Artworks in the Collection

Ljubomir Ljuba IVANOVIĆ
Ohrid (1935)


Landscape was always a theme to which Ivanović was close and which he never abandoned. Constantly preoccupied by the picturesqueness and vanishing romanticism of Serbian, Bosnian and Macedonian small towns, he painted old houses with oriels, wide eaves, shop windows, cobbled streets, picturesque gates, clock towers, church spires and minarets. “Like a travel writer, he recorded everything he saw that had any historical, folklore, national or artistic significance,” remarked the art critic and his contemporary Branko Popović. Looking at his landscape drawings, one can see differences in technique between his early and later works. While at first he did luminous landscapes bathed in light, in his later works – to which this drawing also belongs – he underlined the form with soft graphite, like with a brush, in full, broad parallel pencil strokes. The contours, however, were outlined only on some often irrelevant details. A certain philosophical attitude of the artist can be observed in all his works, like in this one, with old dilapidated,
derelict buildings, rotted wooden gates, half ruined brick fences, showing that man is but a transient guest on this earth. Only his handiwork, remains as a testifmony of his existence. Ivanović chose his motifs carefully and in them – like in this drawing – he created a distinctly sentimental mood and showed respect, which was characteristic of him, for time and the past rather than for life and the present. His drawings from the journey, like this one, were displayed at the Exhibition of Drawings from Southern Serbia and Bosnia in Novi Sad in 1936, and were published in a portfolio of
reproductions entitled Drawings – Yugoslav Landscapes, in 1937.

Ljubomir Ljuba Ivanović