oil on canvas, 60 x 70 cm, signed bottom right, in black, ''SEDER''

When, in the mid-1970s, Đuro Seder (1927. - 2022.) announced his fascination with colour, shapes, or his peculiar approach to figurative motifs (which he elucidated in the programmatic text "Possibility of Picture" from 1981), it appears that there was no end to this fascination, that he began observing the world around him and its forms enthusiastically, as if seeing them for the first time. Rejecting the avant-garde inclination for ascetic form, he began to marvel at the richness that the world offered him. This painting of a bridge is proof of that. I can imagine that Seder was fascinated by the arch of the bridge, equally alive and gracefully moved, as well as the greenery around it. In the painting, he underlined this with coloristic intensity and impasto, with which he recorded his vitalistic experiences of the world. His turn towards figuration also followed a major turn towards religiosity. Although his patrons and themes of that period were linked to Catholicism, Seder himself said that his preference for that denomination was merely a result of his birth in a community where it was the predominant religion. It would not be wrong to see a personal, pantheistic gospel in his late work, expressed in the language of painting. FG

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