Desiderio Svara

Various critics dealt with his paintings, such as Milko Bambič, Giulio Montenero, Sergio Molesi, Claudio H. Martelli, Carlo Milic, Milko Rener, Luigi Danelutti, Ivan Sedej, Janez Mesesnel, Philippe Montjoly, Eric Hersilie, Hamid Mulferdi, Nives Marvin, Anamarija Stibilj Šajn, Jasna Merku, Joško Vetrih, Milček Komelj, Jurij Paljk, Saša Quinzi.


Anse noire
mixed technique, cm. 90x70 (1987)



Desiderio Švara imposed his art with his seascapes in soft and lively colours, referring to Guidi's use of light and Morandi's strict geometrical shapes.
When his inspiration passed from sea to land, for a while Desiderio Svara painted the outline of hill ranges, neat cottages and trees in tapered images. Only in part they brought him to inland regions.
Rendered in polycrome horizontal bands, they alluded to the real place, hour and season for their soft wide range of colours.
Desiderio Svara has passed confidently from realism to abstraction, finally achieving the synthesis of the oppositions.
From the iconographic point of view he moved to and fro the solidity of the earth and the liquid mutability of the sky and the sea, subjecting them to certain geometrical rules.

Sergio Molesi, 1981



oil on canvas, cm. 70x90 (1996)



The history of an artist, who has been painting for decades, is marked by different moments, which testify to the development of his personality and the refinement of his language.
Looking at the latest production of Deziderij Svara, we shall at least recall that his pictorial journey is not the result of a sudden discovery or the adherence to someone else’s linguistic modules.
It is the arriving point of a way, which passed through post-Impressionism and Expressionism, and in which Svara paid attention to forms and volumes, according to the post-Cubist canons.
Once he found the key to precisely control space, he began to abandon the immediate references to figurative reality and he widened them more and more, trying to free himself from formal constraints, far away from gestural or sign painting.
Through constant stages and growing maturity, the wide and confused backgrounds around the remaining of the figurative cores have been replaced by surfaces of shining and vibrant colour, which represent a completely pure and poetic painting.
Paradoxically, the time has come, for the artist, to entrust the light with the task to sing not things but their very essence, feelings and memories, in order to catch their precise, immutable value.
His “Paesaggi dell’anima” (Soul’s landscapes) are very delicate works, tonal and serial like a music coming from far away and evoking what has been and, perhaps, what will be.
This is a painting of high creative value, evoking a route of purification and liberation, which is not only linguistic but, above all, spiritual. This is, for the moment, a really original fact for the current artistic situation in the Venezia Giulia area.

Claudio H. Martelli, 2000


oil on canvas, cm. 90x100 (2001)



linografia, cm. 40x30 (1980)



Entre les îles
acrylic on wood inserts, cm. 70x70 (1986)



L’ultimo totem
mixed technique, cm. 100x70 (1990)



Sommaco sul Carso
oil on canvas, cm. 100x100 (1998)


oil on canvas, cm. 80x80 (1999)



oil on canvas, cm. 100x100 (2001)



Deziderij Svara’s whole pictorial work, including the creations of the last five years, places its author in the Slovenian landscape tradition and, more precisely, among the Littoral painters.
His very long active search for a pictorial mean, his many journeys and prolonged stays in exotic places, his knowledge of different cultures confirmed his choice of depicting his native environment and its peculiarities, which have always stimulated artistic creativity.
Svara has never been conditioned by the many tendencies and possibilities offered by contemporary techniques: he needs and, at the same time, wants creativity, because, through it, he expresses feelings, memories, senses, experiences and associations related to them.
Deziderij Svara’s paintings are full of coloured atmospheres, which express the author’s intimate transformation and exaltation, enveloped in aerial veils, where the concrete and the abstract mingle, dissolving themselves between the known and the unknown.
The poetics, which marks Deziderij Svara’s whole work, as regards its contents and themes, is linked to the Littoral and, more concretely, to the Karst. Formally and figuratively, it tends to figurative unification and interpretative pureness, where the functions of endless space and of the bright atmospheres are emphasised.
The neat surface compositions, above all those from the mid 90s, are far away from last year almost monochrome pictures.
The rational planning of the geometrical scheme, already present in the works of the other Littoral painters, in association with the landscape orthography and the colouristic value of warm red, orange, yellow, cold blue and other colours, interprets the heated atmosphere, defined by the particular conditions between night and day, winter and spring, summer and autumn, in an experienced and visual way.
In particular, it stresses the stimulating provocations of natural conditions, of basic elements and their specific effects: the endless blending of sky and sea, the changes of sun horizons and primeval symbiosis with the Mediterranean vegetation, and, therefore, of the most basic and vital manifestations, which, in spite of gross human interventions, defy the author and time.
What can be more exciting, for the attentive observer, than reviving these noble primeval elements, which are sometimes accompanied by some ancient Karst silhouette?
The author lives and works in an environment, which is creatively productive and pushes him towards new interpretations and considerations about the universal relations between man and nature.
Svara is the painter of colouristic feelings and the poet of landscape representation.
He is an original interpreter and documentarist of a given place and time, but he is free from concrete figurative conditioning.
He merges the whole into monochrome surfaces, colouristically unified, mitigated and softened in their pure essence, which lives again in its elementariness and in the identification of colour, the main constructive and expressive element.
Last years paintings are like colour veils, mainly made of refined nuances of the same colour, which eliminate the distinction between water, air, earth and fire, between the visible and the infinite, the known and the unknown, what is near and what is far away, even though all is present at the same time.
While the representation substantially does not change, the bright and transparent atmospheres maintain their serene beauty and basics, in comparison with the infinite and the undying. Notwithstanding the purified synthesis of the theme, energy lives again in its monumentality and spatiality, and identifies with the intimacy of the sentimental experience, causing a direct identification with the painting.
Deziderij Svara’s creation is pondered and refined, as regards the pictorial expression. It merges harmoniously and aesthetically all elements, the most important being colours, which reflect and characterises his thoughts, his character and his acceptance of life.

Nives Marvin, 2001




oil on canvas, cm. 100x90 (2003)


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