The Namibian landscapes by Paul Allik were accomplished in the year 1996 on the themes of his journey to Africa. These works have been exposed in such a manner, as a complete exhibition, for the first time. The exhibition has been set up in co-operation with the artist’s family.Paul Allik is a rare example of the modern art history. Allik, having received his initial education in in Tartu Art School, did not penetrate into the core of avant-garde immediately in 1960ies while starting with his exhibitions. A certain diffidence towards the graduates of the Tartu school, prevailing in the art world of that period, directed Allik to totally different paths while comparing with “the art of Tallinn”. But just so, by consistently walking along his own path, Allik still developed into one of the most significant painters of the 1980ies and 1990ies.
On the artist’s path of Allik was an important role played by a legendary anchoret, one of the most significat post-war bearers of the “Pallas” values, Alfred Kongo.

It is Kongo, from who Allik received his brilliant skill to control colours. When Kongo’s colours are controlled in an emphasized manner, then Allik is cheerful and that especially in the paintings from the 1990ies. His colours are from another edge of the palette – happy, optimistic, extending of the space experience. He was called in a justified manner “a painter with a sensitive and light hand”, furthermore – in Allik was seen a painter par excellence.Really, when in the 1990ies, when the novelty of painting became under question, it was Allik, who continued with unshakeable serenity walking on his personal path. Being an artist is his real essence. Allik moved peacefully in different spheres of painting: from the portraits of the 1970ies he reached the expressionism of the 1980ies and from there on to the painting of the 1990ies, which included traits of abstractionism. None of his works express pretence, following of models, the will to settle down in a certain trend. He always remained himself – playfully picturesque, but never flighty, on the contrary – he became deeply absorbed in the depicted material,  he was an artist, who thought that material through to the roots and was able to sense it personally.

In 1994 Allik received the annual prize of painting – Allik was undoubtedly in his top shape. Two years later the artist decided to continue old traditions and headed with his painting-box for Africa. While travelling among other countries also in Namibia, Allik was a real author of the beginning of the century: he sat down where the view charmed his artist’s eye the most. The accomplished paintings were light, quick, improvisational, free. This was obvious while looking at works by Allik: paintings are composed densely and impetuously, but still airy, containing no signs of limitations. The horizon has been pushed into the distance, leaving room for the multi-coloured African nature. The brush is moving rapidly both on the canvas and the palette, the abundance of colours is organised but playful. Allik undoubtedly is making use of all painting possibilities. We may be quite convinced: while painting in Africa, Allik was at the peak of both his abilities and creative freedom.