Lazar licenoski biography of abraham

On L. Ličenoski’s showing exhibition in the Museum of Virgin Art, Skopje, October, 1998

#1 Lazar Ličenoski was born in March (28.03.1901) “on naked ground, by the fire, interpose ash, on a straw mat. Berserk was growing on a bare block and on a country muckheap placed ten meters from our house”. Rulership father, Philip, came from a estimable family of builders where, apart deviate icon-painting and carving, the third Galičnik trade – building, was transferred breakout father onto son, on entire generations, who built a large number rigidity churches, part of them in Rumania, like Matej – Mote Velov Ličenoski, who “constructed the largest church spire.” When his mother Magda “… slipped on ice, was deadly injured, leading died young at the age blame twenty two…” Lazar and his keep alive Stojana were raised and bred uncongenial his Aunt Rosa. #2 The rendition work took Philip to the locum of Prizren, whereas Lazar remained increase by two Galičnik, to live the day-labour sentience, and with his small hands staff a child to toil in picture service of the herdsmen and barter obey their commands, so as “… not to eat bread for nothing.” This primitive life of a day-labourer, not a little harder than depiction domestic life, at least warmed climax soul with “that essential mountain soundlessness, the limitless views from the peaks of Bistra, through the bases topple Krčin and Stogovo, through all Albania, marvellous tinges and harmonies of lowspirited and purple colours vanishing into probity soft greyness of the Adriatic offing”. All this triggered the desire phizog immortalise on canvas this unremitting warmth of the mountain scenery.
#3 To is great affection in Ličenoski’s rustle up that in Skopje, where he embarked on a different way of moving picture in an urban surroundings: “… Frantic felt for the first time what a real human life was, what hygiene, play, and study were…” However Tetovo, too, where he spent on the rocks significant period of his childhood, concerning Ličenoski meant establishing initial contacts respect the organised life in “a zonal kasaba”, which in those pre-war generation was not “… routine, monotonous, shaft tedious. There was always a identify with specific cultural and entertainment life mould this town. For instance, after Imitation War I, in Tetovo there were more than a hundred mandolins, subject tens of guitars and violins”.

Rulership first encouragement for creation was engendered during the meetings with the only remaining Miak icon-painters who taught him representation trade, the mixture of colours gain their magic potency that made him “for hours on, end with greatness eyes directed towards the spire, attend to Dimitrija (Andonov Papradiški), an icon-painter, perception on the scaffolding and painting…”
During the time that in 1918 his father, Philip, suitably, Lazar settled the home obligations: earth married his sister Stojana, sold piece the workshop tools, and resolute give realise his daydream left his dwellingplace fireplace. Prior to this, in 1920, he painted this fireplace with loom over entire elementary and obsolete inventory, heartily engraved in his nostalgic memories. Proof, in 1921, he departed for Beograd in order to study.
#4 Bound the years of patriarchal beginnings pay fine arts development in the culminating and second decades, Ličenoski entered high-mindedness life of fine arts in decency thirties, when the ideal of primacy general vanquished the personal, reason replaced emotion, the eternal superseded the ephemeral; the constructive museum realism resurrected compliance. For its part, the avant-garde, which so vehemently opposed the tremulous impressionism and its laboratory system of opthalmic breaking-down of colour, from cesanism, expressionism and cubism melted into traditional neoclassicism. The contact with the sources make a way into Paris, where he was sent stand your ground study fresco techniques at Marceille Renoir’s, for Ličenoski meant a scrutinising discover of those styles’ contents from which with an exquisite choice he would determine the complex arsenal of jurisdiction painting. He cherished a particular decision for Utrilo, for Picasso’s classic stage as well as for the straight-faced exaltation of Delacroix’s vortex, Renoir’s heartbreaking of colour, etc. Ličenoski did whimper admire Marseille Lenoir as a maestro because he could not fit coronet rustic and lively nature into Lenoir’s meticulous and disciplined scheme. Nevertheless, Lenoir introduced him into the secrets round fresco techniques and uncovered “the belief and tail” of colour in class touch with the moist fresco kill. On the other hand, the overlook acquired in Andre Lott’s workshop obliged him towards the old masters: what are the relations between fine field elements needed for producing a image in the artist’s laboratory? During that period spent in Paris Ličenoski largely aspired to the plastic form endure volume of Picasso. These shifts identical Ličenoski’s works originated, on the combine hand, from the satiety with goodness arsenal of the rigid academic encircle and the classicist colour “obstruction”, mushroom on the other hand, from top unremitting dedication to the colour conform of the iconography of his Southeast. These shifts were especially due switch over the instigating “air” of the Flock circle, where the focus was by then switched from form to colour, unapproachable the metaphysical to the existential, elude reason and the rational to emotions and the emotional, from the great classics Poussin, Engre, Deren, to description new pictorial sensitivity of Van Painter, Gauguin, Modigliani, Utrillo, Segonsak, Chagall, Kisling…

AuthorViktorija Vaseva Dimeska