Few musicians in our region have bequeathed us such a rich cultural heritage as Vlatko Stefanovski. In this exclusive interview for CorD, we discuss his creative journey, accolades, cooperation with greats of world music, his new album, memoirs, and the concerts with which he will mark the 50 anniversary of his career.

Few musicians in our region have bequeathed us such a rich cultural heritage as Vlatko Stefanovski. In this exclusive interview for CorD, we discuss his creative journey, accolades, cooperation with greats of world music, his new album, memoirs, and the concerts with which he will mark the 50 anniversary of his career.

Vlatko, we congratulate you on the massive achievement of a 50-year musical career! When you look back, how would you describe your journey from the beginning to your current status as one of the region’s most influential musicians?

— I don’t like to talk about successes. Listing successes is unrewarding and pathetic. I would refer to my fascination with what I do. I’m still fascinated by music and the guitar as an instrument. I’m thrilled that I’m able to perform, to travel, and that I’m in relatively good health and can thus still be active. Success isn’t something that feeds me, it’s something that comes despite me.

Other people decided that I should succeed, specifically the audience. What’s important to me is that I see that same boy who was obsessed with the idea of making doing music when I look back. I can still see him sitting in the yard in Skopje’s Taftalidže neighbourhood, trying to produce expensive sounds on a cheap instrument. And that discipline of making bands at that time was so exciting! Create a band with your generation and try to perform in public. Not just to stay in a garage or a shed with your ideas, but to perform at school, in the city, in the country, not to mention playing abroad. That’s what feeds me, not successes. If I start listing the albums we recorded, the kinds of tours we had, everywhere we’ve travelled, that gets boring.

Success isn’t something that feeds me, it’s something that comes despite me. Other people decided that I should succeed, specifically the audience

And carving out your own place under the sun, for your craft, for your love and passion, that’s success. My friend Miroslav Tadić says: “When I fly on a plane and find myself surrounded by strangers, and when someone asks me what I do for a living and I say that I play the guitar and make a living from it, that’s success”! A man should be proud of that status. Success is being satisfied with what you do and what you’ve achieved in life. A little girl neighbour of mine asked me a while ago: “Uncle Vlatko, are you happy?” I thought for a second and said, “that’s a difficult question, but I can say that I’m satisfied, and that’s enough.” Happiness is an illusion. One sad news item that you read in a newspaper or one stupid message is enough to upset your equilibrium. Perhaps you have a fine balance for a while, but then comes a time of imbalance, the dynamics of life. You don’t have comprehensive insurance on that balance, or on happiness. And it is in that poetic sense that happiness is an illusion.

Music is a universal language. What is it to you?

— For me, music is the quickest link to connect with the universe, with some cosmic balance. Perfect harmony exists in the universe, in that chaos. Music can also be chaos. From notes, tones and sounds. Organising that chaos, those frequencies, and making that organisation of sounds say something to us and mean something emotionally. Frequencies that touch my heart, that’s music.

You stated recently that the neck of your guitar familiarises you with the universe, but also with people…

— In looking at that neck for over 50 years, I’ve been seeking balance, meaning and solutions. I believe that a man who is engaged in metal crafting, say someone who makes a tool, is also seeking meaning in his tools.

The painter looks at the canvas and seeks meaning when he paints, or while he paints. I believe that all creative people seek meaning through their work, and also search for answers to those countless questions that surround and burden us.

You were born in Prilep, where you stayed until the age of three. You say that it’s thanks to this that you “have a permit” to play the blues. How does industry inspire musicians?

— Yes, I found that connection because Prilep is a tobacco city, Tobacco Road. That thought crosses my mind by chance… I’ve been in Seattle, in Philadelphia, in New York, and in Rotterdam. I’ve also been in Rijeka, in Pula. I think young people are a little frustrated in those industrial cities and big cities. They are buried under physical pollution, but also social pollution. In their search for salvation, they form bands to express their frustrations. It’s much nicer to cause a din on your amp than to drift the tyres of your car. It’s also better for the environment, for the neighbourhood, and for our mental and spiritual state.

Let’s turn to Robert Johnson, Paganini, Bach, Jimi Hendrix and his Purple Haze. Why are top performers throughout music history said to have made pacts with dark, demonic forces?

— You mentioned Robert Johnson and Paganini. And I will mention a detail from the Milorad Pavić novel Dictionary of the Khazars and the hero of that book who talks about the devil’s ‘prstomet’. The Devil’s ‘prstomet’ is a sixth finger, an imaginary one, of course. It is the finger that helps you to be the fastest and best. Someone from my band once said “You have the devil’s sixth finger” because I can reach some rather difficult musical phrases and parts on the guitar neck. We all try to reach something that’s unreachable. To go to the next level and climb, like in a video game. But not everything is about virtuosity… We came into this world to grow spiritually. If we don’t grow spiritually, nor can we grow professionally. That’s accepting life as it is, accepting the people around you, changing the things you can change, and coming to terms with those things that you can’t change. As I enter my elder years, I realise that a person shouldn’t rely too much on cognitive reasoning, on that which is imposed on us by reason. Rational judgement doesn’t help in art, but rather mental restlessness, or peace, or inner passion. That inner impulse, to hunt down some things, to head after them, to realise them. On yes, I have a wicked idea, and I’ll solve it by consulting intuition, talent, respecting all obstacles I come across and trying to evade or overcome them. Spiritual growth is what follows us, what is given to us. And it’s good that this is the case…

You’ve recorded almost 40 albums. The album Kao Kakao exploded back in 1987. What was it like to create during those years?

— That had a very strong impact, strong energy. Powerful inspiration. And a bit of survival. The struggle to be or not to be. When it comes to the album Kao kakao, it was a creative explosion and the salvation of the group Leb I Sol…

Is a formal music education essential for someone who has talent and practices hard?

— When it comes to formal education, my late brother, Goran Stefanovski, the famous Macedonian playwright and professor, would say: “I can’t teach you to be an artist. I can teach you a trade. And what you will make yourself is up to you, the artist”. I’m not an opponent of formal education, although I didn’t receive a formal education in music. That’s why I needed a lot longer to master something. Those who have a formal education can reach a solution by plane, while I had to walk, through thorns, which isn’t recommended. But there’s no recipe to become an artist. If you want to become a craftsman, there is a methodology. And you have to provoke yourself if you want to become an artist, to call out yourself. I recommend that young people don’t wander; that they go to school, learn the basics of music, harmony, melody, counterpoint, to read notes.

You launched your solo career in the middle of the 1990s. How did you find the courage to take that step after the great success of the band Leb i Sol?

— I found it restrictive in the band. I couldn’t sell some crazy, unusual ideas to my colleagues at that time. And I decided to head off the beaten track, into the unknown, to go astray. Even if I failed. I also tried various things out of curiosity, trying to make something that wasn’t expected of us. Well, that’s a double-edged sword – it’s either a hit or a miss. In terms of material security in the 1990s, that was a critical juncture for me. I got married, had a baby. And I started thinking about a solo album that would be completely unpredictable, as an experiment. There was no certainty of success, quite the opposite. That was an extremely uncertain risk. You can’t always play like that. But, at some point, you have to pluck up the courage to do something stupid, unexpected, different. You have to be ready for that. As Salvador Dalí said, the most important thing is to disgrace yourself. You can’t follow the beaten track and play it safe. In art? No way! All the greats took the riskiest roads.

It used to be important to record a good album, to have a tour, to generally deal with me; to be good, not to say the best. And even in a social sense, not only in our musical environment, to have a good attitude towards things. It wasn’t politicians on the front pages, but rather musicians

I need to be able to recognise talent and sincerity in someone’s music. I don’t need someone’s ingenuity; their calculated dexterity. Honest, innocent awkwardness is dearer to me; something that’s been made for the first time. Just like the Beatles. Every creation of the Beatles is a universe in and of itself. That’s because they experimented and took lots of risks. There are followers of trends and there are trendsetters. The critics had no idea what Jimi Hendrix was doing with his guitar. They weren’t mature enough back then to understand what he was doing. Nobody sounded or looked like Hendrix. And the audience followed him like sheep to a shepherd. And now everyone is pretending to be clever. Now everyone indulges the audience. That’s not art; that’s the worst mistake. The audience must love who you are, because you’re a trendsetter. The audience can’t tell me what I will play. On the contrary, I will tell them what they should listen to.

If art is meant to testify to the time in which the artist lives and creates, is it necessary for the artist to be a moral person; to advance along a path of virtue?

— Never confuse the work with the artist. That’s because an artist can be a rascal, a gambler; he can be Dostoevsky, he can be indebted, promiscuous. If you boil Miles Davis down to a man who used cocaine, who walked around with a gun and furiously drove his Ferrari around New York… His work is great, but his character was what it was. If you boil John Lennon down to a man who was addicted to heroin, then you’re totally mistaken.

An artist is just a human, with all the human frailties, faults and fears. I tried to keep my private life out of the media. The media are inquisitive; they would love to rummage around one’s bedrooms and closets. That’s not really my cup of tea. Of course, values exist that it isn’t good to humiliate, disrespect and compromise. Love, freedom – those are the main two words. Freedom of spirit, body, movement. Love for plants, animals, people, children, the universe. Love, universal love.

You’ve received numerous accolades and awards for your contribution to music throughout your career. You performed in 2013 with the London Symphony Orchestra (Miroslav Tadić and Teodoski Spasov). Could you share your impressions of that with us? What does it mean for an artist to find himself in the same group as the likes of Deep Purple and Pink Floyd?

— I must admit that it meant a lot to me. While I was waiting to appear on stage, I once again saw that 11-year-old boy that I once was, sitting in the yard, playing an acoustic guitar. The road was long, and I again looked to that little boy who was yearning not for success, but for music, for the guitar; to create something beautiful and to experience that artistic satisfaction.

If the Himalayas exist, if the Mount Everest of artists or musicians exists, it was right then that I climbed to its summit. There are few people who haven’t had a formal education and perform with that orchestra. There are almost none.

How did it come about that the members of Kings of Strings met? How did the idea of teaming up come about?

— That was a great adventure; three guitarists from different backgrounds. One Westerner, Tommy Emanuel, a country and western fingerpicker; one gypsy jazz musician from the Netherlands, Stochelo Rosenberg, a genius on the gypsy jazz guitar; and little old me, the boy from Skopje’s Taftalidža neighbourhood. And those are moments when you cross instruments, exchange life and musical experience, worldviews; when you share taste and knowledge. When you see how people conduct them selves and how much they practice during the day. That was all a big school for me.

Concerts commemorating the 50th anniversary of your career have been announced to take place in Skopje on 14th December, in Belgrade on 16th December and in Zagreb on 18th December. What are you preparing for us?

— I will try to channel my entire life’s journey for that one evening. I won’t make a documentary about myself, I’ll simply invite the friends who’ve made my career and life more beautiful over the years, and who’ve helped me realise some dreams. That will be an acoustic concert, and later an electric one. And they will be different. I’m not a fan of major spectacles, I don’t like too many lights and stage attractions. I love the magic to happen between the people on stage.

I need to be able to recognise talent and sincerity in someone’s music. I don’t need someone’s ingenuity; their calculated dexterity. Honest, innocent awkwardness is dearer to me

Too much emphasis is placed on production today. Well, I’m not going to watch someone’s light show. Pink Floyd did that 35-40 years ago, when they turned a light show into art. Everything is so predictable today. All those scanners, monitors behind the scenes, fireworks and pyrotechnics – it’s all been seen before. I need to see a man on stage who knows something and who feels something. Give me a little knowledge, skill and a bit more emotion. If you can throw me some emotional medallion, I’ll thank you. The concerts that have been most moving to me in my life had precisely that human dimension. Ray Charles in Skopje, a few string players from the Macedonian Philharmonic. His voice and his piano. Pure emotions.

You’re currently preparing your new album, Muscle Memory. Will we hear any of that during the concert?

— Oh yeah, hopefully the album will have been released by then, as I’m approaching the end of production. It will be very interesting. I have some neck-breaking guitar playing, some wondrous stuff.

For the people who follow me, for my fans, it will be a rich chocolate cake of an album. I want to give them a special treat, and to treat myself to a cake for the anniversary.

You’re also preparing memoirs that you plan to publish soon. Will they also come after the jubilee?

— The toughest part will be submitting the material to the publishers, who are pressuring me. I’m almost done, with just a few details left for me to finish. Yes, the memoir follows the jubilee that I’m not celebrating, but rather commemorating. That’s nonetheless an achievement, roaming around forests and mountains for 50 years, around various gigs.

That’s an impossible mission, especially in the Balkans, with its closed roads, borders, roads under construction. Sometimes there’s electricity and sometimes there isn’t. That’s 50 years of serious travel. It’s miles; as they say, it’s not the age, it’s the mileage.

We’re witnessing a veritable flood of tribute bands. How important is it for young people to create original, authentic music? How would you encourage them on that path?

— Bands got old, some died. Only the Stones provide solace… However, on the other hand, all symphony orchestras are actually tribute bands … to Bach, Beethoven, Mozart, Stravinsky. And those are tribute gigs and I have nothing against the artistic ones. The problem is that there are increasingly more quick offers with ideas of quick profit. Fast food, fast music. I would hereby encourage young people to borrow phrases and learn from others, from vinyl records, from CDs, from YouTube.

For me, music is the quickest link to connect with the universe, with some cosmic balance. Perfect harmony exists in the universe, in that chaos

But I would encourage them to make new music. The world doesn’t need copies; we need originals. I don’t need someone to perform Dire Straits for me – I saw them play live. Okay, musicians need work and that should be understood. On the other hand, it takes courage and audacity to make original music. And to compel listeners to buy it, to seek it out. I know that’s terribly difficult, but it’s also very sweet. If you manage to offer that audience your taste, your music, and they accept it, then that’s a very sweet victory.

In cooperation with Austrian company Thomastik-Infeld, guitar strings branded with your name and surname will be produced. You are the first artist in these lands to receive this honour…

— I will receive Infeld Strings, Vlatko Stefanovski Choice. I’m really looking forward to that! When I enter the guitar shop, I’m like a pubescent boy from the suburb of Taftalidže. When I see all these toys that I have enough of, but you never say that you have enough. Neither guitars, nor pedals, nor cables, nor amplifiers. That’s always a desire for something more.

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HR. Giger is the pioneer of Fantastic Realism. His artworks are iconic and define the very notion of sci-fi horror. His biomechanical dreamscapes are known for being nightmarish and eerie. Giger was a troubled soul, with many anxieties and fears, which he portrayed perfectly in his artworks. He became widely popular for creating the concept for Alien, Ridley Scott’s horror movie in the late 1970s. However, Giger was not only that. He was a creative genius. Many people worked with him because of his ability and talent to give life even to the most obscure sceneries. Yet, the artist felt tied up, so he created a museum in Switzerland that would fully express his art.

Hans Ruedi Giger was born in 1940 in Chur, Switzerland. In 1962, he moved to Zurich to study Architecture and Industrial Design at the School of Applied Arts. Two years later, he was already producing his first artworks, which were ink drawings and oil paintings, exhibited in his first solo exhibition in 1966. Despite this early success, he gained wider recognition in 1969 when one of his paintings became a poster. Not much later, he discovered the airbrush, which helped him find his personal and distinctive style. Thus, the artist gave birth to surreal biomechanical dreamscapes, full of nightmarish creatures, cramming and agonizing. He was always fascinated by mummies, skulls, and all things creepy, even as a little child.

Dalí introduced the Swiss artist to Alejandro Jodorowsky, a movie director. Jodorowsky hired him to create the concept for his version of Dune in 1965. However, the movie was never made

According to Andreas Hirsch, a curator and close friend of Giger, the artist started drawing at an early age as a means to cope with his recurring nightmares. Additionally, the artist grew up during World War II. He lived near Nazi Germany, and the fear of those times did not leave him unaffected. As he stated, “I could feel the atmosphere when my parents were afraid. The lamps were always a bluish dark so the planes would not bomb us.”

After WWII, the Cold War came, bringing a new fear of atomic warfare. This was another situation that affected the artist deeply, and he tried to ground it by painting. One of Giger’s biggest inspirations was Salvador Dalí. He was deeply fascinated by his Surrealism and the way he distorted figures. Dalí introduced the Swiss artist to Alejandro Jodorowsky, a movie director. Jodorowsky hired him to create the concept for his version of Dune in 1965. However, the movie was never made, and the artist remained outside the film industry for many years.

In 1977, Giger created the book Necronomicon, a dire reference to the one by H. P. Lovecraft. In the book, he illustrated the weirdest creatures that looked like gremlins; there were skeletal aliens gazing over landscapes with heavy mist; distorted bodies in ghost-white tones; even hues one step away from the abyss.

He became widely popular for creating the concept for Alien, Ridley Scott’s horror movie in the late 1970s. However, Giger was not only that. He was a creative genius

The book fell into the hands of Ridley Scott, who at that time, was in the process of creating Alien. Scott lost his breath over Giger’s art and asked him immediately if he would like to be the visual interpreter of the movie. Thus, the Xenomorph was born.

Giger based the alien’s concept on two lithographs from the Necronomicon. They portrayed a metallic-looking freakish creature, whose eggplant-shaped head became the xenomorph’s trademark. The xenomorph also has dripping teeth like stalactites, a sleek and spiky body, and a tail that the creature uses as a weapon. It is a horrific species that comes from the furthest, most despairing parts of space. The Alien left a legacy in the film industry. It has become not only a cultural icon but a point of reference for many horror, sci-fi, and obscure artistic creations today.

Giger won an Oscar in 1980 for Best Achievement in Visual Effects. Soon after, he worked on many other popular movies, such as Species, Alien II and III, Poltergeist II, Batman Forever, and others.

THE GIGER MUSEUM

Despite his great success, Giger felt incomplete because many of his designs could not be used in films. However, it was not until 1998 that he got the chance to finalize his artistic dreams. The artist designed the Giger Museum as an extension of this dream. The popular museum, located in the Château St. Germain, hosts the largest collection of Giger’s paintings, sculptures, furniture, and film designs, from the 1960s until today. The museum’s top floor houses Giger’s private collection. It includes artworks by those who inspired him most, such as Salvador Dalí and Ernst Fuchs. It also features works by Dado, Bruno Weber, Claude Sandoz, Joe Coleman, André Lassen, François Burland, Günter Brus, and many others. Furthermore, down at the bar, Giger placed the Harkonnen chairs and tables, which were designed for the unmade film Dune in 1965.

H. R. Giger passed away on May 12, 2014, in Zurich. His legacy is priceless, as he defined the very concept of space horror, leaving behind an indelible mark on both the art and film industries.

The post A Decade of Legacy appeared first on CorD Magazine.

Srdjan Bajić is a name that resonates profoundly within the contemporary art scene, particularly in the realm of sculpture. Known for his abstract and thought-provoking works, Bajić has carved a niche for himself as a pivotal figure in Serbian and international art. His sculptures not only adorn public spaces but also provoke deep contemplation about identity, history, and the intricate relationship between public and private spheres.

Born in 1957 in Belgrade, Serbia, Bajić’s journey into the world of art began at the Faculty of Fine Arts in Belgrade, where he honed his skills and developed his unique artistic language. Over the decades, he has built an impressive portfolio that includes public monuments, gallery installations, and collaborative projects, each reflecting his distinct style and thematic preoccupations.

Bajić’s sculptures are characterized by their abstract forms and the use of a variety of materials, including metal, wood, and synthetic substances. His works often explore themes of transformation and the passage of time, as well as the interplay between natural and man-made environments. This thematic versatility is matched by his ability to adapt his style to different contexts, making his works both site-specific and universally resonant.

One of the most striking aspects of Bajić’s work is his exploration of identity. This theme is particularly pertinent given the complex historical and political landscape of Serbia. Through his sculptures, Bajić delves into questions of national and personal identity, often blurring the lines between the two. His works serve as a medium for expressing the collective memory of a nation, while also inviting viewers to reflect on their own identities.

Bajić’s public sculptures are among his most notable contributions. These works are not only artistic statements but also serve as landmarks within their respective environments. One of his most significant projects is the “Laws of the Border” series, a collection of sculptures installed at the Sava River in Belgrade. This series examines the concept of borders—not just physical ones, but also the psychological and cultural boundaries that define human experience.

Another prominent work is his collaboration with architect Maja Bajić on the “Memory Pillar” project, a public monument dedicated to the victims of the 1999 NATO bombing of Serbia. This work, located in the Belgrade district of Vračar, combines architectural and sculptural elements to create a poignant memorial that encourages reflection and remembrance.

Bajić’s work is not confined to public spaces. His gallery installations offer a more intimate engagement with his themes and materials. The “Inner Spaces” series, for example, consists of smaller-scale sculptures that explore the concept of interiority and personal space. These works invite viewers to consider the boundaries between public and private life and the ways in which these boundaries are navigated and negotiated.

Bajić’s influence extends beyond the borders of Serbia. He has exhibited extensively across Europe, with shows in cities such as Paris, Berlin, and Venice. His participation in international biennales and exhibitions has earned him a reputation as a leading figure in contemporary sculpture. His works are included in the collections of several major museums and galleries, further cementing his status in the global art community.

One of the highlights of his international career was his participation in the Venice Biennale, where his work was featured in the Serbian Pavilion.

This exhibition provided a global platform for Bajić to showcase his unique artistic vision and to engage with an international audience.

Over the years, Bajić has received numerous awards and honors in recognition of his artistic achievements. These accolades include the prestigious October Salon Award, the Pollock-Krasner Foundation Grant, and the Vladislav Ribnikar Award for Visual Arts. These honors reflect not only his artistic talent but also his contribution to the cultural landscape of Serbia and beyond.

Mrdjan Bajić’s work continues to inspire new generations of artists. His ability to merge the personal with the political, and the abstract with the concrete, sets him apart as a visionary sculptor. His sculptures are more than mere objects; they are dialogues between the artist and the viewer, the individual and the collective, the past and the present.

As he continues to create and exhibit, Bajić remains a vital force in the art world. His commitment to exploring complex themes through sculpture ensures that his work will endure, inviting future generations to engage with the questions and ideas that shape our world.

In conclusion, Mrdjan Bajić’s contributions to contemporary sculpture are both profound and far-reaching. His works, which span public monuments and intimate gallery pieces, offer rich insights into the themes of identity, history, and the interplay between public and private spaces. Through his sculptures, Bajić not only reflects the complexities of the Serbian experience but also engages with universal themes that resonate across cultures and contexts.

The post Sculpting the Serbian Identity appeared first on CorD Magazine.

He once described the novel as “the only place in the world where two strangers can meet on terms of absolute intimacy.” His unique realm of chance, mystery, wonder, and happenstance resonated deeply with readers, creating a sense of personal connection and admiration.

Auster’s writing, while often bizarre and uncanny, felt to his readers like truth-telling with mesmerizing force. He restored the realm of miracles and fateful catastrophes to American literature, frequently quoting philosopher Pascal’s assertion that “it is not possible to have a reasonable belief against miracles.” Despite his reputation as a postmodern sorcerer of prose, he was also a sociable figure in the New York literary scene, known for his warm storytelling and agile wit. For four decades, he lived in Brooklyn with his second wife, writer Siri Hustvedt, with whom he shared a close literary partnership.

Auster’s career was marked by the same element of chance that drove his stories. His breakthrough work, City of Glass (1985), part of the New York Trilogy, launched him to fame after 17 rejections. Despite being perceived as a cool cult author, his pseudonymous earlier work, Squeeze Play (1982), a baseball-based crime caper under the name “Paul Benjamin,” revealed another facet of his talent. Auster’s love for baseball and his childhood disappointment at missing out on an autograph from his idol Willie Mays highlighted his human side. “I had quick reflexes and a strong arm – but my throws were often wild,” he once reminisced, reflecting on his early passion for the sport.

Oster restored the realm of miracles and fateful catastrophes to American literature, frequently quoting philosopher Pascal’s assertion that “it is not possible to have a reasonable belief against miracles”

Born in Newark, New Jersey, Auster’s early life and cultural experiences deeply influenced his work. His parents, Queenie (née Bogat) and Samuel Auster, were children of Jewish immigrants from Eastern Europe. They set him on a path of upward mobility through education, though they remained enigmatic figures to him. His memoir The Invention of Solitude (1982) was an attempt to understand his father’s impenetrable life. Ghostly fathers would become a recurring theme in his work. At the age of 14, Auster witnessed a peer struck by lightning, an event that became a paradigm for the unpredictable nature of life, and this theme permeated his later novel 4321 (2017), which explores the concept of alternate realities.

At Columbia University, Auster studied literature and participated in the 1968 student protests before moving to Paris to work as a translator of French poetry. Living in a literal garret with writer Lydia Davis, he scraped by, returning to New York in 1974 with only nine dollars to his name. After marrying and subsequently divorcing Davis, with whom he had a son, Daniel, Auster continued to struggle financially. His memoir Hand to Mouth: A Chronicle of Early Failure (1997) captures these years of hardship.

In 1982, he married novelist and essayist Siri Hustvedt, who became his first reader and trusted guide. Together, they had a daughter, Sophie. Their home in Brooklyn became a hub of literary creativity, with Auster writing in longhand before editing on his cherished Olympia typewriter. Hustvedt’s influence and support were instrumental in Auster’s prolific output. The success of the New York Trilogy (Ghosts and The Locked Room followed a year after City of Glass) solidified Auster’s status, attracting both celebrity and new opportunities. He ventured into screenwriting for arthouse films like Smoke and Blue in the Face (both 1995) and even directed The Inner Life of Martin Frost (2007). His fiction, characterized by its enigmatic and hallucinatory aura, reached new heights with novels like The Music of Chance, Leviathan, and Mr Vertigo. Although some works leaned towards whimsy, stronger novels like The Brooklyn Follies (2005) continued to reflect contemporary American life with acute insight.

Paul Auster’s literary legacy is one of a world where the magic of chance and the reality of human emotion coexist. His works continue to resonate with readers, ensuring his place in the pantheon of great American writers

Auster was not only a literary figure but also an active participant in current affairs. He held office in the writers’ organization PEN, vehemently opposed the rise of Donald Trump, and often spoke about the core schism in American society between ruthless individualism and communal responsibility. His commitment to political engagement was evident in his writings and public statements.

The ferocity of fate that scars Auster’s work also marked his personal life. Diagnosed with cancer in 2023, he continued to be prolific, publishing an impassioned essay on America’s gun culture, Bloodbath Nation, and his farewell novel, Baumgartner, in the same year. His final works reflect his enduring engagement with themes of grief, loss, and the unpredictability of life.

Paul Auster’s literary legacy is one of a world where the magic of chance and the reality of human emotion coexist. His works continue to resonate with readers, ensuring his place in the pantheon of great American writers. He is survived by his wife Siri Hustvedt, daughter Sophie, grandson, and sister Janet.

The post Master of Fiction and Fate appeared first on CorD Magazine.

Milan Cile Marinković is a name that resonates profoundly within the world of arts and culture in Serbia and beyond. With a career spanning several decades, Marinković has established himself as a multifaceted artist, whose work encompasses painting, sculpture, and cultural advocacy. His journey is one of unwavering commitment to his craft, marked by a profound influence on contemporary Serbian art.

Born in Belgrade, Milan Cile Marinković displayed an early interest in the arts. This passion led him to enrol at the Faculty of Fine Arts in Belgrade, where he honed his skills under the mentorship of some of the most respected artists and educators of his time. His formative years at the academy were characterised by rigorous training and an exploration of various artistic styles and techniques, which would later inform his diverse body of work.

Marinković’s work is often described as a fusion of traditional and modernist elements. His paintings are known for their vibrant colour palettes and dynamic compositions, often reflecting themes of nature, human emotion, and abstract forms. His sculptures, on the other hand, are celebrated for their intricate details and innovative use of materials.

Beyond his art, Marinković champions Serbian culture, founding the Marinković Art Foundation to support emerging artists and preserve Serbia’s rich artistic heritage

One of his most acclaimed works is the painting series “Eternal Landscapes,” which captures the serene beauty of the Serbian countryside. Through bold brushstrokes and masterful use of light and shadow, Marinković brings to life the rolling hills, dense forests, and tranquil rivers of his homeland. This series not only showcases his technical prowess but also his deep connection to the natural world.

In sculpture, Marinković has made significant contributions with pieces such as “Harmony in Stone” and “The Spirit of Freedom.” These works are characterised by their fluid forms and the seamless integration of different materials, such as marble, bronze, and wood. His sculptures often convey a sense of movement and vitality, inviting viewers to engage with the physicality of the pieces and the emotions they evoke.

Beyond his contributions as a visual artist, Milan Cile Marinković has been a tireless advocate for the arts in Serbia. He has played a pivotal role in numerous cultural initiatives and organisations, working to promote the visibility and appreciation of Serbian art both domestically and internationally. His efforts have included organising exhibitions, participating in cultural forums, and mentoring young artists.

One of his notable achievements in this area is the establishment of the “Marinković Art Foundation,” which aims to support emerging artists through scholarships, residencies, and exhibitions. The foundation has become a vital resource for the next generation of Serbian artists, providing them with opportunities to develop their talents and gain recognition in the broader art world.

A multifaceted Serbian artist, Milan blends traditional and modernist elements in his vibrant paintings and fluid sculptures, earning global acclaim

Marinković has also been instrumental in the preservation and promotion of Serbia’s artistic heritage. He has worked closely with museums and cultural institutions to curate exhibitions that highlight the richness and diversity of Serbian art history. His efforts have helped to ensure that traditional art forms and contemporary practices are celebrated and preserved for future generations.

Throughout his career, Milan Cile Marinković has received numerous accolades and awards in recognition of his artistic achievements and contributions to culture. His works have been exhibited in prestigious galleries and museums around the world, earning him a global following. Despite his international success, Marinković remains deeply rooted in his Serbian heritage, drawing inspiration from the cultural and natural landscapes of his home country.

Marinković’s legacy is one of passion, innovation, and dedication to the arts. His body of work continues to inspire and challenge audiences, while his advocacy efforts have paved the way for future generations of artists. As he continues to create and contribute to the cultural fabric of Serbia, Milan Cile Marinković stands as a testament to the enduring power of art and the vital role of the artist in society.

Milan Cile Marinković’s life and work exemplify the profound impact that a dedicated artist can have on both the art world and society at large.

Through his paintings and sculptures, he has explored the depths of human experience and the beauty of the natural world, while his cultural advocacy has fostered a vibrant artistic community in Serbia. As he looks to the future, Marinković remains a guiding light for aspiring artists and a cherished figure in the world of contemporary art.

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Uroš Predić, a prominent figure in Serbian art history, left an indelible mark through his exceptional talent and prolific contributions to Realist painting. Born on 7th September, 1857, in Orlovat, a village in present-day Serbia, Predić displayed early artistic promise. He embarked on a journey that would establish him as one of the most celebrated painters in Serbia and beyond.

Predić’s artistic education began at Art School in Kecskemét, Hungary, where he studied under the renowned Hungarian painter László Paál. He later continued his studies at the Academy of Fine Arts in Vienna, Austria, under the guidance of Christian Griepenkerl and Leopold Carl Müller. These formative years laid the foundation for Predić’s distinctive style and thematic interests.

The hallmark of Predić’s oeuvre lies in his adeptness at capturing the essence of Serbian life, history, and culture. His works often depicted scenes from rural Serbia, portraying the everyday lives of peasants, their struggles, joys, and traditions.

One of his most iconic paintings, “Kosovo Maiden,” completed in 1919, exemplifies his ability to infuse historical narratives with emotional depth and visual richness.

Predić’s iconic ‘Kosovo Maiden’ painting symbolises Serbia’s collective mourning and resilience after the Battle of Kosovo

“Kosovo Maiden” is based on the eponymous Serbian national poem that narrates the tragic events of the Battle of Kosovo in 1389. Predić’s interpretation of the poem portrays a poignant moment where a young maiden grieves over her fallen beloved, symbolizing the nation’s collective mourning and resilience. The painting’s composition, use of light and shadow, and the evocative depiction of emotions earned it widespread acclaim and solidified Predić’s reputation as a master storyteller through fine art.

Beyond historical subjects, Predić’s body of work includes numerous portraits, landscapes, and religious themes. His portraits, characterised by a keen attention to detail and psychological insight, captured the essence of his subjects, whether they were historical figures or ordinary people. Predić’s portraits of Serbian luminaries such as Njegoš, Karađorđe, and Miloš Obrenović, not only portrayed their physical features, but also conveyed their inner strength and character.

In addition to his mastery of painting, Predić made significant contributions to church decoration, leaving a lasting impact on Serbian religious art. His frescoes and iconographic works adorn many Serbian Orthodox churches, blending artistic skill with spiritual reverence. Predić’s religious art reflects a deep connection to Serbian Orthodox traditions and a profound understanding of iconography’s symbolic language.

Predić’s artistic legacy extends beyond his paintings and murals. He was a dedicated educator who influenced generations of Serbian artists through his teaching and mentorship. Serving as a professor at the Academy of Fine Arts in Belgrade, Predić shaped the artistic landscape of Serbia and nurtured emerging talents. Despite living through tumultuous periods in Serbian history, including World War I and the interwar years, Predić remained committed to his artistic vision. His resilience, coupled with his unwavering dedication to portraying the beauty and complexity of Serbian life, ensures his enduring relevance in the annals of art history.

Today, Uroš Predić’s works are revered treasures displayed in museums, galleries, and private collections worldwide. His art continues to inspire and captivate audiences, transcending temporal and cultural boundaries.

Through his paintings, Predić immortalised the spirit of Serbia, leaving a timeless legacy that resonates with admirers of Realist art and Serbian heritage alike.

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Miloš Šobajić, born in 1945 in Belgrade, Serbia, is a distinguished artist whose work spans several decades and encompasses painting, sculpture, and multimedia. His artistic journey began in the cultural milieu of post-war Yugoslavia, where he developed his unique style that would later gain international acclaim.

Šobajić studied at the Academy of Fine Arts in Belgrade, where he was exposed to various artistic movements and philosophies. His early work was marked by a strong expressionistic approach, often focusing on human figures and faces, imbued with intense emotion and a sense of existential turmoil.

This period of his career was reflective of the broader socio-political tensions in Yugoslavia and the search for individual identity within a changing society.

In the 1970s, Šobajić moved to Paris, a decision that significantly impacted his artistic development. Paris, with its rich artistic tradition and vibrant cultural scene, offered him new perspectives and inspirations. During this time, his style evolved, incorporating elements of surrealism and abstract expressionism. His paintings began to feature more complex, dream-like scenes with distorted figures and objects, conveying a sense of the surreal and the subconscious.

Miloš significantly contributed to the Serbian and European art scenes, both through his influential works and as a mentor to emerging artists

Šobajić’s work is known for its dramatic intensity and visual impact. His use of bold colors, dynamic compositions, and textured surfaces creates a powerful visual language that engages viewers on both an emotional and intellectual level. His paintings often explore themes of human existence, suffering, and the metaphysical, questioning the nature of reality and human perception.

Throughout his career, Šobajić has maintained a strong connection to his Serbian roots, and his work often reflects the historical and cultural complexities of the Balkans. He has been an influential figure in the Serbian art scene, contributing to its development and international visibility. His dedication to exploring and challenging the boundaries of art has made him a key figure in contemporary Serbian and European art.

In addition to painting, Šobajić has made significant contributions to sculpture and multimedia art. His sculptures, often large and made of bronze or other metals, echo the themes and aesthetic concerns of his paintings, with distorted forms and surfaces that suggest movement and transformation.

His art is celebrated for its dramatic fusion of surrealism and expressionism, creating impactful, dream-like scenes that delve into existential themes

Šobajić has exhibited extensively in galleries and museums worldwide, earning him a reputation as one of the leading artists of his generation. His work is included in numerous public and private collections, and he has received several prestigious awards for his contributions to art.

Beyond his artistic achievements, Šobajić has also been involved in education and cultural advocacy. He has taught at art schools and universities, sharing his knowledge and experience with younger generations of artists and encouraging them to pursue their own artistic paths.

In summary, Miloš Šobajić’s life and work represent a profound engagement with the visual and existential dimensions of art. His innovative approach, marked by a deep understanding of historical and cultural contexts, continues to inspire and challenge the conventions of the art world. His legacy is that of a creator who transcends boundaries, offering a vision of art as a vital, ever-evolving dialogue with the world.

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Milena Pavlović-Barili, born in 1909 in the Serbian town of Požarevac, was an artist whose work transcended the conventional boundaries of her time, blending elements of surrealism, symbolism, and a unique ethereal quality that was all her own. Her upbringing in a creative household, with a father who was a composer and a mother an opera singer, undoubtedly influenced her artistic path, imbuing her works with a lyrical and melodious quality.

Pavlović-Barili’s education in art began in Belgrade and continued in Munich at the Royal School of Arts, where she honed her skills and developed her distinctive style. Her work often explored themes of mythology, spirituality, and femininity, weaving these elements into captivating visual narratives that spoke of deeper, universal truths.

One of her most significant pieces, “The Knight of Death,” created in 1938, delves into the themes of mortality and the transient nature of life. The painting portrays a knight, a timeless symbol of the march towards death, yet there’s an inherent beauty and tranquility in the composition, suggesting a serene acceptance of life’s inevitable end.

Her “Self-Portrait with Lute,” painted in 1942, showcases Pavlović-Barili’s introspection and her connection to the Renaissance era, a period that greatly influenced her work. The self-portrait, characterized by its dreamlike ambiance and the symbolic presence of the lute, reflects her personal narrative and her artistic lineage, drawing a parallel between her creative process and the harmonious melodies of music.

Another notable work, “Rider,” epitomizes Pavlović-Barili’s fascination with the mythical and the spiritual. The painting features a lone figure on horseback, set against a backdrop that merges reality with the surreal, prompting viewers to contemplate the spiritual journey of life.

“Phantasmagoria” is a visual exploration of the surreal, where Pavlović-Barili masterfully blurs the lines between the tangible and the mystical. This piece invites the audience into a realm of dreams and the subconscious, showcasing her ability to capture the ineffable aspects of human experience.

Pavlović-Barili’s artistic journey was tragically cut short when she passed away in New York City at the young age of 35. However, her legacy lives on through her art, which continues to enchant and provoke thought with its mystical beauty and profound depth. Her paintings are celebrated for their ability to bridge the gap between the visible world and the unseen realms of the psyche, offering viewers a glimpse into the enigmatic nature of existence.

Throughout her career, Pavlović-Barili exhibited her work across Europe and the Americas, gaining acclaim for her unique vision and her ability to infuse her art with a sense of otherworldliness and introspection. Her contribution to the art world remains significant, as she pushed the boundaries of traditional art forms and paved the way for future generations of artists to explore the interplay between reality and imagination.

In the end, Milena Pavlović-Barili’s life and oeuvre serve as a testament to the enduring power of art to transcend time, space, and the limitations of the human condition. Her work invites us on a journey through the landscapes of the mind, where the mystical and the mundane intertwine, offering a window into the soul of an artist who saw the world not only for what it was but for what it could be. Her legacy is a reminder of the transformative potential of creativity and the boundless realms of imagination that lie within each of us, waiting to be explored.

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Director Jelena Medaković of the Belgrade City Museum shared with “Vreme” the artwork’s arrival, highlighting the extensive precautions taken to ensure its safe transport. “The painting has been unpacked and is in perfect condition, showcasing its full splendor and beauty,” Medaković noted.

A minor adjustment to the painting’s frame is anticipated before its public display. The museum aims to complete this swiftly, allowing the artwork to be exhibited at the historical Konak of Princess Ljubica. This setting is expected to complement the painting’s era and enhance the overall experience for visitors.

Details regarding the exhibition’s opening will be shared with the public once all necessary preparations are concluded, ensuring that this masterpiece is accessible to both local and global audiences.

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In the world of art, certain figures transcend the boundaries of their homeland, etching their legacy in the global tapestry of culture. Pavle “Paja” Jovanović, born in 1859 in the then Habsburg Monarchy town of Vršac, now in Serbia, is one such luminary. A name synonymous with Serbian national pride, Jovanović’s brush strokes told stories that resonated far beyond the confines of a canvas.

Jovanović’s journey into the art world was almost predestined, with his father’s profession as a photographer introducing him to the world of visuals at a young age. His prodigious talent was evident early on, and it led him to the prestigious Academy of Fine Arts in Vienna at just 15. This city, a melting pot of European art and culture, was where Jovanović’s artistic identity was forged.

Under the guidance of Christian Griepenkerl and Leopold Carl Müller, Jovanović mastered the Realist style. But it was his infusion of Academic art techniques that set his work apart, making it both technically impeccable and emotionally resonant. His paintings were not mere representations; they were stories told through the medium of oil and canvas.

Jovanović’s Realist style, infused with Academic art, brought stories to life on canvas, making each painting a vivid narrative

Perhaps no work of Jovanović better encapsulates his style than “The Migration of the Serbs.” This masterpiece is a vivid portrayal of a key moment in Serbian history, depicted with an almost photographic realism. The painting is a tapestry of emotion and movement, capturing the struggles and hopes of a people in flux.

But Jovanović’s art was not confined to the grand narratives of history. He was equally adept at capturing the essence of Serbian rural life, with his portraits of peasants and everyday scenes being particularly notable. These works, marked by an acute attention to detail and a profound understanding of light and shadow, bring the viewer into intimate contact with the subject.

In a career that spanned decades, Jovanović became more than just an artist; he became a national icon. His works were a source of pride for the Serbian people, a celebration of their history, culture, and identity. Even today, his paintings are not just art; they are windows into the soul of Serbia.

As we look back on the life and work of Paja Jovanović, it is clear that his legacy is not confined to the frames of his paintings. It lives on in the heart of a nation and in the annals of art history, a testament to the power of a paintbrush in the hands of a master.

His ‘Migration of the Serbs’ masterfully captures Serbian history, cementing Jovanović as a national icon and artistic inspiration

His enduring influence is evident in the way contemporary Serbian artists approach their craft. Jovanović’s blend of realism and emotive storytelling continues to inspire a new generation of artists, who see in his work a bridge between the past and the present. His ability to capture the spirit of a moment, whether in the grandeur of a historical epic or the simplicity of rural life, remains a benchmark for artistic excellence.

Moreover, Jovanović’s impact extends beyond the art world. His paintings have become cultural artifacts, symbols of a national identity that has weathered the storms of history. They remind us of the power of art to transcend time, to speak to generations long after the artist has left the easel. In Jovanović’s work, we find a celebration of the human spirit, a chronicle of a people’s journey through the ages.

As we continue to admire the beauty and depth of Jovanović’s art, we are reminded of the enduring power of creativity and expression. His legacy is not just in the paintings he left behind, but in the inspiration he continues to provide to those who encounter his work. Paja Jovanović was more than just a painter; he was a storyteller, a historian, and a visionary whose art will continue to captivate and inspire for generations to come.

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In the annals of Serbian art, few names shine as brightly as that of Olja Ivanjicki. Born in 1931 in Pančevo, Ivanjicki’s journey was not just one of artistic exploration but also of profound cultural synthesis. Her early years, marked by the turbulence of World War II, shaped a worldview that sought solace and expression in the realms of art.

In the annals of Serbian art, few names shine as brightly as that of Olja Ivanjicki. Born in 1931 in Pančevo, Ivanjicki’s journey was not just one of artistic exploration but also of profound cultural synthesis. Her early years, marked by the turbulence of World War II, shaped a worldview that sought solace and expression in the realms of art.

Ivanjicki’s education in Belgrade’s Academy of Fine Arts laid the foundation for a career that would defy conventions. Her artistic voice first echoed in the halls of post-war Yugoslavia, a country yearning for new narratives. It was here that she, alongside other avant-garde artists, founded the Mediala art group in 1953. This collective, a melting pot of surrealists and abstract expressionists, became a beacon of innovative thought in the Yugoslav art scene.

Ivanjicki’s work, a mesmerising blend of painting, sculpture, and poetry, mirrored her eclectic interests. Her canvases were not mere art; they were portals to other dimensions, where the boundaries between science, mythology, and metaphysics blurred. Her vibrant use of colour and imaginative compositions transported viewers to realms that defied temporal constraints, often incorporating cosmic and futuristic themes.

Her paintings, often large-scale, were imbued with a sense of the infinite. They evoked a cosmos alive with possibility, a universe unbound by the limitations of earthly existence. In a country rebuilding itself, Ivanjicki’s art offered a glimpse into other worlds, other potentials. It was an invitation to dream, to imagine a future unshackled by the past.

Her poetic work, often overshadowed by her visual art, was equally profound

Ivanjicki was not content to remain within the confines of traditional art. She ventured into sculpture, bringing her ethereal visions into the tangible world. Her sculptures, like her paintings, were characterised by an otherworldly quality, as if they were artefacts from a distant, advanced civilisation.

Her poetic work, often overshadowed by her visual art, was equally profound. It offered insights into her inner world, a place where art and philosophy converged. Her poetry was a reflection of her belief in the transformative power of art, its ability to transcend the mundane and touch the divine.

Throughout her life, Ivanjicki remained at the forefront of Serbian art, continuously pushing the boundaries of her craft. Her legacy is not just in the art she created but in the barriers she broke. She showed that art could be more than a reflection of reality; it could be a window into what lies beyond.

As the world evolves, Ivanjicki’s work remains a testament to the power of imagination. In her visionary fusion of art and cosmos, she left behind a legacy that continues to inspire and intrigue, a reminder of the boundless potential of human creativity.

Photos: Olja Ivanjicki Fund

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Nadežda Petrović, born in 1873 in the quaint town of Čačak, stands as a towering figure in the annals of Serbian art history. Often dubbed Serbia’s most eminent female painter, her contribution to the realm of Impressionism and Fauvism has firmly placed her in the echelons of European art.

EARLY LIFE AND EDUCATION

Hailing from an intellectually inclined family, Petrović’s flair for art was evident from a tender age. Encouraged by her surroundings, she embarked on formal art education at the School of the National Museum in Belgrade. Her thirst for mastery led her to Munich, where she refined her skills under the tutelage of the eminent Anton Ažbe.

ARTISTIC EVOLUTION

Petrović’s oeuvre is marked by a distinct evolution. Initially imbibing the nuances of academic realism, her palette and brushwork began to reflect the shifts in the European art scene. Her exposure in Munich introduced her to the Impressionist ethos, which she adapted with a touch of Fauvist vivacity. The Serbian landscapes, rendered in ebullient hues, became a recurrent theme in her works.

Her portraits, too, are a testament to her prowess. Whether it’s the visage of a Serbian peasant or the genteel features of urban elite, Petrović captured the soul of her subjects with an astute sensitivity.

WAR AND ART INTERTWINED

The Balkan Wars and subsequently, the First World War, profoundly impacted Petrović, both personally and artistically. Her paintings from this period are not mere chronicles but emotive expressions of the ravages of conflict. Driven by a deep-rooted sense of patriotism and empathy, she served as a nurse during these wars, a role that brought her face-to-face with the realities of human suffering. Her wartime canvases, such as the haunting “Warrior’s Grave” and the poignant “Kosovo Heroes”, bear witness to the agony of war, yet they also immortalise the indomitable Serbian spirit.

LEGACY AND DEMISE

Petrović’s life, tragically cut short in 1915 by typhus contracted while she was on duty as a nurse, is emblematic of an artist’s commitment to her nation and craft. Her early demise at 42 did not deter the momentum of her legacy.

The eponymous ‘Nadežda Petrović Memorial’, an art exhibition established in her honour, ensures her memory remains vibrant in Serbia’s cultural landscape. Furthermore, her works are pivotal exhibits in Serbia’s national galleries, continuing to inspire generations of artists and art aficionados.

IN RETROSPECT

Nadežda Petrović’s life and work is a potent blend of passion, innovation, and commitment. Her canvases are more than mere paintings; they are chronicles of a nation in flux, reflections of an artist’s soul, and embodiments of an era’s ethos. In the rich tapestry of Serbian art, Petrović’s thread shines with a luminance that time has failed to dim.

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A HUMBLE BEGINNING: CASTLEFORD BORN

Born in the West Yorkshire town of Castleford in 1898, Moore’s early life gave little hint of the artistic titan he would become. The seventh of eight children, his family was of modest means, with his father working as a miner. Yet, it was these humble beginnings that shaped Moore’s understanding of the human form, with its enduring strength and fragility.

WAR AND ART: THE FORMATIVE YEARS

Moore’s journey into the world of art began at Leeds School of Art. However, the outbreak of World War I interrupted his studies. Serving in the Civil Service Rifles regiment, he witnessed the harrowing realities of war, which undoubtedly influenced his later works. After the war, he resumed his studies, thanks to an ex-serviceman’s grant, and later secured a scholarship to the Royal College of Art in London.

A DISTINCTIVE VOICE: THE EMERGENCE OF A MASTER

By the 1930s, Moore had begun to establish himself as a leading figure in the world of modernist sculpture. His work was distinct, drawing from natural forms, yet abstracted to capture the essence of the subject. The human figure, particularly the mother and child theme and the reclining figure, became central motifs. His pieces evoked a sense of timelessness, merging the ancient with the modern.

THE WAR YEARS: SHELTER DRAWINGS AND HUMANITY

World War II saw Moore take a slight detour from his beloved sculpture. With Londoners seeking refuge in underground stations during air raids, Moore was moved by the sight. These scenes culminated in his ‘Shelter Drawings’, a poignant reflection of humanity amidst the chaos. They were a departure from his sculptures but bore the unmistakable stamp of Moore’s sensitivity and insight.

GLOBAL RECOGNITION: FROM BRITAIN TO THE WORLD

Post-war, Moore’s reputation soared. Exhibitions in Europe, North America, and beyond cemented his status as one of the leading sculptors of the 20th century. Commissions flowed in, and his monumental outdoor pieces began gracing public spaces, from London’s Kenwood House to UNESCO’s Paris headquarters.

LEGACY: THE LASTING IMPACT OF MOORE

Today, 125 years since his birth, Moore’s legacy remains undiminished. The Henry Moore Foundation, established in 1977, ensures that future generations can engage with and be inspired by his work. His pieces, a fusion of abstraction and reality, continue to evoke strong reactions, bridging the gap between the past and the present, the tangible and the ethereal. The life of Henry Moore is a testament to the enduring power of art, a beacon that reminds us of humanity’s capacity for creativity and innovation. As we commemorate the 125th anniversary of his birth, we are reminded once again of the timeless nature of his work and of the man behind the masterpiece.

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A s soon as you step inside the library, you will be awestruck by its grandeur. With over seven million items in its collection, including books, manuscripts, maps, photographs and prints dating back to the 14th century, it’s no surprise that this library is considered one of the most important cultural institutions in Austria. Including rare and valuable works dating back to the Middle Ages, it is a treasure trove for scholars, researchers, and book lovers.

Established in 1368 by Duke Albrecht III, the Austrian National Library is also one of the oldest and most beautiful libraries in the world. The old baroque library of the Habsburg empire is located in Hofburg Palace.

The library’s main building is the magnificent Palais Mollard-Clary, which was built in the 18th century by famous Baroque architect Johann Bernhard Fischer von Erlach. The interior is just as stunning as the exterior: visitors are awed by its grand staircase, ornate ceilings and frescoes, marble columns and statues. There are several reading rooms where visitors can study or browse through books on various topics, such as art history, musicology or law.

But what makes this library truly special is its commitment to preserving and promoting knowledge for generations to come. The Austrian National Library has embraced technology by digitising many of its collections so that people from all over the world can access them online.

AN ARCHITECTURAL MARVEL

The library is not only a repository of knowledge, but also a stunning architectural masterpiece. Its opulent interior, adorned with frescoes, gold leaf accents, and magnificent statues, transports visitors to a bygone era of grandeur and elegance.

A COLLECTION THAT TRANSCENDS BORDERS

The library’s vast collection covers diverse subject matters and spans various time periods. From medieval manuscripts to contemporary literature, from scientific treatises to musical scores, the Austrian National Library offers a comprehensive body of work that caters to every scholarly interest.

A ROYAL REPOSITORY

The Austrian National Library served as the royal library of the Habsburg monarchy. Emperors and archdukes amassed an impressive collection of books and manuscripts, many of which are still preserved within the library’s walls.

ACCESSIBLE TO ALL

The Austrian National Library is committed to providing access to its collection for everyone. Scholars, researchers, and curious visitors can explore its holdings and delve into the fascinating world of literature and history.

The Austrian National Library is a treasure trove of knowledge and history, housing an impressive collection of books, manuscripts and artefacts. Its stunning architecture, rich cultural heritage and educational programmes make it a must-visit destination for book lovers and history enthusiasts alike. Whether you’re marvelling at the intricate beauty of the State Hall, exploring the diverse collection of the Papyrus Museum, or immersing yourself in the digital world of the ONB labs, the Austrian National Library offers an unforgettable experience for all visitors. In This remarkable institution, centuries of knowledge and culture await.

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