oil on canvas, 75 x 97 cm, signed lower right, in brown, "O. Herman"

Research information

The painting was exhibited in the Klovićevi dvori Gallery at the exhibition "Unknown Oskar Herman" organized in 2021 by Jasmina Bavoljak and Zdenko Rus, two persistent researchers and promoters of Herman's painting opus. In the accompanying catalogue, it was reproduced on page 29 and included in the catalogue list of exhibits on page 69, catalogue no. 11.

The painting was exhibited in the Klovićevi dvori Gallery at the exhibition "The Unknown Oskar Herman" curated in 2021 by Jasmina Bavoljak and Zdenko Rus, two persistent researchers and promoters of Herman's painting oeuvre. In the exhibition catalog, it was reproduced on page 29 and listed in the catalog list of exhibits on page 69, catalog no. 11. According to the introduction by curator Bavoljak - who cares for the donated artistic legacy of Oskar Herman in the Klovićevi dvori Gallery - the exhibition was organized to introduce the public to a series of so far unknown painter's works of exceptional value that have been delivered to Croatia from the USA over the past few years thanks to a family of Croatian emigrants, as well as a substantial number of also so far unknown Herman's paintings found in private collections in Croatia after diligent search. What makes this exhibition particularly valuable is the fact that it has brought to light more than twenty early works of the painter, mostly oils on canvas, which have been missing in previous retrospective overviews of his creation for a more comprehensive insight into the artistic and pictorial characteristics of Herman's oeuvre. The oil painting of the Podsljeme Šestine from the mid-30s of the last century is a brilliant pictorial testimony of Herman's closeness to nature that he - as we now see - always nurtured throughout his oeuvre. It was the starting point for the formation and development of his personal painting path. We follow him from early landscapes with recognizable descriptive data that were "at the service" of achieving the supreme aesthetic component of the painting - as is this oil painting - to pictures of retained landscape persuasiveness in which the scarcity of descriptive data is put "at the service" of the glowing coloristic expressionism - such as the famous painting "Three Trees" from 1963, which has since adorned the permanent exhibition of the National Museum of Modern Art in Zagreb. BRP

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