(Ljubljana, 21.2.1949 - Ljubljana, 27.6.1986)
Leobard Oblak, or artistically Bard Iucundus, was a versatile Slovenian artist. In 1977, he successfully graduated from the Academy of Fine Arts in Ljubljana. After completing his studies, he went to Paris, where he furthered his skills at the Academie des Beaux-Arts. He was involved in a variety of artistic tasks.
He mostly painted, but he also worked on scenography, book accessories and illustrations, graphics, costume design and poetry. After returning to Ljubljana, he joined Group 441, which also included M. Jesih, T. Kralj and M. Kocbek. Together they created a manifesto of baroque surrealism, which was the foundation for their work. Namely, the artists slightly blurred the sharp lines of realistic strokes, achieving a softer impression reminiscent of baroque painting. In 1968, he also participated in the founding of the literary Theatre of the Ferkeverk Pupils, which with its unusualness tested the limits of what was acceptable.
Bard Iucundus was quite different in expression from his colleagues. Between 1972 and 1975, he delved into symbolic archetypalism, which was based on philosophical discussions. In the next phase, he thought more intensively about spirit and matter, and in 1977 he returned to figuration again. In his life, he created several series of images with which he paid homage to world-renowned artists, such as Francesco Goya and William Hogarth. Although he was considered conservative in the past due to his search for inspiration, he was extremely progressive in his artistic expression. His most bizarre works were created after 1979.
At that time, he filled his artworks with fantastic images and unusual objects, which he layered according to the principle of collage. By arranging figures, he created dynamic and artistically effective compositions that are barely legible. In their final appearance, they act as two-dimensional installations, emphasized by a strong black contour and delicate colors. His strokes are sometimes soft and wavy, and at other times more geometrically oriented and appear as if he had designed them with a compass.
Nevertheless, the figures are still voluminous, not just flat images. Bard's compositions are extremely theatrical and appear as if he had transferred the events from the stage to paper. These are carefully considered works with which he greatly influenced younger generations of artists. Namely, he introduced to culture lovers a new artistic language of contemporary painting, which was more than foreign to our region. In it, he combined the highlights of art history, religion, psychology and philosophy.
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Leobard Oblak oziroma umetniško Bard Iucundus je bil vsestransko podkovan slovenski ustvarjalec. Leta 1977 je uspešno opravil diplomo na Akademiji za likovno oblikovanje v Ljubljani. Po koncu študija, se je odpravil v Pariz, kjer se je izpopolnjeval na Academié des Beaux-Arts. Ukvarjal se je z raznolikimi umetnostnimi nalogami.
Največkrat je slikal, ukvarjal pa se je tudi s scenografijo, knjižno opremo in ilustracijami, grafiko, kostumografijo in poezijo. Po vrnitvi v Ljubljano se je včlanil v Skupino 441, v kateri so sodelovali tudi M. Jesih, T. Kralj in M. Kocbek. Skupaj so oblikoval manifest baročnega surrealizma, ki je bil temelj za njihovo ustvarjanje. Umetniki so namreč ostre linije realističnih potez nekoliko zabrisali pri čemer so dosegli bolj mehak vtis, ki je spominjal na baročno slikarstvo. Leta 1968 je sodeloval tudi pri ustanovitvi literarnega Gledališča Pupilije Ferkeverk, ki je s svojo nenavadnostjo preizkušalo meje sprejemljivega.
Bard Iucundus je bil v izrazu precej drugačen od svojih kolegov. Med 1972 in 1975 se je poglobil v simbolno arhetipiko, ki je temeljila na filozofskih razpravah. V naslednji fazi je intenzivneje razmišljal o duhu in materiji, leta 1977 pa se je zopet vrnil k figuraliki. V svojem življenju je ustvaril več serij podob, s katerimi se je poklonil svetovno priznanim umetnikom npr. Francescu Goyi in Williamu Hogarthu. Čeprav je zaradi iskanja navdiha v preteklosti veljal za konservativnega, je bil v likovnem izrazu izjemno napreden. Njegova najbolj bizarna dela so nastala po letu 1979.
Takrat je umetnine zapolnil s fantastičnimi podobami in nenavadnimi predmeti, ki jih je plastil po principu kolaža. Z nizanjem figur je ustvaril razgibane in likovno učinkovite kompozicije, ki so komaj še berljive. V končnem izgledu delujejo kot dvodimenzionalne instalacije, ki so poudarjene z močno črno konturo, in nežnimi barvami. Njegova poteza je kdaj meha in valovita, drugič pa bolj geometrijsko naravnana in deluje kot da bi jo zasnoval s šestilom.
Kljub temu so figure še vedno voluminozne, ne pa zgolj ploskovite podobe. Bardove kompozicije so izjemno teatralne in delujejo, kot da je dogajanje iz odra prenesel na papir. Gre za skrbno pretehtana dela s katerimi je močno vplival na mlajše generacije umetnikov. Ljubiteljem kulture je namreč predstavil nov umetniški jezik sodobnega slikarstva, ki je bil v našem prostoru bolj kot ne tuj. V njem je združil vrhunce umetnostne zgodovine, religije, psihologije in filozofije.
Besedilo je za galerijo Porta Alpina pripravila Pia Župevec, dipl. um. zgod.
The text was prepared for the Porta Alpina gallery by Pia Župevec, B.Sc. art history
SOURCES/VIRI:
Sonja GOMZI, s. v. Fotorealizem, Pojmovnik slovenske umetnosti po letu 1945, Ljubljana 2009, pp. 62-67.
Andrej MEDVED, Bard Iucundus, Koper 1980.
Mateja PODLESNIK-Ajda PREDAN, Bard Iucundus: 1949-1986, Ljubljana 1990.
Neja TOMŠIČ, s. v. Performans, Pojmovnik slovenske umetnosti po letu 1945, Ljubljana 2009, pp. 222-227.
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