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Miloje Markovic is a painter of a totally different profilation, and what he is doing can be easily included into our special history of modern art. That would be a history of subject realism, a style of painting that used to be highly popular during two centuries. These are not only rtill lives -1 intentionally emphasize subject realism - that is neither photo--realism, the modern one, as we know it, it is actually a genuine, deepened, spiritualized realism, of a very high esthetics, of very high requirements, both technical and technological, as well as conceptual. These paintings get close to something that enters a sphere of the magical, not only of everyday, and if there is something everyday, it is carefully selected, like all these objects here. On the one hand we have a line of something that would make that ethnosphere - ethno objects, old earthenware water jug, coffeepots, pitchers, old padlocks, bolts, everything that belongs to a distant past and to that so-called ethno past.

It is neither a painting-tautology, repeating the idea of an object, but on the contrary, both the idea and the quality originate from the object. Approaching that object, in that mundane sphere, Miloje Markovic knows how to notice what is the essence of that, and not only an appearance. And he has painted the appearance so brilliantly that even the old Dutch painters would paid him a tribute.

I think that as a painter, not having any label of his own, Markovic is something special, he does not owe much to any schools, but his advantage is that his school is continuing and does not stop.

Dusan Dokic, Painter and Art Critic

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