Albin Lugarič is a painter of Ptuj. Among all painters who have lived and painted in the ancient town by the Drava, there is none who deserves this name as much as Lugarič. It is Ptuj where he was born, here he spent his childhood and early age, years of service in school and here he has been creating for almost five decades. The old town and the surrounding of Ptuj have given a stamp to Lugaric's painting and the painter engaged himself to the country and the people in this part of Slovenia.lt is not easy to work in Ptuj. Nowadays Ptuj as a town is on the margin of plastic creativity, though the past, on the other hand, is rich. It incessantly attracts the artist and forces him to examine his work and compare it with the old masters. Lugarie does not avoid such encounters. Through discussion with his predecessors he finds answers to numerous questions, for Ptuj offers almost no opportunities for cultivating friendship with colleagues of his own generation.

He is accompanied by Viktor Gojkovic, a sculptor, Stojan Kerbler, a master of the photography and a group of amateur plastic artists. But not so long ago Ptuj had three painters. The oldest among them was Jan Oeltjen (1880-1968) who first left the group. Soon after died in tragic circumstances Janez Mezan (1897-1972). The three artists were of a different kind as regards their character and artistic approach but they were linked by living in the same town and inspired by somewhat gloomy surrounding of Ptuj. ln 1962 Joze Curk described the three contemporaries “This is how the fate of life brought together three artists, each among them interesting in his own way, with Oeltjen being the most original, Mežan being central and Lugarič being the most promising artistic personality “. ln that time Lugaric was still at the start of his creative life. By the side of prominent personality of Jan Oeltjen and extraordinary popularity of Janez Mežan, Lugarič's paintings from the fifties and the sixties were at least in his home town almost overlooked.. More than in Ptuj he was appreciated when he presented his works in Maribor. After 1972 Lugaric remained the only painter in the town and all expectations of the home public became oriented to him. Moreover, he was at first a teacher in the elementary school but with Mezan's retirement he continued his carreer in the grammar school in Ptuj. He brought up numerous generations of youth, he taught them to observe and understand the cultural heritage of Ptuj and presented the contemporary plastic art to them in the way he himself experienced it and how it reflects in his own paintings.In almost fiveteen years of painting Lugaric has become an extremely popular artist. A detailed record of his works in private property will probably never be made, for there is almost no house in Ptuj without at least one of Lugarič's paintings and many of them are in other parts of Slovenia, especially Styria.“Some people like me, ” explains the painter. However, the reasons for such an extreme popularity should as well be looked for in Lugaric's attachment to the world of reality. As a creator, Lugarič remains faithful to the recognition of objects. Even more demanding plastic reflections did not leave the “safe shore” and realistically oriented painting. As many as there were Lugarič' s trips to the world of abstraction, such works mostly remained hidden in his studio.Lugarič's orientation shouldn't be attributed only to his conservativism as a man or to the marginality of the place in which he has lived. Some writers find explanation for Lugarič's (and not only his but as well as that of other painters from Ptuj) attachment to the objectivity in something almost indefinable which is hidden behind the old walls of Ptuj and in the countryside where tradition and beliefs of times long ago still exist. Together with his colleagues of the same generation, Lugarič belongs to the greater circle of Maribor plastic artists who, up to the modern times, haven't renounced to figure and landscape painting. Although first explanation seems to be very poetic, there really is some power in that landscape which prevailed on everyone who painted in that surrounding. Perhaps this fact could best be seen in Oeltjen. A stumpy painter born in northern Germany who first used stiff colour transitions and whose greatest achievement lies in expressive, black - and white graphic art, became, after he had moved to Ptuj, lyrical landscape painter and figuralist who transmitted figures from earlier periods on the canvass in more tender tones and poetic mood. Youthful northerly sharpness was covered by mildness and melancholy of the countryside around Ptuj which spun over Oeltjen's canvasses like haze. This is how this painter who was born in far Jaderberg experienced this country. Lyrical and dreamy atmosphere is beside concealed passion characteristic feature of Mihelič's canvasses from his only four-years-lasting Ptuj period in which the famous artist “discovered” the country of Haloze and “established it in our consciousness”. And also in big canvasses of Dušan Kirbiš, who is quite easily identified as the youngest among “ Ptuj painters” , there is a trace of melancholy and nostalgia in somewhat gloomy pictures of the countryside around Ptuj. Albin Lugarič, who grew out from this land to which he devoted all his artistic power, was marked by this country already in his youth.

With reflections of this kind the question of "localism" and "provincialism" sounds completely different. Too little investigation has been directed towards those regional streams which are quite often influenced not only by unpretentious intellectual surrounding and non-demanding and conservative public but also the nature of the country. After such investigation which is very likely to follow more deeply the introductory reflections, it may become possible for Albin Lugarič, who is in the first place a landscape painter, to get more firm place in surveys of contemporary Slovene painting. Besides numerous motifs of Ptuj and Haloze which prevail in Lugarič's opus, there exist three cycles of Istrian and littoral landscape paintings which were created in the period from the early fifties to the first half of the eighties and in which a completely different mood prevails Through the comparison of such extremely different paintings Lugarič presents himself to us as sensitive landscape painter, capable to comprehend the nature of the country where he set up his easel.

SCHOOLTIME

Lugarič's predisposition to art was first noticed in public school by Drago Hasl who, although a musician, was one of the most distinguished men of culture in Ptuj. As a good pedagogue he made his students familiar with all kinds of art. First lessons in drawing were given to Lugarič by France Mihelič, a teacher in the grammar school in Ptuj between 1936 and 1941 . During the war young Lugarič continued his education at the school of applied arts in Graz and in 1946 he was admitted to the Academy of plastic arts in Ljubljana. There he again met France Mihelič who had been appointed as a professor at the Academy soon after its foundation. His other professors at the Academy were Bozidar Jakac, Gojmir Anton Kos, Slavko Pengov, Nikolaj Pirnat and Marij Pregelj. After his graduation in 1950 he continued specialist studies with G.A. Kos. Although the early years after the war were much influenced by socialist realism, the first professors in Ljubljana had still been students of the Zagreb. Academy where they were taught under considerable influence of Munich and French painting. Thus the problems of colour realism were presented already to the first generations of students in Ljubljana and young Lugarič was given the opportunity to do more research work on colours with professor Kos in two years of bis specialist studies.These facts, broadly speaking, had predetermined Lugarič's further development.

Nevertheless, we can still face a more definite question about Lugarič's youthful ideals. In public school it was undoubtedly Mihelič, by whom he was tought the elements of drawing. ln each of his periods Lugarič can be classified as a lively colorist and oil as bis principal technique. Nevertheless, it is drawing which remains constant companion to his work. It can rarely be seen on exhibitions, stiIl more rarely it has been reproduced in publications and, as a rule, it is not known by his admirers. Still, Lugarič uses drawing as a basis for all large oil compositions. Hundreds of drawings are being made in silent evening hours. They reflect Lugarič's plastic ideas which in most cases have never been realized in oil. Lugaric's drawings are results of strict working discipline which he got at school. The painter presents himself in them as a contemplative personality which quite often remains unnoted in large oils which express, first of all, violence in his stroke and vivacity in colour. Still, it is drawing which “determinates the role of colour and articulates the compositional rhythm of the image”. In his drawings Lugarič gives preference to figural motifs even in those periods when the painter represented in oils exclusively landscape. When he is drawing, Lugarič uses pencil, charcoal, Indian ink but he is also very fond of drawing with brush where, like in his oils, he represents himself in Iarge, vehement stroke. Many of his early drawings are close to Mihelič, Pirnat or Oeltjen. A group of drawings from a few last years repeats already known motifs of men and women at peasant labour in characteristic poses or at rest after work is done. Still, what prevails in these drawings, is a connected and self-confidentaIly drawn line.There are very few graphics in Lugarič's opus and all of them were made in the earliest stage. Young artist devoted himself very early to the genuine painting for which he got considerable stimulation by colour studies of G.A.Kos. But even more directly some Lugarič's works reflect earlier Pregelj's works in which the surface of the painting has been dissected into a mosaic of pure colour spots.In the same way as the Academy in Ljubljana and its professors, Lugarič's teachers were some of the classics of European modernism, especially Cezanne. ln spite of the introductory accents as regards Lugarič's devotion to Haloze and Ptuj countryside, we shouldn 't overlook Oeltjen who is much appraised by the painter, perhaps most of all painters who have ever painted in Ptuj. It is not without reason if we say that Lugarič “wilfully ties his expression to Oeltjen's painting”.The age of fifties represents an important turning-point in Slovene painting after the war. The pressure of social realism weakened. After many years painters were again allowed to travel to the west and most likely they chose Paris. The young got the opportunity to see the masterpieces they had been only listening about before or looking on rare and not always authentic reproductions. In 1956 Albin Lugarič also spent two months in the capital of France. Wandering through museums and galleries in Paris undoubtfully left great impression on the young creator. lf we try to compare what was made in his studio before and after 1956, what becomes most evident is slightly Rouault-like reducing of colour surfaces with dark contours which become central part of the composition.Such like are Lugarič's representations of women in late fifties. Nevertheless, it shouId be pointed out that Lugarič announced his rejection of academism already with his first lstria cycle in the early fifties. As much as he was later susceptive of western incentives, he accepted them in a moderate and indirect way, after they had been transformed in Slovene milieu.

THE FIFTIES - THE FIRST ISTRIA LANDSCAPE CYCLE AND FIGURE IN

SPACE

First paintings which were made immediately after Lugarič had finished his studies were, as a matter of fact, still academic studies. Young artist was attracted by portraits. His models were almost consistently placed in frontal position and represented bust-length or to the waist. Background remained neutral and dark and calm studio tones prevailed. Yet the colours are brought together in relatively broad and slightly woolly strokes. Most outstanding among his earlier portraits is that of his grandfather, painted in 1950, when he was still a student The dish from which the old man is eating represents compositional and colour centre of the picture, and light oval of the dish is in slightly less intensive way repeated on the old man's forehead.

Of much greater importance for Lugarič's artistic growth is the first half of the fifties and his first lstria landscape cycle. Decisions for motifs should probably be looked for in at those times much liked and quite numerous visits of Slovene painters to the littoral and seaside world Lugarič's enthusiasm for sunny Istria has remained alive even today .Up to the middle eighties three larger Istria cycles were rounded up, each of them signifying in its own way a shift on Lugarič's creative path “ I was attracted by the contrast between warm brownness of lstria and greennness of my, Styrian country. Greenish colouring is my constant companion, green shades there are numberless. The colours in lstria are warm, brownish, ochrish. l have came back to lstria also in my latest works, to the red soil, scattered villages, olive-trees ." This is how the artist himself described his joy for painting in lstria but also his attachment to his Styrian homeland.The first lstria cycle means relatively quick leap from entirely realistic, yet mostly academic solutions, to those which already foretell author's inclination to semi-abstract stylization. Especially surprising is " Istria" from 1951 which moves away from typical brown colouring with the surface broken to genuine mosaic of colour isles surrounded by dark contours. In this cycle Lugarič put into force high point of viewing, typical for him, and frequent neglecting of perspective when the depicted object is equalized with two-dimensionality of the surface of the painting. A lot of this can be found in painting of (Konavlje (1954), and especially in lstria landscapes from the early eighties. Salt-pans (1956) already predicts second lstria cycle that was rounded up in the second half of the next decade ln his parcelling the landscape into stripes, in transforming single details to simple forms of geometrical objects and in the play of reflections on water surface the painter's fondness for abstraction found the way of expression In late fifties, a number of paintings of women from the countryside around Ptuj were created in Lugarič's studio. They were depicted in closed space, when doing the washing, kneading dough or surrounded by lots of children.One is able to feel in them the painter's desire to lift these slightly ethnologically felt peasant women above the reality. Their bodies are arranged in monumentalized triangular compositions and depicted in tense lines which reflect immense energy of the incessantly working wife and careful loving mother. Space is characterized by windows and the door as well as by a couple of objects that are joined together in a still-life. Almost indispensable is a painting on the wall and a bouqet which helps to establish lyrical atmosphere. Still-lives with flowers are constant companions of Lugarič's painting. They bring pieces of nature to the paintings of close spaces and, being self-dependent compositions, they represent “breathing-space, a moment between two landscapes” for the painter, but as much an opportunity to examine his learning. Quite interesting is painter's treatment of surface that was developed by Lugarič in the late fifties. He used to apply colours with broad and heavy strokes of his brush but also with spatula, which resulted in uneven surface. Darker contours which embrace and establish the shape of bodies and objects form a compound net in which all scheeme is captured. In the same period Lugarič started a series of paintings with onion-growers. This is a motif which was later often used by the painter. Onion-growers belong to the disappearing world of Ptuj countryside. On Lugarič's canvasses we see them in almost typified poses with long strings of onions in their hands. Their long, stylized and cornered figures, surrounded by darker contours are most similar to somewhat younger paintings of the Poets.

INTERIORS AND POETS

At the beginning of the sixties figure vanished from Lugarič's interiors. What remained were bunches of flowers, a few objects with symbolic meaning and a view through the open window or door on the sunny countryside. .Forgotten objects that remind us on the absence of man are displayed on the tables. Usually we can find there some fruit, a book or a letter, a photograph of some dear person and a vase with flowers. There is a picture hanging on the wall and on the first canvass from the "Halls" and "lnteriors" series (1958) we can also find a bicycle.

"lnteriors" and "Halls" reflect loneliness and melancholy. A mood of melancholy is even more emphasized by contrast between closed space and sunlit countryside. Deliverance seems to lie in nature. Such designation is probably not far from the painter's thinking. A few years later Lugarič gave up figural motifs and completely devoted himself to landscape painting. As far as he still painted people he chained them in the everlasting rhythm of nature.

ln “ lnteriors” Lugarič again applied colours with heavy stroke, embraced them with dark contour and broke greater surfaces in Pregelj's manner into mosaic structu res of colour spots. Here and there we still meet figure in lnteriors. What is behind is usually the painter's tendency to praise motherhood (Mother with child, 1962) or announcement of a new cycle of Poets (Selfportrait - at home, 1957).

ln Poets Lugarič painfully asked himself about the meaning of life. A group of paintings, not numerous, but of essential importance for whole Lugaric's opus, was created between 1958 and 1964. Poets have their own original colouring. Academic green and brown tones of his first paintings, sunlit colours of lstria landscapes, warm brownness of women figures from the end of the fifties and bright in colour but gloomy mood of lnteriors with the addition of lively iridescent intertwinements were replaced by heavy brown colouring of Poets with a new accent on blue and turquoise surfaces. The stroke of brush is still heavy, the painter often used spatula, colours are applied in a woolly way and dark contours are arranged in rather rigorous net of vertical and horizontal lines, that can be understood also as closed cage, the holder of plastic composition as well of contextual message of the picture. Of similar role are tiny light colour spots or thin lines which make us think that they unintentionally dripped from the painter's brush or that his brush uncontrolledly danced over already finished picture.

When these compositions include human figure, the paintings bear the title Poet, and when they lack the figure they are named Evening or Lamp. ln fact, Poets are the painter's self-portraits, they represent Lugarič's youthful rhyming. His rhymes remained hidden in the drawer, he never wanted to publish them, but the lines that question the reason of being were brought on the canvass. Poets are usually depicted by the table whose surface is turned into two-dimensionality and with objects of symbolic meaning disposed on it : a lamp, dried blossom, dead leaf, a sheet of paper. To these objects whose symbolic speech is easily understood, the painter often adds in painting quite rarely used dog which can be explained as a symbol of loyalty but also as man's companion through the day of life and the night of death. Despair, expressed through ascetic figures of Poets, captured in a stiff net of dark contours lay stress on cold blue and distinctly turquoise colours. The latters appear, most of all, in painting By the oil-lamp (1964), with extraordinary intensity and large surfaces.

ln Lugarič's painting Poets represent an important turning-point. ln them he spoke out his darkest thoughts and then completely abandoned similar gloomy meditation. He searched for a way out in that flash of hope, which he had himself painted in the lnteriors cycle - in the sunlit landscape. Heavy strokes from the Poets series were replaced by cheerful colours of Haloze landscape. ln spite of all cheerfulness and sunshine which glows from his landscapes, especially those from the late sixties, Lugarič's colouring still retained a trace of bitterness in cold turquoise tones that couldn't be driven away even by shining sun on Haloze landscape paintings.

THE SECOND ISTRIA CYCLE

ln the late sixties Lugarič again devoted himself to littoral motifs. This cycle may be classified as a kind of studying period, meditation time about some questions of plastic art which represent a bridge between gloomy Poets series and a number of green and sunlit Haloze landscapes. ln Lugarič's creativity the visits to lstria were always followed by novelties in his painting, they gave him an opportunity to break some of the traditional bonds. lt seems that Ptuj is bound to tradition more than any other town in Slovenia and that the painter must at least change the milieu if he intends to change the way of his painting. This way or another, in Slovene post-war painting littoral landscape was the initiator of a number of novelties and in the hardness of the Karst region many artists were looking for their inspiration.ln the second lstria cycle Lugarič was interested in three themes : salt-pans, reefs and harbours. We met with salt-pans already in 1956. Ten years later the artist began to paint in a similar way, looking from the top. Dark stripes of land are placed between fields of sea, glowingly white rectangles of salines' houses and triangular heaps of salt are mirrored on the water surface. The motif itself invited the artist to simplify forms into geometrically severe colour surfaces and to deny almost completely the perspective.The reefs on the sea shore also themselves called for abstraction. The painter wanted to illustrate their outward form with pasty colour coating which imitates rough surface of stone. The stripe of reefs in the first place neglects perspective and disintegrated, slightly Music-like-felt soft shapes are widespread in the lower part of the picture. The painter did not want to neglect depth perspective in the rear and more and more distant sea-level is interrupted by brown spots of islands. Harbours and yachts are depicted in a quite similar way. At first reather realistically set motifs turned to more and more geometrized colour spots as they were mirrored on the water surface.The mosaic of contrasting colour spots lost every trace of perspective deepening of space. .Naturally, in that time Lugarič did not devote all his attention only to the littoral world. Among landscape paintings of his home countryside most outstanding are those in which the composition is built by a net of vertical and horizontal lines. Like his paintings with salt-pans, reefs and harbours, Lugarič's home landscapes of the same period are limited to those themes that seemed to him especially suitable for placing stress on netlike structure and for stylization of objectiveness. These are mostly numerous paintings of grape-trellises where the painter was able to put into force a pattern of vertical lines which are softly intertwined with autumn leaves. ln this connection we must mention also Lugarič's numerous winter landscapes. We could not sum them up to a single period because Lugarič always inclined to the cold mood of countryside covered with snow. ln early years he painted winters in dark colours and even snow had brownish tinge. Later on, whiteness glittered and cold blueness was shining. The composition of all these paintings is built with help of patterns that are in wide countryside, covered with snow, made by grape-trellises and fences that surround peasants' homes but also naked boughs and haystacks.

HALOZE LANDSCAPES IN THE LATE SIXTIES AND SEVENTIES

Lugarič's Haloze landscapes of the late sixties are real contrast to the melancholic lnteriors and gloomy and desperate Poets. Painter's palette was coloured by sunshine green colour of home Styrian country. The landscapes, painted around 1969 can be understood also as painter's return from Istrian themes. Lugarič again resorted to home landscape and towards more realistic solutions Profits from the second Istria cycle were not forgotten. Grapetrellises still often appear as basic elements of composition but sometimes the role of composition nets is given to rack waggons or pumpkin heaps. Even when people are placed into the landscape they are completely subjected to its rhythm. Figures are set in a few typical poses at work in the field or while resting, just like they were shaped in simultaneous drawing “The Haloze motif” from 1969 can be said to be the central work from that period. Typical and sunlit Haloze landscape was in painter's eyes divided in stripes which follow one another from the bottom upwards, beginning with pastoral scene with cows on the bottom of the picture, over yellow rectangular fields to the top of rounded hills with architecture and the sky covered by veil of clouds. The surface of canvass, broken into stripes and squares has its central point where dark contours which surround with vehement strokes depicted colour spots, flow diagonally together.” The Haloze motif” foretells a turning point in Lugaric's landscape. Between 1974 and 1977 the artist painted the Haloze group with markedly broad and vehement strokes In "Haloze motif" contrast colour spots are softened with a few rounded lines and with colour scale with a tinge of tenderness but in the first place with some hardly perceptible haze which covers whole surface of the canvass. Few years later the painter painted the same landscape with overabundant vehemence The colour spots that he applied with long, energetic strokes of brush were enlarged and given almost geometrically clean forms. Although the motif is recognizable we find in Haloze landscapes of the middle seventies everything that was searched by Lugarič in Salt-pans and brought almost to abstraction Haloze motifs of this kind are scarce and therefore even more valuable. ln them all that hidden inner strength of Haloze country is captured which sometimes bursts out and prevails over passive and nostalgic softness. They may count for the central and the best part of Lugarič's opus which brings together the painter's feeling for his home landscape and his personal temperament. ln this group of landscapes painter, as a rule, abandoned figure. When the latter, exceptionally, appears as for example in Ploughman (1974) it is almost unrecognizably captured in the rhythm of colour spots, but also pushed away to the compositionally less important edge of the picture.

THE EIGHTIES

The eighties are the time of painter's return to some previously used themes and meditations from previous periods. ln a few paintings of the Donačka mountain (1980) he tackles the landscape in a way similar to that in which Haloze from the middle seventies were painted. Large brush strokes have created relatively large colour surfaces of geometrized forms accentuated by darker contours. Colours are much thinner, here and there they become almost transparent and colour scale has been made brighter and more tender.Even in still-lives, those constant companions of Lugarič's painting, there appeared a new tendency towards poetical painting and tender and bright colours of flowers in spring which cover whole surface of the canvass. The third lstria cycle also belongs to the first half of the eighties. Some lstrian paintings have also other dates but it seems that lstrian motifs become more numerous when Lugarič rounds up some of his more important periods.Then, in completely different landscape and different mood, he gathers strength and tests himself for something new lstrian paintings of the eighties have again typical bright colours, emphasized with strong reddish tones.Surface of painted canvass broke in glowing and restless combination of colour spots. The painter again stressed the view from the top downwards and it seems that the landscape, glowing with violent summer sun, began to vibrate before him. ln the last year or two, Lugarič is coming back to women painting, which was significant for his art in the late fifties. But it seems that somehow folkloristically felt motif has lost most of its importance. Undefined background is covered by broad coating of colour which is neither wooly nor glowing. Warm brown colours from the late fifties are replaced by cold blue and grey tones. Figure is a remainder of the objective world to whom Lugarič always remained loyal. All revelation of these women is concentrated in hands which are painted in Oeltjen's manner and represent compositional centre of the picture.

Lugarič is usually characterized as temperamental colorist who declares himself for traditions of post-modernism. The definition itself is correct but too narrow to represent everything that has been created by this sensitive landscape painter who devoted himself also to figural painting. ln fifty years of painting he started a number of paths that he deserted after some time and later again returned to them. ln our survey we tried to represent them in brief and we also tried to place Lugarič in a broader context of Slovene post-war painting. More extensive surveys of contemporary Slovene plastic art often leave this artist aside. His painting didn't test in most up-todate streams, it remained in safe refuge of colour realism. Such artists are quite often overlooked by plastic criticism although with his Haloze landscapes Lugarič raised “above the average Slovene landscape painting”.Albin Lugaric also tied himself to the plastic history of his home town Ptuj.

He is a continuator of rich tradition and a follower of Mežan and Oeltjen, also painters. He has been ennobled by the past and with his art he himself has become a part of Ptuj.

ABOUT THE AUTHOR

Albin Lugarič was born at 9^th of August 1927. He was the fifth of six children from Viktor and Marija Lugarič, born Kleindienst. Between 1934 and 1938 he attended the Public school in Ptuj, after that he attended the grammar school in Ptuj. Between 1942 and 1944 he attended the School of applied arts in Graz. 1946 he was admitted to the Academy of plastic arts in Ljubljana. His professors were: Božidar Jakac, Gojmir Anton Kos, France Mihelič, (Mihelič has already taught him drawing at the Ptuj’s grammar school), Slavko Pengov, Nikolaj Pirnat and Marij Pregelj. After his graduation in 1950, he continued specialist studies with Gojmir A. Kos. Then he returned to his home town. 1953 he became the member of the Association of the Slovene artists. He taught drawing on the Ptuj primary schools on Hajdina and Lovrenc na Dravskem polju. After Janez Mezan has retired he took the professorate on the Ptuj’s grammar school. In that time he also taught on three other Ptuj’s primary schools. In 1956 he left for Paris to improve his studies and spent there two months.

1961 he married the teacher Vera Babšek. Between 1962 and 1968 they got a daughter and two sons.

He retired in 1987. He lives and creates all the time in Ptuj (Vespazianova 7). Most of his paintings we find here in private property and they are also in places where he took part in painting-colonies. The constant collection of his work we find in Art Gallery in Maribor and in Pokrajinski muzej Ptuj.

His most inportant exhibitions

1955-Mestni muzej,Ptuj

1956-Umetnostna galerija,Maribor

1963-Umetnostni paviljon,Slovenj Gradec

1967-Razstavni salon Rotovž, Maribor

1975-Avla Mestnega gledališča,Ljubljana

1978-Likovni salon,Celje

1980-Galerija ARS,Ljubljana

1981-Hotel Radin,Radenci

1985-Szombathely,Madarska

1987-Galerija na ptujskem gradu,Ptuj (pregledna razstava ob šesdesetletnici)

1988-Savinovo raztavišče,Žalec

1990-Razstavišče SMELT-a,Ljubljana

1991-Razstava ob otvoritvi galerije Florijan,Ptuj

1994-Razstava ob otvoritvi Kmečke banke,Ljubljana

1996-Galerija Žula,Maribor

1997-Galerija Društva likovnih umetnikov Maribor

1997-Vodnikova domačija, Ljubljana

1997-Pregledna razstava ob sedemdesetletnici na Ptujskem gradu

1997-Galerija Florijan, Ptuj (skupaj s sinom Mirčem)

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Spiderman: Dardo