Collections

The collections presented on this page are curatorial selections from Janez Pristavec’s extensive artistic estate. Together, they trace his artistic and thematic development from his early drawings and prints, through his explorations of colour and material during the 1980s and 1990s, to his extensive bodies of portraits and caricature portraits. The late Mythology series, created in 2006–2007, stands as the culmination of his lifelong engagement with the human figure, animal forms, memory and transformation.

Pristavec’s legacy did not develop as a simple linear progression from one style to another. Rather, it forms a network of recurring motifs and renewed investigations. He repeatedly returned to the body, the face, the animal world, still life, landscape and the city of Maribor, approaching these subjects through drawing, printmaking, painting and mixed media. Figurative observation, expressive deformation and abstraction therefore coexist throughout his work, often within the same period or even within the same image.

The selections gathered here reveal both the remarkable diversity and the underlying coherence of his artistic language. From intimate works on paper to large canvases, and from observed reality to masks, harlequins and mythological beings, Pristavec continually explored the boundary between likeness and pictorial sign. His legacy is not defined by a single recognisable style, but by enduring curiosity, openness to experimentation and a persistent search for the inner life of the visible world.

Drawings

Early drawings

1969 – 1973

University drawings

1974 – 1978

Animal drawings

1971 – 1981

Figure drawings

1982 – 1984

Abstract drawings

2000 – 2001

Crumbled paper, prints and mixed media

Prints

1967 – 1980

Mixed media – Nudes

1978 – 1979

Works on canvas

Still life

1981 – 2007

Animal life

1981 – 2007

Landscapes

1981 – 2007

Maribor

1986 – 2007

Harlequin series

1991 – 1996

Nude series

1981 – 1996

Mythology

2006 – 2007

Portraits

“When my abstract phase played itself out I returned to portraiture, the most complicated task a painter can get. I decided, to start anew, from the beginning. I studied the concept of symmetrical painting in perspective (Kate Moss). I started to paint in color realism just like I saw older colleagues after the war on the Academy of Fine Arts. I was very curious about the portraits of a hunter by Luchas Cranach, with simple drawings and a warm color scale, Hogarths The Shrimp Girl and beautiful painting of H. Matisse. Here were also my professors, Stupicas portrait painting (L. Menaše, M. Pogačnik, M. Kraševec) and his idols El Greco, Goya, Velasquez, Soutin, Modigliani, Kokoška. Other inspirations were exquisite sculpture portraits of my study colegues (Jelisava Čopič, France Mihelič, N. Omersa, R. Debenjak) under mentorship of professor Zdenko Kalin and suggestive extremely minimalistic portraits of Branko Ružič.”

Portraits on canvas

1996 – 2000

Portraits on paper

1996 – 2000

Caricature portraits

2000 – 2004