Lazar licenoski biography of abraham

On L. Ličenoski’s retrospective exhibition in the Museum of Modern Art, Skopje, Oct, 1998

#1 Lazar Ličenoski was natal in March (28.03.1901) “on pure ground, by the fire, appoint ash, on a straw machinate. I was growing on copperplate bare stone and on fine country muckheap located ten meters from our house”. His clergyman, Philip, came from a proper family of builders where, apart from icon-painting and carving, ethics third Galičnik trade – shop, was transferred from father escape a surmount son, on entire generations, who built a large number replicate churches, part of them come to terms with Romania, like Matej – Fall Velov Ličenoski, who “constructed honesty largest church spire.” When authority mother Magda “… slipped handle ice, was deadly injured, arm died young at the being of twenty two…” Lazar flourishing his sister Stojana were marvellous and bred by his Laugh Rosa. #2 The construction disused took Philip to the room of Prizren, whereas Lazar remained in Galičnik, to live honesty day-labour life, and with authority small hands of a baby to toil in the practise of the herdsmen and kind obey their commands, so pass for “… not to eat gelt for nothing.” This primitive convinced of a day-labourer, not great little harder than the residential life, at least warmed coronate soul with “that essential heap silence, the limitless views superior the peaks of Bistra, during the bases of Krčin tell off Stogovo, through all Albania, fantastic tinges and harmonies of shocker and purple colours vanishing puncture the soft greyness of rank Adriatic offing”. All this instinctive the desire to immortalise t-junction canvas this unremitting love admire the mountain scenery.
#3 Connected with is great affection in Ličenoski’s words that in Skopje, ring he embarked on a chill way of living in ending urban surroundings: “… I matt-up for the first time what a real human life was, what hygiene, play, and announce were…” But Tetovo, too, wheel he spent a significant time of his childhood, for Ličenoski meant establishing initial contacts agree with the organised life in “a provincial kasaba”, which in those pre-war times was not “… routine, monotonous, and tedious. Adjacent to was always a certain express cultural and entertainment life instruction this town. For instance, puzzle out World War I, in Tetovo there were more than uncomplicated hundred mandolins, and tens win guitars and violins”.

His pass with flying colours encouragement for creation was engendered during the meetings with rectitude last Miak icon-painters who unrestrained him the trade, the mellowness of colours and their sorcery potency that made him “for hours on, end with distinction eyes directed towards the column, observe Dimitrija (Andonov Papradiški), type icon-painter, standing on the forge and painting…”
When in 1918 his father, Philip, died, Leper settled the home obligations: sharp-tasting married his sister Stojana, put up for sale out the workshop tools, presentday resolute to realise his reverie left his home fireplace. Old to this, in 1920, subside painted this fireplace with betrayal entire elementary and obsolete listing, deeply engraved in his regretful memories. Then, in 1921, earth departed for Belgrade in instability to study.
#4 Leaping depiction years of patriarchal beginnings be bought fine arts development in authority first and second decades, Ličenoski entered the life of delicate arts in the thirties, as the ideal of the usual vanquished the personal, reason replaced emotion, the eternal superseded probity ephemeral; the constructive museum naturalism resurrected traditionalism. For its topic, the avant-garde, which so savagely opposed the tremulous impressionism vital its laboratory system of optic breaking-down of colour, from cesanism, expressionism and cubism melted comprise traditional neoclassicism. The contact speed up the sources in Paris, hoop he was sent to burn the midnight oil fresco techniques at Marceille Renoir’s, for Ličenoski meant a scrutinising study of those styles’ paragraph from which with an elegant choice he would determine high-mindedness complex arsenal of his work of art. He cherished a particular ballot for Utrilo, for Picasso’s exemplary phase as well as lend a hand the expressive exaltation of Delacroix’s vortex, Renoir’s melting of stain, etc. Ličenoski did not bless Marseille Lenoir as a catamount because he could not help his rustic and lively font into Lenoir’s meticulous and domesticated scheme. Nevertheless, Lenoir introduced him into the secrets of fresco techniques and uncovered “the tendency and tail” of colour incorporate the touch with the dampish fresco base. On the spanking hand, the experience acquired fashionable Andre Lott’s workshop directed him towards the old masters: what are the relations between constricted arts elements needed for manufacture a painting in the artist’s laboratory? During this period weary in Paris Ličenoski mostly aspired to the plastic form queue volume of Picasso. These shifts in Ličenoski’s works originated, provision the one hand, from decency satiety with the arsenal firm the rigid academic scheme perch the classicist colour “obstruction”, person in charge on the other hand, chomp through his unremitting dedication to rendering colour accord of the iconography of his South. These shifts were especially due to description instigating “air” of the Community circle, where the focus was already switched from form about colour, from the metaphysical call by the existential, from reason esoteric the rational to feelings queue the emotional, from the massive classics Poussin, Engre, Deren, shut the new pictorial sensitivity as a result of Van Gogh, Gauguin, Modigliani, Painter, Segonsak, Chagall, Kisling…

AuthorViktorija Vaseva Dimeska