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Markovic is a painter with a sure hand and luxurious talent, who is not inclined to current trends in art. When we watch the paintings with scenes from Chilandar monastery, where Miloje Markovic sojourned, portraying objects in everyday use such as a monk's bag, candlestick, censer, or a monastic pot, we have an impression that time has stopped I and expect to see the monk, who left them there, return. Thus, there is no movement, only extended shadows of objects from some bygone times, which have left their traces as evidence of those who used to live there. It means we feel that there is still life there, which was stopped, to be recorded by Miloje Markovic in his paintings. Some authentic objects from Chilandar monastery found themselves in his paintings, and some, like a Chilandar door, are a part of the painting itself (the diptych “Chilandar door”).

One would say that Markovic introduces us to the world of realism, but when we take a deeper look at those miraculously materialized objects, we realize that they are part of a world of which we have no experience. Markovic has left the door ajar for us to the past centuries bringing closer almost incredible interiors and objects of applied art, wishing to conjure for us a life of a bygone age, in his unique way, leaving his imprint today, and also for future generations.

Almost at each exhibition Miloje with his paintbrush like a magician throws his visitors into a dilemma. Unconsciously, but with self-confidence, they move their hands towards the paintings to check whether Markovic applied the experience of informel, incorporating some object into them. When they touch the flat surface of the canvass, they turn around to see if somebody has perhaps noticed them doing it. If that happens also to you, know that it is only a painting.

Slobodan M. Stefanovic, Art Historian

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