HRVATSKA AKADEMIJA ZNANOSTI I UMJETNOSTI THE CROATIAN ACADEMY OF SCIENCES AND ARTS RAZRED ZA LIKOVNE UMJETNOSTI THE DEPARTMENT OF FINE ARTS ARHIV ZA LIKOVNE UMJETNOSTI THE FINE ARTS ARCHIVES ART BULLETIN 66 (2016) ART BULLETIN 66 (2016)

Esej Essay

Andrija Mutnjaković Andrija Mutnjaković Hrvatska akademija znanosti i umjetnosti The Croatian Academy of Sciences and Arts Zlatko Bourek: Sokol ga je volio Zlatko Bourek: Sokol Loved Him

Zlatko Bourek rodio se i maturirao u Osijeku, Zlatko Bourek was born and completed his te mu je, na prijedlog Hrvatske akademije secondary education in . At the suggestion znanosti i umjetnosti, rodni grad 2017. godine of the Croatian Academy of Sciences and Arts, dodijelio najviše priznanje za njegov svestrani his home town awarded him its highest honour umjetnički opus – Nagradu grada Osijeka za – the City of Osijek Lifetime Achievement Award životno djelo. Prijedlog za nagradu uputila je – for his diverse artistic opus. The suggestion for Hrvatska akademija znanosti i umjetnosti, a this award was sent by the Croatian Academy of tekstualno obrazloženje prijedloga sadržaj je ovog Sciences and Arts, and this article contains the članka. Tekst je upotpunjen karakterističnim textual explanation for this suggestion. The text ilustracijama Bourekova opusa kao grafičara, is complemented with typical illustrations from slikara, kipara, lutkara, kostimografa, filmskog Bourek’s opus as a printmaker, painter, sculptor, animatora i kazališnog režisera. Opus ukazuje doll maker, costume designer, animator, and na autorovu fascinaciju slavonskim zavičajem, theatre director. His work indicates his fascination njegovim ravnicama i rijekama, ribama i with his Slavonian homeland, its plains and rivers, plovilima, strasnim izazovima, raskalašenim fish and boats, fervent challenges, luxurious gozbama i okrutnim tragedijama. Simbolično je feasts, and cruel tragedies. This is emphasised to naznačeno sintagmom Sokol ga je volio kao symbolically in the syntagm Sokol loved him, as the antitezom Šovagovićevoj interpretaciji tragičnoga antithesis to Fabijan Šovagović’s interpretation of slavonskog usuda filmom nazvanim Sokol ga nije the tragic Slavonian fate in the film Sokol Did Not volio. Love Him.

Ključne riječi: Bourek; nagrada grada Osijeka; Keywords: Bourek; City of Osijek Award; oeuvre; likovni opus; Hrvatska akademija. Croatian Academy. Zlatko Bourek Zlatko Bourek

slikar, kipar, painter, sculptor, scenarist, kazališni i filmski režiser, screenwriter, theatre and film director, lutkar, kostimograf, dollmaker, costume designer, scenograf, filmski animator, set designer, film animator, primijenjeni umjetnik applied artist

Autoportret s Barbarom (1981.), crtež tušem, perom, Self-portrait with Barbara (1981), India ink, pencil, print,

art BULLETIN 66 (2016). str. 23-63 olovkom, na otisku, akveliranje kistom i bojom watercolour, tracing paper, 27.5 x 40 cm tanki crtaći papir, 27,5 x 40 cm 24 Akademik Zlatko Bourek, akademski kipar, si- The artistic opus of Academician Zlatko lovito je umjetničkim opusom izrazio fascinantnu Bourek, who graduated with a degree in painting autohtonu kvalitetu svojega zavičaja: beskrajne and sculpting from the Academy of Ap- ravnice Slavonije što se na horizontali horizonta plied Arts, fiercely expresses the fascinating, au- sljubljuju sa svemirom; smirene tokove njezinih tochthonous quality of his birthplace: the endless rijeka Drave, Dunava, Vuke, Bosuta kao bajkovitih plains of Slavonia, which join the universe at the društvenih okupljališta; životne sudbine Slavo- horizon; the calm courses of the Drava, Danube, naca ispunjene razdraganošću, strašću, ljubavlju Vuka, and Bosut rivers as fairy-tale meeting plac- i strahotama. Izrazio je to spontanim skicama, es; the fates of the Slavonians, full of delight, pas- bogato koloriranim slikama, maštovitim skulptu- sion, love, and fears. He expressed these things in rama, virtuoznim crtežima animiranih filmova, his spontaneous sketches, richly coloured paint- originalnim kazališnim kostimografijama i sce- ings, creative sculptures, the virtuosic drawings of nografijama, uspješnim scenarijima i režijama fil- his animated films, his original theatre costumes mova i kazališnih uprizorenja, reprezentativnim and sets, his successful screenplays and his direct- izložbama i knjigama. ing of film and theatre portrayals, and his repre- Ova izrazito renesansna sveobuhvatnost reali- sentative exhibitions and books. zirana je u Hrvatskoj i Njemačkoj, a preko filmskih This Renaissance-like universality was realised uradaka cijenjena je i prezentna u cijelom svijetu. in and Germany, and his films are present Bourekovo slikarsko djelo izlagano je na mnogim and cherished the world over. Bourek’s paintings Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him skupnim izložbama u zemlji i inozemstvu i na have been exhibited at many group exhibitions at samostalnim izložbama u Dubrovniku, Duisbur- home and abroad and at solo exhibitions in Du- gu, Osijeku, New Yorku, Požegi, Splitu, Varaždi- brovnik, Duisburg, Osijek, New York, Požega, nu i Zagrebu te je opisano i ilustrirano u brojnim Split, Varaždin, and Zagreb, and his works have medijskim izdanjima i u nekoliko knjiga. Njegov been described and illustrated in numerous pub- opus animiranog filma započinje crtanjem scen- lications and a few books. His animated film opus skog ambijenta u filmovimaCowboy Jimmy, Happy began with his background drawings for the films End, Inspektor se vraća kući i Kod fotografa, a na- Cowboy Jimmy, Happy End, The Inspector Comes stavlja se autorskim filmovima rađenim na osnovi Home, and At the Photographer’s, and continued vlastitog scenarija, oblikovanja likova i ambijena- with his original films made after his own screen- ta, među kojima se posebno ističu Kovačev šegrt, plays, character designs, and backgrounds, among I videl sam daljine meglene i kalne, Bećarac, Ka- which number The Blacksmith’s Apprentice, Far petan Arbanas Marko, Mačka, Školovanje, Ručak. Away I Saw Mist and Mud, Bećarac, Captain Arba- Filmski rad obuhvaća i snimanje igranih filmova: nas Marko, The Cat, Schooling, and Lunch. He also Cirkus Rex, Crvenkapica i Vitrrilokvist. Bourek ka- filmed feature-length films: Circus Rex, Little Red zališni opus započinje u zagrebačkom Dramskom Riding Hood, and The Ventriloquist. Bourek began kazalištu Gavella kao kostimograf i scenograf his work in theatre in Zagreb’s Gavella Theatre as 25 Bourek u predvorju Moderne galerije u Zagrebu

art BULLETIN 66 (2016). str. 23-63 Bourek in the foyer of the Modern Gallery in Zagreb 26 Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him

Bijeg preko Drave 1991., crtež olovkom i kistom, tonsko akvareliranje kistom papir iz crtaćeg bloka, 22,9 x 31 cm Retreat across the Drava 1991, pencil and brush, tonal watercolour on drawing block paper, 22.9 x 31 cm 27 art BULLETIN 66 (2016). str. 23-63 Vojnički dnevnik 2, 1956.-2009., serigrafija, 33 x 35 cm Army journal 2, 1956 - 2009, screen print, 33 x 35 cm 28 Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him

Skica ikonografije Sketch of iconography 29 Ručak na nasipu, 1998., ulje na platnu, 86 x 68 cm, Lunch on the riverbank,

art BULLETIN 66 (2016). str. 23-63 1998, oil on canvas, 86 x 68 cm 30 Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him

31 art BULLETIN 66 (2016). str. 23-63 Aero klub Essek, 2000., ulje na platnu, 70 x 70 cm Aero Club Essek, 2000, oil on canvas, 70 x 70 cm 32 Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him

Kralj Ubu, 2001., ulje na platnu, 70 x 70 cm Kralj Ubu, 2001, oil on canvas, 70 x 70 cm 33 art BULLETIN 66 (2016). str. 23-63 Alija I., 1991., ulje na papiru kaširanom na karton, 45 x 46 cm Alija I, 1991, oil on paper-lined cardboard, 45 x 46 cm 34 Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him

Crno čiklo, 2000., ulje na platnu, 40 x 40 cm Black rowboat, 2000, oil on canvas, 40 x 40 cm 35 Ispod mosta, 2008., ulje na platnu, 175 x 148 cm art BULLETIN 66 (2016). str. 23-63 Under the bridge, 2008, oil on canvas, 175 x 148 cm 36 Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him

37 Portreti, 2000., ulje na platnu, 100 x 80 cm,

art BULLETIN 66 (2016). str. 23-63 Portraits, 2000, oil on canvas, 100 x 80 cm 38 Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him

39 art BULLETIN 66 (2016). str. 23-63

40 Na Dravi I, 1958., ulje na platnu, 44 x 45 cm On the Drava I, 1958, oil on canvas, 44 x 45 cm Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him

Bijeg iz Borova 1991., crtež tušem i perom, akvareliranje kistom i bojom, tanki crtaći papir, 40,5 x 27,5 cm Retreat from Borovo 1991, India ink, watercolour, tracing paper, 40.5 x 27.5 cm 41 art BULLETIN 66 (2016). str. 23-63 Skok preko Drave, 1971, akril na papiru kaširanom na Jump across the Drava, 1971, acrylic on paper-lined karton, 170 x 140 cm cardboard, 170 x 140 cm 42 Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him

Beba iz Bizovca, 1980., MG-6902 Baby from Bizovac, 1980, MG-6902 43 predstava srednjovjekovnih farsi Mesar iz Abevilla a costume designer and set designer for Mediae- i Meštar Pathel te predstava u nekoliko kazališta val farces The Butcher of Abbeville and The Farce u Njemačkoj: Shaffer: Crna komedija; Prokofjev: of Master Pierre Pathelin, and plays at a number Kameni cvijet, Romeo i Julija, Peća i vuk, Pepelju- of theatres in Germany: Shaffer’s Black Comedy, ga; Stravinsky: Pulcinella, Žar-ptica; Delibes: Co- Prokofiev’s Tale of the Stone Flower, Romeo and ppelia: Čajkovski: Orašar. Uspjeh tih predstava Juliet, Peter and the Wolf, Cinderella, Stravinsky’s rezultira stalnim članstvom u berlinskom kazali- Pulcinella and Firebird, Delibes’ Coppelia, and štu Hans Wurst Nachfaren, gdje postavlja na sce- Tchaikovsky’s Nutcracker Suite. The success of nu četiri Čehovljeve jednočinke, Shakespeareovu these plays resulted in his permanent member- Ukroćenu goropadnicu te interpretaciju Verdijeva ship in Berlin’s Hans Wurst Nachfaren theatre, Rigolleta. Nadalje, u Zagrebačkom kazalištu mla- where he staged four of Chekhov’s one-act plays, dih režira srednjovjekovnu farsu Meštar Pathelin Shakespeare’s Taming of the Shrew, and an inter- i Povratak vojaka. Bourek se bavi i lutkarskim ka- pretation of Verdi’s Rigoletto. At the Zagreb Youth zalištem, pa u suradnji s Juvančićem režira i radi Theatre, he continued with a production of the lutke za lutkarsku interpretaciju Držićeva Skupa Mediaeval Farce of Master Pathelin and Luka Palje- i u ljubljanskom Lutkarskom gledališču lutkarski tak’s The Return of the Soldier. Bourek also worked prerađuje Molliereova Umišljenog bolesnika, koji in puppet theatre – he made puppets in coopera- se izvodi i u zagrebačkom Dramskom kazalištu tion with Joško Juvančić for an interpretation of Gavella. Velik uspjeh Bourek postiže uprizore- Marin Držić’s The Miser, and made a puppet in- njem lutkarske Isaacove farse Orlando Maleroso terpretation of Mollière’s The Imaginary Invalid specifičnim scenskim izrazom japanskog bunraku that was performed at both the Ljubljana Puppet kazališta na Dubrovačkim ljetnim igrama te pred- Theatre and Zagreb’s Gavella Theatre. Bourek also stavom Shakespeareova Hamleta, s kojim gostuje enjoyed great successes with his staging of Salih na mnogobrojnim svjetskim kazališnim događa- Isaac’s farce Orlando Maleroso in a unique Japa- njima. Posebni interes izazvala je šaljiva kazališna nese bunraku puppet theatre interpretation for predstava Bećarac, postavljena u scenarijskoj su- the Summer Games, as well as with his radnji s dramaturginjom Sanjom Ivić, gdje Bourek interpretation of Shakespeare’s Hamlet, which he djeluje i kao režiser, i kao scenograf, i kao kosti- performed at numerous theatre events worldwide. mograf. To navođenje karakterističnih segmenata He aroused special interest with his light-hearted opusa Zlatka Boureka ne obuhvaća njegovo cjelo- play Bećarac, created in cooperation with drama- vito umjetničko i životno djelo već ukazuje na slo- tist Sanja Ivić, during which Bourek worked as di- ženost njegovih interesa, ostvarenja i uspjeha za rector, set designer, and costume designer. These koje je dobio niz međunarodnih priznanja i nagra- unique segments of Zlatko Bourek’s opus do not da, a među njima i Republičku nagradu Vladimir encompass his entire artistic and life’s work, but Nazor za životno djelo. simply serve to emphasise the complexity of his Smisao i sadržaj Bourekova životnog djela interests, creations, and successes for which he najlakše je predočiti njegovim slikama jer su one has won numerous international recognitions and izvorište djelovanja u dramaturgiji i scenografiji awards, including Croatia’s Vladimir Nazor life- teatra ili u osmišljavanju scenarija i likovnog obli- time achievement award. kovanja filma. Scena njegovih slika gotovo je uvijek It is easiest to see the sense and content of vrlo blisko događanje unutar cjelovito obuhvaće- Bourek’s life’s work in his paintings, as they are nog prostora, a kad se taj prostor rastvori, tada se the source of his work in drama and theatre set art BULLETIN 66 (2016). str. 23-63 rastvara i onaj slavonski pejzaž do linije horizonta design and in his creative filmmaking. The scenes 44 Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him

Teatralije: Teatar nakaza – kazalište figura. Theatrics: Theatre of monsters – theatre of figures, 19. lutkarsko proljeće, Vukovar, 2014. 19th Puppeteer’s Spring, Vukovar, 2014 45 art BULLETIN 66 (2016). str. 23-63 Ljuta Beba, 2001. Angry Baby, 2001 46 Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him

Nika iz Iloka, 1981. Nika from Ilok, 1981 47 označenog crtom ili bojom. Suštinski znak te žit- of his paintings are nearly always a closely por- ne Slavonije jest kruh ili perec, pa na većini slika trayed event within a complete space, and when te vekne kruha i pereci ispunjavaju i stol, i pod, i the space opens, the Slavonian landscape stretch- zrak, i ljudske ruke. Ta gastronomska asocijacija ing to the horizon, marked with a line or colour, podržana je na slikama brojnim cjelovitim kotleti- unfolds along with it. The essential symbol of ma i narezanim odrescima, rasporenim svinjama i wheat-producing Slavonia is bread or the pret- razrezanim šaranima, pokojom kobasicom ili šun- zel, and so most of his paintings feature loaves of kom. Ne nedostaju na slikama ni kuglufi i torte, bread and pretzels filling the tables, floors, the air, štrudle i kolačići na stolovima gozbi smještenih na and human hands. This gastronomic association obalama Drave. Taj šaran i ta obala rijeke i sama is also supported in his paintings of numerous rijeka (Drava, Dunav, Vuka, Bosut), ispunjena whole cutlets and sliced steaks, gutted pigs and onim plosnatim drvenim čamcima zvanima čikli, carp, and the occasional sausage or ham. These nezamjenjiv je ambijent osječko-vukovarsko-iloč- paintings are also filled with cakes and tortes, kog, Bourekova, zavičaja, pretočen u autentični strudels and cookies on the tables of feasts along likovni izričaj očovječenog regionalnog prostora the shores of the Drava. This carp and the coast utkanog u svijest i život. Rijeka je sudba postoja- of this river, and rivers themselves (Drava, Dan- nja i suština njegovih slika: ona je lirski ružičasta ube, Vuka, Bosut), filled with flat wooden boats kod svečanosti, plava ili zelena u svakodnevici, known locally as čikli, are an irreplaceable part crna kod poplava i ratnih zbjegova. Plove u čikli- of the ambience of Osijek, Vukovar, and Ilok, ma alasi i pjeskari, kupačice i ljubavnici, švaleri i Bourek’s home region, filtered into an original dangube, prijevoznici i alije, putnici i zbjegovi, a artistic expression of personified regional space taj čikl nepogrešiv je simbol njihove pripadnosti woven into consciousness and life. The river is an tom podravskom, slavonskom, pa i panonskom, expression of the fate of existence and the essence zavičaju. A iznad svih tih prizora lete jednokrilni of his paintings: it is lyrically rosy during festivi- ili dvokrilni, jednosjedni ili dvosjedni aeroplani iz ties, blue or green during everyday events, black doba Bourekova dječaštva svjedočeći nostalgiju i during floods and war. Thečikli boats hold fisher- čežnju duše odlutale u europska prostranstva. Uza men and sand diggers, swimmers and lovers, lib- sve to ipak osnovni je sadržaj Bourekovih kreacija ertines and dawdlers, passengers and runaways, svud prisutno ljudsko biće: žensko i muško. Muški and that boat is an unfaltering symbol of their be- likovi često su slikovito obučeni sa slavonskim prš- longing to this region – the Drava basin, Slavonia, njacima, bećarskim kapama, bonvivanskim šeširi- and the Pannonian plain. And above all of these ma, vojničkim šajkačama. Nasuprot njima ženski scenes, there flies a one- or two-seat monoplane likovi pretežno su goli s naglašenim rodnim for- or biplane from the time of Bourek’s boyhood, a mama, a katkad i u lascivnim pozama. Ipak, imaju witness to nostalgia and homesickness lost amidst art BULLETIN 66 (2016). str. 23-63 svud prisutnu zajedničku karakteristiku: oni su the expanse of Europe. Besides all of this, the es- 48 Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him

Teatralije: Teatar nakaza – kazalište figura. Theatrics: Theatre of monsters – theatre of figures, 19. lutkarsko proljeće, Vukovar, 2014. 19th Puppeteer’s Spring, Vukovar, 2014 49 art BULLETIN 66 (2016). str. 23-63 Teatralije: Aždaja i Smrt 50 Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him

Theatrics: The Dragon and Death 51 art BULLETIN 66 (2016). str. 23-63 Teatralije: Židov Hercl Theatrics: Hercl the Jew 52 Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him

Teatralije: Židov Hercl i Adolf Hitler Theatrics: Hercl the Jew and Adolf Hitler 53 Teatralije: Smrt i zidov Hercl Theatrics: Death and Hercl the Jew art BULLETIN 66 (2016). str. 23-63 Teatralije: Göbels, Adolf Hitler i zidov Hercl Theatrics: Göbels, Adolf Hitler, and Hercl the Jew 54 Teatralije: Göbels, Smrt, Adolf Hitler i židov Hercl Theatrics: Göbels, Death, Adolf Hitler, and Hercl the Jew Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him

Teatralije: Smrt i Adolf Hitler Theatrics: Death and Adolf Hitler 55 art BULLETIN 66 (2016). str. 23-63 Teatralije: Göbels, Smrt, Adolf Hitler i židov Hercl 56 Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him

Theatrics: Göbels, Death, Adolf Hitler and Hercl the Jew 57 art BULLETIN 66 (2016). str. 23-63 Teatralije: Teatar nakaza – kazalište figura Theatrics: Theatre of monsters – theatre of figures 58 Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him

Teatralije: Teatar nakaza – kazalište figura Theatrics: Theatre of monsters – theatre of figures, 59 art BULLETIN 66 (2016). str. 23-63 Poruka, 1991., ulje na platnu, 80 x 80 cm Message, 1991, oil on canvas, 80 x 80 cm 60 Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him

Šovo (Šovagović), 1991., ulje na platnu, Šovo (Šovagović), 1991, oil on canvas, 80 x 80 cm, 80 x 80 cm 61 Alma 1, 2010. art BULLETIN 66 (2016). str. 23-63 Alma 1, 2010 62 deformirani, to jest formirani su na izuzetno ka- sential component of Bourek’s creations is the rakterističnom autorskom rukopisu. Taj rukopis ever-present human being: women and men. Men doveden je do apsurda u zbirci njegovih skulptura, are often dressed colourfully in Slavonian vests, teatarskih aktera, filmskih likova, naslikanih por- bećar caps, bon-vivant hats, or military caps. Op- treta: oni su grdobe, kako ih Bourek rado naziva. posite them, the women are mostly naked with No ta deformacija nije negativno ciljana pretvara- accentuated child-bearing figures, occasionally njem ljudi u grdobe – ona je pozitivna deformaci- in lascivious poses. All of these characters, how- ja koja groteskom naglašava karakter glumljenog ever, share one characteristic: they are deformed, lika, objašnjava situaciju, navodi na razmišljanje. or rather, they are designed in the author’s excep- Ta deformacija prisutna je i kod interpretaci- tionally unique style. This signature style is taken je realnih predmeta: kuće, rijeke, mosta, aviona, to absurd levels in the collection of his sculptures, čamca, mesnog odreska, torte itd. Stvoren je tako theatre actors, film characters, and painted por- jedinstveni autorski umjetnički izričaj, apsolutno traits: they are gorgons, as Bourek himself joyfully prepoznatljiv u suvremenoj umjetnosti Hrvatske i calls them. However, this deformation is not nega- ekumene. tively aimed at turning people into gorgons – it is Podloga toga apsolutnog umjetničkog fenome- a positive deformation that uses grotesque altera- na jest rijeka Drava (Dunav, Vuka, Bosut), podloga tions to accent the nature of the character, explain je ravničarska konfiguracija Slavonije (Podravine, a situation, and lead the viewer to think. This de- Posavine), podloga je život grada na obali rijeke formation is also present in his interpretations of (Osijeka, Vukovara, Iloka, Aljmaša). Podloga su physical objects: houses, rivers, bridges, airplanes, ambijent, vjera, ljudi, život, običaji, usud, događa- boats, cuts of meat, cakes, etc. His unique form nja zavičaja Zlatka Boureka. Iz toga zavičaja vinuo of artistic expression is absolutely unmatched in se u planetarne sfere umjetnosti, a ipak je taj za- modern Croatian art. vičaj ostao i trajno prisutan kao neumitni kredo The background of this absolute artistic phe- artizma Zlatka Boureka. Zato Boureka izuzetno nomenon is the river Drava (Dunav, Vuka, Bosut), cijenimo. the background is the plains of Slavonia (Podravi- Andrija Mutnjaković: Zlatko Bourek: Sokol ga je volio / Sokol Loved Him Negdje u srcu tog artizma učahurene su neke na, Posavina), the background is the life of cities Dobrišine tajne veze između Zlatka i Šove: be- on the river (Osijek, Vukovar, Ilok, Aljmaši). The skrajno ljube svoju Slavoniju. Stoga ih je Sokol vo- background is the atmosphere, faith, people, life, lio. tradition, fate, and happenings in the birthplace of Zlatko Bourek. From his homeland, he soared into the planetary sphere of the arts, but his homeland still remained permanently present as the unre- lenting credo of Zlatko Bourek’s art. This is why we cherish Bourek exceptionally. Somewhere at the heart of this art, there lies the secret connection between Zlatko Bourek and Fabijan Šovagović – they both love Slavonia end- lessly. That is why Sokol loved them.

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