The drawings Zoran Mušič created in Dachau are harrowing time documents. After the War he created his first unmistakable Cavallini from Dalmatia. Meanwhile, Mušič traced the erratic lines of the earth’s relief in the hills of Umbria and Tuscany. In the mid-1950s Mušič defined the landscape as a sort of ornamental fabric in his color-intensive works, and soon afterwards ventured into abstraction. After 1963 he arrived at an increasingly anthropomorphic notion of landscapes. The inextinguishable trauma of his experience at the concentration camp was processed by the artist in his 1970 picture cycle We Are Not the Last. These were followed by atmospheric renderings from Mušič’s adopted Venetian home as well as by numerous self-portraits painted using muted colors. They are testament to his untiring quest for answers to the basic questions of human existence.
