The Romani artist Rudolf Dzurko created the picture "The Devil (Communists) took a violin from a Gypsy". The painting is created by a unique glass grind technique placed on the glass that Rudolf Dzurka had patented. Rudolf Dzurko even coined his art considering the Communist government's approach to the Roma minority in the former Czechoslovakia.
Dzurko never gave an interpretation of his paintings, he wished everyone to find their own meaning and interpretation. Rudolf Dzurko was one of the few Roma artists who created art during the period of state socialism, and he also managed to exhibit some of his works. His popularity has grown considerably after the Velvet Revolution.
Georgi Yordanov Bozhilov, nickname Slona [The Elephant], was a Bulgarian painter. In 1959, he graduated from "N. Pavlovich" Higher Institute of Fine Arts, specializing in decorative and monumental art.
In 1959, he painted "The Strike of the Plovdiv Tobacco-Workers". Only a few years earlier, in the spring of 1953, Georgi Bozhilov was probably a witness of the strike of the tobacco-workers, mainly women, against the conditions of work at the tobacco factories and storehouses nationalized by the Stalinist regime. The strike which developed into workers' revolt was brutally suppressed by the state militia; there were many victims, killed, wounded and arrested people.
Georgi Bozhilov coded the event by ostensibly representing the strike of the tobacco-workers of the late 1939-1940. Because of the extreme censorship, the jury in the capital was not aware of the strike of 1953. Thus, the work was not only accepted to take part in the exhibition but it also participated in the First International Biennial of Young Artists in Paris.
Georgi Bozhilov – The Elephant was not a victim of the repression of the socialist regime and since the 1960s he participated in joint art exhibitions of the Union of Bulgarian Artists. While still living, he had over 25 individual exhibitions in Bulgaria and abroad (the USSR, Turkey, Poland).
His work is an example of how by using particular works of art the artists managed to evade the censorship of the authorities and to code social messages and criticism towards the regime. Krasimir Iliev stresses the fact that such works "outline what was happening in different periods" but in order to "read" them one needs "reflections, insight and knowledge".
- City Art Gallery - Varna
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Roger Loewig created the painting “Noch tönt Gesang unter der zerbrochenen Brücke” [There is still chant under the broken bridge] (oil on hardboard, 59,5 x 79,5 cm) in 1962.
Loewig was no stranger to avant-garde and abstract arts, to which he was extensively exposed during his museums and gallery visits in West Berlin throughout the 1950s. Yet the artist was in his early years rather fascinated by fauvism and expressionism. The motifs of his paintings were similar to his drawings and lithographs. Starting mid-1960s Loewig gave up on painting, strongly conditioned by economic and space scarcity, focusing rather on drawings and lithographs.
The painting was re-framed by the artist during the 1990s when a poem was added, together with a third sheet from the lithography series 'Welke Wege' [Fading paths] from 1970, added in the lower part of the framing. These lithography series belongs to the lithographs created illegally together with Willi Negrazius, who held a position in the printing ateliers of the Fine Arts School Berlin Weißensee.
'Welke Wege' [Fading paths] together with the series 'Mein Mund webt ein Fangnetz für den Tod' [My mouth weaves a catch net for death] have been eventually published in 1971 together with the publishing house Steintor in Hanover, shortly before Loewig's departure from the GDR. These can be accounted among the last lithographs series created by the artist while still in the GDR.
The painting belongs to the artworks confiscated by the Stasi, being among the few that was returned to the artist. It was also included in a series of exhibitions, amongst the most recent 'Roger Loewig-auf der Suche nach Menschenland' [Roger Loewig-on the path towards a people's country], organised in 2000 in Museum Nicolaihaus der Stiftung Stadtmuseum in Berlin, celebrating the tenth anniversary of the German reunification.
Ivan Georgiev – The Rembrandt was one of the "unknown" painters in the 1970s – 1980s; later on, he was recognized as the founder of the "abstract expressionism" in the Bulgarian fine arts.
After September 9, his parents together with their five children were interned from the capital to the village of Kovachevitsa, near Samokov. Ivan Georgiev was admitted in the High School of Arts in Sofia and in the "N. Pavlovich" Higher Institute of Fine Arts. He was nicknamed "The Rembrandt" because of his knowledge and referring to the work of this painter. Georgiev was notable for being an outstanding student in painting. His artistry was highly estimated and he won several prizes – the prize of the Central Council of Trade Unions for the poster "Never" (1963), a prize for artistic sketch (1965). However, there are documents preserved in his file at the Academy which show that the Academic Council did not give him the "right of diploma work". The arguments are not clear; probably, there were problems with his origin, obedience and composition. In the period of socialist realism, the figure composition was the most important genre, especially in academic training. The heroic-partisan and the working-peasant themes were still the only ones allowed. Still a student at the High School of Arts, Ivan Georgiev did not like composition (he had C in composition) and until the end of his life he rarely drew figure compositions.
The first attempt of Ivan Georgiev – The Rembrandt to take part in an exhibition in 1966 (probably in the Joint Art Exhibition of 1966) was actually his last one. His painting was rejected by the jury. This, together with his personal drama (the early death of his mother shortly before that), led to his choice of total refusal to participate in juried, directed, adulated and encouraged art. He painted without an audience and exhibitions. Georiev chose the art underground and the freedom he suffered for by living in constant penury.
Initially, he painted portraits, landscapes and still lifes. The portraits are unusually absorbed in, with the dramatic effect of the pain, the suffering, the view in the world beyond, the absence caused by this view. They are antipodes of the self-confident, optimistic, cheerful heroes, the ordinary children of socialist realism. The power of the dramatic which Ivan Georgiev bore excludes compromising the truth and sacrifices in the name of success.
From now on, Ivan Georgiev compared himself only to the achievements of selected, mostly temporally and spatially distant painters; an interaction which caused transition through various styles and characterized by complete neglect of the rules of the specific artistic style.
"Judging by the portrait of his father, probably, the painting of Ivan Georgiev began to retreat from the world of the visible in the late 1970s – a process that lasted several years and ended in the mid-1980s. The transition to abstract portraying began with the disintegration of the form. This journey could be best traced in his landscapes where there are still visible remains of contours of trees and houses. The technique reminds of the late Monnet but is more expressive and with a dynamic that comes from the motion of the brush and the contrast of the colours." (Iliev 2008)
Ivan Georgiev – The Rembrandt left over 1000 paintings; today, most of them are property of private collectors. Since the beginning of the 21st century, there is a process of "revealing" the painter and his works in cultural programmes and exhibitions.
The first exhibition of Ivan Georgiev – The Rembrandt was made in 1997, after his death, at the Vitosha Gallery in Sofia by Maksimilyan Kirov. In 2008, a retrospective exhibition of the painter was opened at the Sofia City Art Gallery with Krasimir Iliev as a curator.
- Bulgaria, private ownership
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Vincas Kisarauskas was a famous Lithuanian painter who occupied an obscure, negotiated zone in his relations with the Soviet regime. On one hand, his works were recognised and highly valued by society, as well as members of the Soviet nomenklatura. One the other hand, there were a number of government restrictions that limited his activities. Some exhibitions of work by Kisarauskas as a Modernist were closed down. One of his masterpieces is his work Zodiako dvyniai (Zodiac Twins), which was interpreted as a piece of Surrealist art. Art historians accordingly treat this piece as non-conformist art in relation to Soviet art.