Artworks in the Collection

Orchard (1929)

One of the artist’s oldest Parisian landscapes, the Orchard from 1929, was the first of a group of paintings produced in the spirit of the new composition. On this canvas from his Parisian studio at Malakoff, there are fierce conflicts within the aggressive colouristicic painting and the light-dark technique. It is interesting that the objects in the foreground are in a deep shadow, while the powerful, resounding tones have been withdrawn into the depth of the background, to the
roofs of distant buildings or the restless sky. The most interesting new occurrence is the rich, thick paste with an enamel shine and the penetration of sharp red tones which burst out of the former orchestration of subdued brown tones. The presence of this new sound was documented at Aralica’s first public appearance in Paris, at the Salon d’Automne in 1927, as well as at the Salon des Indépendants in 1928. On that occasion, the art critic of Journal
des Debats finished his chapter on landscape by saying: “… Milo Milunović and Aralica are fascinated by nature, impetuously and nervously.” At the beginning of 1929, Stojan Aralica made an unexpected appearance in Belgrade, as the first solo exhibitor in the newly-opened Art Pavilion at Mali Kalemegdan. On that occasion, Todor Manojlović greeted Aralica as the third fighter for “the total triumph of colour, and the so-called ‘painter’s painting’, after Sava Šumanović and Petar Dobrović.” Manojlović classified him among those artists who “suddenly switched from a tonal and plastic method to the most magnificent and brightest of twodimensional colourism, to a ‘peinture-peinture’ so to speak.”

Stojan Aralica