The painting brush is a simple,yet powerful device. The trace that it leaves upon the canvas is a wonderful phenomenon – a marvelous present to us, and a precious legacy to the people of the future.
Just as the spoken word that carries a certain energy,both physical and emotional , so does the brushstroke carry the energy and the meaning, too. By placing the brushstrokes next to each other,the artist creates a “sentence”. And as any sentence,whose purpose is to communicate a thought or an emotion, the brushstroke sentences communicate a certain feeling. Therefore they are a perfect vehicle for the artist’s emotions.
The brushstroke is a statement of the artist’s inborn sensibility. It is the reflection of his longings, a trace of his efforts, the emanation of his uniqueness. These are the hidden powers of the brushstroke. Whoever understands that,and finds the proper way to express it, will not fail to amaze and inspire with his work.
There is a mystery hidden in a spontaneous, and at the same time well guidedbrushstroke. The frozen emotionthat is embedded in such a stroke melts in the eye of the spectator, and releases its flavors and fragrances. Avoiding the control of ever alert reason, it penetrates the uncharted areas of our inner space. And as it reaches the level in us that, perhaps, makes us more human than any other aspect,it touches the cords of emotion, intuition and that mysterious and eternal longing of our soul.
The signature of the artist will stay preserved in the brushstroke almost forever, as the echo of the gone by ages is preserved in a fossil, trapped in the stone.
Such is the power of the brushstroke.
John Singer Sargent
John Singer Sargent
Sir Alfred Munnings
Sir Alfred Munnings
Ilya Repin, detail from the painting Portret of V.V. Stasov
And now a few humble samples of my own brushwork.
Mother and Child –
70×100 cm (27 1/2”x39 1/4”), oil on canvas, 2001
Saint Georg – 100 x 70 cm / 39 1/4 x 27 1/2 inch,
oil on masonite, 2000
The Balance –
90x120cm / 35 1/2 X 47 1/4 inch, oil on canvas, 2003
Detail from Giants – The Bull Fight, 2010
Detail from The Legend of Steel Bashaw 11, 2005 – 2007
Detail from The Queen of the Kanguellas, 80 X 50 cm / 31 1/2 X 19 3/4 inch,
oil on masonite, 2010
Detail from The Queen of the Kanguellas
Detail from Svjatogor, 2010
Detail from a painting in progress
This blog post was made possible by the extremely generous and friendly invitation of Dan Dos Santos to join the Muddy Colors “band of blogging brothers”. Needless to say, I am greatly honored by this invitation and I will try not to disappoint, nether my host, nor the audience. Unfortunately, due to my very busy schedule and the necessity of maintaining my own blog, I am not able to be a fulltime blogger on Muddy Colors. Instead, and for the time being, I will be a guest blogger and write the occasional posts. The main purpose of my posting will not be to teach you the certain artistic skills (although I will try to do that as well), but rather to inspire you. For I believe I have no things to offer that can match the importance and the might of the goddess of Inspiration.
Petar Meseldžija was born in Novi Sad, Serbia, in 1965. He began his career in 1981, publishing the comic strip "Krampi" in the Stripoteka, one of the best known comic magazines in the country. This was followed by a series of short comics and his work on the licensed comic book Tarzan. He graduated from the Academy of Arts in Novi Sad, in the Painting Department. During his studies he continued to work on comics, but also more often working on illustrations. In 1991 he illustrated his first book Peter Enkorak, published by Mladinska knjiga from Slovenia.
At the end of 1991 he moved to the Netherlands. Soon after, he stopped working on comics and dedicated himself to illustration and painting.
During the 1990s he painted about 120 posters and greeting cards, mostly for Verkerke Reproduktie from Holland. For Grimm Press, a publisher from Taiwan, he did 33 illustrations for the book King Arthur and the Knights of the Round Table. He held his first solo exhibition of illustrations and paintings in 1998 in the Tjalf Sparnaay Gallery in Amsterdam.
He has participated in many group exhibitions in Yugoslavia, the Netherlands and the USA.
His work has been published in a variety of periodicals and books all over the world.
Among many awards which he received for his work are:
“Plaque The International Golden pen of Belgrade, 1994”, Yugoslavia;
The “Art Show Judges Choice Award” – 59th World Science Fiction Convention, Philadelphia, 2001, US.;
Two Silver Awards from “Spectrum 4 and Spectrum 10 – The Best in Contemporary Fantastic Art”, U.S.;
Gold Award “Spectrum 16 – The Best in Contemporary Fantastic Art”, U.S.
From the beginning of 2000 he has dedicated himself to gallery art. Of the exhibitions where he has participated, the most worthy of mention is the Exhibition of Independent Realists. This exhibition, organized annually at the Mohlmann Museum from the Netherlands, offers clear insight into the creative achievements of contemporary Dutch artists in the domain of realist and figurative art. In addition to painting, he continues to do illustrations.
Two other significant projects should be mentioned. He painted 10 book covers for books of children's fantasy literature for the American publisher Scholastic Inc. Likewise, he illustrated the Serbian folk take “Prava se muka ne da sakriti”(“Real Trouble Cannot Be Hidden") for Bazar Tales, a publisher from Norway. In his work on the book, The Legend of Steel Bashaw, he has invested enormous time and effort. This project, for him of the greatest importance, was started in 1993. Including shorter and longer breaks, the longest of which lasted 7 years, he has been working on the book for 15 years, finally finishing it in August of 2008.
His original work is to be found in the private collections in Serbia, the Netherlands, Germany and the U.S.