Artworks in the Collection

Interior (1933)

In 1933 Stojan Aralica returned from Paris, to the artistic life of Zagreb as a renowned painter, whose creative talents were at their peak. However, regardless of the reputation that followed him, he initially lacked the conditions for comfortable artistic work. With no studio or steady income, for a time he was part-time teacher of drawing at the Fourth High School. Sculptor and teacher at the Arts and Crafts School Hinko Jun let him use the first studio in which he
could work properly. Eventually, in the building of that very school, he moved into Oton Iveković’s old studio, where he remained until the outbreak of the war and his departure for Belgrade. Still, despite the aforementioned situation when he lacked a studio, Aralica painted diligently from the very start. Apart from landscapes and figures in the interior, which were his two favourite and most important themes, he painted a certain number of still-lifes and especially interiors composed in a Bonard-like manner. One of the first was the Interior from 1933. Presented as an intimate extract from everyday life, this painting is characterized by his colouristic tone, which was, incidentally, his well-known feature from his Paris days. During the course of a quick procedure, which could last up to an hour or two, the painter would use colour to shape, draw the form of the object, deal with the shallow perspective and the composition of the levels. His brushstrokes were broad, the facture was free, the colours very intensive, still with a dominant warm red. Like in most cases, Aralica demonstrated sophisticated sensuality, manifested in an orchestration with a refined sound, connecting
intricate rhythms, blossoming throughout the entire canvas, into harmonious wholes. The cheerful, optimistic gamut overcomes the latent melancholy, barely suggested with an occasional darker tone.

Stojan Aralica