ART

    The geographical area that present Bitola is located in, since prehistoric times, antique, middle ages onwards, represented a wide space for various influences of numerous civilizations known to the history of art. The great number of preserved cultural monuments of art, sculpture, wood-carving best witness that. They remained to speak of the past, here, plenty of creation traces of the old builders, mosaic masters, stone carvers, icon painters, wood-carves, who, through their grand work, managed to save at least part of spiritual values from time oblivion. This is witnessed by the plenty archeological localities, known in the world as well.             Macedonia, and that includes this Bitola area, was rightly called the magic land of archeology. Traces of art and remnants of this material culture were discovered in Stobi, Heraclea, Lihnidos, Vinica Fortification and many others, including those from Bitola and its surroundings. Not only that they belong to the precious pieces of world treasury, but make this land a treasury itself. There are plenty of them: luxurious buildings, palaces, antic theatres, porticos, thermal baths, early Christian basilicas, residences, churches, monasteries, mosques, samples of folk architecture etc. In these buildings or around them a number of objects were founds: decorations, tools, relief's, mosaics, stone and metal works, money, religious books, jewelry, records, inscriptions, folk, embroidery, folk costumes etc. each of them unsurpassable in their beauty. Many of them appear to be convincing witnesses of high artistic achievements of that time art culture. It is this richness that makes Bitola attractive to be seen, to be felt on the very place, in museum exhibition premises and historical sites. The real art lovers are aware of its values and, consequently, are its guests very often.

    In order to make a more thorough view of art in the course of centuries in this Bitola region, we will make a short stroll through art history.

    Simultaneously with the important historical events that took place during the last few centuries before arriving of Turks on the Balkan, art and architecture used to flourish in this area. The numerous churches and monasteries are the most remarkable witnesses of high culture that was dispersed from these spiritual sanctuaries of middle ages.

        Macedonia church was almost the only guardian of region and a representative of civilization values created by our people over the centuries, spreading and at the same time guarding its religion. Monasteries were usually built in the most picturesque regions of the beautiful Macedonian mountains, away from the urban noise, almost in an ideal purity of nature that nurtured the body and the spirit-conditions that can only be desired for creative work. Behind the heavy monastery ports and thick stone walls, under the high ceilings painted by the skillful hands, usually by anonymous wall painters, and the dull sound of the chisel of wood-carving groups, Macedonian wall and picture painting during slavery time. The authors of this kind of painting except innate talent and self education, came with knowledge from majority of painting workshop in bigger Balkan cultural centers. Some of them kept in touch with prominent wall painters, icon painters from: Constatinopolis, Holy Forest, Thessaloniki, Kiev etc. Most frequently they were religious people: monks, archbishops, abbots, priests as well as other higher church dignitaries. In many monasteries teaching this kind of painting was a constituent part of the process of acquiring knowledge that was to be gained by the monks in their overall theological education. Of course not all of them became painters. That honor was reserved for the best who plunged deeper in the secrets of this kind of painting as well as other skills. In such a way, our monasteries were places where not only priests but also famous artists were born. Some of them, usually at their own will, remained anonymous and spent all their lives as priests, and other continued the tradition of Macedonian church painting as a family commitment.

It is considered that during middle age period there were about 250 big and rich monasteries in Macedonia. Later, part of them were destroyed and transformed into sacral buildings of other religions. In the wider region of Bitola there were a lot of monasteries, which with their valuable art heritage, left a mark in the overall cultural heritage in the last 5-6 of this millennium.

    Byzantine middle age art and construction work left a remarkable trace. Observing our cultural monuments from that period, their marvelous exterior, gayety of shape and lines in space, fronts, cupolas and all that astonishes human eye, made of ceramic plastic and carved stone created by the skilled hands of local wood-carver, elevated Macedonian country to a rank of cradles of civilized world. The preserved frescos, wall paintings, icons, altar elements, polilies, marble iconostasis, abundantly decorated draperies and other elements that constitute the interior decoration of our famous churches and monasteries, left and are still leaving art world in admiration. What could, and can yet be seen in the Ohrid church of St. Sofia, St. Gorgi in village Kurbinovo-Resen, monastery St. Nicola in village Manastir-Mariovo, churches St. Bogorodica Perivleptos (St. Clement) and St. Jovan Caneo form Ohrid, church St. Nicola from Varosh, monastery Treskavec near Prilep, monastery St. Preobrazhenie in village Zrze-Prilep area, as well as sacral buildings located in wider area of Bitola, speak of high achievements of middle age art, created by a great number of known and anonymous wall and icon painters. Among them were the renown painters Mihail Estrapa and Evtihij, who worked in Macedonia in the end of the 8th and the beginning of the 9th century.

    Picture painting did not lag behind wall painting in any respect, but due to the familiar historical events which occurred in Macedonia during these centuries, many icons, pictures and other objects of art were lost in wars or taken away by conquerors. The ones that were saved from being time-worn of from usurpers, bear all the characteristics of supreme art, history and iconography. Even some of the most eminent experts in this art expressed their admiration for this kind of painting and the icons from this area kept in churches or museum depots. As it is known already, pearls of this kind of painting are the Ohrid icons (6th – 8th century), especially those in St. Bogorodica Perivlepta, among which is the master-piece of Byzanth painting-the icon with a painting of St. Bogorodica Odigitrija on one side, and Chist’s Crucifixion on the other. Even though dating from later centuries, numerous similar works that decorate older churches and monasteries in Bitola and its region were made following the example of this icon painting master. What makes this painting and its founders Mihajlo and Evtihie special is the strife to abandon old ideas about church art, giving the characters and the composition a specific inner dynamics and real approach to the painted world around them. Of course this was not the only feature. The usage of red, green, blue, white and light ochre enables creating of half tones, which gives the picture a more plastic expression. Those who learned from their mastery during the following centuries, even though could not reach their teachers’ art achievement, made a quick step forward towards the ideas of painting creative skill. There were painters who did not try to copy or take after some of the prominent masters of middle age painting. They created works on the basis of their notions of art, or following the example of other painters not known to science so far. The case with the unknown painter of the church St. Nicola in Varosh-Prilep area, from the end of the 8th century might he the best confirmation of such an attitude in creating an individual art expression.

Following traces of the middle age art in Macedonia, and in a more narrow sense in Bitola, it is clearly evident that even as early as the second half of 4th century Macedonian Slavs that lived on these Balkan areas, as a result of the historical conditions but also their developing cultural level, accepted Byzantine esthetics into the religious art. But, what is more important, is the immense affirmation of Ohrid, not only as a spiritual, but as a cultural center as well. Aside the presence of art belonging to other nations, it was here that most of our national art foundations were established. The famous Ohrid School of St. Clement and Naum, together with their disciples started carrying the torch of a new culture and education from these areas. Its light strongly pierced the dark middle age centuries even in the periods to follow. Part of that light illuminated Bitola areas.

    If we look deeper into that time cultural heritage preserved till present days, a very interesting occurrence strikes the eye. Art at that time, such as fresco and wall painting, icon painting, decorative plastic, architectonic mastery, bears the marks of Constantinopolis notions of cultural development: monumentality, hard contour, palace elegance and splendor, and at the same time abounding certain old schemes and giving way to humanity, life joy, beauty of this world, human gayety etc. Something new, original happened, a different perception of the art that had been nourished in Ohrid School. Using different styles, techniques and procedures of creation act, works of art were created which belong to the group of highest achievements known to world art at that time. That is yet another proof that the developing ways of art at people, intervened and complemented mutually, influenced one another but that was not an obstacle to conquer new creative worlds.

    The question that arises is to what extent, on this geographic area Bitola belonged to, new tendencies were present, tendencies that characterized this middle age art. The answer has more historical than artistic dimension. Basically, it can be said that Bitola was not aside from whatever was happening in its neighborhood. The fact that not much of that time cultural heritage has been preserved, is mainly, due to big war distractions and the interests of usurpers to take the art treasure away.

    The supreme art which characterized works in this area was put to greater temptations, when in the last years of 14th century, the horse groups of Ottoman leader Timur Tash invaded this part of the Balkan, including Bitola. The military and feudal system of Turkish authority did not spare art mostly because of political reasons. Once monumental churches, monasteries etc. were replaced by mosques, imams, caravan inns etc. The features left by the art late Roman period, early Byzantine, paleological, Conmen, Bulgarian, Serbian and other middle age civilizations and countries, were increasingly lost and gave way to Oriental art. Only some of the monasteries and churches continued to nourish a bit of the art form previous centuries. It seems that Bitola bears most significant traces of these immense changes that happened in the cultural development in these areas. That can most evidently be seen in construction work heritage, fresco, wall and icon painting, as well as wood-carving.

Even from the beginning of 19th century onwards, we can talk of a more rapid development of Macedonian art, where Bitola artists had a significant contribution. Macedonian painting, especially from the end of the last century, and under the example of what was going on in Europe, commenced its way on qualitatively new paths, with all the obstacles that accompanied the difficult slavery burden and the fight for national and spiritual liberation. Bitola, being one of the most important Macedonian cultural centers, in the last decades of the 19th century very quickly accepts all which was considered to be modern and European. And it really suited a consul city. Although with certain delay, art of the new time started making its way. Stylistic features and artistic expression of neo-classicism, romanticism and realism especially, became more evident in the works of our painters. Profane elements, life reality and the view of artist’s everyday life are more present in religious thematic concepts. Profane painting becomes one of his preoccupations. It means that the artist found himself faced with the challenge of new painting tendencies. Except the fact that they introduce a different art manner in wall and icon painting, these wall painters make portraits, landscapes and compositions of the life of our people.

On the pass from the traditional clerical towards contemporary Macedonian painting, a few names of artists, whose works represent code bars of borders which opened the part of Macedonian modern art. They are: Dimitar Andonov Papradiski (1859-1954), Gorgi Zografski (1871-1945) and Kosta Vangelovik (1875-1932).

The way of Dimitar Papradiski, immigrant’s son, born in Papradiste-Veles area, to reach prestigious Kiev and Moscow was steep. During his almost seven decade long creative period, he had to overcome a lot of obstacles thus creating new perspectives in our clerical and profane painting. Of course Bitola was a constituent part of it. His saints, wonderful Mother of Christ, angels glow with joy, freshness and contempt as can be seen on the paintings where close people, friends, officials, children were painted. Similar concepts for the role of art were evident it the case of Zografski and Vangelovik who created almost at the same time. They very quickly abandon the conservative painting approach of most of Macedonia self-taught wall painters, and step into the world of European art. It was this view that enabled our painting a remarkable place in the period of the last and the first few decades of the 20th centuries. If we say that these three painters entered the foyer of modern painting, then in the 30s and 40s of this century, the founders of modern Macedonian art opened the door of Macedonian modern painting: Lazar Licenovski, Nikola Martinovski, Vangel Kogoman, Dimitar Avramovski-Pandilov and later Ljubomir Belogaski. They were later accompanied by many young painters on their way towards the new challenges of modern painting, providing Macedonian culture a place in the European cultural tendencies of our century, on the verge of the third millennium. In that context Bitola artists have a relevant contribution to this development of our national art.

    The more detailed analysis of our domestic modern painting shows a surprisingly valuable and inevitable attraction. That is the maturity of the creation act of art, which in many respect was not a step behind art of nations with longer art tradition. We can see works in which we recognize thematic and stylistic resounds of later concepts of neo-classicism, neo-romanticism and new realism, as a reflection of what was seen, mostly in the west, in the works of great Europeans representatives of stylistic epochs of art in 19th and the beginning of 20th century.

    Almost at the same time, a clear introduction of so far unseen visual, anxious expression of inner feelings, presence of geometrical schemes, an effort for reestablishing of everlasting links between art and man presented through a new perspective. Those were some of the requirements of modern directions of art: impressionism, expressionism, cubism, new realism and others, whose representatives in European and world modern art, such as: Claude Monte, Augist Renoir, Eduard Munk, Vasilij Kadinski, Pablo Picaso, Paul Cezzane, Anri Matis, permanently marked the painting of European modern art. Objectively speaking, the representatives of Macedonian modern art can not be placed among these circles, but they had the chance to be their contemporaries and to take after their epochal work. Starting form the 60s onwards, Macedonian painting got its own impulses, which provided this national art a deserved place in the mutual cultural heritage of our civilization.

In that period, Bitola kept the same pace as other cities in these Balkan areas. In some segments of its cultural life, especially from the middle of the pervious century, with certain delays in the first decades of this century, it experienced a constant development of painting, tendency that continues till present time. Only as an illustration, we will point out those painters that were active in our city, leaving their works here as part of city’s cultural history. The fact that in the case of some older artists recidivism of wall painting attitude towards color, line, tone can still be seen, makes it clear that it was difficult to leave certain old concepts known from the time of making icon paintings. Some of them never abandoned those concepts. The structure of these artists, in the sense of their place of birth, is very interesting. Except native masters of paint brush, and those of famous Macedonian families, Bitola, with its greatness and cultural engagement, attracted painters form neighboring countries, which speak in favor of the new directions of art.

    The boom of economic power of many people from Bitola, after the custom of developed European centers Bitola traded with, painting portraits of members from prominent Bitola families became a very popular habit. Very often artists used photographs as well. One of them was the artist Kosta Skodreany, an educated painter, to whom the new art trends were not unfamiliar. Expect icons, he painted: portraits, landscapes, drawings, still life etc. Under his paintbrush an inevitable process of the new spirit of profane painting was born. Later it turned towards different esthetic qualities corresponding to the changes that were about to come. This resulted with new freshness in expression, a desire to express the life joy, which makes the painting to be “joyful” and rich with colors and nuances.

The creative personality of Alexander Papa Naum is interesting, at least from what we know so far, that he was among the first in Bitola to use oil technique. It is known that this art procedure enabled expressing feelings with an intimate character, as well as the wide possibilities for using various materials, such as linen, board, cardboard etc. This is another indicator of the interest of Bitola people form the 19th century in painting. Alexander Papa Naum made a lot of paintings which appeared to be of great interest for consular and other representatives who lived in our city during the first two decades of the last century. It confirmed the notion of a developed painting tradition with undoubtedly creative values.

A larger group of painters from our city was active in the period between the two world wars, and some of them later: Mito Stamatov, Boris Stamatov, Pavle Pavlovski, Ivan Melnikov etc. Although a more detailed critical and esthetic revision of this period of art life in Bitola has not been made so far, the already mentioned artists, and probably others too, have given their contribution to cultural life of the city during these years. Some of them, with their already acquired artistic authority, worked in other spheres of cultural life in Bitola, such as was the case with Melnikov, who made the scenery for the National Theatre-Bitola. Anyway, their pioneer role is of a great significance in shaping Bitola’s painting tradition, in the period when its basis were founded. The fact that some individuals still used themes and motifs form stereotypes and schemes of old stylistic, concepts, should be viewed as a battle for everyday existence in pre-war or war time. Some of their works, which were made as an expression of the genuine artistic urge, reveal the fact that the inner needs were directed towards new worlds of European modern and its fashionable trends. Regardless to the whole complex of historical, military, administrative and other obstacles and problems, the art life in the city continued to develop.

The fact that painters from other cities and countries worked in Bitola confirms the truth of the cosmopolitan character of this environment. The paint works of the young Jew Gaston Gamliel provides the best example. Although, his family and he lived in Bitola for less than three years, he created quite a lot of works. Gaston came here form Vienna in 1938 when he was only 19. By that time he had already mastered many secrets of the painting skill. During all this period he worked exclusively as a painter. He mostly used motifs from the Pelister area, Old Bazzar, thermal baths, markets etc. Under a strong influence of neoimpressionists he painted a lot of landscapes. Unfortunately, this unique creative impulse lasted until 1940 when the talented Gaston Gamliel dies of typhoid. The lovers of his unfinished work, which bore elements of Renoir, were especially fond of exhibits named: “Market people”, “An excellent place for gossip”, “A portrait of a blonde girl with a red ribbon”, “A maid with a book” etc.

    Immense social changes, which happened after the World War II did not avoid art life in Bitola. The created institutional, educational, cultural and other conditions, from the 50s onwards, enabled increasing creation of educated art cadres in Bitola, which together with those before the war, formed the core of our contemporary painting art. The first recognizable signs of our national art letter could be seen, or sensed, at the artists who took active part in the national liberation and anti-fashist war. Objectively speaking, certain remarks could be put when talking about the works dating from that period. Thematically, they appear to be the most authentic art witnesses of human rebellion against injustice and slavery, but a witness of sublime ideals of the liberation struggle of Macedonian people. In almost impossible conditions these artists created the most evident signs and documents of human freedom-loving spirit. Those were, mainly, drawings, graphics, illustrations, placard and other propaganda material. Rarely, oil, aquarelle, pastel can be seen. A synonym of this war generation form Bitola was the painter Tode Ivanovski, who later worked successfully with other techniques. However, the theme of “war” almost never left the creation preoccupation till today.

    During the first post war years, bearers of art life in the city, in continuity to the ones already mentioned, were mainly the founders of the famous Macedonian art group VDIST: Boris Trajkovski, Peco Vidimce, Jovan Dmovski, Mende Ivanovski and Petar Spiroski (1955). This was a talented generation, which gave a modern mark to cultural life in our environment. They, together with a dozen of young educated artists, continued the rich art tradition. Very soon this number is increased by academic painters, who were educated in our country and abroad. Therefore, during the last ten years the selective art audience from Bitola had a chance to see the most modern tendencies in painting, sculpture, graphics, carving, tapestry in the works of their fellow citizens-artists. Currently, there are about ten active artists in Bitola who create in different techniques, styles and thematic determinations. We will mention some of them with no specific order: Ilija Kochovski, Simeon Siljanovski, Dimitar Kochevski-Mico, Gorgi Desanovski, Ranko Strumenikovski, Boris Talevski, Pande Petrovski, Zekman Zekmanovski, Stojan Apcevski, Sotir Dimovski, Dimitar Dimitrovksi-Takec, Risto Dimovski, Taki Kota, Kosta Hagi Antonovski etc.

Carving art has a great significance for Macedonian culture. Its roots can be traced through more centuries, which is yet another confirmation of the existence and permanence of our cultural tradition. We will concentrate on that time period important in the development of wall painting and icon painting, which were often inseparable as creation impulses. Perhaps that increases the significance of these cultural activists from previous centuries who were masters-constructors, painters, wood-carvers at the same time. The all worked together, helped and complemented each other, learned from each other, not only form the masters, but from the artists form other countries, creating works of art for the coming generations. This nobility could only be characteristic for art that was appreciated by all regardless to their national, political or religious, confession. Macedonian carving had such reputation. It expresses the true spirit of national romanticism, during the last two centuries, characteristic only for nations such as Macedonian, who even in the most difficult slavery conditions managed to create great prices of art in wood which the skilled artists’ hand raised on a level of perfection.  

    Nothing could stop the rich creative expression of these real masters – virtuosos of the wood-carving craft. The fact that by the end of 18th and throughout the 19th century they were not allowed to build monumental sacral buildings made them put greater artistic strength inn their inner decoration. The numerous carvings of capitols, iconostasis, palaces, baldachins, amvons, crosses, plates, entrance doors, polileis, carved frames of throne and patron icons, altar palisades and other objects that can be seen in: Bigorski monastery, Slepce, Treskavec, Zrze, Varosh, churches in Bitola and the other Macedonian art sanctuaries. People righteously considered these works of Mijak wood-carvers from Mala and Dolna Reka to be holy, then those which belonged to Atos, Skopje-Prizren, Debar “School” and other with famous wood-carving centers such as: Galicnik, Gari, Osoj, Tresonce, Rosoki, Lazaropole etc. We would be injust if we fail to mention some of those wood-carving groups and individuals as our debt and gratitude towards what they left in Macedonia, of course Bitola too, cultural treasury, regardless whether it was shallow or decorative carving: families Renzovic-Zografski (Tresonce); Frckovci (Galicnik); Petre Filipovic-Garkata (Gari); Filipovci (Osoj); Stanisevi (Tresonce); Mircevci (Osoj); Stefanovci (Bitushe); Tanaskovci (Smilevo) etc. As we said, many of these wood-carving groups were, at the same time, builders and wall painters. This art was a life preoccupation of whole families throughout the centuries.

    From what has been studied so far in Bitola churches, it is evident that the most beautiful are the wood0carvings in the church St. Dimitrija and St. Nedela. They will be on issue of future elaboration in the section about cultural monuments.

    If we take into consideration other wood-carvings from the rest of the churches in Bitola and its surroundings, it becomes evident that Bitola was in the focus of all cultural events from 19th till 20th century, during the creation of these splendid works of art. Despite all those turbulent events which were happening throughout the 2oth century, mentioned trends of this art continued, with smaller and more intense oscillations, so wood-carving has been continuously nourished till present time. A confirmation for such a new developing direction is the establishing of the first Association of wood-carvers of Macedonia, in 1993, which has been surprising with numerous carving in the last years.

            While talking about art in Bitola through the centuries, we saw that carving had a significant place in the expression of spiritual life of our people. During the last ten years, this creative activity seemed to be a bit neglected and here it comes back with all its beauty.

    About ten Bitola wood-carvers: Zlatko Krstevski, Nikola Prckov, Goce Krstevski, Mirko Gasparevic, Aleksandar Cavdarovski and other successfully continue the way of old Macedonian carves.

    The exhibition premises give their notable contribution to this development or painting and art in general: Art Gallery, Exhibition Hall in the House of Culture-Bitola, Art Salon of PLUB, exhibition premises of the Institution for protection of monuments, a few private galleries etc.

    Thus making a more through recapitulation of the paths art went by on the course of time in this Bitola area we come to an inevitable conclusion that the: iconostasis, wall painting, carving, picture, nuance, colour and line, keep in them the most subtle remembrance of that time works. Under the surface of the numerous modern art dignities there are such values that create a magic attraction towards the beauty of art, which belongs to this renown center of cultural events. With their exciting speech and desire, expressed through a certain art letter composed of infinite artist’s concepts, these Bitola artists until times passed and present in an exciting manner.