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Robert Cvetkovski has had 23 solo exhibitions, and over 200 group exhibitions. He participated in over 40 art colonies in Macedonia, the USA, Bosnia and Herzegovina, Serbia and Bulgaria. His works are part of private collections in the USA, China, Japan, Norway, Switzerland, France, Germany, Australia, Croatia, Montenegro, Bosnia and Herzegovina, Bulgaria, Macedonia; and permanent collections in the

Center of Contemporary Art-Podgorica, Montenegro; the City Museum of Skopje, Macedonia and the UKKSA  Academy in Turkey.

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GRAL is a company located in Skopje, established in 1991 as a gallery and antiquities shop for sale of art and antiquities of Macedonian and foreign origin. Here you can see some of the best artworks painted by Macedonian painters.

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Галерија GRAL

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Lazar Lichenoski, painting artist, one of the founders of the contemporary Macedonian painting art. He was born at the village of Galichnik in 1901. He accomplished the primary school in Galichnik and Prizren, and high school in Skopje and Tetovo. For a period of six years (up to 1921) he worked at his father’s woodshop. In 1919 he was elected as a secretary of the Socialist Workers Party in Tetovo. He enrolled at the Art school in Belgrade that same year. Immediately upon graduation (in 1927) he organized his first exhibition in Skopje. He specialized in wall painting at the School of Applied Arts in Paris. There, he fell under the influence of the constructivism and expressionism. Starting from 1928 up to 1941 he lived and worked in Belgrade, regularly exhibiting at the spring and autumn exhibitions. He had independent and joint exhibitions in Skopje, Zagreb, Novi Sad, London, Sofia, Rome, Manchester and Prague. The main feature of his art during this period was the full color expressionism with a high presence of Macedonian motives on his canvases. He was also able to express himself perfectly well through fresco paintings and mosaics. After the liberation he returned to Skopje. He is one of the founders of the art life in Macedonia. He founded the Art Gallery, the Office of Cultural and Historic Monuments, as well as the Art School were he taught until his death. Member of the Association of the Painting Artists of Macedonia (DLUM) and its first President, serving for one term. He took part at all of the larger events organized by this association. His work in the field of art is rich and various. The themes of his canvases, highly loved by the public and the critics, are the rich colors of the Macedonian land, the poppy fields, the ripe flower fields, the shores of the Ohrid Lake etc. In 1963 he was elected as a corresponding member of the Serbian Academy of Sciences and Arts. He died in 1964 in Skopje

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Nikola Martinoski (18 August 1903 – 7 February 1973), sometimes spelled Martinovski, was a Yugoslav Aromanian painter. He is considered as a founder of contemporary Macedonian art. Martinoski is best known for his painting titled Mother with Child, which, although first created in the 1930s, was not completed until the 1960s. He is also known as "The Doctor" for the many paintings he donated to modern art.

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The 10 best art galleries in North Macedonia

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The 10 best art galleries in North Macedonia

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things to do in republic of north macedonia

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attractions in republic of north macedonia

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activities in republic of north macedonia

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things to do in republic of north macedonia

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THE 10 BEST Republic of North Macedonia Art Galleries (with Photos) - Tripadvisor

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Top Republic of North Macedonia Art Galleries: See reviews and photos of art galleries in Republic of North Macedonia, Europe on Tripadvisor.

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Wood carving in Macedonia in the 13th century continued its development with new vigour and was enriched by new elements. The members of the Mijak wood-carver's school introduced the human figure in their artistic works and integrated it within the ornamental whole in an amazing way. The art of wood carving was not confined to churches and monasteries only: wood-carvers' tajfi (groups) began to decorate mosques, as well as sarajs (mansions) and houses of wealthy merchants. In 1814, Petre Filipovski's "tajfas" from the village of Gari made the Great Iconostasis, kept in the National Library in Belgrade until World War II when it was destroyed by bombing. Petre Filipovski "Garka," his brother Marko, and Makarie Frckovski from Galicnik worked on the iconostasis in the Church of the Holy Saviour in Skopje from 1824 to 1829 — an iconostasis ten metres long and six metres high. Some of the characters in the Biblical scenes are depicted dressed in Galicnik folk costumes. Art historians are unanimous that the value of this masterpiece lies in the softness of its lines, its arrangement of the forms, its stylisation and its baroque playfulness. In the period from 1830 to 1840, the famous master wood-carvers Petre Filipovski and Makarie Frckovski carved the iconostasis in the Monastery of St. John of Bigor. They left behind self-portraits among the scenes of this iconostasis and again on the iconostasis in the Church of the Holy Savior. The iconostasis in St. John the Baptist is a grandiose example of Macedonian wood carving, divided into six horizontal squares abounding in floral and animal ornaments.

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The finest works include the frescoes in Nerezi (1164), Kurbinovo (1191), Manastir (1271), the Church of St. Nicholas in Varos (1290), the Church of St. Sophia in Ohrid (the second layer of the fresco-painting dates from the 13th century), and the Church of the Holy Virgin Perivleptos (1295). Macedonia is one of the richest regions in terms of mediaeval wall paintings, both in the Balkans and in Europe as a whole. Over the course of time, many generations of local painters created works of exceptional skill and beauty.

Deserving of mention were the Deacon Jovan, Rufin, Michail Astrappa and Eutychius, Grigorius, Jovan Theorian, Mercurius, Jovan Zograf and his brother Makarius, Alexius, the monk Gligorius, and the monk Yoanakis, all of whom worked in the period from the middle of the 13th to the first half of the 15th centuries.

The oldest fresco in Macedonia (only fragments of it have been preserved) is located in the Strumica Church of the Fifteen Holy Martyrs of Tiberiopolis, a local religious subcult of the Macedonian Slavs from the late 9th and early 10th centuries. Fresco-painting was particularly developed during the reign of Tsar Samuil, under the influence of the East. Unlike their teachers, most of them from Thessaloniki, Macedonian artists gave stronger emphasis to the expressions of the face and the compositions of the paintings are more explicit. Wall-painting was especially developed during the time of the Archbishopric of Ohrid (1018-1767), as proved by the frescoes in Vodoca (about 1037) and in the Church of St. Sophia in Ohrid (1040-45). The frescoes in St. Sophia represent a rare artistic treasure from the 11th century, which greatly enriched the art of the fresco-painting in Macedonia. According to general opinion, the visual arrangement of the sanctuary of this church is the most purely Slavonic in the development of Macedonian art. The frescoes in this cathedral are characterised by the postures of the figures and the archaic forms, united in an artistic and iconographic whole unique to church painting of the time. The fresco-paintings in St. Sophia represent the most significant preserved works of Byzantine painting in general. A different group of painters worked in the late 11th and the first half of the 12th centuries within the framework of the Archbishopric of Ohrid, creating the frescoes in Veljusa (1085-93), Vodoca (the second layer of frescoes), and taking part in the renovation of the Church of the Fifteen Holy Martyrs of Tiberiopolis in Strumica.

The second half of the 12th century was a period marked by the beautiful frescoes in Nerezi (1165-68), the renovated church in Veljusa (1165-70), the Church of St. George in Kurbinovo (1191), and the Church of the Holy Virgin Perivleptos (now known as St. Clement) in Ohrid (1295). The frescoes in Nerezi ("The Lamentation," for example) and in Kurbinovo introduce a pronounced expression of the inner feelings of the characters, making these frescoes unique and exceptional. The refined colours, warm hues, and the spirituality of the characters elevate the Nerezi frescoes to the highest levels of Byzantine fresco-art. Even in smaller churches, such as the Church of St. George in Kurbinovo, the feeling of the inner experience of the characters is dominant in the dramatic scenes. The pronounced psychological element in the characters is likewise noticed in the fresco-paintings created in a later period, under new conditions.

Dramatic scenes depicted by the frescoes in the Church of the Holy Virgin Perivleptos in Ohrid were expressed by the artists with an almost documentary precision. These frescoes are characteristic of the early period of the two great masters of fresco-painting in Macedonia, Michail Astrappa and Eutychius. The fresco "The Lamentation" reveals the drama of man in general, rather than the drama of the saint. The saints on the frescoes in the church of the Holy Virgin Perivleptos (St. Clement) are depicted as healthy, young people with athletic bodies, full of life. The fresco "The Lamentation of Christ" was painted by an anonymous Nerezi master 140 years before the great Italian painter Giotto painted his masterpiece "The Lamentation" in the chapel of Scrovenni in Padua. The mother on the Nerezi fresco is depicted as convulsed by her anguish for her deceased son, the culmination of her distress and tragedy. The new element of expression in the Nerezi frescoes "The Lamentation of Christ" and "The Deposition from the Cross," supplemented by the dramatic fresco "The Lamentation of Christ" in the Church of St. Clement in Ohrid, obliges art historians to consider these frescoes as true heralds of the Renaissance which would spread throughout Europe about a hundred years later — and many art historians consider that the Macedonian school of fresco-painting directly influenced the Italian Renaissance. However, unlike developments in Italy, the Macedonian proto-renaissance was extinguished by the Ottoman conquest which inhibited the bloom of art and caused the art of fresco-painting to stagnate and decay.

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By the strokes of the brushes, by the paint employed, even more so by the master's skill with one and the other, you can recognise us and distinguish us one from the other, the leaders of the iconists' guild and the whole clan. In any case, you can decipher our names on the hems of the saints' garments, modestly inscribed. And when the heathen rises above the belfry and whitewash conceals our craft, when such times come, pray for yourselves, oh you, defilers of the scene in front of us! (Michail and Eutychius)

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The founders of modern Macedonian painting included Lazar Ličenoski, Nikola Martinoski, Dimitar Avramovski–Pandilov, and Vangel Kodzoman. They were succeeded by an exceptionally talented and fruitful generation, consisting of Borka Lazeski, Dimitar Kondovski, Petar Mazev who are now deceased, and Rodoljub Anastasov and many others who are still active. Vasko Taskovski's work was presented to the Paris public in 1992 with an imposing exhibition and auction of about 100 works.Vangel Naumovski, who was long classified by art historians as a Naive artist, is well known for his Ohridska Porta Gallery, as well as for the original world of his paintings.

Contemporary Macedonian artists include Aleksandar Stankovski, Zhaneta Vangeli, Maja Dzhartovska, and Gordana Apostolovska who all use various styles.

In addition to Dimo Todorovski, who is considered to be the founder of modern Macedonian sculpture, the works of Petar Hadzi Boskov, Boro Mitrikeski, Novak Dimitrovski and Tome Serafimovski are also outstanding. The Museum of Contemporary Art and the Art Gallery in the Daut Pasha Baths are considered the best galleries. In 1993 there were 413 exhibitions visited by over 240,000 people, 12 artists' colonies with 120 participants, of whom 40 were foreign painters and sculptors.

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Macedonians wore 70 different types of national costumes, depending on the region where people lived, such as: Skopska Blatija, Skopska Crna Gora, Upper Polog, Lower Polog, Prilep-Bitola Plain, Upper Prespa, Lower Prespa, Ohrid Plain, Struga Plain, Drimkol, Malesija, Mariovo, Ovče Pole, Malesevo and many others. Every type of folk costume has its own characteristics, but common for all is the presence of the red, black and the white color and the geometrical shapes on it.

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7 Male and female Macedonian folk costumes from Kocani
8, 9 Female Macedonian folk costumes from Krusevo and Prilep

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4 Men's and women's Macedonian folk costume from Galichnik
5, 6 Female Macedonian Folk Costumes from Mariovo and Smilevo

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1 Female Macedonian folk costumes from Skopska Crnagora, Blatija, near Skopje
2, 3 Female Macedonian folk costumes from Kumanovo and Tetovo

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Cvetkovski was born in Kumanovo, Macedonia in 1965 and graduated from the University of St.Cyril and Methodius in Skopje in the field of Fine Arts. His work has

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Folk costumes in Macedonia have a centuries-old tradition. They are part of the material culture of the Macedonian people and represent an important branch of folk art.

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Macedonian clothing was separated on two sides, Western and Eastern

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The Eastern Macedonian type includes the costumes from the Middle Vardar subgroup, the Shopsko-Macedonian, Strumica-local and South Macedonian ethnographic ensemble, with the following characteristics:

Outerwear (men's and women's) in a darker color (black, navy blue or suy color nail polish), striped clothes woven woolen fabric alaja and anteria. Unlike the western Macedonian type, the decoration is on a more modest scale, mainly with woolen cord applications, industrial ribbons, shiriti, etc.

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The costumes from the Upper Vardar, Bryce ethnographic ensemble with the following characteristics mostly belong to the Western Macedonian type:

Upper white cladding, with rich decoration of braided appliqués (black, red, silver), decorations with silver tailor embroidery, with applique of tea, with woolen threads, etc.

�White linen shirts (made of linen, hemp, cotton) of the Central Balkan type, richly decorated (especially women's) with specific polychrome decoration in a geometric spirit, rarely with white embroidery.

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Through a lot of gereations passed the hadicrafts are still tradition.
Macedonians use wood, textile, ceramics, stones and a lot of things to make something.
Most popular things are:
Wood-painted icons, wood carving, music instruments, traditional shoes, Clay pots etc.

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Ww are pround to introduce you one of the best macedonian artists Robert Cvetkovski.
He is also art professor in our school and we are so proud to have him.