陈列您的艺术作品给每天无数的访客观看

Prof.dr STANISLAV ZIVKOVIC,written:

The painting education of Zoran Andric and his maturation took place at the time of tumultuous changes that marked out the separation from the classical modernism and brought the art painting into complex and complicated courses of postmodernism.We can immediately say that this whirlpool of changes did not push him neither into the deep and dark waters of anti-painting nor into the course of new media. By not accepting the challenging suggestions for modernity, Andric has gradually formed his own and easily recognized artistic language. Remaining attaached to the objective world, he has created a special poetic space within the frame of a classical picture built on reconciliation of dramatic and poetic, experienced and imaginative expressions.
When it is about the subject of his paintings, it is, above all, his hometown landscape. However, it does not matter whether he puts his easel in front of a monastery nearby Valjevo, or a part of Tesnjar or he paints some flowers, his inexhaustible inspiration is connected to one special motive. It is an old mill on the river Gradac, which he paints in springtime, in the summer, in the autumn and even covered with snow. Taken away by the magic atmosphere of this modest motive for an exciting and creative act, he confirms two things at the same time: firstly, that he faithfully loves his native town and secondly, that he is one of those sincere creators who do not know how to pretend. Obviously, he follows the principle that coldly composed works made solely by intellect do not have a chance to last. They have to be created with an inner life consisted of light and shadow that each one of us carries inside ourselves. Everything must be said spontaneously, almost unconsciously, with the contribution of that one thing that no recipes, no theories can make completed. In this respect, the recognisable motive is strongly connected to the reality of the native countryside but painted with the personal experience and mood.
Deeply emotional in temper, Andric solves his own painting experience exclusively through color, finding an adequate artistic form. It can be neither an academic refinement, nor a fluttering impressionistic technique. On the contrary, we can say that it is a robust colouring of painting layers brought to a real harmony. This means that the painter avoids subtle cunning and middle solutions to make the basic tone stronger: instead of underlining a moderate colour by surrounding it with neutral ones, he uses a sound colour surrounded by free colours of the sun spectrum. Thanks to his inborn sense for chromatic values, Andric successfully finds the necessary harmony in the contrasting painting tones, by which he subsides the raw colours.
On the other hand, we experience his free handwriting canvas and often pastoral structures, as harmonious colourful compositions, where stormy rhythms with the sense of proportion have been calmed down and brought to a balanced harmony between colour and form. Depending on the present inspiration, they are sometimes cheerful little sonatas and sometimes different exalted moods at which a disturbed line goes to the expressiveness of Konjevic himself. Yet, it is always a creative exaltation in front of the whiteness of the canvas, in front of an expectation of bringing forth an estetically shaped work of art. One moderate decorative note shines just as that necessary personal sign which confirms the artist as a painter of Mediterranean temperament, that is, a man from our Balkan area.
Without any dramatical messages, the panting art of Zoran Andric undoubtedly offers us some precious moments of relaxation and contemplation; those, nowadays suppressed, spiritual values, those rare moments which should help us to get free from our inner chaos and make us surrender to a peaceful feeling and the forgotten harmony of life.



Art critic SAVA STEPANOV,alsow written:

The painter Z.A. started his artistic adventure during the seventies while studying in Novi Sad. He had his first exhibition more than two decades ago in his home town, Valjevo, in 1982. Between these two significant dates in his biography, Mr Andric has been to numerous galleries and studios in Novi Sad, Belgrade and Paris, learning about different artistic experience. Anticipating a wide variety of painting aspects and attitudes through continuous work, the artist has discovered his own method of expressing himself, and this expression is one of authentic creation and unique message.

Zoran Andric is considered to have achieved real artistic maturity. His painting is predominantly expressive, rich in colour, unique in realising form, abundant in detail, dynamic in composition. According to Katarina Ambrozic, it is close to that kind of painting that celebrated Nadezda, Konjovic, Bijelic and other expressionists. Actually, it belongs to that expressionistic method whose pictorial characteristic is based on authentic strength of painting elements, and such painting is capable of treating the content without denying its own essence.

Andric usually paints the motives of Valjevo, the scenes that are in his vicinity, the landscapes that he feels and loves. Apparently, these paintings are products of a single moment inspiration because the motive chosen only serves to help the author to get to the painting itself and to that authentic pictorial impression. Therefore it would be superfluous to look for exact landscapes and geographical regions or motion. Andric is interested in the atmosphere of a painting. The artist is concerned with his own feelings evoked by familiar and diverse nature, trying to get to the real nature of a painting. Such a painting is based on the value of colours, lines, gestures and matter. Consequently, these paintings are flamboyant, rich in relief and complex. Colour is applied in a series of energetic gestures, its physical qualities are highly intense but suggestive in terms of psychology. The artist has a similar attitude to drawings as well. His line is produced in the same energetic gestures and it appears as imprinted in the structure of painting. Even when not explicit visually, Andric’s line has the role of a reliable inner construction on which the pictorial structure is founded.

Mr Andric’s paintings radiate authentic values in a strongly convincing way. Potency of the elements employed results in passionately depicted sights. Fortunately, he is able to organise everything - the lines, colour, matter and gestures into a unique pictorial atmosphere which make his creative personae authentic. Andric is a painter who interprets the world we live in in a particular way. At the same time, he knows how to convey the message to his audience, generously sharing a genuine painting experience with them, making them believe in the beauty of the world and the painting alike. Isn’t this the most valuable asset an artist can share with us in these gloomy days of precarious living?

ZELENI ZVON

2003
70 X 50

kUCE BOJE ZITA

2007
55 X 65

LETNJE SETNJE

2007
55 X 65

VALOVI PLAVI U PLANINI I U TRAVI

2007
55 X 65

VILA BOGUMILA U DOBROTI

2004
55 X 65

GRAD TEATAR

2005
65 X 55

BAKRENO VECE U TESNJARU

2005
65 X 80

ZITIJE LETA

2004
38 X 52