Sava Sekulić (1902 in Bilišane Obrovac, Croatia – 1989, Belgrade, Yugoslavia)
Sava Sekulić was a world famous Serbian Naïve and Outsider painter.
Sekulić is a painter of the universal, the timeless and the limitless. For him everything is generalized, from the individual he aspires to the universal, and is very successful. Therefore, his works are the highest achievements of L’art brut, not only in the country, but worldwide. Allegories and metaphors are present in nearly all his works. With his visions he reduced a unique pictorial definition, minimized the subject matter to a metaphor. Most numerous are his compositions with human figures, portraits and scenes with historical and beings. While painting historical personalities, he portrayed the victims as heroes, and the members of his family as mythological beings. However, the most complex is the figure of a woman.
In many works there are philosophical stories and moralizing lessons. Figures are simplified, flat and highly stylised. In the background of every painting is an original story derived from numerous popular legends and beliefs – pagan, Christian, mythological, historical or contemporary. The myths with the pronounced respect for animals – primordial parents and beliefs on summing up people and animals are presented in his paintings by duplication and compaction of human and animal figure (fish, bird, horse, cow, snake, octopus, deer, bull, he-goat…), multiplication of heads and limbs. The artist prefigured the symbiosis of anthropomorphic and zoomorphic figures, where all the alchemy of his pictorial expression is clearly visible. It is paradoxical that the artist’s very style counteracts the narrative aspect of the painting and concentrates totally on the pictorial value with the strength on an unconscious neo-primitive.
His palette is restricted. He often paints surfaces with different applications of transparent colours, one over the other, without waiting for the earlier layer to dry, which leads to mixing and assimilation of colours. One colour is often predominant in each painting, which sometimes creates a monochrome impression. He sometimes only partly paints the background of certain paintings, thus leaving whole surfaces unpainted. This additionally eliminated any illusion of spatial depth.