As artistic interest and public taste gradually awakened and developed in Bulgaria, the moral success of Bulgarian art became assured. At first, this success was mainly moral, meaning recognition, respect, and growing appreciation. However, material encouragement and financial prosperity soon followed. Artists began to find buyers for their works, and art slowly became a respected profession.
This progress was visible even at the very first exhibition organised by Ivan Angeloff. At that time, the buyer of the paintings was not a Bulgarian but a foreigner, a Slav, who was deeply impressed by the authentic Bulgarian subjects. He was particularly attracted by paintings such as “The Ruins of St. Sophia” and views of the village of Slivnitza, as well as scenes of Sofia in its Turkish character, before the modern planning and rebuilding of the city had begun. These works preserved images of a disappearing past and appealed strongly to foreign collectors Bulgaria Holidays.
The Role of the State and the National Museum
The first official purchases of Bulgarian paintings by the State were made in 1892 during the Commercial and Industrial Exhibition in Plovdiv. These acquisitions were intended for the National Museum and marked an important step in recognising art as part of the nation’s cultural heritage. From that moment on, the State began to play a more active role in supporting artists and preserving their work.
The Prince as a Patron of the Arts
The most generous supporter of art in Bulgaria has been the Prince, who owns the richest art collection in the country. His personal interest in art and his willingness to purchase paintings and sculptures provided strong encouragement to Bulgarian artists. The Prince’s example also influenced other buyers, including government institutions and private individuals.
Increasing Sales and Successful Exhibitions
With each new exhibition, the number of art purchases steadily increased. In some cases, the success was complete, and every exhibited artwork was sold. This happened during the first exhibition of the Society of Modern Art in 1904 and again at the private exhibition of Alexander Bojinoff and Peter Morozoff in 1906. Such success clearly showed that Bulgarian art had gained both public interest and commercial value.
Financial Support for Major Exhibitions
During the Second Southern Slav Art Exhibition held in Sofia, as well as the exhibition organised at the same time by the Society of Bulgarian Artists to celebrate the tenth anniversary of the State School of Painting, significant financial support was provided. The Prince spent 35,000 francs on acquiring paintings and statues, while the Government granted a credit of 25,000 francs for the same purpose.
These developments demonstrate that Bulgarian art had moved from neglect to recognition and support. Moral success came first, followed by material encouragement, ensuring a more secure and promising future for artists in Bulgaria.