Ogledalo vizuelne umetnosti - Izdavaštvo - Monografije

Izdavač: Muzej naivne umetnosti, Jagodina, Srbija 2010.
Format: 30x23,5cm
79 strana, ilustrovano
Jezik : srpsko-engleski

Uvod

Dobrosav Milojević se pojavljuje na umetničkoj sceni na pragu osme decenije dvadesetog veka, u vreme procvata jugoslovenske naive. Rođen je 1948.godine u Donjem Štiplju kod Jagodine. Do pre nekoliko godina živeo je u Jagodini, gde je osnivanjem muzeja naivne i marginalne umetnosti 1960. godine stvorena povoljna klima za afirmaciju naivnih umetnika. Sada živi i stvara u svom rodnom selu Donjem Štiplju.

Od 1970.godine do danas, Milojević je snagom svoje umetničke imaginacije, naslikao više stotina slika u tehnici ulja na platnu, kartonu, lesonitu ili drvenoj podlozi.Učestvovao je na brojnim grupnim izložbama u zemlji i inostranstvu počev od 1971. godine. U periodu od 1973.godine do danas, priredio je brojne samostalne izložbe u Beogradu, Briselu, Bolonji, Jagodini, Donjem Štiplju, Trebnju, Cavtatu, Motovunu, Pragu, San Francisku, Meksiku, Budvi, Pirotu, Herceg-Novom, Aix les- Bains-u, Amijenu, Šri Lanki, Kovačici. Učesnik je Tabora likovnih samorastnikov u Trebnju, likovnih kolonija u Sanskom mostu, Jagodini (u Muzeju naivne i marginalone umetnosti, manastiru Sv. Prohora Pčinjskog, Zobnatici, Lisinama, Zlatiboru), Karlovcu, Beogradu, Zaječaru, Rumi, na Kipru, Tari, Kopaoniku, Aranđelovcu, Valjevu, Despotovcu, Vrnjačkoj Banji, Soko Banji, Berkovici ( Bugarska), Ohridu.Vidljivo je i njegovo permanentno učešće na Salonima samoukih likovnih umetnika i Bijenalima naivne i marginalne umetnosti u Muzeju u Jagodini. Za svoj slikarski rad dobio je više nagrada i priznanja od kojih treba istaći Zlatnu plaketu Tabora u Trebnju 1980. godine, Otkupnu nagradu na Drugom bijenalu naivne umetnosti 1983.godine, Veliku nagradu Šestog Bijenala naivne umetnosti 1993. godine u Jagodini, Plaketu grada Zagreba 1972., Internacionalnu diplomu iz Salsomaggiore Terme 1983., Zahvalnicu srpsko-jevrejskog društva 1990. u Tel Avivu. Njegova dela se nalaze u zbirci Muzeja naivne i marginalne umetnosti, Galeriji likovnih samorastnikov u Trebnju, galerijama u Sanskom mostu, Kovačici i mnogim privatnim kolekcijama u Srbiji i inostranstvu.Muzej naivne i marginalne umetnosti poseduje njegovih 30 slika, 1 bakropis i 3 crteža; prva njegova slika je uvedena u inventar zbirke posle Drugog salona samoukih likovnih umetnika 1971. godine.

Kako je, bez većih preliminarnih lutanja došao do vrednih rezultata u svom slikarstvu, usledili su vrlo brzo i tekstovi, najpre Nebojše Tomaševića, zatim Milice Maširević, Miroslave Bošković, Koste Dimitrijevića, Janeza Gartnera, Katarine Adanje, Radmile Cvetković, Slavomira Vojinovića, Koviljke Smiljković, Marice Vračević, Nine Krstić, Ljiljane Kojić, Vojislava Đurića, Dejana Medakovića i drugih koji su u knjigama, katalozima i novinskim člancima dali pozitivne ocene slikarstvu Dobrosava Milojevića. Ne treba zaboraviti i zastupljenost ovog slikara u Enciklopediji naivne umetnosti sveta, Oto Bihalji Merina i Nebojše Tomaševića. Godine 1995. dobija Monografiju, autora Koviljke Smiljković,; u izdanju Muzeja naivne umetnosti i Interprinta iz Beograda.

Kao i većina slikara koji žive u gradu, a potiču sa sela, Dobrosav Milojević se vraća selu i seoskom životu kao osnovnom inspirativnom vrelu.Rođen u Donjem Štiplju na padinama planine Crni Vrh, koji poput grčkog Parnasa, svojim ''izvorima'' daje inspiraciju čitavoj grupi slikara rođenih u selima na obroncima ove planine.

Zato u formiranju likovnog izraza Dobrosava Milojevića, pored talenta, nesumnjiv značaj ima uticaj njegovog rodnog kraja, koji svojim specifičnim obeležjima određuje tematiku, forme, prostorna rešenja, kolorit i čitavu kompoziciju slike.

Teme njegovih slika su iz seoskog života, onog nekadašnjeg iz doba njegovog detinjstva i ovog sadašnjeg.Svet doživljaja i predanja rodnog kraja – slike zemaljskog raja, zanimljivog ikonografskog rešenja, dao je uz pomoć mašte i osobenog likovnog tretmana, koje se po lepoti mogu meriti sa slikama raskošno procvetale prirode na zidovima egipatskih, rimskih i vizantijskih palata ili iluminacijama starih persijskih rukopisa.

U stilizovanom brdovitom pejzažu odvijaju se događaji seoske svakodnevnice: radovi u polju, oranja, žetve, čuvanje koza i ovaca, jutarnji odlasci u polje, večernji povratak s rada, igranke. Na nekim platnima slikao je sa nostalgijom selo koje nestaje pod naletom civilizacije i migracijom u gradove. Te ''slike u slici'' (nekoliko manjih uokvirenih scena na jednoj površini platna) su jedine predstave u enterijeru. Sličnog kompozicionog rešenja je i jedna jedina slika istorijske tematike. Zatim je naslikao i nekoliko stilizovanih portreta: majke, supruge, ćerke, mladića, ikone svetaca ili običnih ljudi sa svetiteljskim oreolima i znamenjima.

Maštoviti prizori, sa jasno izraženim jednim događajem ili nekoliko scena, obiluju rastinjem, rascvetalim bokorima cveća, suncokreta, različitim formama krošnji drveta.Tu su i stilizovane figure ljudi, blagoslovenih životinja – hraniteljki, ptice, seoske kućice ili maštovite polihromne crkvene građevine. Ponekad plavih kupola ili u obliku trmke ( košnice od pruća), crkvene građevine su početkom desete decenije dvadesetog stoleća često uokvirene oreolima (pojasevima iz nekoliko boja). Krošnje drveta su pretvorene u ornament. Sa minuciozno slikanim grančicama podsećaju na koralne sprudove okićene biserom, ponekad uokvirene pojasevima iz dve ili tri boje.Ovim nimbovima ( oreolima) ukazuje na svetost i uzvišenost određenog elementa predstave ( ličnosti, drveta ili crkvene građevine).

Poštovanje rastinja i životinja, a naročito drveća nailazimo u davnoj prošlosti Slovena i drugih naroda, koje ukazuje na kolektivno nesvesno i prisustvo mitske prošlosti i ulogu mitskih simbola u umetnosti naivnih.Drvo kao stalno prisutan elemenat pejzaža, naročito ono uokvirene krošnje je za slikara simbol kružnog toka života, jer je u neprestanom razvoju, od univerzalne supstance pramaterije do uspinjanja prema nebu. A mnoštvo rascvetalih skupina biljnog sveta sa ostalim elementima predstave doprinose stvaranju univerzalne melodije rajskih užitaka, večnog proleća, vedrine i radosti življenja.

Ljudske, životinjske i biljne forme na Milojevićevim slikama su pojednostavljene, stilizovane, građene bojom i tonovima, sa često izraženom konturalnom linijom crteža koji je vrlo blizak dečijem. Kolorit je u funkciji stvaranja uglavnom, vedre, retko nostalgične atmosfere, ostvarene smelim odnosima intenzivnih, zvučnih bojenih poteza i površina. Zanimljivo je njegovo prostorno rešenje predstave, visokog horizonta. Dubinu prostora postiže raspoređivanjem većih i manjih oblika u planove, izvesnim perspektivnim skraćenjima, preklapanjem, i intenzitetom boje. Dobrosav modifikuje forme ljudi, životinja i ptica, čak i nebeskih tela ( zvezde, mesec), vegetaciju, zakon proporcije, perspektive i bojene odnose (kolorističke partije) svojoj koncepciji i stvara spontano i iskreno sopstvenu, originalnu sliku sveta.Ovakvim osobenim likovnim jezikom stekao je veliki broj poštovalaca svog slikarstva.

Na ovoj retrospektivnoj izložbi povodom četrdesetogodišnjice slikarskog rada bićemo u prilici da uživamo u raskoši likovne poetike dela Dobrosava Milojevića. Izložbu prati obiman katalog koji pored, Uvodnog teksta Ljiljane Kojić o slikarstvu Dobrosava Milojevića, sadrži i tekstove: Marice Vračević, Poetika zavičajnog prostora;Nine Krstić, Dijalog s prirodom;Ivane Jovanović, Portret u slikarstvu Dobrosava Milojevića; Izvode iz tekstova o Dobrosavu Milojeviću; Izvode iz Autobiografije umetnika; Pesmu Dobrice Erića, Dobrosavljevi suncokreti; Popis samostalnih i grupnih izložbi i Bibliografiju.

Ljiljana Kojić

Novijoj srpskoj naivnoj umetnosti, mladi Dobrosav Milojević, daje izrazito poetske, ali simbolične akcente.U svojim folklorno bogatim i originalnim seoskim pejzažima, uvek slikanim na nekoliko planova, sa uočljivim polukrugovima, kao što je brežuljkasto zemljište njegovog zavičaja, Milojević svetlim, prirodnim, bojama slika život i običaje Šumadije.( Kosta Dimitrijević, Dobrosav Milojević, katalog, Centar za kulturu, Rakovica i Biblioteka ''Kosta Đukić'', Mladenovac 1983.)

Teško je definisati šta Dobrosava Milojevića izdvaja iz grupe naivnih slikara koji žive i stvaraju u Svetozarevu i okolini. Možda je to lirska nota koja se provlači kroz njegova dela i kojoj povremeno suprotstavlja reske, dramske akcente. Kao ostali slikari njegovog kova, on slika svoj zavičaj, svoju okolinu, otkucaje svakodnevnog života oko sebe... Dobrosava Milojevića ne muče zakoni optike, problemi i perspektive, planovi, rakursi, teorije o likovnim pravcima. On jednostavno i spontano beleži sve što ga okružuje, onako kako on to oseća i shvata.Predmete slaže po redosledu kako mu se – diktirano nekim intimnim unutarnjim porivima – oni sami namećeu. On im određuje važnost i značaj po nekom, samo njemu znanom, kriterijumu.( Katarina Adanja, Katalog slika samostalne izložbe Dobrosava Milojevća iz Svetozareva, Narodna biblioteka ''Ribnikar'', Rekovac 1989.)

Njegova umetnost je isuviše strasna i bujna da bi se mogla izjednačiti s analitičkom razložnošću one Milana Rašića ili aranžiranim sklopovima slika Ivana Rabuzina. Ona se i znatnije menjala, što nije baš izrazita osobina samouka. S početka su dela bila više opisna, pipavije rađena, ružičasto –žućkasta, topla u boji, rekli bismo više lirska i smirenija, dok su posle došla ona zeleno-kestenjasta, debljih poteza,krupnijih oblika, s linijama i masama pokrenutih u dijagonalnom smeru, što im je donelo izvesnu dinamičnost i ekspresivnost. S vremenom Milojević je postao određeniji, iskusniji, osobeniji.Nema sumnje on je danas istaknuto ime srpske naive,izrazit i rečit predstavnik jagodinskog kruga i stila slikarstva koji se neguje u Pomoravlju u naše vreme. ( Vojislav J. Đurić,Slikarstvo Dobrosava Milojevića ( Reč na otvaranju izložbe u Jagodini 8.12.1993.)

Na vertikalnom formatu predstavlja scene iz života seljaka crnovrškog kraja, sa izraženom ljubavi prema zemlji, iskonski ukorenjenoj u seljaku. Njegove njive i oranice, dovedene nebu pod oblake, rađaju i bujaju u zelenim, smeđim ili zlatnim tonovima. Poput Rabuzina i Milojević pušta da cveće, drveće i figure na slici rastu i ređaju se po zakonitostima koje su same sebi stvorile.( Koviljka Smiljković, Dobrosav Milojević,Monografija, Muzej naivne umetnosti, Jagodina i Interprint, Beograd 1995.)

U nizu sjajnih samoukih slikara, posebno mesto zauzima Dobrosav Milojević...Njegove šarene, čiste boje, i spontana stilizacija likova i prirode proističu iz bujne mašte i urođene pitomosti...Jer, Milojević poznaje selo do tančina, a kad slika nije sputan onim što vidi, već otkriva što je prisutno u njegovim snovima....Iz punog srca i duše Milojević opominje savremenu umetnost, da njen jedini spas nije u intelektualističkom pretvaranju, nije u nadmudrivanju, već u ispovedanju autentičnih istina. Koliko god se u budućnosti umetnost bude kretala uvek će se ceniti i po tome koliko su njene poruke čovečne, koliko su bliske čudu koji se zove čovek ''mali Bog sveta, čudesan kao i prvog dana'' (Gete). (Dejan Medaković, Dobrosav Milojević, katalog, Muzej naivne umetnosti, Jagodina 1997.)

Ljiljana Kojić

ENGLISH VERSION

Publisher: Museum of Naïve and Marginal Art, Jagodina, Serbia 2010.
Dimensions: 30x23,5cm
79 pages, illustrated
Lenguage: serbian-english

Introduction

Dobrosav Miolojević stepped on artistic scene in the early 1980s, the flourishing era of Serbian naïve art. He was born in Donje Štiplje near Jagodina in 1948. Until a couple of years ago, he lived in Jagodina where the foundation of Museum of Naïve and Marginal Art in 1960 created favorable environment for the promotion of young artists. Now, he lives in Donje Štiplje.

Since 1970, using the power of his artistic fancy, Milojević has painted several hundred paintings in oil on canvas, cardboard, hardboard or wood. Since 1971, he has participated in numerous group exhibitions in the country and abroad, while since 1873, he has had many independent shows in Belgrade, Brussels, Bologna, Jagodina, Donje Štiplje. Trebnje, Cavtat, Motovun, Prague, San Francisco, Mexico, Budva. Pirot, Herceg Novi, Aix les-Bains, Amien, Sri Lanka and Kovačica. He is a participant of Tabor of Self-taught Artists in Trebnje, Art Colonies in Sanski Most, Jagodina (Museum of Naïve and Marginal Art, Monastery St. Prohor Pčinjski, Zobnatica. Lisine, Zlatibor), Karlovac, Belgrade, Zaječar, Ruma, Cypress, Tara, Kopaonik, Aranđelovac, Valjevo, Despotovac, Vrnjačka Banja, Soko Banja, Berkovici (Bulgaria) and Ohrid. His permanent participation in Salons of Self-taught Artists and Biennials of Naïve and Marginal Art at the Museum in Jagodina is appreciable. For his artistic work, he has received numerous awards and recognitions, among which Gold Plaque of Tabor in Trebnje in 1980, Purchase Prize at the Second Biennial of Naïve Art in 1983, Grand Prix at the Sixth Biennial of Naïve Art in 1993 in Jagodina, Plaque of the City of Zagreb in 1972, International Diploma in Salsomaggiore Terme in 1983, Acknowledgement of Serbian-Jewish Society in Tel Aviv in 1990 are most prominent. His works are in the collections of Museum of Naïve and Marginal Art, Gallery of Self-taught Artists in Trebnje, the Galleries in Sanski Most, Kovačica, and many private collections in Serbia and abroad. Museum of Naïve and Marginal Art has 30 of his paintings, an etching, and 3 drawings; his first painting was registered in the inventory after the Second Salon of Self-taught artists in 1971.

Since he promptly made valuable realizations, reviews followed very soon. The first to write was Nebojša Tpmašević, and then Milica Maširević, Miroslava Bošković, Kosta Dimitrijević, Janez Gartner, Katarina Adanja, Radmila Cvetković, Slavomir Vojinović, Koviljka Smiljković, Milica Vračević, Nina Krstić, Ljiljana Kojić, Vojislav Đurić Dejan Medaković and others, who positively evaluated the Dobrosav Milojević’s painting in numerous books, catalogues and articles. The painter’s presence in Encyclopedia of Naïve Art by Oto Bihalji Merin and Nebojša Tomaševič should not be forgotten. In 1995, Koviljka Smiljković wrote the Monograph, published by Museum of Naïve Art and Interprint from Belgrade.

Like many authors who came from the village to live in the town, Dobrosav Milojević returns to country life as basic source of inspiration. He was born in the village of Donje Štiplje on the slopes of Crni Vrh Mountain, which, like Greek Parnas with its “wells,” inspired a whole group of painters born in the surrounding villages.

Hence, in addition to his talent, the influence of his native scenery undoubtedly played a prominent role in modeling of his artistic expression. These specific features defined his subject matters, form, solutions of space, colouring, and entire composition of the painting.

His themes are scenes from country life both in his childhood and nowadays. With the help of imagination and specific artistic treatment that can be compared with the paintings of luxuriantly blooming landscapes done on the walls of Egyptian, Roman and Byzantine palaces or illuminations of ancient Persian manuscripts, he produced the world of adventuress and tales of his native land – the scenes of earthly paradise done by employing interesting pictorial solutions.

In the stylized, mountainous countryside, the events of village routine unfold: field work, ploughing, harvesting, goat and sheep keeping, morning field work, evening return from work, dances. In some canvases, he showed nostalgia for the village that is vanishing under the growth of civilization and migration into towns. Those ’paintings within paintings’ (several smaller framed scenes within one surface of the canvas) are the only presentations in the interior. The only painting with historical subject matter has a similar compositional solution. Then he pained a couple of stylized portraits: mother, wife, daughter, a lad, icons of saints or ordinary people with aureoles and tokens.

Fanciful scenes with a clearly pronounced event or a couple of scenes are abundant with vegetation, blooming bushes, sunflowers, and different shapes of tree crowns. There are also stylized groups of people, blessed animals – food suppliers, birds, country houses or phantasmagoric, polychromatic buildings. Sometimes with blue dooms or in the shape of wicker hive, the churches done in the early 1990s are often framed with aureoles (belts of several colours). Tree crowns are turned into ornaments. With minutely painted branches, they remind of coral reefs decorated with pearls, sometimes framed with belts of two or three colours. With these aureoles, the author points to the sacredness and highness of certain element of the scene (a person, a tree, or a church building).

The respect for vegetation and animals, especially for trees is found in ancient past of old Slavs and other peoples, which points to the collectively unconscious and the role of mythological symbols in naïve art. A tree, as a permanently present element of the countryside, especially with framed crown is a symbol of life cycle, being permanently developed from universal primordial substance to the rise to heaven. A multitude of blooming clusters of vegetations together with other ornaments in the scene contribute to creation of universal melody of paradise enjoyments, everlasting spring, serenity and joy of life.

Human, animal, and vegetation forms in Milojević’s paintings are simplified, stylized, built of colour and nuances, with often pronounced contours, like a childish drawing. Colouring serves to create mostly serene, rarely nostalgic atmosphere, realized by daring relations of intensive, sound strokes and surfaces. His special solution of the horizon is very interesting. He achieves depth distributing larger and smaller shapes within surfaces, partly shrinking the perspective, overlapping and intensifying the colour. Dobrosav adjusts the shapes of people, animals, birds, even celestial bodies (stars and moon), vegetation, law of proportion and colour relations (colour items) to his own concept and creates spontaneously and openly own, original image of the world. With this authentic pictorial language, he acquired a large number of admirers.

On this retrospective exhibition on forty years of his artistic work, we will have the opportunity to enjoy the luxury of artistic poetics of Dobrosav Milojević’s oeuvre. The exhibition is followed by comprehensive catalogue, which, in addition to Introduction to Dobrosav Milojević’s painting by Ljljana Kojić contains the texts by Marica Vračević, Poetics of Native Area, Nina Krstić Paradise Exists, then Fragments of Texts on Dobrosav Milojević, Fragments of Autobiography of the artists, Dobrsav’s Sunflowers by Dobrica Erić, the List of Independent and Group Shows and Bibliography.

Ljiljana Kojić

SELECTION OF TEXTS ABOUT DOBROSAV MILOJEVIĆ

Dobrosav Milojević belongs to a group of younger painters from Oparić basin. He was firstly influenced by Milan Rašić from the same village. In time, Dobrosav Milojevć gradually became independent, developing own style and expression. His colours are bright, strong, a little imperfect, but above all, optimistic. Although he resides in Svetozarevo, his artistic work is directed towards the village, where he easily finds his characters, while his themes are inexhaustible. (Nebojša Tomašević, Independent exhibition of paintings by Dobrosav Milojević, The Gallery of Srate Secretariatr for Foreign Afairs Club, Belgrade, 1975)

Dobrosav Milojević paints countryside and people of his homeland. Thereby he begins with what he knows of real life and ceratin events that he memorized. However, when transposed onto the canvas, these memories lose the features of reality, thus becomung phantasmagoric. Like fairy tales and childish understanding of the world, Milojević views the wold with serenity and optimism, transmitting it to his canvases. There are no laments, hardness or the evil in his paintings. His world exists faraway from civilization, in the agelong routine, quiet and balanced, at the same time showing a beautiful side of living. (Milica Maširević, Dobrosav Milojević, Catalogue, Gallery of Self-taught Artists, Svetozarevo, 1976)

Increased interest in elaboration of details, refined colouring and somewhat more unerring drawing in recent paintings still harmoniously complement the initial experience of the world. The landscape with human figures and animals is repeated in multitude of variations, always different, yet basically unchanged. One of permanent characteristics, a kind of insignia is a specific stylization of tree crowns. The stylization that apparently originated from intuition became the herald of message on cyclic birth and everlasting regeneration of nature, formally alluding to embryo, gem of life. (Radmila Cvetković, Seventh Independent Show of Dobrosav Milojević, Gallery of Srate Secretariatr for Foreign Afairs Club, Belgrade, 1977)

One of the characteristics of ‘naïve painters’ is that in addition to their doing art, they have another job, which, in case of Yugoslav ‘naïve painters’, means that they are peasants. As a child, Milojević kept sheep while today he is ploughing his own land. Love towards the land, pleasure in description of fruit, flowers, animals, is the authentic delight of a man who lives close to such reality. Yet, the question here is whether this art is realistic. In 1930s, French ‘naïve painters’ were defined as “well-known artists of reality.” Rousseau also pretended to be realistic; the children also like to be realistic, hence the trees are uniform, round, or with many leaves that can hardly be traced from faraway; hens can be as big as goats and bees bigger than daisies. In Milojević’s nights, the stars are within a circle so that we cannot forget to notice them, while sun rays become sunflowers. (Alaide Foppa, Hay e ingenuos a ingenuos, Novedades, La onda, 15 July 1979)

During our first meeting in Trebnje in 1972, the paintings of a beginner that we saw promised the artist who was not a disciple of one or another “school”, but the artist who was searching for own pathway with plenty of talent, courage and success. His paintings that were later selected for Salons of Yugoslav Naïve Art in Trebnje by stricter criteria, confirmed Dobrosav’s artistic maturation. This time, we have a wide range of works, which most convincingly prove that the artist has really surpassed the well-known standards in naïve art and that today, in addition to Dušan Jevtović, Dobrosav Milojević is the most interesting painter in Serbian naïve art. (Janez Gartner, Dobrosav Milojević, catalogue, Gallerz of Self-taught Artists,Trebnje 1980)

Young Dobrosav Milojević offers distinctly poetic but symbolic accentuation to modern Serbian naïve art. In his folklore, rich and authentic village landscapes are always portrayed in several plots with visible semicircles, like the terrain of his homeland. Milojević depicts the life and customs in Šumadija using bright, natural colours. (Kosta Dimitrijević, Dobrosav Milojević, catalogue, Cultural Centre Rakovica and Library “Kosta Đukić”, Mladenovac, 1983)

It is difficult to distinguish what makes Dobrosav Milojević stand out among the naïve artists who live and work in Svetozarevo and its surroundings. It might be a lyric mood found in all his works, which he occasionally confronts to incisive, dramatic accents. Like other painters of his type, he paints his homeland and its surroundings and beats of surrounding routine … Dobrosav Milojević is not concerned with the laws of optics, problems of perspective, levels, theories of artistic movements. He simply and spontaneously keeps records of everything, as he feels and understands. He arranges the objects as dictated by some internal impulses, then assigning them importance by own criteria. (Katarina Adanja, Catalog of paintings on independent exhibition of Dobrosav Milojević from Svetozarevo, National Library “Ribnikar”, Rekovac, 1989)

His art is too passionate and exuberant to be equal to analytical prudence of Milan Rašić or arranged assemblages of Ivan Rabuzin. Hence, it considerably changed, which is not typical characteristic of a self-taught. At the beginning, his works were rather descriptive, minutely done, pink-yellowish, in warm colours, we would say; more lyrical and serene; later, the green-chestnut appeared, in wider strokes, larger shapes with lines and masses moved diagonally that made them dynamic and expressive. In time, Milojević became more defined, experienced, specific. He is, undoubtedly, a distinguished personality in Serbian naïve art, a pronounced and eloquent representative of Jagodina circle and the style that is cherished in Pomoravlje of our time. (Vojislav J. Đurić, Painting of Dobrosav Milojević (from speech at the opening of exhibition in Jagodina, 8 December 1993)

In vertical format, he portrays scenes from peasant life in Crni Vrh region, with the pronounced love for land, which is primordially rooted. His fields, placed under clouds, yield and exuberate in green, brown and golden tones. Like Rabuzin, Milojević allows his flowers, trees and figures to grow and get arranged by their own rules. (Koviljka Smiljković, Dobrosav Milojević, Monograph, Museum of Naïve Art, Jagodina and Interprint, Belgrade, 1995)

Among the range of brilliant self-taught artists, Dobrosav Milojević takes a special place. His pure colours and spontaneous stylization of figures and nature arise from imagination and inborn tameness… Milojević knows the village to the minutest detail; while painting, he is not limited to what he sees, but reveals what is present in his dreams… with his full heart and soul, he warns contemporary art that its only salvation does not lie in intellectual simulation or sophistry, but in revelation of authentic truths. Whatever course the art takes in the future, it will be evaluated for its humanistic messages and imminent to the wonder that is named man, “small God of the world, amazing like on the very first day” (Goethe). (Dejan Medaković, Dobrosav Milojević, Catalogue, Museum of Naïve Art, Jagodina, 1997)

Ljiljana Kojić