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| Full information about the artist |
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| First Name | Rajko |
| Last Name | Samardzija |
| Country | Serbia And Montenegro |
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| Biography | |
He attended the secondary School of arts in Herceg Novi, and continued studies on the Academy of Fine Arts in Belgrade where graduated as a student of Prof. ÃÂorde AndrejeviÃÂ Kun in 1963. That same year he had the opening of his very first solo exhibition in Uzice and right after that one, there was another one in the American Embassy's Diplomatic Club in Belgrade.
Mr. Samardzija is a member of ULUS (Associated of Serbian Painters), and also of the UNESCO INTERNATIONAL ARTIST'S ASSOCIATION IN PARIS. Since 1963 he has held more then forty exhibitions all over the world, emphasizing solos in Baden Baden (1969), Milan (1970), Basel (1972), Stokholm (1979), Toronto (1973 and 1975) and Dordrecht (1983).
In the world exhibition "Art tur tour" in Palais Cedtenaire in Bruxeles (1975), 240 artists took part with their works, and Rajko Samardzija WON THE GRAND PRIX du public award.
Samardzija's art can be understood by walking by and watching the framed canvas or the painting hand on the wall, you have to give yourself in to the energy impressed into them. Nowadays, however, neither the audience nor the critic spend their studying paintings or any other works that way. Most of times they expect the canvas to surprise them to "scream" or to "blaze" to them. SamardÃ
¾ija is not a surpriser he enchants. It takes skill to drive into his art of the unfailing harmony. Having such strong, deep feeling for structure he respects proportion values of every single detail of the whole. His light stroke brings almost magic transformation to everything he looks at.
His idea puts irreconcilable things together in harmony end the alchemy of his art removes the veil of platitude from everyday events from the world. With the magic compliance he embodies events the spirit it every shape and form. The radiating peace from his paintings seems to recreate the universe dulled in the spirit of our time.
There are few who have sensed the light, shadow and darkness, deeper and more truthfully and delivered it in a warmer way than SamardÃ
¾ija has. The sound of his color is clear yet unobtrusive and harmonious. His fine and premeditated stroke emphasizes the contrast and other details add and fill in the harmony. SamardÃ
¾ija is not a pure colorist, he is a harmonist. He expresses his feelings, thoughts and his spiritual states adjusting his color to his objects. His painting, even when observed from the distance what neither objects nor lines are visible clearly, still retain stability, harmony, balance and even the melodious line of colors.
SamardÃ
¾ija's painting is not beautiful by it's on self, but becomes beautiful due to his very idea of beauty then is woven into it. For the same reasons the choice of objects in SamardÃ
¾ija's still-life is not indifferent, it is a reflecting his spiritual state and even the smallest and the most modest, are always refined with a lot of love so the spectator can experience such contentment and peace.
It is just simple and as complicated at the same time to make portraits and portraits take the significant place in SamardÃ
¾ija's work. They allow and enable the author to show his intuition and intelligence by extracting the inner natural character of a portrayed person, and makes it visible to spectator.
Landscape on SamardÃ
¾ija's canvases are not just numbers of plants, mountains of springs, his point is not just to copy the arrangement of rocks and trees but to arouse feelings that nature wakes and provokes in him. Allure and freshness of his landscape are fascinating to the spectator because the artist's feelings are deep in it, and along with those ancient feelings there shows the quality of completeness with the perfection in details. |
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| Style Realism |
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| A style of painting which depicts subject matter (form, color, space) as it appears in actuality or ordinary visual experience without distortion or stylization. In a general sense, refers to objective representation. More specifically, a nineteenth century movement, especially in France, that rejected idealized academic styles in favor of everyday subjects. Daumier, Millet, and Courbet were realists. |
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| Style Abstract |
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| A 20th century style of painting in which nonrepresentational lines, colors, shapes, and f... |
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