The development of the spirit and working methods of Bulgarian art can be clearly seen in the art exhibitions held in recent years. It can also be followed by studying the paintings kept in the National Museum in Sofia. These collections allow us to observe how Bulgarian art slowly moved from its early, uncertain beginnings toward greater maturity and self-awareness.
Early Period Tradition Without Mastery
In the earliest stage of Bulgarian art, traditional patterns dominated nearly all artistic production. These fixed models became even more noticeable because they were combined with weak and imperfect technique. Many paintings from this period show a lack of artistic confidence and reveal a rather crude taste, both in the choice of subject and in the way it was represented.
Bulgarian artists of this time generally showed limited skill in drawing outlines, creating movement, using colour effectively, or suggesting atmosphere. Grouping of figures was often awkward and unconvincing. Human figures lacked individuality and appeared very similar to one another. This happened because artists concentrated mainly on carefully copying the smallest details of national costumes instead of capturing life and character Bulgaria Private Tours.
Ethnography Over Living Expression
As a result, many figures look stiff and lifeless, more like dressed wax statues than living people. The dominance of ethnographical interest over artistic expression is especially clear in large compositions, such as scenes of peasant weddings, village dances, fairs, and markets. In these paintings, secondary details—such as embroidery, ornaments, and clothing—are treated with excessive care, while movement, emotion, and human interaction are neglected.
Nature and human figures are rarely painted for their own beauty or meaning. Instead, they serve mainly to illustrate customs, traditions, or costumes, or to create a specific decorative effect. This approach limits the artistic value of the works and prevents deeper emotional impact.
Weaknesses in Portrait Painting
The same tendencies can be seen in portrait painting, especially in portraits of royal figures, military officers, and fashionable women. In many cases, the face—which should be the central focus of a portrait—is treated as a secondary element. The artist’s main concern is often the uniform, decorations, or clothing.
Even very small and hardly visible details of dress are carefully reproduced, while expression, personality, and inner life are overlooked. This excessive attention to detail extends to facial features as well, giving many portraits a rigid and official appearance, as if the faces themselves had adopted the stiffness of the uniforms.
A Stage of Learning
Despite these weaknesses, this early phase represents an important stage in the formation of Bulgarian art. It reflects a period of learning, imitation, and gradual preparation for later artistic growth and independence.