102. Portrait of Nacho Kulturata [1958]

The portraits of Zlatyu Boyadzhiev changed drastically after the unfortunate year of 1951. If the first period of the artist’s work is defined by realistic painting, strongly influenced by academic and Western European traditions and techniques, the second period (after 1951) is characterized by a rougher, more expressive, and freer style — the lines are sharper, and the colors bolder and brighter. The same can be said of Boyadzhiev’s portraits: strongly contrasting and decorative colors appear — red, blue, and green in saturated combinations. The figures seem more dramatic and grotesque. The features are accentuated, the expression more powerful, often with a touch of spiritual strength. Compositionally, instead of classical balance, Boyadzhiev began to construct more complex and dynamic compositions. In his portraits after the stroke, there is a sense of psychological depth and spiritual energy. Such is the portrait of Nacho Kulturata (Atanas Krastev, 1922–2003). The sharp lines, contrasting dramatic colors, and expressive brushwork create an exceptionally serious, determined, and authoritative image of the sitter — an image well-suited to his personality. Atanas Krastev, known by his nickname “Nacho Kulturata” (Nacho the Culture), was born in Asenovgrad in 1922, but his life was inseparably linked with the city of Plovdiv. He was at the foundation of the establishment of Old Plovdiv, the administration dedicated to the restoration and preservation of cultural monuments in Plovdiv’s Old Town. Between 1969 and 1986, Nacho was its director, and largely through his initiative, the Old Town was transformed from a neglected and deserted area into an architectural reserve and a vibrant cultural center — writers, poets, painters, and musicians all found a stage there. Not by chance was Nacho Kulturata unofficially called “the Mayor of the Old Town” and made an Honorary Citizen of Plovdiv in 2002, one year before his death. Boyadzhiev’s portrait of Nacho was created in 1958, a full decade before “Kulturata” began deliberately working toward reviving the Revival-period splendor of Plovdiv’s Old Town. At that time, he was still appointed to the Department of Science, Art, and Culture at the Municipality of Plovdiv — probably the origin of his nickname. Being a friend of Nacho’s since the 1950s, Zlatyu knew well how to portray his comrade in the 1958 portrait, skillfully depicting an exceptionally determined, ambitious, serious, and direct cultural figure at the age of 36, who was only just beginning to prove himself to society and his peers. Atanas Krastev himself once spoke of Zlatyu Boyadzhiev in the following way: “Zlatyu Boyadzhiev was the most radiant image of a man I have ever known. He was a man-god! His almost mad diligence was inseparable from the incredible joy of creation.” (M.Z.)

Literatura

Pampulov, Dimitar. "Zlatyu Boyadzhiev Portraits". Stefan Dobrev Publishing House, Sofia, 2023, p. 176.

Dimenzije

width 48 cm, height 59 cm

Opis

oil on canvas, signed and dated bottom right, in orange, "Злати Бояджиев, 1958"

Informacije o istraživanju

The artwork is reproduced in Pampulov, Dimitar. "Zlatyu Boyadzhiev Portraits". ed. Stefan Dobrev, Sofia, 2023, p. 176, as well as in Raychevski, Georgi. Raychev, Dimitar. "Atanas Krastev Nacho Culture: A Commemorative Collection". ed. Fakel, Plovdiv, 2012.

Izlasci

1958

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