Artworks in the Collection

Blue Gate (1930)

In 1928, Marko Čelebonović started a small art-colony of Yugoslav painters in Saint-Tropez. Stojan Aralica joined Marko, Milo Milunović and Marino Tartaglia. The new experience of painting in nature greatly helped the artist develop his new visual language faster and more completely. If he could find justification for a technique which involved a mix of tonal and colouristic painting in his Paris studio, in the dark shadows of the streets at Malakoff, he now felt free to surrender completely to his inner instinct for light and colour. In that sense, the Blue Gate, which is one of the motifs from the Côte d’Azur, is representative of his canvases in which the atmosphere gives way to colouristic orchestration, tone to colour, and line to a shimmering arabesque. It is interesting that Aralica, like Monticelli, almost completely avoids the motif of
the sea, dwelling instead on details where full sunlight makes the colours vibrate. Aralica presented the results of his new sources of inspiration at a joint exhibition with Milunović, Čelebonović and Uzelac, at the Bernheim Jeune Gallery in Paris in 1931. On that occasion, the commentator of the Comoedia magazine concluded his article with a great compliment: “These forty-or-so paintings we could admire at Bernheim’s, very modern in expression and tendencies, are not only representative of contemporary Yugoslav art, but they also pay homage to the Paris school from which all four painters scooped up that which is the best in their art.”

Stojan Aralica