Artworks in the Collection

Nude Woman (1928)

Arriving in Paris at the age of 19, young Lubarda left the Academy of Fine Arts after just a few classes and dedicated himself to studying masterpieces in museums and galleries on his own. Working hard, he created his own artistic expression, so his early paintings, before 1930, were still undefined, stylistically vague, and replete with attempts and trials. The Nude Woman followed an expressionistic poetics conveyed on canvases from 1927 (Still-life, Landscape with a Lantern, Red Landscape), but it shows a tendency towards a more precise definition and accentuation of form with the use of lines. Three years after the work was painted, Lubarda asked Beljanski for the permission to illustrate his text in the Politika newspaper with this nude, which was already in the possession of the diplomat. “I would very much like our audience to get to know me. It would be good if at least one of the two photographs accompanying the article to be published, one is a photograph of that Nue of yours, and I would like that one to be published.” Painted with a focus on brightness values, in a reddish-brown tonality without unnecessary details, it has its “contemporary” – A Female Nude from the National Museum in Smederevska Palanka. Both paintings possess anatomical inconsistencies, but it is most definitely a case of a deliberate naïve construction of the work, in keeping with the fauvist experiences which Lubarda channeled through his powerful artistic temperament. It is as if the words of his contemporary, an Italian artist and critic, Dottori, quoted in the text that was to be published in the Politika newspaper, could refer to this piece: “The deep and original sense of colour covers up certain monstrous deformations presented to us by the artist.”

Petar Lubarda