Godina izdanja: Ostalo
ISBN: Ostalo
Autor: Domaći
Jezik: Engleski
Oblast: Slikarstvo

DEANA NASTIC

Izdavač - ???

Godina - ???

60 strana

30 cm

Povez - Tvrd

Stanje - Kao na slici, ima exlibris prethodnog vlasnika, tekst bez podvlačenja


`The remarkable career of the canadian artist Deana Nastic, who was born in Serbia, merits particular attention when considering her work, not only in the country where she has been living and working for more than ten years but, first of all, in the environment where she grew up and initially won acclaim. It was in Belgrade, in 1990, that Deana Nastić received the necessary encouragement to pursue the path she believed was the right one for her. She marked out this path at her first solo exhibition and, even then, it was already noted that rarely does an artist as young as Deana Nastić decide to use her own image as the particular leitmotiv for her first, independent art show. It was also stressed that the young paintress made no secret of her inclination and fondness for German colourist expressionism; however, with her series of portraits of heads, she essentially stressed her own attitude towards the models of this artistic movement. In those years, this young artist`s acquaintance and training with the excellent painter and pedagogue, Nedeljko Gvozdenović, at Belgrade`s Academy of Fine Arts is not without significance. His influence had a highly positive and crucial impact on Deana, in conveying to her the experience of the expressionist painting of a Hans Hoffman. Then, at the beginning of the 1990s, she turned a new page both in her art and in her life, in a different environment from the Belgrade art scene, enabling her to continue and develop her artistic nature in the direction she desired.

One of Deana`s recognisable qualities is that in all the phases of her art, she has always been interested in the figure, in movement and the human image. The aesthetic framework, in which she has created her work from the start principally revolves around the woman and the beauty of the female body. Nor should one neglect to mention that the drawing is a very essential means of Deana Nastic`s artistic expression. As the very nature of drawing is pure, precise and clear, in the example of the drawing by our artist, we see that it inexorably penetrates to the core, revealing at the same time the nature of its creator. We notice that energy and sensibility are the two essential features whereby she succeeds in balancing the real and the abstract, and that the path leading towards the knowledge of the work of art, and in Deana`s, too, is stipulated by a knowledge of the drawing and the comprehension of its essence.

While Deana Nastic has never had any dilemma about her choice of theme, in her selection of artistic techniques she deftly uses the technological advantages of each technique individually, and/or of combining one with the other. It is the artist`s experience that plays a very important role in this process but it is also the intimate experience, which, in the majority of cases, can tip the scales, deciding the outcome. One could say that in Deana`s series of figures and nudes, the initial creative impulse is so strong that, naturally, it must reflect on the painter`s stroke. According to her powerful, uninhibited brush-stroke, we could indeed link Deana Nastić with the heritors of German expressionism. Nevertheless, that would be superficial simply because her poetic quality is highly intimate and no matter how explicit and familiar it may seem, she does not permit it to be interpreted in a way that would trivialise or reduce it to epigonism. This is best illustrated in her aquarelles, in which the artist`s drawing and painting virtues have come to full expression. Although she has tested her skill in all the techniques of painting so far, one can clearly see that she was and still is a lover of the optical qualities of watercolours, with their translucence and lightness. However, she has even refined these effects, using modern painting techniques. Apart from her remarkable skill in drawing, Deana is just as suggestive in her colourist effects, because the tones of colour in her figures and nudes simply radiate the warmth and softness of the body and skin. In all this, like some closing cadence, there comes the so-called `dressing up` of her figures and female nudes in the magnificent attire, which has its unique and recognisable feature in the title framedbyizzy.

Last but not least, regardless of how much we try in theory to fathom the secret ways of the paintings by Deana Nastić, we shall look at them and ask ourselves: are we at all able to know what is being born of the magic ritual that unfolds in an almost prayer-like ecstasy, in the peace and quiet of the studio, and then proceeds to live. The answer is contained in the works themselves that are before us, and the way to that answer requires long and careful observation. (Petar Petrovic)`


Ako Vas nešto zanima, slobodno pošaljite poruku.

Knjiga je na engleskom jeziku