It wouldn’t occur to me to think only of expressive advantage in a search for self, but rather of the visual discovery of a certain reality, a powerful and forceful vision of the world in which the
…Murtić's painting is a matter of temperament, the old Impressionists might have said.
Murtić is among those artists who make bold breaks with tradition, abandon fusty old conformist habits.
These diverging developments of Murtić's style, during the middle fifties, finally flow into the mainstream of artistic events, that is, through free abstraction Murtić will gradually reach the pos
Not only in his own generation but also among the contemporary Yugoslav artists, Edo Murtić is one of the best known painters.
From this point of view the most characteristic notice came out in Domus (September 1958), written by Gillo Dorfles, who had previously not been so very much in favour of the art of this c
After Bergamini himself presented Edo Murtić’s paintings for the first time in Milan in 1959, the painter had last year the opportunity to present his work at Morgan’s Paint in Rimini, and it was o
In the universal perspective of the great adventure of art in this age, there are various components marking the constituent parts, components that, although they do point up several differences, e
It is natural that Murtić concentrated on abstract expression. We can feel that his canvases are strong and resolute. The artist simply could not have created them any other way.
This town has long ago ceased to doubt Murtić, though it took him as a symbol of something it doesn’t understand.
Vladimir Kolar: How would you express your need for the abandonment of form?
on the occasion of an exhibition at the Musée de l’Athénée, Geneva
This is a painter who possesses an extraordinary energy of plastic expression, a natural drive, an insistent ardour.
This is how I again see the Zagreb painter in his essential lines, defined in expressionist terms from the very beginning, ready to give his compositions – which include today his outstanding lumin
From the very beginning Murtic’s temperament has been of a dynamic-gestural order: this is confirmed by the landscapes of a more impressionist kind.
…In his American Experiences Murtić has shifted the horizon of thematic interest.
Murtić didn’t invent abstract art, but he did introduce it into his country during an epoch opposed to it.
Between the vital energy of action painting, with a refined and conflicting combustion of colour, and an inner meditation inclined, at least initially, to analysis we could generally define as exis
In 1956, he was in Rome’s National Gallery of Modern Art; in 1957 in the Milan Permanente Palace at the exhibition of “Contemporary Yugoslav Art”; in 1958 at the 29th Venice Biennale; at the same y
Delving profoundly into abstraction, this complete artist has always blazed new trails through the very simplicity of his light-filled painting.
Writing many years ago about the paintings of Edo Murtic of that time, Jean Cassou observed very precisely that «in him, everything is energy, wheter of content or movement».
I came into contact with the work of Edo Murtić just when we were approaching the year 2000, at a time of global culture that was for us inevitably similar to a race against the clock.