About the painter Dragan Petrović
Assistant Professor at the BK Academy of Arts in Belgrade 1998-2003. The collection of the Museum of Contemporary Art in Belgrade contains 30 works by Petrović. Produces works in all visual media. Lives in Serbia.
The seemingly diverse themes and motifs in Petrović’s paintings are indicative of various art movements. Regardless of the fact that the paintings seem closest to Impressionism and abstract painting of the mid-20th century, the most significant general impression is that of associations to the spirit of the 21st century and the digital era in visual arts. Oftentimes, the paintings are only in two colors. They exude serenity and the forms depicted are simple. The paintings are difficult to classify as belonging to a certain stylistic whole due to the easily perceivable imagination, color schemes, and curved lines running against unusual backgrounds. Petrović tries to induce feelings of comfort in the viewer as they gaze at the paintings depicting green meadows, still lifes, or melds of two abstract surfaces of harmonious colors.
Compositions are intentionally either too simple or too complex. The paintings do not emphasize the philosophy of life in the 21st century, but rather an identification of the viewer with the artist’s experience of contemporary life. The viewer swims with the artist through the 21st century. Sometimes the emphasis is on square pixels and sometimes on brushstrokes. Most paintings are permeated with an impression of the oil on canvas technique, whereas a print made from a painting conveys the full impression of having a landscape on the wall: an original oil on canvas painting.
Dragan Petrović has no model in a famous painter from the history of art, nor does he paint in the manner of a specific art movement. There are traces of pop art, Cubism, Russian avant-garde, Informalism, digital art, Impressionism and Expressionism in his works, but the unifying force behind his paintings are optimism and unquestionable serenity which the artist conveys to the viewer. As the artist somewhat jokingly says, “If you hang one of my paintings on your wall, I can guarantee that you will feel happy.”
Among art critics, beauty is an almost undesirable phenomenon. Society is increasingly alienated and aestheticized paintings are commonly held in low esteem by art critics. But if an artist can arouse positive feelings among the general public and they embrace a painting as something close to their heart, the artist’s intention to improve the people’s psychological state will be materialized.
Vladimir Panika, 2017