EXHIBITION LAZAR VOZAREVIĆ from Gallery „Lazar Vozarević“ Sremska Mitrovica

His first solo exhibition was in 1952 in Belgrade (many times later on), then in Paris, Novi Sad, Zagreb, New York, Sremska Mitrovica, Venice, Bari, Rome, Brussels. The Museum of Contemporary Art organized a retrospective in 1969/70. Posthumous exhibitions were organized particularly in Belgrade, Novi Sad and Sremska Mitrovica. He participated in many group exhibitions after 1951, both in the country and abroad. In the Zepter Gallery his works were seen at the following exhibitions: LAZAR VOZAREVIĆ, The December Group, from June 4 to July 6, 1998 (extended through July 20); THE DECEMBER GROUP, Forty Years After, from December 4 to December 28, 1995; ESSAYS ON THE COMPREHENSION OF PAINTING, from July 1 to August 9, 1999. – after the book by Živojin Turinski, ESSAYS ON THE COMPREHENSION OF PAINTING, edition Ars figura, CLIO, Belgrade, 1999 under the auspices of the Madlena Janković Fund; VISITING – THE DECEMBER GROUP, ART COLONY EČKA, from November 27, 2003 to January 15, 2004; PASSION AND SUSPICION, from April 28 to May 31, 2004 –  after the book by Zoran Markuš, PASSION AND SUSPICION, edition Ars figura, CLIO, Belgrade, 2004, under the auspices of the Madlena Zepter Fund; THE MYSTERIES OF ART, from September 8 to October 5, 2005 – after the book by Katarina Ambrozić, THE MYSTERIES OF ART, edition Ars figura, CLIO, Belgrade 2005, under the auspices of the Madlena Zepter Fund.

He received several awards.

His works can be found in a number of private and public collections, locally and abroad. Realized mosaics: Belgrade – Hotel Metropol, Military Technical Institute, Youth Club.

Apart from painting, he was engaged in mosaic, drawing and illustration.

Published monograph: Zoran Markuš, Lazar Vozarević, 1986. 

Gallery “Lazar Vozarević”, located in Sremska Mitrovica, Vozarevic’s hometown, holds a lot of his paintings and drawings.

From the foreword:

……

Vozarević was a very complex personality and this can be read from his works. While in the paintings from his first phase, which we have already mentioned, the lines, strong, robust, of emphasised graphic quality, works on paper, although similar to paintings in their narrative (iconographic repertoire – from mythological to sacred) were executed with precise and trained lines, lyric in their character. Accepted as an exceptional draughtsman (and a painter, of course) he surprised everyone when he deconstructed the picture to the state of informel. In one of his statements he commented that he only moved from fresco to icon. He believed that any of Rembrandt’s painted parts, when enlarged, contained an informel painting in every fragment. In that way he neutralised all the interpreters who could vulgarise his informel painting as a mimesis of an icon blackened with the burning candles. That phase represented for him a research into the emanation of light from darkness, emanation of colour from black. With different layers of paint, to the state of a relief, and with applications of non-painterly material he created informel paintings; however, some of them still showed fragments of figurative compositions. Vozarević was rational and assured of his métier and therefore he boldly plunged into analyses all the way to destruction, with his supreme knowledge and feeling for synthesis and reanimation of his own painting.

The artist entered the third phase of his creative activity by producing works as precursors of what we would later recognise as optical art. The line was shattered into dots, organised into definite geometric forms, particularly circles and rectangles….

Bojana Burić