{"id":4577,"date":"2025-08-20T09:49:27","date_gmt":"2025-08-20T09:49:27","guid":{"rendered":"https:\/\/symbol-quorum.com\/?p=4577"},"modified":"2025-08-20T09:55:15","modified_gmt":"2025-08-20T09:55:15","slug":"a-gallery-with-pedigree","status":"publish","type":"post","link":"https:\/\/symbol-quorum.com\/en\/a-gallery-with-pedigree\/","title":{"rendered":"A Gallery with Pedigree"},"content":{"rendered":"\n
Written by: Iva Koerbler 
Photos: Tomislav Mari\u0107 <\/pre>\n\n\n\n
…<\/p>\n\n\n\n
The now legendary Buljat Gallery in De\u017eman Passage, Zagreb, has been at that location for forty-five years and is one of the city\u2019s oldest galleries private galleries where artworks are not only sold, but also exhibited in small-scale shows.<\/p>\n\n\n\n
Many artists had their first exhibitions here in the 1980s and 1990s, including doyens of Croatian painting\u2014without whom today\u2019s contemporary art scene wouldn\u2019t be what it is. Among them were, for example, Ferdinand Kulmer, Edo Murti\u0107, Zlatko Prica, Oton Gliha, Miljenko Stan\u010di\u0107, Ljubo Ivan\u010di\u0107, Ivan Lesiak, Miroslav \u0160utej\u2014artists whom gallery owner Ivo Buljat not only held in the highest regard, but with many of whom he formed lasting friendships over the years.<\/p>\n\n\n\n
But all of this unfolded without much media attention; it was well known in art circles that Ivo Buljat was a \u201ctough nut\u201d\u2014he didn\u2019t just let anyone hang their paintings in his gallery, nor did he allow forgeries to accidentally end up in his offerings. Nor would he fill the space with just \u201canything and everything,\u201d without applying strict criteria. And now that his son Milan Buljat, a financial expert, is continuing the business, it\u2019s fair to say that Galerija Buljat is the oldest family-run gallery in Zagreb after Galerija Ulrich.<\/p>\n\n\n\n
Ivo Buljat often jokes that he\u2019s one of the few in this line of work without a police record, and that it doesn\u2019t pay to be dishonest if you see yourself in the gallery world for life.<\/p>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\u2013 Did I know in my youth that I\u2019d become a gallerist? Actually, everything pointed to it\u2014I was exposed to art very early on, since my father had a workshop for framing artworks in what is now our gallery. I learned a lot from him about painting; many important artists came to us. I encountered colourist and geometric abstraction as a young man, back in the 1960s. That later shaped my taste and the type of artists and works I would choose. I came to love abstract art – he recalls.<\/p>\n\n\n\n
In his youth, he also followed and got to know the artists of the Gorgona Group and the New Tendencies movement from the 1960s\u2014formative years that marked their rise on the Croatian art scene. These included Julije Knifer, Vojin Baki\u0107, Eugene Feller, Vlado Kristl, Aleksandar Srnec, Ivo Gattin, Josip Vani\u0161ta, and Dimitrije Ba\u0161i\u010devi\u0107 \u2013 Mangelos. Later came younger artists with whom he was more closely connected generationally, such as Stipe Nobilo, Antun Boris \u0160valjek, Antun Mate\u0161, Velimir Ra\u010dki, Dalibor Jelavi\u0107, \u017deljko Lapuh, Tihomir Lon\u010dar, Munir and Fadil Vejzovi\u0107, Zlatan Vrkljan, and Vatroslav Kuli\u0161.<\/p>\n\n\n\n
Milan Buljat continues to keep pace with the times and current trends in the global art world.<\/p>\n\n\n\n
\u2013 We can\u2019t resist it anymore; we listen, we observe, and we try to combine what might be interesting. We follow both Croatian and international artists from the New Tendencies era\u2014but their works are now highly priced and hard to come by – he points out.<\/p>\n\n\n\n
Ivo Buljat claims that there is, in fact, no truly good private gallery left in Croatia:<\/p>\n\n\n\n
\u2013 The old ones have disappeared, and the new ones lack knowledge of the craft\u2014they dabble too much. Galerija Kranj\u010dar is good, but it\u2019s an exception. Another issue is that for a gallery to be successful on the market, you shouldn\u2019t constantly need to invest your own money\u2014it should be run on profits from sold works. And that\u2019s a problem we all face in Croatia\u2026\u201d<\/p>\n\n\n\n
He adds that from the very beginning, even as a young man, he had a desire to exhibit only the best Croatian artists. And to this day, that principle remains.<\/p>\n\n\n\n
\u2013 Edo Murti\u0107 and Zlatko Prica exhibited here three or four times each – he says.<\/p>\n\n\n\n
\"\"<\/figure>\n\n\n\n
He emphasizes that just because some curators or buyers can recognize an artist\u2019s name, it doesn\u2019t mean they truly understand or feel the art:<\/p>\n\n\n\n
\u2013 It takes a lot of hands-on experience. A real curator needs to do the rounds\u2014visit studios, galleries. You can\u2019t just sit in your office, isolated from the world. In my youth, I learned the most from the artists themselves, when they would come to my father to have their paintings framed. I learned how to recognize a good painting\u2014its composition, colours, texture\u2014but also how to tell if a work was fake. Many important artists came to my father, so I was exposed early on to works of Croatian intimism, colourist, and geometric abstraction. That was back in the 1960s – he says, then continues:<\/p>\n\n\n\n
\u2013 I became most interested in and specialized in post\u2013World War II art\u2014that\u2019s the aesthetic I connect with the most. I\u2019m always most excited when I come across works from the Gorgona Group, EXAT 51, or New Tendencies. Those pieces are highly sought after at the moment, but I also personally like them the most. I feel a bigger rush of adrenaline when I find a piece like that than when I actually sell it! I love the research and the hunt for great paintings and sculptures. And once you sell it, the excitement fades a bit. That\u2019s it\u2014you\u2019ve parted with the work forever\u2026<\/p>\n\n\n\n
Both father and son stick to a guiding principle: no work enters their gallery that they wouldn\u2019t want to have in their own home. Interestingly, they often leave walls bare to give themselves a bit of visual rest from art\u2014which sometimes surprises their friends.<\/p>\n\n\n\n
\u2013 You know the saying: the cobbler wears the worst shoes. That\u2019s kind of how we operate. A lot of people probably imagine our home walls packed with paintings, but we\u2019re not really into that – Milan Buljat says with a laugh.<\/p>\n\n\n\n
\"\"<\/figure>\n\n\n\n
Ivo and Milan agree on one thing: the best buyer is the one who listens to advice.<\/p>\n\n\n\n
\u2013 Money isn\u2019t the most important thing. What matters is when a buyer trusts you enough to let you guide and advise them on what to buy. Especially when someone is putting together a meaningful private collection. You want to offer and show them the best pieces, protect them from making poor choices\u2014you don\u2019t want them to just buy impulsively. And then, often what happens is you become good friends with that kind of buyer\u2014that\u2019s what happened with my father, and it\u2019s beginning to happen to me as well,\u201d Milan Buljat tells us.<\/p>\n\n\n\n
Ivo Buljat points out that he became a close lifelong friend of painter Zlatko Prica, meaning that trust extends to the artists too\u2014not just to the collectors.<\/p>\n\n\n\n
\u2013 The most important thing in this business is not to lie. Don\u2019t lie! That is, if you want to last long in the gallery world. I\u2019m proud that throughout my entire career, I\u2019ve never sold a forgery. That\u2019s a big deal! Maybe it\u2019s luck, maybe it\u2019s knowledge… In general, many values in our society have been turned upside down. Sometimes, people actually listen to us gallerists with lots of experience more than to some curators in institutions who, over their whole careers, have only visited a handful of studios. In that sense, I consider myself a lucky man. And when it comes to collectors\u2014if the buyer listens and adopts your advice, then you get a great collection. In the long run, it\u2019s not about rushing to make a sale. If you feel that a certain work by a particular painter isn\u2019t the right fit for the buyer\u2019s collection, you should tell them to wait for a better piece to come onto the market. That\u2019s how trust is built. Running a good gallery isn\u2019t just about buying and selling – explains Ivo Buljat.<\/p>\n\n\n\n
He adds that an exhibition must always reveal something, it\u2019s not enough just to hang pictures on a wall:<\/p>\n\n\n\n
\u2013 Today, from each of Croatia\u2019s six art academies, five, ten, or fifteen artists graduate every year\u2014but only a few manage to stick around. One or two might be exceptional, truly talented, and the rest are just for the market, as Ljubo Ivan\u010di\u0107 once said. Unfortunately, the current teaching staff at the Zagreb Academy hasn\u2019t produced extraordinary painters. It seems to me these young artists are trying to find their own way,\u201d he concludes, with a tone of quiet resignation. They\u2019re planning to renovate the gallery; Ivo will hand over the business entirely to his son Milan, although he\u2019ll undoubtedly still come by, sit at his desk, and smoke his signature cigar, as always.<\/p>\n\n\n\n
\"\"<\/figure>\n\n\n\n
At the end, we ask him: Does he have any unfulfilled dreams?<\/p>\n\n\n\n
\u201cI do! To exhibit just one painting in the gallery\u2014and for entry to be by appointment only, like it is abroad. Then, for example, I could present a small Renoir, a Klee, or a master of New York abstraction, and from the sale of that single painting, live peacefully and stress-free for the whole year. Who knows\u2014maybe one day my son Milan will be able to do that. He\u2019s continuing the work with great enthusiasm and erudition, carrying on our family gallery. But all things considered, I wouldn\u2019t change anything about my life\u2014even though I\u2019m often very critical and cynical; people say I\u2019m known for it. Maybe my attitude even drove away a few buyers\u2014but those were probably the wrong buyers who wandered into my gallery by mistake. A true collector, a real buyer, doesn\u2019t back down\u2014no matter what. Just like me. In the end, we have art to heal us and protect us from reality\u2014when reality becomes unbearable. And today, our reality really is unbearable – concludes Ivo Buljat.<\/p>\n","protected":false},"excerpt":{"rendered":"
Ivo Buljat and his son Milan, who is gradually taking over the business, run the legendary gallery in Zagreb\u2019s De\u017eman Passage\u2014a space that has welcomed some of the greatest names of the Croatian art scene<\/p>\n","protected":false},"author":2,"featured_media":4569,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[37],"class_list":["post-4577","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture-art","tag-published"],"yoast_head":"\nA Gallery with Pedigree - Symbol<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/symbol-quorum.com\/en\/a-gallery-with-pedigree\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A Gallery with Pedigree - 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