(…)
Emblematic Montraker is more Murtić’s Mont Saint Victoire than Rouen Cathedral. Not because Cezanne was closer to him morphologically than Monet, rather because he found synthesis and symbolism more important than mastering ephemerality and emanations of temporality. He often goes back to the same motif, because in it he finds the ideal measure of austerity and prodigality.
(...)
In the new cycle, Murtić successfully turns yet another page, without any pretensions to definiteness, and particularly without any intention of petrification. Even if the motif and motivation practically bear the pathétique of the classicist promptings (the Mediterranean, diachrony, the tradition, staticness), he is certainly not of a mind to give up on the directness and completely spontaneous gestuality.
Tonko Maroević
Poet, essayist, translator, art and literary critic