Vasilije's Devotional Gift to Betty

While the twelve Jordan kids are themselves each worthy of a book of stories detailing their struggles or ways of helping others, there is one cousin among all the Jordan grandkids that seems to have made the most of an international name for himself through out his lifetime. That is Martin's only child Vasilije. Do an internet search on Vasilije Josip Jordan and you will find the several books written of his active painting career as well as the galleries carrying his work. One example is Apolon Gallery. which also features Vasilije's wife Dragice (see her listing at Apolon and search for her book as well).


Vasilije's work is classified as Sureal by most with dark overtones reflecting the life he experienced growing up in a war torn area with a large extended family torn apart in so many directions (see the Jordan Baznik stories). Depicted here is Vasilije next to some of his paintings hanging in his house during a visit in 1985.


Vasilije, likely in part due to his mother Fanche as well, has been very open to meeting the relatives from America and was always very welcoming to his Teta Betty on her visits over the years. Here we see Vasilije and Betty together in Zagreb in 1985. Betty was there in 1967 and 1988 as well. In 1947, she was turned away at the border after seeing Justa on the other side near Trieste. Vasilije knows French and some Italian for obvious reasons of being in the European art scene; but has never had the need or occasion to pick up English.

What makes Vasilije a likely favorite among the many Jordan Baznik clan grandkids is the heirloom gift he gave to Teta Betty. A "picture postcard" painting he did of Bled. While he fought hard not to do it in the first place, and struggled to complete the work, he did complete and deliver it to her. Among the family, the painting will stands out as his most important work. It demonstrates the devotion to his heritage and elder family members that survived through the terrible journey and toll the family had to endure through the war years and communist control of the area following. A toll that included much loss of life. The painting was so difficult because of Vasilije's dark, surreal tendencies and style. But Betty insisted and for those who knew her, she usually got her way. According to Betty, he added the dark border of grasses and limbs on the left edge to give just a hint of his desire away from the picture postcard view. His signature appears in this area in the upper left.