Slavko Kopac was born in Croation in 1913. He was one of the founding members and curators of Art Brut (Compagnie de L'Art Brut). 1948, Compagnie de L'Art Brut is founded by Slavko Kopac, Jean Dubuffet, Andre Breton, Jean Paulhan, Charles Ratton, Henri-Pierre Roche, and Michel Tapie. Artworks are shown in clandestine spaces. Artist Slavko Kopac was director, secretary, curator and archivist. Those introduced to the work through exhibitions include: Jean Cocteau, Pierre Matisse, Claude Levi-Strauss, and Joan Miro. The artist collective Cobra is also founded, which includes drawings by children, mentally ill, automatic, and mediumistic.
1950s, Compagnie de L'Art Brut dissolves. The collection d’art brut is moved to the house estate of Alfonso Ossorio, The Creeks, East Hampton, New York, USA in 1952. It stayed there for 10 years. Many American and European artists came to visit the collection : Jackson Pollock, Lee Krasner, Willem De Kooning, Henri Matisse, Barnett Newman, etc.
He was born in Vinkovci on August 21, 1913, and died in Paris on 23 November 1995. He enrolled at the Academy of Fine Arts in 1933 and graduated in 1937 with Vladimir Becic. Since 1939 he has lived in Paris, with the Zagreb and Italian pause between 1940 and 1948.
Early works by Slavko Kopaca rely on the tradition of the Zagreb School of Painting. The departure of the French metropolis releases its artistic expression approaching surrealism. The first Parisian years working with sculpture and painting ceramics. Arriving in the country in 1940, painting portraits, landscapes and still lifes subtle, recognizable oblikovnoprostornih characteristics. Going to Italy overhang is phantasmagorias surreal shapes of flora and fauna, the expression of which will retain throughout his oeuvre. In Italy, were created numerous watercolors. Back in Paris beginning of a friendship with Jean Dubuffet which is reflected in his painting. Retaining the artistic personality, lyrical simplicity and sense of proportion, picks combines surreal figurative and speech pure materiality. So already at the threshold of plastic, began to seriously deal with the sculpture that will transfer to the smaller format in ceramics. Until the very end he retained Kopac ease and freedom of its fluid vision.