Vladimir Ivancan - Chestnuts

The "Still Life" genre emerged in the early 17th century. It consisted of compositions of inanimate subjects, most often flowers or fruit. While initially it was an opportunity for painters to experiment with naturalistic or photographic reproductions of reality, with contemporary art, the "Still Life" also became a way of interpreting reality. Indeed, as happened, for example, in the Cubist avant-garde or in Giorgio Morandi, the in-depth exploration of objects was aimed at a conceptual representation, taken beyond the mere sensory aspect.

Vladimir Ivancan's works are highly illustrative of his artistic vision and his understanding of naive aesthetics. As we can see, naive artists focus on simple subjects (such as landscapes or still lifes in Ivancan's case) in a simplified representation of the world aimed at extolling primary values ​​of purity. Thus, the simplicity and naiveté inherent in an artist like Vladimir Ivancan are spontaneous, yet at the same time, they differentiate themselves from amateurism through the achievement of a refined and complex formal style. This is particularly evident in this Croatian painter, who recalls another very important naive painter, "Douanier" Rousseau, in simplifying reality into a pronounced and illusionistic hyperrealism. Nature, thus, takes on exotic and fairy-tale connotations, and even the vision of a simple landscape or a bunch of sunflowers is transformed into a magical episode. To achieve this poetics, Ivancan pays careful attention to every detail of the design, and the entire representation is the result of a complex system of arabesque lines. Color also plays its part, with the choice of soft opalescent hues further enhanced by the glass support.

Vladimir Ivancan was born in 1954 in Molve, Podravina. He graduated from the Technical Chemical Institute in Zagreb. His early paintings are reminiscent of Mijo Kovacic; in 1974, he began exhibiting his work in group exhibitions. He held his first solo exhibition in 1979. Around 1980, he completely freed himself from Mijo Kovacic's influence and began his own original research. In 1984, he abandoned his job as a chemical technician and became a professional painter. He has exhibited his work in over a hundred solo and group exhibitions in Croatia and abroad. He currently lives and works in Molve.

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