Joseph Zbukvic "Bon Voyage"

Joseph Zbukvic Joseph Zbukvic was born in 1952 in Zagreb, Yugoslavia. His parents discouraged him from pursuing a career in art, thus he spent a brief amount of time studying language at a pedagogical university. However, when Zbukvic was 18, political instability forced him and his family to emigrate to Australia. He was able to pursue his creative interests and establish a successful painting career in Melbourne, where he lives today. Zbukvic has become a leading master in the medium of watercolor. His illustrious career is full of over 200 major awards as well as the honor of PleinAir Magazine’s Lifetime Achievement award. His success is due to his ability to transform any subject into visual poetic language.

Covering an infinite variety of subjects, his sensitive, lyrical, and atmospheric paintings have captured people and galleries all around the world.

Poppy Field, St. Remy 28 x 43, watercolor on paper $13,400.

“We all have heroes in our lives, and for many artists, Vincent Van Gogh has become a symbol of a struggling artist. However, personally, it was his work ethic that struck me. His early work may be selling for millions, but let’s just say that it was early work to be kind. That didn’t stop him, he persevered in dire circumstances, and he kept working and eventually improved immensely by simply working hard. I don’t wish to compare my art journey with Vincent’s, but while nowhere near as miserable, it took a similar path of perseverance and continued efforts to improve my vision.

I know some immensely talented artists who did very little with their talent. Maybe it came too easy. Anyhow, these thoughts were on my mind the last time I visited the famous hospital where he stayed.

Therefore, this work is kind of an ode to him. Thank you, Vincent.”

- Joseph Zbukvic

Twilight on the Lagoon 21 x 30, watercolor on paper $8,900.

“Most of Venice is very cramped and crowded with small alleyways and narrow canals. The Grand Canal and the Lagoon are the only large open spaces there, apart from maybe St. Mark’s Square. I have a particular liking for the lagoon because it provides a large vista with many good compositional possibilities. This time I was taken by the beautiful water reflection of the evening sky and the strong composition I was able to achieve using that large bollard as a key point. For once I was happy with the final result and don’t think I should have done anything differently. I hope you agree with me.”

- Joseph Zbukvic

Morning Mist 18 x 26, watercolor on paper $7,800.

“I’m a frequent visitor to this farm not far from Melbourne. It’s an irresistible subject, particularly on misty mornings. Watercolour with its translucency is simply the ultimate medium to portray this type of scene.

I’m often asked what the most important element in a painting is, and I say its composition first, followed by light. I’ll let you work out how the shapes on this work guide your eye into that hazy distance. Each element in this work in some way points into the distance.”

- Joseph Zbukvic

Summer Pastoral 18 x 26, watercolor on paper $7,800.

“You may find it hard to believe that this scene is a mere half hour drive from my studio in the center of Melbourne. Another favourite painting spot with Mt. Macedon in the background. The farm in the painting is the quintessential Australian collection of old sheds, and the owner knows me well, once he helped me with a flat battery problem, so he now owns a sketch of same scene. This time I was taken by the texture of that dried out grass of early summer which made a great foreground for the classic blue horizon. The cattle were curious about my presence and by the end I couldn’t see past them! Little did they know that I use them as pawns to lead the viewers eye into the picture plane.”

- Joseph Zbukvic

Fish Market, Venice 26 x 18, watercolor on paper $7,800.

“Those of you fortunate enough to visit the eternal city will know the fish market near Rialto bridge. An amazing place, full of activity, people, noise and colour. Not an easy subject or let alone a place to find a quiet painting spot! I did a small study in a corner and was constantly bothered by well meaning tourists. Curious onlookers are something to accept as simply a part of the Plein air process. This is a studio piece and I appear in a cameo, hopefully, you can find me. However, the main thing I wanted to capture were those magnificent arches soaring above.”

- Joseph Zbukvic

Twilight, Piccadilly Circus 18 x 26, watercolor on paper $7,800.

“Strange name for this elegant square in the centre of London. Maybe you know how the name came about? It is literally impossible to paint there! It’s so incredibly busy, there’s not a square foot of space where you could set up an easel. So, this is a studio piece and I left out the gridlocked traffic and hordes of people. I just wanted to achieve that late evening feel with that magic sky above. I put in the classic London cab instead of the usual red double decker bus. I think it would have possibly distracted your eye away from that sky.”

- Joseph Zbukvic

Quiet Corner, Venice 18 x 26, watercolor on paper $7,800.

“When painting in Venice there are two major problems. One is that it’s actually forbidden to paint in most major places like St. Marco Square, and the other is finding a quiet spot without well meaning onlookers.

Therefore, major pieces like this I do in the studio, even though I actually do know many spots where one is left alone. I usually do smaller Plein air pieces there and enlarge them in the studio. This view is actually composed from a couple of such references. My aim is to bring together as many memories of that magic place as I possibly can. Photos can certainly show the accurate details but can never evoke the feeling of the place like as paintings do.”

- Joseph Zbukvic

High and Dry, Cadaques 18 x 26, watercolor on paper $7,800.

“This is another studio piece. Cadaques used to be a working fishing village still is to some degree, but it’s now sadly more of a tourist destination with many souvenir shops and cheap eats. I do get nostalgic for the golden era of these places when they had soul, so I paint them that way instead. Many times locals stop and share tales of good old days after looking at my work. I’m getting older and I seem to recall the simpler days with fondness. I hope you feel some of that in this work.”

- Joseph Zbukvic

Villeneuve Vista 18 x 26, watercolor on paper $7,800.

“Villeneuve means new village. Really? It dates back hundreds of years!

Everything in Europe goes so far back. I walked up the hill and I was instantly taken by this scene with its vast vista. Provence is blessed with many such views because villages were built on top of hills as fortresses against any invaders. There also always seems to be a bit of haze lower down. One couldn’t ask for a better subject to paint.”

- Joseph Zbukvic

Evening Reflection 18 x 26, watercolor on paper $7,800.

“This is yet another one of my favourite pieces. It’s an extremely subtle work with basically just one continuous shape. It takes a deeper look to appreciate it. It is very tempting to add extra bits to any painting when one should stop. Less is more they say, and in this case, I am happy to have resisted temptation. There’s a lovely feeling of peace there. It’s a river where I used to go fishing after arriving in this beautiful country. I still visit there, but now I arrive with paint brushes instead of a fishing rod.”

- Joseph Zbukvic

Haystack Builders 18 x 26, watercolor on paper $7,800.

“When I was a boy growing up on a small farm, I saw many scenes like this. I still have the utmost respect for anyone working on the land. It’s hard, sweaty toil, but it is also an honest day's work without any middlemen. Just a harmonious connection to Mother Earth. I fondly remember the long supper table I used to hide under, with tired workers sharing a well-earned meal above me, with a few glasses of vino while sharing gossip and much laughter. All of these memories are hidden in this work, however, I also do love that grass texture in the foreground!”

- Joseph Zbukvic

Springtime Vista 21 x 30, watercolor on paper $8,900.

“Last spring, we had some local flooding due to heavy rains. That lake in the painting is usually not there, just low-lying fields, but it certainly made for a great subject for a painting. It broke up the plain landscape into a jigsaw puzzle made of interesting shapes. They lead your eye all the way into that vast hazy distance. I love painting at this spot because it’s at the end of a private country laneway where I’m left alone to work in peace. The owner is a friend and a collector of art, including mine! He purchased a smaller Plein air version of this work.”

- Joseph Zbukvic

The Road Home 14 x 21, watercolor on paper $4,450.

“This small hamlet is in the fertile part of my state. Early settlers built towns near waterways and they were modelled along the English design. They also cleared the land by cutting down most trees, except the ones used as windbreaks along the boundaries. This resulted in a very Europeanlooking landscape. This could be a view in Cotswold really. In any case, I truly enjoyed painting this on a glorious spring day, in a deep shade of some pine trees. The road seemed to beckon me to walk down towards this tiny village nestled in the valley.”

- Joseph Zbukvic

Summertime in Tuscany 14 x 21, watercolor on paper $4,450.

“This certainly is a quintessential Tuscan scene, with its pencil pines and blue haze. It is probably one of the favourite subjects of many artists. It’s almost picture postcard material, so I tried not to make it too pretty by using strong tones to achieve that bleached summer light effect. I purposefully kept people and buildings small to give the feeling of vast open space, even though it’s only a relatively small work.”

- Joseph Zbukvic

Last Light, Williamstown 14 x 21, watercolor on paper $4,450.

“I thought I was finished for the day and was packing up my easel when I turned around and saw this amazing scene. Impressionist painting is all about light effects. The subject is important by all means, but it’s the quality of light which is the main player. This late afternoon light tells the story of end of day chores and slowing down before the end of day. This same subject under a midday sun would tell a totally different story of heat and hard work ahead.

- Joseph Zbukvic

Mooring Up, Williamstown 18 x 26, watercolor on paper $7,800.

“This was a painting I worked on before I tackled the work titled Last Light. Completely different subject and feel. I like painting these quiet incidental moments, almost insignificant, rather than loud fireworks. It’s like catching that view from the side window of the car. Our experiences are made from a mosaic of such moments. As my dad used to say, you can’t get married every day. It takes a pause to stop and appreciate quiet work like this. I hope you take a bit of time to do so.”

- Joseph Zbukvic

Winter in Melbourne 14 x 21, watercolor on paper $4,450.

“We often refer to our city as the grey old Melbourne, particularly in winter. I get a small surprise each time people say; I love your greys because I’ve never seen them as such. To me they have just so many beautiful subtle colours hidden within them. Watercolour is such a wonderful medium with its magic translucency which allows for that subtlety. I didn’t want a busy road with too many cars and people, I feel there are just enough. I hope you agree.”

- Joseph Zbukvic

Roman Holiday 17 x 12, watercolor on paper $3,800.

“I remember seeing that movie with Audrey Hepburn and Gregory Peck when I was a young boy. Who can forget that hand vanishing into statues mouth! All roads lead to Rome, and indeed it is a special city, I think someone called it the magnificent chaos. I have visited it many times and a while ago you could easily find a place to set up your easel, not so much nowadays. However, it can be done if you avoid busy thoroughfares. l love painting there and in particular I love painting the many statues dotting this beautiful city.”

- Joseph Zbukvic

Fishing Boats, Cadaques 12 x 18, watercolor on paper $3,800.

“During off season the fishermen in Spain beach their boats using ropes and old fashioned pulleys. They stay on higher ground for a period and make a great painting subject. I love their elegant shapes when out of water, as much as when they are reflecting in the blue Mediterranean Sea. Their curves owe a lot to the natural shape of fish. I guess ancient mariners knew what they were doing. That shape remains in use to this day.”

- Joseph Zbukvic

Poppy Field, study 12 x 19, watercolor on paper $3,800.

“St. Remy en Provence is world famous for its asylum hospital just slightly out of town. It had one famous inmate in particular. Vincent Van Gogh.

His room with the chair is there and you can stand in his footsteps on the spot where he stood sketching the cloistered courtyard. Despite the souvenir shop, it somehow still has a special feel and visitors there seem to converse in whispers. I have been there a number of times, but this time the garden was completely covered in these beautiful poppy flowers. It was an irresistible subject that had to be painted. This study was later used to create the major painting in this exhibition.”

- Joseph Zbukvic

Gondola Repairs 12 x 18, watercolor on paper $3,800.

“There’s nothing that says Venice better than the sight of a gondola.

They are truly magnificent craft with incredibly intricate and beautifully designed adornments. They are maintained at the highest standards.

You will never see a shabby, beat up one. That keeps this repair shop always busy. It’s great to sit and sketch there. There’s a small bar right there and I did this one with a glass of aperitif handy. Someone has to do it…”

- Joseph Zbukvic

After the Storm 13 x 17, watercolor on paper $3,800.

“I often visit this old farm to paint. It’s only a short drive from my studio and offers a plethora of subjects I adore. This time my eye was instantly drawn to the puddles on the track. There was a heavy shower just before and the ruts filled and were reflecting the silver light above. The old farmer kept all these rusty bits and old machinery since the 1930s! There’s junk everywhere and heaps of sheds full of old trucks, and yet more junk.

Perfect subject matter! Thankfully his son is of the same ilk and will continue the tradition, so I’ll have a ready made subject collection at my doorstep for a long time to come.”

- Joseph Zbukvic

Rush Hour in New York 18 x 12, watercolor on paper $3,800.

“New York is really more of a state or happening, rather than just a city. It truly is an amazing acropolis not found anywhere else in the world. It’s really physically quite similar to many other big cities, but it has that something else. The New York beat. Nothing says it better than the flags, cabs, and those classic old buildings, so I included all those elements in this work. But one more thing says it even better: the hot dog stand on the corner! Only in New York...”

- Joseph Zbukvic

Venice’s Hidden Corner

20 x 11, watercolor on paper $4,450.

“I have visited Venice since early 70 and can walk anywhere and not get lost. Unfortunately, its beauty has attracted tourists for centuries, but never as many as now. One might think it’s impossible to find a quiet spot to be left alone, but not so. I found that people only run to see the major attractions like Rialto bridge, but merely meters away there’s nobody.

This location is just off the main thoroughfare towards St. Mark’s Square and yet it has few visitors. I chatted to the gondoliers while doing this. I had much criticism of that gondola in my work. Apparently, everything about it was wrong, however, they did call me maestro each time I walked by afterward.”

- Joseph Zbukvic

Summer in Provence 12 x 18, watercolor on paper $3,800.

“Over the years I became well known as a painter of soft scenes in grey tones. I actually have a set of grey colours on the market with Daniel Smith brand. However, I do enjoy painting bright sunny works like this one, just as much. There’s a vast difference in technique, of course, there are so many more sharp edges and strong colours. However, the pursuit remains the same; how to capture a moment in time and transport the viewer to that place for a moment.”

- Joseph Zbukvic

Venetian Reflections 18 x 12, watercolor on paper $3,800.

“This work is composed from a number of references I gathered over the many visits to this amazing place. I learned long ago that the accurate representation of a particular scene doesn’t necessarily convey the story behind it. To me what matters are the symbols and notes one recalls when remembering a place. We register things on a small personal scale, rather than remembering every minute detail. When you look at this piece it should transport you to that quiet corner in Venice.”

- Joseph Zbukvic

Flags and Cabs 18 x 12, watercolor on paper $3,800.

“No significant building or a recognizable landmark here, and yet it can’t be anywhere but New York. A lot of artists paint the obvious local attractions, and many times I do the same, but I love discovering hidden corners or painting almost insignificant places. It is after all what you mostly see in the place you live. Not everyone in Paris lives next to the Eiffel Tower. I like this simple smallish work depicting some back street in New York, more than if I had painted something obvious like the Statue of Liberty.”

- Joseph Zbukvic

Closing Time 12 x 20, watercolor on paper $4,450.

“This amazing market is the heartbeat of Venice. It is a bustling, busy, and noisy place and apart from some camera wielding tourists, it’s totally local, with little ladies haggling over the price of sardines. What really appeals to me there are the bright red awnings strung between arches to keep the heat out. They bathe everything in this beautiful crimson glow. An irresistible subject. I make a cameo appearance here again for a little personal touch. I hope you don’t mind.”

- Joseph Zbukvic

Morning Drizzle 19 x 13, watercolor on paper $3,800.

“This building is a large store next to the City Hall in Paris, which is an intricate typically classical French building, with turrets and statues everywhere. I set up to paint it, but I was suddenly taken in by the interesting reflections in those large storefront windows. It made the building spear almost transparent, so I painted it instead. I also loved the “so Paris” rooftop clad in copper which had attained that wonderful green patina. It silhouetted so strongly against the pale sky. It made a better subject than the fancy “wedding cake” City Hall. Well, that day it did. Next time….”

- Joseph Zbukvic

Waiting for Customers 10 x 14, watercolor on paper $3,400.

“This palazzo is in Campo St Formosa. I was drawn to that amazing intricate Venetian facade on numerous previous occasions but could never quite make a good working composition until I realized it was merely a backdrop to the actual scene. Yes, the building makes it, but it only plays a background role. The actual actors in this scene are the two gondoliers waiting for customers under that green umbrella. I’ve been there many times, and they hardly ever get any! I think they quite like just sitting there and chatting to locals. It’s the smallest work in this show, but one of my favourites.”

- Joseph Zbukvic

Last Instructions 15 x 22, watercolor on paper $4,450.

“I love going to the races and finding subjects away from the spectacle of the main event, the race itself. They are spectacular and exciting, but offer little variety, just full on action. Time before and after the race, the stables, and backstage activities are the real backbone of racing. This cameo shows those last seconds before they head out onto the track.

Too late after that to give any advice.”

- Joseph Zbukvic

Course Steward 15 x 22, watercolor on paper $4,450.

“The red coat and white horse are the standard uniforms of these men who look after horses that are skittish or break away during preparations for the race. They also look after riderless ones after any falls, by chasing them down to bring back to the stables. I spotted this guy just resting between the races, soaking in the late sun. I particularly liked the horse’s stance, looking ahead at something interesting to him. A simple image that was a joy to paint.”

- Joseph Zbukvic

Yes Chef 11 x 17, watercolor on paper $3,800.

“Many years ago a well known artist told me to always have a couple of fun pieces in any exhibition. Just something simple celebrating life. These two kitchen studies are precisely that. Just a personal note of my observations of life around me. This chef I saw in a local restaurant one day admonishing an apprentice, and I thought he was truly not to be messed with. Particularly while holding that huge knife! Shortly after he turned around and winked at me with a smile. It was just an act.”

- Joseph Zbukvic

Last Order 11 x 17, watercolor on paper $3,800.

“Many restaurants nowadays have exposed kitchens and it’s so fun to watch the kitchen ballet as I call it. It’s a well orchestrated and precise chaos, with everyone doing something completely different from everyone else. Somehow within minutes of this chaos a glorious looking plate is served up, with that little bell ring for the waiter. I could sit there forever watching it and I often do some pencil sketches to everyone’s amazement. This was painted from one of those. I also admit that I have had few free meals from them as well!”

- Joseph Zbukvic

Please contact us with any questions:

208 King St. Alexandria VA, 22314 703.739.9326 info@principlegallery.com www.principlegallery.com