IVAN TABAKOVIĆ (FROM STOJANOVIĆ COLLECTION)

Ivan Tabakovic

Ivan Tabaković was one of the most important Serbian painters of the 20th century, a member of that generation of artists born at the turn of the century who, over the course of their education, witnessed the great changes taking place in the art world. Those turbulent changes left an indelible mark on Tabaković’s character and his work. Tabaković is certainly one of the most intriguing Serbian artists of the 20th century, classified by contemporary critics and art historians according to the framework available at that time as a representative of the classical modernist and post-impressionist traditions. In addition to painting, Tabaković was also involved in drawing and ceramics, in which his talent was especially notable. During his career as a professor at the Academies of Fine and Applied Arts in Belgrade, Tabaković attached particular importance to drawing, considering it the basis of all artistic expression. He was an artist of exceptional breadth, a well-educated intellectual who studied at numerous European academies, schools and studios. Through different creative periods, he explored a wide range of motifs – from realistic depictions of everyday life through symbolic and surrealist compositions, all the way to technically complex studies that explored form and structure. His opus encompasses a wide range of stylistic and thematic preoccupations that reflect a high degree of artistic refinement, a strong sense of composition and a distinctive visual expression that he developed over the course of his career and for which he ultimately became known.

The exhibition at the X Vitamin Gallery presents more than 50 paintings, drawings and watercolors by Ivan Tabaković from the private collection of Petar Stojanović. What is unique about this exhibition and the collection as a whole, are Tabaković’s miniature works – ceramic interventions – completely unknown before now and likely exhibited for the first time publically. During his long artistic career, Ivan Tabaković explored a variety of topics, which is particularly evident in his drawings, watercolors and collages. His oeuvre includes portraits, landscapes, urban scenes, still lifes, figures in motion, but also more abstract compositions.

In Stojanović’s collection, all these categories are represented by several key works, and, in this sense, the collection represents a true “primer” of Tabaković’s opus. The most numerous works not only in this collection but also in Tabaković’s oeuvre in general, his drawings often explored the human figure (Harlequin, Peter the Great), portraits and everyday motifs (Ruins on Senjak after the bombing), but always reflecting special attention to line and form. Tabaković’s drawings are diverse not only in their choice of subject but also in their approach – from quick, sketchy notes to more precise studies. They showcase his ability to capture the essence of a moment, whether it be human emotion, the beauty of nature or the pulse of the city. His expression in drawing is varied – from realistic, precisely executed studies (Njegoš, Head of the angry Man), to expressive and stylized depictions (Diabolik) that hinted at surrealist or expressionist elements. In some works, the influence of the new reality, the movement that characterized Yugoslav art after the Second World War, is evident. On the other hand, there is also a noticeable influence of ancient art, figures and portraits from ancient sculptures, a reflection of his awareness of the continuity of artistic thought and the importance of art history for his creative work.

When we analyze the technique itself, Tabaković’s inclination for experimentation is noticeable, which was also reflected in the use of different drawing techniques, including pencil, charcoal, pen and ink, washed watercolor, through which he explored textures, lighting effects and the expressive possibilities of line. Whether sketches that bear witness to his creative process or independent works of art, Tabaković’s works exude a deep artistic thoughtfulness and high aesthetic value. One of the main characteristics of Tabaković’s drawings is the expressive line, which is dynamic, almost lively in his drawings, and which he used to convey energy and movement. His drawings often look like sketches, but with the distinction that his line expression always reflects a clear intention and an emotional depth that is often absent from the hasty sketches of other artists. Despite the fact that many of his drawings have a distinctly linear character, one of their main features is the use of contrast and shading to achieve a dramatic effect and give depth to the drawing itself.

What he is best known for are certainly works that combine geometry (points and lines) and figuration. Each of these themes reveals a different aspect of his creativity – from poetic and lyrical to expressive and dynamic, revealing him as an artist of many interests, a broad education, a man who is willing and able to explore even the most hidden corners of artistic creation. Tabaković was an artist with a restless intellectual spirit, who managed to create a unique expression and unique poetics that always and at every step went one step further. He was one of the few artists who tried to penetrate and fathom reality, that is, to discover what lies hidden behind the world we see. In his later stages, Tabaković deviated more and more from the figurative, playing with line and form in a manner close to abstraction. Compositions with circular or zigzag lines (Abstract Form, From Entropy to Entropy), experiments with light and shadow, symbolic representations (birds, the sun, elements of folk art) only substantiate the quality of these works and a reveal mature artist who is able, with minimal means, to create conglomerations and compositions that, due to their specificity and authenticity, are a unique examplar in our  art.  His  almost  scientific  or  perhaps  rather  alchemical  approach  resulted in a work that is equally mystical and deconstructive (Target, Movement, Vertical Construction). In some of his works, he seems to have tried to answer the question of what reality, matter and the visible world are made of.

As an artist who has worked with ceramics throughout his entire career, from sculptures to plates and large compositions, to designs and executions for various everyday objects, his sincere preoccupation with ceramics and the various methods of obtaining them should not be surprising. His ceramic miniatures demonstrate that. Made most likely as a kind of off art practice and experimentation with an extremely small format, these works are reminiscent of the archaeological remains of ancient, vanished cultures and civilizations. In terms of their character and style, they resemble scenes of ancient Egyptian art or even fragments of ancient frescoes and pottery and once again reveal Tabaković as a versatile artist. Even in an extremely small format, Tabaković manages to express his talent, his authentic artistic vision and to create a totality that sheds new light on the artistic practice of this artist.

Tabaković made precise anatomical studies, but he often experimented with deformations (Two affronted Heads, Wardrobe), expressive lines and free gestures, lending his drawings dynamism and emotional depth. His portraits are characterized by psychological introspection, while depictions of the body are often treated on the border between realism and abstraction. In addition to figures, he also engaged in urban and rural landscapes, depicting architectural structures with clear constructive lines (Landscape with a Bridge, Bridge on Moriš in Arad), while his scenes from nature were often more free and fluid, with an emphasis on the play of light and shadow. His post-war works also include industrial motifs and technical sketches, showing his interest in modernization and technical progress.

Tabaković exhibited a particular fascination with symbolism and fantastical motifs. Some drawings feature surreal elements, beings that blend into the landscape (Cypress Trees, Island) or hybrid forms that recall dreamlike visions. These works reflect his proclivity for exploring the unconscious and intuitive in art. Regardless of the subject, Tabaković’s drawings always exude thoughtfulness and a particular sense of composition. The opus of his drawings is proof not only of his technical skill, but also of an inexhaustible artistic curiosity that allowed him to explore almost all aspects of visual expression.

Saša Janjić