Josip Restek

j o s i p
r e s t e k
od forme do enformela
l
s c a p e
from form to art informel
k u l a
l o t r a k
0 9 2 0 / 0 5 / 2 0 1 5
josip restek 1915. - 1987.

krajolik - Od forme do enformela
Izloba u povodu stogodinjice roenja slikara, grafiara i restauratora
Josipa Resteka
josip restek 1915 1987
landscape - From Form to Art Informel
Exhibition on the occasion of the 100th anniversary of birth of painter,
printmaker and conservator Josip Restek
Katalog / Catalogue
Izloba / Exhibition
Nakladnik / Publisher
Galerija Klovievi dvori
Klovievi Dvori Gallery
Galerija Klovievi dvori

Kula Lotrak,
Strossmayerovo etalite 9, Zagreb,
Hrvatska / Croatia
9. 20. svibnja 2015.
Lotrak Tower
May 9 20, 2015
Za nakladnika /
For the Publisher
Jasmina Bavoljak
Urednica / Editor
Petra Vugrinec
Dizajn / Design
Hamper studio
Tekst / Text
Petra Vugrinec
Fotografije / Photographs
Darko Bavoljak
Lektura / Proofreading
Boris Rozga
Tisak / Print
Stega tisak d.o.o.
Naklada / Print run
300 primjeraka / copies
isbn 978-953-271-087-8
cip zapis je dostupan u
raunalnome katalogu Nacionalne
i sveuiline knjinice u Zagrebu
pod brojem 000905734.
Autorica izlobe / Exhibition author

Petra Vugrinec
Tehnika realizacija izlobe
Technical setup of the exhibition
Tehnika sluba Galerije
Klovievi dvori
Technical Department of the
josip restek
krajolik / landscape
Galerija Klovievi dvori posebnu
zahvalnost duguje gospoi
Blanki Restek na donaciji
umjetnikovih djela Gradu
Zagrebu koju pohranjuje, te
zahvaljujui kojoj moemo prirediti
izlobu. Zahvalnost dugujemo i
umjetnikovoj neakinji dr. sc. Ivani
urinovi Bello na svesrdnom
zalaganju i pomoi u pripremi
izlobe te obiljeavanju obljetnice.
Izloba je ostvarena zahvaljujui
novanoj potpori Ministarstva
kulture rh i Gradskog ureda za
obrazovanje, kulturu i sport Grada
Zagreba.
Klovievi Dvori Gallery owes
special gratitude to Mrs. Blanka
Restek for having donated the
artist's works to the City of Zagreb,
which are stored at the Gallery and
thanks to which we were able to
organise the exhibition. We also
owe our gratitude to the artist's
niece, dr.sc. Ivana urinovi Bello,
for her fervent advocacy and help
in preparing the exhibition and
celebrating the anniversary.
The exhibition is organised with
financial support of the Ministry of
Culture of the Republic of Croatia
and the Zagreb City Office for
Education, Culture and Sports.
Od forme do enformela / From Form to Art Informel
Umjetniku u ast
Proslov u povodu stogodinjice
umjetnikova roenja
1
Predgovor: Tomislav Lalin
2
Koncepcija izlobe:
Biserka Rauter Plani,
autorice tekstova:
Biserka Rauter Plani
i Antonija Druak
04
Kako bismo dostojno obiljeili stotu obljetnicu roenja slikara, grafiara i

restauratora Josipa Resteka, umjetnika ija se djela uvaju u Galeriji Klovievi
dvori, priredili smo interpretacijsku izlobu grafika pod nazivom Krajolik
Od forme do enformela. Izlobom se nee predstaviti Restekov opus u cijelosti
kao 1985. godine u Muzeju za umjetnost i obrt u Zagrebu1, 2003. u Galeriji
Vjekoslav Karas u Karlovcu i Galeriji Klovievi dvori2 nego emo pokuati
izdvajanjem samo jednog tematskog dijela naglasiti ono to nam se ini, vie
od etvrt stoljea nakon umjetnikove smrti, aktualnim i bitnim. U ne odve
selektivnom, ve vie intuitivnom izboru, koji je dakako prilagoen i prostoru
kule Lotrak, pratit emo Restekovu intimnu evoluciju stilskog izriaja od
forme do enformela koja je najvidljivija upravo u krajolicima, toj opsesivnoj temi hrvatskoga slikarstva, kako je naziva dr. Ivanka Reberski u tekstu
Alternativni krajolici, 50-e i 60-e (str.12) istoimene izlobe koja je odrana
u Umjetnikom paviljonu 2009. Iako nam izloba i tekst daju inspirativan
poticaj za prouavanje Restekova krajobraznog slikarstva, njegova se djela
nisu nala u selekciji. Njegovi suvremenici Prica, Gliha, Murti, Petlevski,
Kinert, Peri pa i Duli ili Mila Kumbatovi svjedoe o postojanju jedne
suptilne sintagme rubnoga krajolika ijemu nizu pripada i Restek.
Donacija Gradu Zagrebu od 410 umjetnikih djela, koja je zahvaljujui
umjetnikovoj supruzi Blanki Restek te zalaganju povjesniarke umjetnosti
Biserke Rauter Plani darovana Zagrebu i smjetena u Galeriji Klovievi
dvori, omoguava nam praenje Restekova stilskog razvoja od samih poetaka etrdesetih godina prologa stoljea do djela koja su nastala krajem
stvaralakoga puta: od konkretnog slikarstva i figurativnog realizma, kada
je umjetnik svoj put traio inspirirajui se nacionalnim folklorom, temama
iz vlastita okruenja rodnoga Volavja i jaskanskoga kraja, ali i motivima sa
studijskih putovanja po Italiji i Francuskoj, preko oslobaanja forme kroz ek-
josip restek / krajolik
spresionistike morfoloke intervencije u pejzau, pa sve do lirske apstrakcije,

kada motivikom naputa ovozemaljske i ovovremenske teme apstrahirajui
pojavnost do kozmikih vizija. Restekov opus odraava i dominantne tendencije hrvatske grafike umjetnosti druge polovice xx. stoljea. Majstorsko
poznavanje grafikih tehnika u varijantama visokog, dubokog i plonog tiska
te njegovo kontinuirano propitivanje novih tehnologija izvedbe, posebice
u zahtjevnoj juvigravuri, zatim brojne nagrade i priznanja to ih je za rad
u grafikome mediju primio ine donaciju viestruko znaajnom ne samo
za povjesniare umjetnosti i likovne kritiare nego i za umjetnike, posebice
studente kojima moe posluiti kao riznica za budue umjetnike okuaje.
S obzirom na prigodniarski ton teksta i odabranu temu krajolika, koja bi
trebala predstaviti ono najbolje od Restekova umjetnikog doprinosa, usuujem se zadrijeti dublje u povijesnu paradigmu te potkrijepiti prethodnu
kvalifikaciju teme kao iznimno vane preokupacije domaega slikarstva. Ako
krenemo put prologa, pa i pretposljednjega stoljea, krajolik se otvara zaista
kao velika tema koja je hrvatsku likovnu umjetnost pripojila europskoj. Upiremo li se u znaajnu liniju mediteranskog krajolika Bukoveva plenerizma,
Medovieva i Vidovieva impresionizma i simbolistikoga krajolika te nastavimo sjevernjakim predjelima zagrebake polikromije Ivekovia, Kovaevia
i Crnia, lako emo doi do zakljuka da je krajolik moda i najznaajniji,
ali i najsloeniji tematski sloj hrvatskog modernog slikarstva. Nabrojivi
samo najvea imena opet u dihotomiji juga i sjevera, ne smijemo izostaviti
Joba ili Miea, a pogotovo njihova sjevernjakoga suvremenika Ljubu Babia.
Posljednji je bio i Restekov profesor na Akademiji likovnih umjetnosti u
Zagrebu. Autoritarna Babieva osobnost, posebice njegovo krajobrazno slikarstvo uvelike su ostavili traga na Restekovu promiljanju pejzaa. Babievo
promatranje krajolika iz ptije perspektive te struktura njegovih zagorskih
breuljaka u rasteru njiva i oranica odjekuju i na Restekovim djelima (vidi:
kat. br. 9, 20, 22). Njegove Gorice iz ezdesetih tema su kojoj se vraa i pred
sam kraj ivota. Kao da zaokruuje put odajui poast velikom prethodniku
i njegovim slikama Rodnoga kraja, Protuletja (nad Goricam). Restek je sve
razumio, svu slojevitost teme, svu irinu dijapazona pejzanog slikarstva
oprobavajui se i u formalnim (kat. 9, 13, 19, 20) i u sadrajnim aspektima
teme (kat. 10, 11, 14, 15, 16). Krajolik kao struktura, mentalna organizacija,
mapiranje sjeanja, kao praiskonska forma, kao arhetipska slika. Resteku je
krajolik platforma kojom od materije i organskoga kree prema duhovnom i
metafizikom. Zidi je pionirski anticipirao kompletnu interpretativnu liniju
pejzanog slikarstva od ezdesetih naovamo tekstom Granica i obostrano ili
reduciranje predmetnih oznaka i determiniranje pojavnog ishodita3, ustvrdivi
05
3
Tri teme iz suvremene
hrvatske umjetnosti,
Zagreb / Dubrovnik, 1973.
4
Ivanka Reberski,
Alternativni krajolici, 50-e
i 60-e, katalog izlobe,
Umjetniki paviljon,
Zagreb, 2009., str.12
5
Josip Restek, katalog
izlobe Galerija Klovievi
dvori, 2003., str.6.
06
da su pejzaisti utrli pute astratizmu (str. 83), a ba se taj zakljuak oituje

u Restekovu pejzanom nadrealizmu.
Na toj e liniji openito nastati likovne metafore jedinstvenih stilskih
domaaja4 Gliha, imunovi, Duli, Postrunik a sve te prepoznatljive,
mogli bismo rei ikonike strukture hrvatskog pejzaizma nastaju zahvaljujui pogledu iz zraka. Gromae, suhozidi, Stradun s ljudima poput mrava
poznajemo dakako iz zrane perspektive, takve ih ve i mislimo i posvajamo.
Restekovo se slikarstvo kraja razvija dosljedno. Ne jurei za senzacijama, za
inovativnou pod svaku cijenu, ve mukotrpno, shvaanjem i apsolviranjem
iz stupnja u stupanj. U Zbirci Restekovih djela nalaze se brojne vedute sa
slikarovih putovanja, pejzai rodnoga kraja: Sveta Jana, Sa Korane, Uz more,
Loinj, Baka, ali i Krf, Pariz, vedute Venecije, pa opet Volavje, ljivik, Marina
Put od realizma prema redukciji i apstrakciji ne moemo pratiti kronoloki,
jer se ve 1960. godine monotipija Mjeseina predstavlja u apstraktnim zvonkim formama nalik muzikoj kompoziciji. Tendencije prikazivanja krajolika,
ali i elemenata koji asociraju prostor kroz organike tvorbe pojavljuju se u
drugoj polovici 60-ih godina.
Sedamdesetih godina Restek na svojstven nain amalgamira jasan i raskoan kolorit tradicijske kulture i konfiguraciju domaeg pejzaa (kat. br. 19,21).
Rezultat je svojevrsna arhetipska evokacija rodnoga kraja.
Ranih sedamdesetih Restekov je grafiki list postao reljef, kako je tono uoila autorica Restekove retrospektive Biserka Rauter Plani. Restek gotovo
probija granice dubokoga tiska ostvarujui graninu tvorevinu ija se drama
odvija izmeu grafike dvodimenzionalnosti i trodimenzionalnosti objekta
(kat. 15). On dubi, ree, razgrauje plou do ekspresivne i volumizirane
modelacije grafikog lista, do opipljivog praska.5
Kao vrhunski poznavatelj dijapazona grafikih izraajnih mogunosti, a
istodobno i mtierski naoruan progovara jednakim modernizmom koji je
u hrvatskoj povijesti umjetnosti dakako uoljiviji u uljnom, popularno-tafelajnom slikarstvu. U omalenoj, ali znaajnoj knjiici almanahu Apstraktna
umjetnost u Hrvatskoj autora Zdenka Rusa iz 1985. godine Restek je skromno,
ali znaajno kao posljednje ime u tekstu uvrten u veliki niz lirskog enformelizma: Gattin, Peri, Kulmer, Seder, Petlevski, Jevovar, Murti, pa i Restek
u svojim grafikim listovima (pa i u nekim uljima) posve zaogre figuralne
tragove intenzivnim apstraktnim grafizmima (str. 30).
Biserka Rauter Plani na kraju teksta lijepo zakljuuje da je Restek jedan
od najelitnijih hrvatskih modernistikih grafiara (str.7), a prema mojemu
miljenju epitet elitizma jednako potkrepljuje moralna ljepota (Biserka
Rauter Plani, str. 6) umjetnikova stvaranja i ivljenja. Skromnost i istinsko
uivanje u umjetnikom stvaralatvu bez elje za podilaenjem asovitim
modama odlike su koje krase njegovo stvaralatvo. Restekov opus odie

ljudskom mjerom, rijetko postignutim skladom i mirom. Njegova je dosljednost mimezis, a stvaranje i traganje kontinuitet koji se oituje u zavidnom
majstorstvu grafikoga promiljanja.
Opus Josipa Resteka, kao i mnogih njegovih suvremenika, primjerice
Rudolfa Sablia, nema nekih senzacija za koje se kritika moe uhvatiti;
on je jednostavno intimno svjedoanstvo jednoga umjetnikog trajanja u
razdoblju bunih eksperimenata postmodernizama. Tek u novije vrijeme,
na interpretacijskoj razini otkrivaju se skrivene vrijednosti toga tihoga umjetnikog stvaralatva koje upotpunjuje tijekove likovne umjetnosti druge
polovice 20. stoljea dajui joj ljudsku mjeru. Poravnavajui klatno s esto
nedokuive razine kompleksne slikarske apstrakcije na razinu shvatljivog i
poznatog, Restekov je opus utoite obinom modernom ovjeku. Danas se
razotkrivaju neke nove vrijednosti, osobne nostalgije u poutjelom koloritu
polaroida objektivnog shvaanja. Ne bismo ih trebali olako interpretirati niti
ih odbacivati u kutiju nita nova, jer ve spomenuti elitizam upravo trai
iznalaenje nevidljivih vrijednosti, onih koje odjekuju jedinstvenim asocijacijama koje su samo oni koji zaista trae zasluili i pronai Bit e takvih
prigoda za Resteka jo, jer sva polivalentnost njegova opusa, u rasponu od
tradicijskih motiva, portreta, ciklusa djece, susjeda, nadrealistikih sadrajnih
prosedea, zasigurno e dobiti priliku za novi pogled. Cilj je dakako nakon
retrospektivnih valorizacijskih izlobi uvrstiti Resteka u modernistike tijekove kojima se bave izlobe i monografije, a u kojima ga se dosad, na alost,
esto izostavljalo.
07
ivotopis
In honour of the author

Preface on the occasion of the 100th anniversary
of the artists passing accompanying the exhibition
Krajolik Od forme do enformela /
Landscape From Form to Art Informel
Josip Restek roen je 7. oujka 1915. godine u Volavju kraj Jastrebarskog. Godine 1940. diplomirao je slikarstvo, a godinu nakon toga kod profesora Artura
Schneidera, Grge Novaka, Viktora Hoffillera zavrava i studij povijesti umjetnosti na Filozofskom fakultetu u Zagrebu. Zavrivi specijalku za grafiku
kod profesora Tomislava Krizmana 1941. godine, poinje se intenzivnije baviti
grafikim oblikovanjem. Od 1950. do 1973. radi na koli za primijenjenu
umjetnost u Zagrebu, u poetku na studiju slikarskih tehnika, a zatim na
grafikom odsjeku. Tijekom pedesetih godina sa suprugom Blankom svake
godine u ljetno doba putuje u Pariz, gdje se uzdravaju povremenim poslovima te u drutvu Slavka Kopaa posjeuju galerije i muzeje. Od pedesetih
godina prolog stoljea redovito izlae na skupnim i samostalnim izlobama.
Sedamdesetih je godina bio vie puta nagraen: godine 1970. Accademia
internationale Tommaso Campanella imenuje ga za lana honoris causa s
diplomom i srebrenom medaljom, na VI. i VII. likim analima u Gospiu dobiva plakete za grafiku, godine 1972. odlikovan je Ordenom rada sa srebrenom
zvijezdom, godine 1979. otkupnom nagradom na IV. izlobi jugoslavenskog
portreta u Tuzli, 1980. Accademia Italia delle Arte e Lavori imenuje ga akademikom i 1982. godine Zlatnom medaljom Accademie Italia delle Arte e del
Lavoro u Salsomaggiore Terme. Od 1973. do umirovljenja 1982. godine djeluje
kao profesor na Vioj grafikoj koli u Zagrebu, predaje grafiko oblikovanje
i likovno-grafiku kulturu te za potrebe nastave objavljuje udbenik Osnove
grafikog dizajna (1975), u kojem sabire grafike elemente i njihov vizualni
doivljaj i Tabelarni pregled likovno-grafike kulture (1976.). Godine 1978. u
rodnoj kui u Volavju organizira stalnu izlobu slika i grafika Josipa Resteka.
Sredinom osamdesetih priprema prvu retrospektivnu izlobu, koja je bila
postavljena u Muzeju za umjetnost i obrt u Zagrebu od 5. do 31. oujka 1985.
godine. Umro je u Zagrebu 13. svibnja 1987.
08
In order to fittingly mark the 100th anniversary of birth of painter, printmaker

and conservator Josip Restek, artist whose works are stored at the Klovievi
Dvori Gallery, we organised the interpretational exhibition of prints titled
Landscape from Form to Art Informel. The exhibition will not present
Resteks complete oeuvre as was the case in 1985 at the Museum of Arts
and Crafts in Zagreb,1 in 2003 at the Vjekoslav Karas Gallery in Karlovac,
and the Klovievi Dvori Gallery2 but rather we will seek to point out
the instances we feel are topical and significant more than a quarter of a
century after the artists death by extricating a single thematic segment. In
a selection that is more intuitive than selective and is, of course, adapted to
the space of the Lotrak Tower, we will follow Resteks intimate evolution
of stylistic expression from form to Art Infomel which is most evident
precisely in landscapes, the obsessive subject of Croatian fine art, as stated
by Ivanka Reberski in the text Alternativni krajolici, 50-e i 60-e / Alternative
Landscapes, 1950 and 1960s (p.12) accompanying the eponymous exhibition
held at the Art Pavilion in 2009. Although the exhibition and text provide
us with an inspiring stimulus for studying Resteks landscape painting, his
works have not been selected. His contemporaries Prica, Gliha, Murti,
Petlevski, Kinert, Peri, and even Duli or Mila Kumbatovi testify on
the existence of a subtle syntagm of marginal landscape, part of the series
of which is also Restek.
The donation to the City of Zagreb of 410 works of art, which was donated
to Zagreb and stored at the Klovievi Dvori Gallery thanks to the artists
wife Blanka Restek and the advocacy of art historian Biserka Rauter Plani,
enables us to follow Resteks stylistic development from early 1940s to
works that were created at the end of the artistic path: from realisticallytransferred motifs and figurative realism, when the artist sought his path
by finding inspiration in national folklore, subjects from own surroundings
of his native Volavje and the Jaska region, but also in motifs from study
visits to Italy and France, to the liberation of form through expressionist
1
Preface: Tomislav Lalin
2
Exhibition concept:
authors of texts: Biserka
Rauter Plani and
Antonija Druak
09
morphological interventions in landscape and, ultimately, lyrical abstraction

when he used motifs to abandon subjects from present time and place, thus
abstracting occurrences to an extent of cosmic visions. Resteks oeuvre also
reflects the dominant tendencies of Croatian graphic art of the second half
of the 20th century. The masterful insight into printmaking techniques in the
techniques of high, deep and flat print, and his consistent examination of new
implementation technologies, especially of the more-challenging technique
of etching, the numerous awards and recognitions received for his work in
the graphic medium all make the donation multifariously significant not only
for art historians and critics, but also for the artists, and especially students
to whom it can serve as a treasury for future artistic endeavours.
Considering the celebratory tone of the text and the chosen subject of
landscape, which ought to present the best instances of Resteks artistic
contribution, I dare to penetrate more deeply into the historical paradigm
so as to substantiate the aforementioned qualification of the subject as an
exceptionally important preoccupation of domestic painting. If we step on the
path of the last century and even the one before last, the landscape opens up as
a truly large subject that merged Croatian and European fine art. If we follow
the significant line of the Mediterranean landscape of Bukovacs pleinairism,
the impressionism and symbolist landscape of Medovi and Vidovi, and
continue through the northern regions of Zagrebian polychromy of Ivekovi,
Kovaevi and Crni, we can easily conclude that the landscape may be the
most significant, but also the most complex thematic layer of modern painting.
In listing the most renowned names in the dichotomy of south and north,
we should not omit Job or Mie, and especially their northern contemporary
Ljubo Babi. The latter was also Resteks professor at the Academy of Fine
Arts in Zagreb. Babis authoritarian personality and especially his landscape
painting left a significant mark on Rasteks deliberation of landscape. Babis
birds-eye view on the landscape and the structure of his Zagorje hills in a
raster of fields and ploughed land also resonate in Resteks works (see: cat. no.
9, 20, 22). His work Gorice from the 1960s remained a subject to which he also
returned near the end of his life. It was as if he completed the circle by paying
tribute to the great predecessor and his paintings Rodni kraj / Native Region,
Protuletje (nad Goricam) / Spring (over Gorice). Rastek understood everything,
the multifariousness of the subject, the broadness of range of landscape
painting, by trying his hand at both formal (cat. 9, 13, 19, 20) and contentual
aspects of the subject (cat. 10, 11, 14, 15, 16). Landscape as structure, mental
organisation, mapping of memory, as a primordial form, as archetypal image.
To Rastek, landscape is a platform on which he moves from material and
organic towards spiritual and metaphysical. Zidis pioneering anticipation
10
of the overall interpretative line of landscape painting from the 1960s to the
present day is found in the text Granica i obostrano ili reduciranje predmetnih
oznaka i determiniranje pojavnog ishodita / The Boundary and the Both-Sided
or Reduction of Objectual Labels and Defining the Origin of Occurrence,3 in
which he stated that landscape artists paved the way to astratism (p. 83),
and exactly this conclusion manifests itself in Resteks landscape surrealism.
The art metaphors of unique stylistic achievements4 Gliha, imunovi,
Duli, Postrunik also generally occurred on said line; all of these
recognisable, one could even say iconic structures of Croatian landscapism
were created by virtue of aerial view. Stone walls, drywalls, Stradun Street with
people resembling ants are, of course, recognisable from aerial perspective,
from which we imagine and appropriate them. Resteks painting of scenery
develops consistently. Sans chasing sensation, innovation at any cost, but
rather arduously, by comprehending and mastering one level at a time. In
the Collection of Resteks works, one can find numerous panoramas from
his journeys, landscapes of the native region: Sveta Jana, Sa Korane / From
Korana, Uz more / By the Sea, Loinj, Baka, but also Corfu, Paris, panoramas
of Venice, and then back to Volavje, ljivik, Marina The path from realism
towards reduction and abstraction cannot be traced chronologically, since
already in 1960 the monotype Mjeseina / Moonlight presented itself in
abstract, echoing forms resembling a musical composition. The tendencies
to depict scenery, but also elements that are associated with space through
organic formations, gained shape in the second half of the 1960s.
In the 1970s, Restek amalgamated clear, lavish handling of colour of traditional
culture and the configuration of domestic landscape in a characteristic
manner (cat. no. 19, 21).
In the early 1970s, Resteks print sheet became a relief, as was accurately
observed by the author of Resteks retrospective exhibition Biserka Rauter
Plani. It is almost as if he penetrates the boundaries of deep print by
creating a borderline formation, the drama of which arises between the twodimensionality of the print and the three-dimensionality of the object (cat.
15). He carves, cuts, decomposes the plate to an expressive and voluminous
modelation of the print sheet, to a tangible burst.5
Being an unmatched expert for the expressive possibilities of printing and,
simultaneously, armed with expertise, he manifested equal modernism that
was, naturally, more evident in the then-popular oil painting on easel. In the
petite, but nevertheless significant almanac booklet Apstraktna umjetnost
u Hrvatskoj / Abstract Art in Croatia by Zdenko Rus from 1985, Restek was
included indicatively, albeit modestly as the last name in the great sequence of
lyrical informelism: Gattin, Peri, Kulmer, Seder, Petlevski, Jevovar, Murti and
3
Tri teme iz suvremene
hrvatske umjetnosti,
Zagreb / Dubrovnik, 1973
4
Ivanka Reberski,
Alternativni krajolici,
50-e i 60-e, exhibition
catalogue, Art Pavilion,
Zagreb, 2009, p.12
5
Josip Restek, exhibition
catalogue, Klovievi Dvori
Gallery, 2003, p. 6
11
even Restek who completely conceals the figural traces with intense abstract
graphisms in his print sheets (and even in certain oil paintings). (p. 30)
Biserka Rauter Plani neatly concludes that Restek is one of Croatias
most elite modernist printmakers, (p. 7) and I personally believe that the
epithet of elitism is equally supported by the moral beauty (Biserka Rauter
Plani, p. 6) of the artists production and life. His artistic work is adorned
with modesty and genuine delight in the artistic production sans the desire
to pander to transient modes. Resteks oeuvre exudes a human criterion, a
seldom achieved harmony and tranquillity. His consistency is a mimesis,
and his production and pursuit a continuity that manifests itself in a rarelyobserved mastery of deliberation in the realm of graphic art.
The oeuvre of Josip Restek, as well as of his numerous contemporaries such
as Rudolf Sabli, does not contain any sensations that might lure the critics;
it simply serves as an intimate testimony of an artistic lifespan in the period
of clamorous experiments of postmodernisms. It was not until recent times
that the hidden values of said silent artistic activity, which complements the
course of fine art of the second half of the 20th century by giving it a human
criterion, have been revealed at the level of interpretation. By aligning the
pendulum from an often inconceivable level of complex painting abstraction
to a level of comprehensible and familiar, Resteks oeuvre serves as a resort
to the ordinary modern man. Certain new values, personal nostalgias in
the faded colouring of the polaroid of objective conception, are exposing
themselves today. We should not interpret them lightly or discard them in
a box labelled nothing new, as it is exactly the aforementioned elitism that
requires the finding of new values, those that echo in the unique correlations
that deserve to be discovered only by those who are truly searching There
will be more such occasions for Restek, as the overall multifariousness of
his oeuvre ranging from traditional motifs, portraits, cycles of children,
neighbours, of surrealist contentual procd will surely be given an
opportunity to be seen again. Following the retrospective valorisation
exhibitions, certainly the aim is to include Restek in modernist courses
in which exhibitions and monographs, from which he was hitherto sadly
omitted, are engaged.
12
Curriculum vitae
Josip Restek was born on March 7, 1915 in Volavje near Jastrebarsko. He

obtained a degree in Painting in 1940, and graduated in Art History under
the mentorship of Artur Schneider, Grga Novak and Viktor Hoffiller from
the Faculty of Humanities and Social Sciences in Zagreb in the following
year. Having specialised in printmaking under the mentorship of Tomislav
Krizman in 1941, he started to intensively engage in graphic design. From
1950 to 1973, he was staff member of the School of Applied Art in Zagreb,
initially in the Painting Techniques study programme, and later at the Graphic
Department. During the 1950s, he habitually visited Paris around summertime
each year together with his wife Blanka, where they financed themselves with
part-time jobs, and visited galleries and museums in the company of Slavko
Kopa. He began to regularly exhibit his works at group and solo exhibitions
from the 1950s. He was awarded on several occasions in the 1970s: he was
named member of honoris causa and given a diploma and silver medal by
Accademia internationale Tommaso Campanella, he received plaques for
his graphic art at the 6th and 7th Annals of Lika in Gospi, he was rewarded
the Work Medal with Silver Star in 1972, he was given the purchase award at
the 4th Exhibition of Yugoslav Portrait in Tuzla, and was named Academic
with gold medal in 1980 and Gold Medal of Accademia Italia delle Arte e del
Lavoro by Accademia Italia delle Arte e Lavori in Salsomaggiore Terme in
1982. From 1973 until retirement in 1982, he was lecturer at the Graphic Art
School in Zagreb, where he taught Graphic Design and Graphic Art History;
for teaching purposes, he published the textbook Osnove grafikog dizajna
/ Introduction to Graphic Design (1975) in which he compiled elements of
graphic art and their visual perception, and Tabelarni pregled likovno-grafike
kulture / Tabular Overview of Graphic Art History (1976). In 1978, in his birth
house in Volavje, he organised the Permanent Exhibition of Paintings and
Prints of Josip Restek. In the mid-1980s, he prepared the first retrospective
exhibition that was presented at the Museum of Arts and Crafts in Zagreb
from March 5 to March 31, 1985. He died on May 13, 1987 in Zagreb.
13
14
s1_Mjeseina / Moonlight, oko/around 1960.
s2_Iskonska forma / Primordial form, 1960.
15
16
s3_Vrata / Door, 1961.
4_Stijena / Boulder, 1961.
17
18
s5_Znakovi / Signs, 1961.
s6_Kristalni fosili / Crystal fossils, 1962.
19
20
s7_Iluzija grada / Illusion of town, 1963.
s8_Kristalizacija / Crystallisation, 1964.
21
22
s9_Gorice, oko/around 1967.
10_Zatvoreni svijet / Closed world, 1968.
23
24
s11_Magino stablo / Magic tree, 1968.
s12_Mozaik pejzaa I / Mosaic of landscape I, 1968.
25
26
s13_Zemlja / Earth, 1969.
s14_Rast stablo / Growth tree, 1971.
27
28
s15_Impresija / Impression, 1971.
16_Sjeanje / Memory, 1972.
29
30
s17_Polja / Fields, 1973.
18_Nazubljena ploha / Serrated surface, 1976.
31
32
s19_Duga / Rainbow, 1976.
s20_Vinogradi / Vineyards, 1976.
33
34
s21_Sunce i zemlja / Sun and Earth, 1976.
s22_Polja / Fields, 1981.
35
36
s23_Horizont u plavom / Horizon in blue, 1985.
s24_Horizont u crvenom / Horizon in red, 1985.
37
Popis djela Josipa Resteka

odabranih za izlobu
iz Zbirke umjetnikih
radova slikara, grafiara
i restauratora Josipa
Resteka u Galeriji
Klovievi dvori
01.
Mjeseina, oko 1960.
monotipija, 49 x 41 cm
sign. dlk: monotyp; ds:
Mjeseina; ddk: Restek
Josip; Galerija Klovievi
dvori, jr-235-925
02.
Iskonska forma, 1960.
akvatinta, 83,5 x 54 cm
sign. ddk: Restek Josip
Galerija Klovievi dvori,
jr-203-875
03.
Vrata, 1961.
akvatinta, 75 x 33 cm
sign. dlk: aquatinta (print
dartiste); dd: Vrata
(Komp. 4) Restek Josip 61
jr-204-876
06.
Kristalni fosili, 1962.
akvatinta, 64,5 x 49,6 cm
sign. dlk: print dartist
(aquatinta); dd: Kristalni
fosili; ddk: Restek Josip
62; Galerija Klovievi dvori,
jr-210-882
07.
Iluzija grada, 1963.
sign. dd: Iluzija grada; ddk:
Restek Josip 63
jr-212-884
08.
Kristalizacija, 1964.
sign. dlk: otisak autora; ds:
Kristalizacija; ddk: Restek
Josip 63; Galerija Klovievi
dvori, jr-214-886
09.
Gorice, oko 1967.
akvarel i tu, 46 x 33 cm
sign. ddk: Restek; Galerija
Klovievi dvori, jr-75-775
10.
Zatvoreni svijet, 1968.
bakrorez, 56,7 x 38,5 cm
sign. ds: Zatvoreni svijet
jr-228-900
04.
Stijena, 1961.
sign. dlk: aquatinta comb.
(print dartist); dd: Stijena
(Mur); Comp I; ddk: Restek
Josip 61, Galerija Klovievi
dvori, JR-205-877
11.
Magino stablo, 1968.
bakrorez, 64,5 x 29 cm
sign. ds: Magino stablo;
ddk: Restek Josip 68
jr-230-902
05.
Znakovi, 1961.
sign. dlk: aquatinta; ds:
Znakovi"; ddk: Restek Josip
jr-207-879
12.
Mozaik pejzaa I, 1968.
akvatinta, 49 x 32 cm
Mozaik pejzaa I; ddk:
Restek Josip 68; Galerija
Klovievi dvori, jr-231-903
38
13.
Zemlja, 1969.
lavirani tu, 65 x 50 cm
sign. dlk: Terra (Zemlja)
ddk: Restek 69; Galerija
Klovievi dvori,
jr-81-771
19.
Duga, 1976.
sign. dlk: Duga
jr-109 - 809
14.
Rast stablo, 1971.
akvarel, 70 x 50 cm
sign. dlk: Rast (Stablo)
jr-92-792
20.
Vinogradi, 1976.
sign. dlk: Vinogradi
jr-110-810
15.
Impresija, 1971.
linogravura, 59 x 44 cm
sign.dlk: linogravura
(Epreuve dartiste 4/5);
ds: Impresija; ddk: Restek
dvori, jr-265-937
21.
Sunce i zemlja, 1976.
sign. dlk: Sunce i zemlja
jr-111-811
16.
Sjeanje, 1972.
linorez, 58,5 x 44,5 cm
sign. dlk: linogravura
(otisak autora); ds:
Sjeanje; ddk: Restek Josip
jr-234-906
17.
Polja, 1973.
linorez, 57,5 x 47 cm
sign. dlk: linogravura 4/10;
ds: Polje; ddk: Restek
Josip 73
18.
Nazubljena ploha, 1976.
sign. dlk. aquatinta
(print dartiste);
ds: (zahn flche) Ploha
sa zupcima; ddk: Restek
dvori, jr-246-918
22.
Polja, 1981.
akvarel i tu, 71 x 50, 3 cm
sign. dlk: Polja; ddk: Restek
jr-121-821
23.
Horizont u plavom, 1985.
akvarel, tu, 74,5 x 64,8 cm
sign. dlk: Horizont u
plavom; ddk: Restek
Josip 85
jr-123-823
24.
Horizont u crvenom, 1985.
akvarel, tu, 74,5 x 64,8 cm
crvenom; ddk: Restek Josip
jr-124-824
List of works of Josip

Restek selected for the
exhibition from the
Collection of Artwork of
Painter, Printmaker and
Conservator Josip Restek
at the Klovievi Dvori
Gallery
01
Moonlight, around 1960
monotype, 49 x 41 cm
sign.dlk: monotype; ds:
Mjeseina; ddk: Restek
Josip; Klovievi Dvori
Gallery, jr-235-925
02
Primordial form, 1960
aquatinta, 83,5 x 54 cm
sign. ddk: Restek Josip
Klovievi Dvori Gallery,
jr-203-875
03
Door, 1961
aquatinta, 75 x 33 cm
sign. dlk: aquatinta (print
dartiste); dd: Vrata
(Komp. 4) Restek Josip 61
jr-204-876
04
Boulder, 1961
sign. dlk: aquatinta comb.
(print dartiste); dd:
Stijena (Mur); Comp I; ddk:
Restek Josip 61
jr-205-877
05
Signs, 1961
aquatinta, 39,5 x 25,8 cm
Znakovi; ddk: Restek Josip
61; Klovievi Dvori Gallery,
jr-207-879
06
Crystal fossils, 1962
sign. dlk: print dartiste
(aquatinta); dd: Kristalni
fosili; ddk: Restek Josip
jr-210-882
07
Illusion of town, 1963
sign. dd: Iluzija grada; ddk:
Restek Josip 63
jr-212-884
08
Crystallisation, 1964
sign. dlk: print dartiste;
ds: Kristalizacija; ddk:
Restek Josip 63; Klovievi
Dvori Gallery, jr-214-886
09
Gorice, around 1967
aquarelle and Indian ink,
46 x 33 cm
sign. ddk: Restek; Klovievi
10
Closed world, 1968
copperplate engraving
56,7 x 38,5 cm
sign. ds: Zatvoreni svijet
jr-228-900
11
Magic tree, 1968
copperplate engraving
64,5 x 29 cm
sign. ds: Magino stablo;
jr-230-902
12
Mosaic of landscape
I, 1968
aquatinta, 49 x 32 cm

Mozaik pejzaa I; ddk:
13
Earth, 1969
Indian ink wash, 65 x 50 cm
sign. dlk: Terra (Zemlja)
ddk: Restek 69; Klovievi
14
Growth tree, 1971
aquarelle, 70 x 50 cm
sign. dlk: Rast (Stablo)
jr-92-792
15
Impression, 1971
linocut engraving,
59 x 44 cm
sign.dlk: linocut engraving
(epreuve dartiste 4/5);
ds: Impresija; ddk: Restek
Josip 71; Klovievi Dvori
Gallery, jr-265-937
16
Memory, 1972
linocut, 58,5 x 44,5 cm
sign. dlk: linocut engraving
(print dartiste); ds:
Sjeanje; ddk: Restek Josip
jr-234-906
17
Fields, 1973
linocut, 57,5 x 47 cm
sign. dlk: linocut engraving
4/10; ds: Polje; ddk: Restek
Josip 73
18
Serrated surface, 1976
sign. dlk. aquatinta (print
dartiste); ds: (zahn
flche) Ploha sa zupcima;

jr-246-918
19
Rainbow, 1976
aquarelle and Indian ink
71 x 50 cm
sign. dlk: Duga; ddk:
20
Vineyards, 1976
71 x 50 cm
sign. dlk: Vinogradi; ddk:
21
Sun and Earth, 1976
71 x 50 cm
sign. dlk: Sunce i zemlja
jr-111-811
22
Fields, 1981
71 x 50,3 cm
sign. dlk: Polja
ddk: Restek 81; Klovievi
23
Horizon in blue, 1985
74,5 x 64,8 cm
plavom; ddk: Restek Josip
jr-123-823
24
Horizon in red, 1985
74,5 x 64,8 cm
crvenom; ddk: Restek Josip
JR-124-824
39
158

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j o s i p

josip restek 1915. - 1987.

Galerija Klovievi dvori

Autorica izlobe / Exhibition author

Od forme do enformela / From Form to Art Informel

Kako bismo dostojno obiljeili stotu obljetnicu roenja slikara, grafiara i

josip restek / krajolik

spresionistike morfoloke intervencije u pejzau, pa sve do lirske apstrakcije,

da su pejzaisti utrli pute astratizmu (str. 83), a ba se taj zakljuak oituje

josip restek / krajolik

modama odlike su koje krase njegovo stvaralatvo. Restekov opus odie

josip restek / krajolik

In honour of the author

josip restek / krajolik

In order to fittingly mark the 100th anniversary of birth of painter, printmaker

josip restek / krajolik

morphological interventions in landscape and, ultimately, lyrical abstraction

josip restek / krajolik

josip restek / krajolik

josip restek / krajolik

Josip Restek was born on March 7, 1915 in Volavje near Jastrebarsko. He

josip restek / krajolik

s1_Mjeseina / Moonlight, oko/around 1960.

s2_Iskonska forma / Primordial form, 1960.

josip restek / krajolik

josip restek / krajolik

s3_Vrata / Door, 1961.

4_Stijena / Boulder, 1961.

josip restek / krajolik

josip restek / krajolik

s5_Znakovi / Signs, 1961.

s6_Kristalni fosili / Crystal fossils, 1962.

josip restek / krajolik

josip restek / krajolik

s7_Iluzija grada / Illusion of town, 1963.

s8_Kristalizacija / Crystallisation, 1964.

josip restek / krajolik

josip restek / krajolik

s9_Gorice, oko/around 1967.

10_Zatvoreni svijet / Closed world, 1968.

josip restek / krajolik

josip restek / krajolik

s11_Magino stablo / Magic tree, 1968.

s12_Mozaik pejzaa I / Mosaic of landscape I, 1968.

josip restek / krajolik

josip restek / krajolik

s13_Zemlja / Earth, 1969.

s14_Rast stablo / Growth tree, 1971.

josip restek / krajolik

josip restek / krajolik

s15_Impresija / Impression, 1971.

16_Sjeanje / Memory, 1972.

josip restek / krajolik

josip restek / krajolik

s17_Polja / Fields, 1973.

18_Nazubljena ploha / Serrated surface, 1976.

josip restek / krajolik

josip restek / krajolik

s19_Duga / Rainbow, 1976.

s20_Vinogradi / Vineyards, 1976.

josip restek / krajolik

josip restek / krajolik

s21_Sunce i zemlja / Sun and Earth, 1976.

s22_Polja / Fields, 1981.