incentive for his cycle of landscapes that make up the backbone of this exhibition. In the works of Šiškina, Rjepina, Vereščagina and others, he found the artistic quality that he identified with the beauty of the picturesque regions of Serbia. He knew that the sky above the Russian taiga could not be the same as the sky above the forest fields and mountains. That is why the motifs of Rajac, Mokra Gora, Rzava, Prokletije, suvoborske meadow, and others. painted with the soul of a true lover of a young man who knows his roots, where he belongs and what is his duty to leave as a painter behind him. Where is the connection with the underworld, there is a connection with the people of the region, and all of this together makes a whole that Đurđević shapes the painting according to all the rules of realistic aesthetics.

    Veljko Đurđević gave his giftedness, patience and faith to the principles of impeccable realism, which is most valuable for him, which can be achieved in hard work with diligent and honest work. In order to suppress the image of himself, and to fantasy, vision or imagination, to the extent that does not threaten to disrupt the established order of things in his painting world, Đurđević has precisely reached the level of perfectionism that has already placed him in an equal relation with the local realists, whether they are magical, poetic, fantastic or hyperrealistic. On the other hand, it requires a certain amount of self-criticism and curiosity to examine or put on the test your creative nature. The second question is, to what extent will it decisively influence a further developmental path. Given that it is a curious and gifted young man, it is expected to continue this takeoff in order to reach the desired goal. As he has just begun, in order to reach the goal it needs to be as valuable, so persistent and brave.

     

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