More than thirty years ago, while still in art school in Zagreb, I conceived the notion of creating a series of tree portraits in woodcut. I was then studying painting and later I was to study sculpture, but I had no previous training in woodcutting. I was so fascinated by the project that despite my lack of training, in 1944 I decided to start working on it.
To prepare for the series of trees, I started with some small woodblocks. The first of these, my first woodcut, was Head. I cut several other small woodcuts before I felt that I was somewhat acquainted with the technique. Then I turned to the trees.
To prepare for the series of trees, I started with some small woodblocks. The first of these, my first woodcut, was Head. I cut several other small woodcuts before I felt that I was somewhat acquainted with the technique. Then I turned to the trees.
The first tree subject I cut in wood was Bush. Later I did a drawing of a pine forest, which I translated into the woodcut Forest. These two woodcuts were not meant to be part of the series. They were only in preparation for it.
At that time, I was strongly style-conscious; I thought that first of all, the series must have stylistic unity. The woodcuts I did at that time were only studies for the style of the series.
Working on these early woodcuts, I ran into new difficulties, and after some time, having accumulated so many difficulties and with them so much self-doubt, I felt that after a year of intense work, that I could go no further. Totally discouraged, I gave up not only my project for a portfolio of trees but also the woodcut itself for several years.
Working on these early woodcuts, I ran into new difficulties, and after some time, having accumulated so many difficulties and with them so much self-doubt, I felt that after a year of intense work, that I could go no further. Totally discouraged, I gave up not only my project for a portfolio of trees but also the woodcut itself for several years.
My doubts about woodcutting contaminated my painting. These doubts, together with poor working conditions, difficulties in getting art materials, and the numerous other difficulties of life in postwar Europe, forced me to give up painting as well for several years.
In 1949 I came to the United States. I settled in Saint Paul, Minnesota, where I got a job as a designer at Brown & Bigelow. After many difficult years in Europe, I was happy to begin living a stable life.
