as result of his dynamic spirit and circumstances. He finalizes the ed- ucation at Royal College ofArt in London, where he will teaches later. In 1956 along with other two colleagues, he will open a New Vision Centre gallery in London a gathering place for advance artist from all over the world dedicated to exploration in spheres of abstract art until 1966. In 1962, he receives a British citizenship, which provides him a more energy activity as visiting professor in many cities, including the University Victoria in Canada. Curiosity for other worlds has been proof by his group or solely exhibitions in Japan, Italy, Austria, Germany, Canada, Spain, South Africa, New Zealand, Chile, USA, Poland, France ... The most affirmed English institution for Art, the Tate Gal- lery becomes aware too late about his art capacity and meaning of his art in general. The Tate Gallery buys from him 3(three) paintings from the 50's and rushes to make things better, including him in rel- evant exhibitions of British art. Last 10 year of his life, D. Bowen fells in love with Balkan (Slovenia, Bulgaria) afterward he discovers Mace- donia. The web of his connections with our country, goes from his participation at the first Macedonian happening (with colors, music and dance) in Studio of Petar Mazev in Saraj (1 973), to very frequent and very active participation on the art colonies in (Galicnik, Kicevo, Strumica, Kumanovo, Osogovski, Ohrid...) but he remains most de- vote and closest to the Art Colony of Kicevo, in which art treasure are about 40 of his paintings. When Professor Boris Petkovski, the first director of the museum of contemporary art of Skopje who was destroy during the earthquake Art B0 nonfloH~ce HaMeTHYBa noTpe6aTa LuecTWVLuHocnwem B0 bmc- in 1963, meets him in London in order to urge for donation, Denis ~a~a~op~apnqa, K~KO peneplcyc~ja Ha HeroenoT MMMPH ~yxn Ha OKonHocTnTe- didn't stop to agitate among his colleagues for donating art pieces. 06~a308aHHeT0 A~@~H~~~~r0 @OPMY~Ha KOne~3a Y"eTHmTM B0 The biggest part of the British collection at the museum of contempo- noH~OH,Ha KO~nOAoLIHa Ae nPAaea. Bo lgSl3aeAH0 co ~~~j@~~p~~~~~q~ja rary art, are his paintings, drawings, sculptures, graphics. England is OTB0pa New Vision Centre Bo no~~lo~lMn~mnme Ha aaHrappnTe probably unique country in world where can be found a large collec- yMeTHn4OAqen ceeTlnocBeTeHM HaHcmMTaBO*paTa HaancTpama- tion of books about Macedonian art and that we owe for sure to this Ta YMeTHOCTl ce A0 9664 Aypn B0 Ao6nBa 6pmaHcKo @xaBjm- cosmopolite artist, who was wearing his overweight luggage filled with CTBO. piles of books from each journey in our country, and later were de Toa My oB03MOwyBa nO#iHaMn'iHa ~BHOCTKm BMmMHr rIpO@eCopBO nated to British library and Institute of contemporary art in London. noeeke rpaCloen, BwrymTentto n Y~neep3n-re~o-rBn~~opnja BO Ka~wa.Ibyb The city of Skopje repays modestly awarding him with city award "13 nnTcTeoTo 3a myme cseToen ce apryMempa co HerowTe rpyntin nnn ca- Noemvri". I'm saying modestly, because Bowen has perception to art as de- MOCTO~HHn3nox6n BO JanoHHja, M~annja,Asc~pnja, rep~a~nja, Ka~a#i, centralized, he even reach more parts of Macedonia than us, who are living Ulnan~ja,JWH~ A@p#Ka, Hoe 3ena~p,,'inne, Cw, flonc~a,Opa~yja ... here. He gets friendly with artists, critics, poets, (Simon Shemov, Klime Ke CTaIiyBa~bC0WHa 3a JlHKOBHnOT KanwTeT M BpeAHOCTnTe Ha HerOBOTO robar, Vladimir Toleski, Sonja Abadjieva, Jovica Stankovski, Nove Frangos- CnHKaPCTBO, MHOrY AOl$la, H~J~~HOMM~~H~T~artmWKa Hmja 3a ~MKOB- ki, Ljupco Malenkov), but also with ordinary people. Simply said it is very Ha yMeTHocT Tate Gallery MY o~~ynyea3 Heroen cnmw op, nepecemTe ro- p,nw n 6pctajh ,qa M nonpam npeewe ro emyclyea BO peneeaHmnTe n3nox6n Ha ~~MTWCK~T~YMeTHOCT. Bo nocnewaTa peue~njaop, CBO~OTxneo~, BHW byw~ ce my6yea BO 6an~a~o~(Cnow~nja, Lyrapmja), 3a ~yxoe~ogi ce cnno-m, npep, ce,co Ma~ep,o~njaKaKo co ~ajrone~anpnja~enm. Mpexa~a Ha Heroente epw co HawaTa 3eMja ce pa~rpa~y~aop, HeroeoTo yrlec~~~Ha npenoT MaKep,oncKn xeneHnHr (co bja, ~a~qn ~y3n~a) BO a~enje~o Ha fle~apMa3ee BO Capaj (1973),p,o Heroeme sarec~e~nn MOUW aKTnBtin yrlecna Ha nnKoBHnTe KOnOHnM 80 M~K~~oHM~((TaJl~'iHblK,h8~0, CTPYMH@, KYMMOBO, ~COTOB- cw, Oxpnp,...), oc~anyeaj~nn ~ajeepe~ n ryec~syeajlin ja ~ajnpn cpqe Knqeec~a~a~onon~ja BO rnj nnKoBen ~peqAeHec ce ~aoiaa~nep,eceT- mHa Heroen p,ena. OTK~KOnpOC@COpoT 6OfM ~~TKO~~KII, npMOT NpeKTOp Ha fdy3ej0~Ha co6peMetiaTayMemocT eo C~onjero 3anm~a~aBO ~O~OH co np,eja~a ~a oeoj ~y~jHHKHaT OA IMlenTa Ha YHnUTeHOTO ~OCTMM~OT~~CHOCKoIlje, C(l?HbIcHe npecTaHa amnpa ~efyatirnnclulTe KoneM 3a no~lapysawHa pena. Hajrone~~o~peen op, aHrnmcKaTa ~one~yjaHa MCY ce p,oHnpaHMTe WMW, upTexn, cKynnrypM, rpa@nw KOM cTon nwTo Ha Ae~mc6oyee~. AHrnM- ja e ~0~13614eCylHcTseHaTa 3e~jaHa CB~TOTco ~on~yo6e~~a nmKoeHa nw- epaTypa 3a MaKemHCKaTa nUKO6Ha YMeTHCCT, U1TO My ja AOTUKMMB Ha OBO~ ncwmemKocMononnT, KO~OA ceKw naTysruae HU~HawaTa 3e~jace epaheco HWpmeonenaTa Texmtia Ha 6arax, co Kynoen KHmrm KM noma rn nopapyeawe Ha 6pma~c~a~a6m6nMoTe~a n Ha MHCTHT~~OT3a coBpeMenn ywmocm BO IIOWOH.~WT C~onjeCK~~MHO MY ce oAp,omn, popenyaaj~n My ja HarpaClaTa Ha rpqOT '13 Hoe~~pn".Benm CKPOMHO, 6t14ejb ~O~WH y~e~nocraja rne,qaule petp~~pann3~pa~o:~onpenoee~e Kawntba Ha Ma~e- p,o~~ja,04 KonKy WTO Hne cMe Aonpene, ce cnpmja~en~co yMeTHnqme, KPHMWwTe, nOeTC(TB (KflclMe Kopobap, CHMOHWBMOB, ~~~'~MHKOB, lbynro M~~~HKoB,Bnw~np Tonecw, COW AAbayneea, Joentp CT~HKOBC-hard to forget Denis, because we don't have his spirit and addiction to art. KII, Hoee @pattro~cm)HO n co c&w~n~enyfe. Wmaeno, Ha P,ennc e TeuKo The 24th of March this year we lost our dear and precious ambassador and @ hny spamMe co HcTa MepKa, ja HeMaMe Heroma unpocrma Ha MOT n He- adorer of people and country, however we inherit his paradigmatic relation- roeaTa HaKnoHeTocT. Ha 24 ~ap~0.r. ro n3ry6ne~e HUHOT WoVeH a~6a- ship: to love others, respecting your own individuality. cqop H norln-rysa'l Ha nyfe~on mja~a,HO ro nMaMe eo HacneC(cTBo Her- The entire acting of Denis Bowen is laid on 2 (two) axis, in some way OWOT napap,nmamc.leH o~~oc:Aa ro caKatu @YMOT,nwnTYBajkn YI ja con- incompatible to his adventure driven nature: Loyalty to countries of his pre- CTBenaTa noce6~m. dilection (Including Macedonia) and consequent to his abstract speech. The Cee~yn~o~oAejc~syw Ha Ae~ncbpe~ ro 03~aqnja pe ocw, BO third axis - insisting to cosmopolitism and integrity made from restless and tte~ojachncccna n~~o~nam6nn~nHa Heroma a~amypHcrnwanpnpom: no- human curiosity, Denis Bowen spent his live, traveling and searching same jan~oc~aKOH m~jllrrena HeroeaTa npewe~wja(~y~a ce ~6pojyea n MaKe- stand artist around world. He became aware very early about anachronism p,wnja) n p,ocnep)lma ~a ancTpaKTHnoT roeop. TpeTaTa ocKa - nttcnm- in postwar art (miserabilism and other derivation form theory of existential- WTO Ha KOCMO~O~~~MOTn nHTerpameiiocTa - ce cweTOKMY OA ists). Instead approaching to 'crying" personalization of Second World War H~~~OKOJHMTn rby6onme~ Kapawep ~a WB~KOT, KO~yen WBOT M 6apaue remnants, he dedicates himself to lyrics of abstraction, born in Paris school ncroMcccneHnllcfTe o6n~onyeajknro ceeT0.r. P,e~nc60ysett MolllHe paHo oc- in 1947 (Altan, Hartung) and perhaps in first action paintings of Jackson Pol- TatiyBa CWWH 3a atiaXpOHn3MOT Ha nOBOWOT CJlnKapCTBO (Mn3epann3~0~n lock. He becomes connect with the art of the other side of La Mansh, France. @yrnTe mepenny op, Teopnllrre Ha enncre~yjanme).Hahnec~o KOH His paintings from the 50's are in spiritual relation with dynamics abstract nnaWIHBOT0 OJl#~eTBOp)MlMHa OCTaTOLplTe OA BTO~~T~CWTCKa BO~H~, TO] painting of George Mattie and Pierre Sulage. However, his art is not link with npncTanyea KOH rtnpnmoT Ha anc~pa~qnja~a,HnKHaT BO napncxa~auKona exhibitive character of great art magician Matie, who awakes passion in 80 1947 ropylna (A~nw,Xapry~r) n ~ome6nHa npeme awonn cnnw Ha many artists from Paris to Tokyo. Bowen was more like connected to calm Lle~cottno no^. Heroea~anoep~atim e, 3~awco yMeTHocTa ApyraTa art of Sulage and his energy great moves in vertical and diagonal direction. cTpwa Ha Jla Matiu, co @pa~yja.Moxe Aa ce Kaxe, P,MHeroeme cnnKn Middle 50's is period when he orients himself more on tashism, an art trend o~ neF(eceme ce BO AYXOBHO co~ejcrwco pylHaMn'lHllrre ancTpaKTHn cnnw poorly classified as French, cause Matie was mostly inspired by zen Bud- Ha Xopx MaTe n njep Cynm. Meiyroa, co e~wjnqno~nrn'l~~~~Kapawep dhism in Japan art, and art group a.k.a. Gutai. With an unusual nerve, Ha roneMnoT Mar Ma~jeKO~ ja ~~anwcTpacra Ha yMeTHnyTe OP, nap143 Bowen integrates a large laminates with spread colors, unifies calmness Towo, 60~0eHb4 HeMan MHOrY AOnHPHM TO'l W, KOnKy nOCMMp0HHOT ~yfliu~horizontal layers of color with spontaneous dynamic of casually spread stains n wroenTe etieprnvtin tunpow no~e3n80 BepTnKana n wjaro~ana.KOH cpe- of colors. Art pieces created in that specik period will be those included in MHaTa Ha nep,ecen-nTe, ~ojce opnetimpa noee~eKOH T~WWMOT,HacoKa country's own cultural file of abstract painting as biggest contribution of the ~ojarecTo norpeturn, nM ce npnnnuyea Ha @pan~3me,mejh n catmo~ author (No title 1955, No title 1956).