003 - Zlatyu Boyadzhiev

Written By Boyana
 

Zlatyu Boyadzhiev was born on October 22, 1903, in the village of Brezovo [Plovdiv]. Zlatyu grew up close to nature. From a young age, he was captivated by the fields, the massive and smooth curves of the Rhodope Mountains, its people, and their livestock. Many of these scenes from his early days would later find their place in his paintings.

Listen to the full episode:

 

The story of Zlatyu Boyadzhiev is marked by several painful events, but one specific incident serves as a defining moment in his life and artistic journey. Although they share a common theme, the two phases in Zlatyu's creative work radically differ in his painting style. His entire body of work delves into the rural, predominantly animal-breeding existence of his contemporaries, capturing their cultural nuances and characteristics across various scenarios.

This episode unfolds a moving story about Zlatyu’s strong will and unwavering commitment to the creative process.

💭 Whatever you take away from the story, we'd love to hear it. Please share it with us on ⁠Instagram⁠ or ⁠Facebook⁠, or drop us a line at 📧 hello@contours.bg. Happy listening!

Special thanks to Laurel Zmolek-Smith, whose beautiful voice is guiding you through the captivating story of Zlatyu Boyadzhiev, and Maria Kokalanova whose vocal performance adds truly Bulgarian vibes to this episode.

All archival audio recordings have been provided by the ⁠Archive Fund⁠ of the BULGARIAN NATIONAL RADIO.

Season one of the audio series is made possible thanks to the financial support of the National "Culture" Fund under the "Debuts" program, and in partnership with ⁠Alike⁠ and ⁠ProCasters⁠.

GALLERY

〰️

GALLERY 〰️

BREZOVO AND ABRASSHLARE

Zlatyu Boyadzhiev was born on October 22, 1903, in the village of Brezovo, situated near Plovdiv. The city is nestled in the picturesque Thracian valley.

Zlatyu, who is the eldest child in the family, grows up close to nature. From a young age, he was captivated by the fields, the massive and smooth curves of the Rhodopes, the country houses, the people, and the animals. Many of these scenes from his early days would later find their place in his paintings.

 

EDUCATION

Zlatyu's father dreamed that his son would become an accountant to help the family. Turning 16, Zlatyu goes to Plovdiv to study at the Commerce High School. The boy, however, was not fascinated with arithmetics. His mind was instead captivated by drawing.

In the years following the Liberation, the cultural life in Plovdiv was booming. Zlatyu immerses himself in the lively intellectual circles of the time and absorbs the work of authors like Tsanko Lavrenov, Asen Zlatarov, and Geo Milev among others.

After graduating from high school, Zlatyu decides to apply to the National Art Academy in Sofia. In 1927, he gets accepted and together with his best friends David Peretz and Vasil Barakov moves to the capital. The three ‘Baratsi’, a nickname given to them by Tsanko Lavrenov, share an apartment in the city center. According to some sources their lodging was located on Dondukov Boulevard.

FRIENDSHIPS

After graduating from the Academy, the paths of the three friends diverge. David Perets continues his artistic development in Sofia, travels throughout Western Europe, and eventually settles in Paris after World War Two. For several years, Vasil Barakov works at the Plovdiv Fair, primarily designing company signs. Later, he transitions to painting sets at the Plovdiv Drama Theater.

SPECIALISATION IN ITALY

It’s 1939. Zlatyu Boyadzhiev now specializes in Italy. During his time there, he gets first-hand experience with the work of some of the most representative names of the Renaissance and the neoclassical era that followed it (this is the predominant style in European painting in the late 18th and early 19th centuries). He visits many famous galleries in Western and Central Europe. The combination of his experience with newly acquired information and knowledge helps him develop a precise style reminiscent of neoclassical art.

While preparing this episode, I discovered a close resemblance between Zlatyu Boyadziev’s diptych (i.e., one painting of two oil canvases) with a portrait of him and his wife, and a painting by the Italian Renaissance artist Piero della Francesca. Della Francesca’s artwork is also a diptych depicting the portraits of Federico da Montefeltro and Battista Sforza.

The similarity is evident in both composition and style; however, there are some differences.

"Self-portrait and portrait of the artist's wife" (Diptych), 1941, Permanent exhibition "Zlatyu Boyadzhiev", Plovdiv

"Portraits of Federico da Montefeltro and Battista Sforza" (Diptych), Piero della Francesca, 1473–1475. Uffizi Gallery, Florence

AFTER THE COUP OF SEPTEMBER 9, 1944

In the years until September 9, 1944, the date of the communist coup in Bulgaria, the dominant theme in Zlatyu’s canvases were his native Brezovo, Plovdiv and the surrounding area, as well as his closest people and local characters.

With the new communist government, the themes depicted in his paintings change. Together with his friend Vasil Barakov, Zlatyu travels around the country to paint the newest construction sites, and scenes from the brigadier movement. He creates canvases reflecting the manufacturing development and industrialization processes in the People’s Republic of Bulgaria.

Why is it that with the change of the political regime in our country, there is also a change in the content, not only of Zlatyu’s paintings but also of most authors from that time?

THE MARK OF 1951

Besides the mark left by September 9th, Zlatyu Boyadzhiev’s story is also marked by another painful event. In 1951, he suffers a stroke. As a result, he loses his ability to speak and to move his right hand. The hand he uses to draw becomes paralyzed.

The words fall silent. Brush movements cease. 

Out of this stillness, however, emerges an even deeper sensitivity to the world. Zlatyu starts to draw with his left hand.

Zlatyu Boyadzhiev draws with his left hand. Source: Plovdiv Municipality

ZLATU'S WORLD BEFORE THE STROKE

The first phase of Zlatyu Boyadzhiev’s painting career, the phase before the stroke, covers the period from 1933 until 1951. The compositions are complex and reflect village life.

The paintings impress with impeccable accuracy and clarity of the image. Foreground and background are equally visible, and there is no aerial perspective, which further enhances the sense of precision.

ZLATU'S WORLD AFTER THE STROKE

The second phase of Zlatyu's artistry, the post-stroke period, spans from 1953 to 1976. For two decades, he paints in an expressive style. This new direction in Zlatyu's work is completely opposite to the precise, realistic style he was known for before the stroke.

Standing in front of the canvas, the skillful artist begins to ‘stroke’ with his left hand. Gradually, the sketches transform into full-color paintings. Memories from his childhood near Brezovo, as well as images of his family and trips to Paris and Melnik, come to life again in his work.

What immediately intrigues the viewer about the paintings from this period is the uplifted mood, seething life, and the wealth of figures and events. There is no trace of depression, sadness, or self-pity.

Foreground and background merge into a clear scene. Details fill the entire space from corner to corner, locking in all inside the frame. Often the paintings are large in size. The composition is complex, with multiple figures within it. Looking at the details of the painted scenes, we will see that in many of them, there is also a subtle sense of humor.

STALPOTVORENIE (APOCALYPSE)

‘Stalpotvorenie’, a painting from 1965, is such an example. You can see it in the Plovdiv City Art Gallery. The canvas ‘glows’ in bright expressive colors and it seems as if it tells you about another world.

"Stalpotvorenie" 1965. Part of the permanent exhibition of Zlatyu Boyadzhiev in the House of Dr. Stoyan Chomakov in Plovdiv

THE GARDEN OF EARTHLY DELIGHTS

With the numerous figures and events depicted, I noticed a striking similarity with a painting created by the Dutch artist Hieronymus Bosch. In my view, the painting ‘Stalpotvorenie’ and the central part of the triptych ‘The Garden of Earthly Delights’ are filled with akin symbolism.

Both are arranged in a similar composition, represent a vertical depiction of a strange world and include human figures, animals and unknown creatures.

Centerpiece: The Garden of Earthly Delights (Triptych), 1504, Hieronymus Bosch. Exhibited in the Prado Museum in Madrid.

Check out this site if you want to hear more about Bosch's painting.

LAST YEARS

In search of more similar scenes, Zlatyu spends the last years of his life making frequent trips to Melnik. The paintings from the Pirin area are immersed in the ethnography of the region, folklore, and residents immersed in their daily rhythm.

Immersed in his own creative rhythm, on a winter morning, the 72-year-old Zlatyu heads from his home to his studio in Plovdiv, but never reaches it. He passes away on February 2, 1978.

From a global perspective, Zlatyu Boyadzhiev left a mark on both Renaissance art and Expressionism. His paintings fit into the colorful galaxy of artists such as Hieronymus Bosch, Pieter Bruegel, and Marc Chagall among others.

THE THREE BARATSI

It's worth noting the fun fact that dogs play an integral role in almost all of Zlatyu’s works. What adds an extra layer of intrigue is that in one particular painting, there aren’t just one or two, but three ‘baratsi’. This painting is aptly titled “The Three Baratsi”, dating back to 1964.

Contrary to its apparent focus on Paris, “The Three Baratsi” is a portrayal of a true friendship. In the artwork, David Perets stands on the right, Vasil Barakov on the left, and Zlatyu Boyadzhiev between the two, each with his canvas positioned before him.

Take note of the direction in which their canvases are facing, capturing the essence of their shared artistic experience.

The Three Baratsi, 1964. Oil paints on canvas. "Boyan Radev" Collection

MUST VISIT

A significant part of his works can be found in the National Gallery in Sofia, in ‘Kvadrat 500’ (or Square 500) in Sofia, in the Plovdiv City Art Gallery, as well as in the House-Museum ‘Zlatyu Boyadzhiev’, also in Plovdiv.

Some of the other places I recommend you visit are his hometown Brezovo and Zlatyu Boyadzhiev's birthplace house in the city.

Sources

Boyana
Previous

004 - Vasil Stoilov

Next

002 - Tsanko Lavrenov