Frano Dulibić, Ph. D., works as full professor at the Department of Art History, at the University of Zagreb - Faculty of Humanities and Social Sciences and as an external collaborator at the Academy of Fine Arts. His research interests are in Croatian painting and sculpture of the first half of the 20th century, history of single-panel cartoons, caricatures, illustrations, and cartoon strips and participates in science projects and symposiums. He is also an activist supporting the protection of public space and cultural heritage.
Prikazi grada između utopije i distopije, u karikaturi, stripu i animiranom filmu, od 1945. - 2020. godine, 2024
Frano Dulibić interdisciplinarnim pristupom istražuje prikaz grada u popularnoj kulturi od 1945. ... more Frano Dulibić interdisciplinarnim pristupom istražuje prikaz grada u popularnoj kulturi od 1945. do 2020. u Hrvatskoj. Kroz karikaturu, strip i animirani film, autor povezuje povijest umjetnosti, povijest filma, antropologiju i sociologiju. Ova knjiga nudi intrigantan uvid u odnos čovjeka i njegovog urbanog okruženja, analizirajući kako se tijekom vremena mediji popularne kulture mijenjaju te istodobno oblikuju naše viđenje sebe i svijeta.
Omer Mujadžić (born on Febuary 1, 1903 in Bosanska Gradiška; died October 28, 1991 in Zagreb). As... more Omer Mujadžić (born on Febuary 1, 1903 in Bosanska Gradiška; died October 28, 1991 in Zagreb). As the youngest student, at the age of 15, he was accepted by the Royal art academy in Zagreb. After he had completed his study he received a scholarship from the French government and stayed in Paris from 1924. to 1926. For less than a year (1929.-1930.) he was a member of the artistic group Zemlja. During his lifetime he participated in numerous group exhibitions and organised three independent ones. His formative period is characterised by neoclassicistic and magic realism. In the 1930s he lightened his palette and softened the form in accordance to colouristic and poetic realism. During the Second World War he was dedicating his time to the exploration of delicate tone sclaes with which he made his distinctive imprint in intimistic motives. The intimism painter, Omer Mujadžić, was a great drawer, an exceptional painter of nudes, portraits and religious paintings. In addition to the beforehand mentioned topics, he also painted landscapes and still life. Because of his introverted and selfsupressed nature he avoided public appearances. He was the painter who devoted himself to his atelier work and who was, his whole life, commited to painting which longed for modernism in reliance to the tradition of European painting.
Omer Mujadžić rođen je 1. veljače 1903. u Bosanskoj Gradišci, a umro u Zagrebu 28. listopada 1991. Kao najmlađi student, u dobi od svega petnaest godina, 1918. godine upisuje Kraljevsku umjetničku akademiju u Zagrebu. Nakon završetka studija dobiva stipendiju francuske vlade te boravi u Parizu od 1924. do 1926. godine. Od 1929. do 1930. član je umjetničke grupe Zemlja. Za života je sudjelovao na mnogim skupnim izložbama i priredio tri samostalne izložbe. Njegovo formativno razdoblje karakterizira neoklasicistički i magični realizam. Tridesetih godina rasvjetljava paletu i omekšava formu u skladu s tada aktualnim kolorističko poetskim realizmom. Tijekom drugog svjetskog rata počinje se posvećivati istraživanju profinjenih tonskih skala kojima stvara svoj prepoznatljiv izraz u intimističkim motivima. Slikar intimizma, Omer Mujadžić bio je sjajan crtač, izuzetan slikar aktova, portreta i sakralnih kompozicija. Osim navedenih tema, slikao je i krajolike te mrtve prirode. Zbog introvertiranog i samozatajnog karaktera izbjegavao je javna istupanja. Bio je slikar koji se posvetio radu u atelijeru i koji je čitav svoj radni vijek bio predan slikarstvu koje je tražilo modernizam u oslanjanju na tradiciju europskog slikarstva.
Pjer Križanić (Glina, 19. svibnja 1890.–Beograd, 21. siječnja 1962.), karikaturist, slikar i liko... more Pjer Križanić (Glina, 19. svibnja 1890.–Beograd, 21. siječnja 1962.), karikaturist, slikar i likovni kritičar, svoj životni put i obrazovanje započeo je na rodnoj Baniji, a potom dolazi u Zagreb, gdje završava Obrtnu školu te nastavlja studirati slikarstvo na likovnoj akademiji. U Zagrebu je objavio svoje prve karikature te time započeo karijeru karikaturista. Zagrebačko razdoblje Pjera Križanića njegove su formativne godine, doba likovnog sazrijevanja i formiranja stava o karikaturi kao specifičnom načinu izražavanja. To je vrijeme kada Križanić razvija svoj prepoznatljiv rukopis i sazrijeva u svojim političkim stavovima, što sačinjava podlogu za stvaranje iznimnog opusa sadržajne, provokativne i duhovite političke karikature. Karijeru započetu u Zagrebu nastavio je u Beogradu 1922. Istraživanje zagrebačke dionice Križanićeva plodnog crtačkog opusa razmatra njegove uzore, likovne karakteristike njegova rukopisa te izražajnost i snagu političkih poruka koje u mnogim primjerima nadilaze trenutak u kojem su nastale.
Split i Vladan Desnica 1918. - 1945. : Umjetničko stvaralaštvo između kulture i politike, Zbornik radova sa znanstvenog skupa Desničini susreti 2015. , 2016
The paper examines the art scene in interwar Split. Along with the dominant moderate modernism, ... more The paper examines the art scene in interwar Split. Along with the dominant moderate modernism, special attention is paid to the very pronounced anti-modernist tendency, which was an important feature of the broader art context in Europe and Croatia. Both the artists and art critics were almost united in their suspicion of avant-garde movements in art as well as in their preoccupation with regional themes, whereas modernism developed in Split in pronounced harmony with tradition. The art scene in Split grew after World War I, and as many as 130 exhibitions were mounted in the interwar period. It can be said that the Split artists active at the time worked in the shadow of their great and renowned contemporaries such as Ivan Meštrović, Marin Tartaglia, Jerolim Miše and Jozo Kljaković, who kept strong connections to Split although they did not reside in it then. Animosity to avant-garde movements is especially felt in the reception of the works of Marin Tartaglia, which were done in the manner of the Italian avant-garde and presented at the Medulić exhibition in 1919; they were characterized by critics as “perverted” and “disgusting.” Ivo Dellale stands out among the art critics in Split; a pioneer in the appropriation of Croce’s aesthetics in Croatia, he wrote about contemporary European art with considerably greater appreciation (especially cubism and expressionism). In the interwar painting in Split one recognizes anti-modernism in the work of Emanuel Vidović, which is greatly permeated by melancholy, nostalgia and the patina of time, in Ignjat Job’s ecstatic scenes brimming with the dynamics of Mediterranean life, in Silvije Bonacci Čiko’s paintings as metaphors of nostalgia and praises to the sea, in Vjekoslav Parać and Milan Tolić’s escape into the idealized home region, and in the work of the Meneghellos. Achievements of great quality in the "eld of graphic design and caricature can be found in the work of Radovan Tommaseo, Ivo Tijardović and Angjeo Uvodić, done in the style of art déco. e sculptural part of the Split art scene is examined on the examples of recognition of the original primitivism of form in the work of Petar Smajić, and the sensibility for classical forms in the work of Dujam Penić, which has been described by Vladan Desnica in the most competent manner.
Umjetnost i tržište, Vrednovanje umjetničkih djela u tržišnoj ekonomiji / Turković, Vera ; Novina, Arijana (ur.). .
Ekonomska kriza i nedovoljna i neadekvatna zakonska regulativa, doveli su do zamiranja tržišta ko... more Ekonomska kriza i nedovoljna i neadekvatna zakonska regulativa, doveli su do zamiranja tržišta koje zapravo nikada na području Hrvatske nije bilo razvijeno. Detektirani su i navedeni uzroci vegetiranja tržišta te izneseni argumenti za nužnu reformu pravne regulative vezane uz tržište umjetnina. Predložene su mjere za novu pravnu regulativu vezanu uz trgovanje umjetninama, a koje bi razradio interdisciplinarni tim stručnjaka. Riječ je o iznimno važnom problemu vezanom uz kulturni identitet Hrvatske i egzistenciju nekoliko tisuća ljudi koji žive od umjetničke produkcije.
The paper explores the importance of the diverse and
compelling drawing oeuvre of Omer Mujadžić (... more The paper explores the importance of the diverse and compelling drawing oeuvre of Omer Mujadžić (Bosanska Gradiška, February 1, 1903 – Zagreb, October 28, 1991). Mujadžić gave a significant contribution to the field of applied drawing for scientific purposes: he executed drawings for botany classes while working for the Royal Botanical Institute (1922–1924), drawings for the Archaeological Museum in Zagreb (1927–1931), human anatomy drawings for the School of Medicine (for a short period in 1926), as well as for the classes at the Academy of Fine Arts in Zagreb (1933–1949). He also produced encyclopaedic and book illustrations and banknote templates. Although important, this part of Mujadžić ’ s professional activity is clearly different from the drawings he created as sketches for paintings, or drawings produced as the individual, finished works of art. As with any other artist, understanding of the logic of Mujadžić ’ s artistic path, as well as his artistic development and changes, depends on the knowledge and understanding of his formative period. In this particular case the difficulty is due to the extremely small number of Mujadžić ’ s early works. The known data and the retrieved works of art indicate, however, that his formative period was characterized not only by his self-denying personality, but also by four specific factors determining, each in its own way, the course of his artistic production. 1. Professors at the Academy of Fine Arts – Ivanka Reberski has written that Mujadžić was “raised in the tradition of Meštrović ’ s and Kljaković ’ s ‘sculptural’ expression”; indeed, when analysing his formative path in the period from 1918, when he began his studies at the Academy of Fine Arts in Zagreb, until 1924, when he exhibited his paintings for the first time, it becomes evident – especially on the basis of art reviews – that he had almost reached his artistic maturity by that time. However, one should not forget the words of Mujadžić himself, who stated: “My real teacher was Ljubo Babić.” … “I owe him much, very much.” 2. Paris: Old masters and the School of Paris – Like all other artists in Zagreb, Mujadžić was well informed on various tendencies in the visual arts of the period. His formation was reaching its pinnacle in the period of strongest response to the avant-garde tendencies, accompanied by a search for order and clarity of expression. The small number of preserved drawings and paintings created under the influence of his Paris sojourn between 1924 and 1926, as well as several published interviews with Mujadžić and art reviews, all suggest that his expression was influenced by the works of old masters, which he had studied in the Louvre, rather than the contemporary artists belonging to the School of Paris. In a very short period, Mujadžić tried to reconcile the features of Lhote ’ s, Picasso ’ s and Derain ’ s painting with the traditional values of European painting from the Renaissance to Corot, which he considered as far more important. The return to various forms of realism during the 1920s enabled numerous painters to create within the framework of modernism without embracing avantgarde tendencies. After a short phase of adherence to the left wing of realist tendencies represented by the group “Zemlja” (1929–1930) and defined as critical realism, Omer Mujadžić established his expression within neo-Classicist realism, later to be transformed into his distinctive intimism. 3. Childhood in Bosnia – Childhood images preserved as memories, people and places of Bosnia, the setting, colours, women, and atmosphere of Bosnia would be transferred into his painting, especially after 1940 when his motifs started becoming increasingly intimate. 4. Drawing skills and applied drawing – Working on commission, while using skills acquired through long-term practice, limits the author ’ s expression. In Mujadžić ’ s case, this limitation meant a stronger connection to the reality: from the microscopic reality, invisible to the naked eye (drawing sections of plants for the Botanical Institute), and anatomy drawings for the School of Medicine in Zagreb, to drawings of archaeological exhibits (for the Archaeological Museum). These challenging tasks are complemented by another one of a later date: fifteen years of teaching anatomy at the Academy. Furthermore, it is less known that Mujadžić drew illustrations (in a much larger number of publications than has been observed), and it is also rarely mentioned that he designed banknote templates. In conclusion, it is to be expected that an introvert painter who was already as a student engaged in drawing the reality in order to earn his subsistence, would remain close to rendering the reality in his painting in all phases of his oeuvre, regardless of stylistic or thematic changes.
Većina stručnjaka koji se bave javnim spomenicima, bez obzira radili oni u konzervatorskim služba... more Većina stručnjaka koji se bave javnim spomenicima, bez obzira radili oni u konzervatorskim službama, na fakultetima ili Institutu za povijest umjetnosti, bez obzira bili oni povjesničari umjetnosti ili arhitekti, složno je u stavu da sadašnji način odabira i postavljanja spomenika ili spomen obilježja nije održiv.
Javni prostor definira i kulturni identitet određenog mjesta i svaka intervencija u javni prostor mijenja njegovu prirodu, načine korištenja i komuniciranja građana. Posljednjih nekoliko godina, javni prostor postao je poligon za realiziranje ideja moćnika iz gradskih uprava, bez provođenja javnih natječaja.
Koncept podizanja spomenika u javnom prostoru, isključivo u smislu iskazivanja počasti određenoj ličnosti ili događaju, razvijene nacije su prevladale i već desetljećima sve su rjeđe intervencije u prostoru na taj „klasičan“ način. Ta „stroga“ ozbiljnost javnog prostora zamijenjena je umjetničkim i dizajnerskim intervencijama u javnom prostoru, svime što se može podvesti pod pojam „public art“. Takav pristup donosi daleko više vedrine, lakoće, boja i raznovrsnih oblika u prostor. Prostori u koje se na taj način intervenira stječu nove vizualne kvalitete, stvaraju se nova žarišne točke okupljanja, omogućava se i drugačija komunikacija korisnika tog prostora.
Intervencije u javni prostor su izrazito kompleksne, bez obzira radilo se o spomenicima, javnoj rasvjeti ili o klupama u parku. Svaki javni prostor ima svoje karakteristike, svoje posebnosti koje treba poštivati i nije moguće samo tako „naguravati“ kojekakve oblike i misliti da će to biti prihvaćeno, bez stručnog povjerenstva i javnog natječaja, odnosno, bez suvisle zakonske regulative.
U posljednja dva desetljeća Hrvatsku su obilježila brojna rušenja, oštećivanja i krađe javnih spomenika, a potom postavljanje različitih spomenika i spomen obilježja uglavnom niske ili upitne kvalitete. Iako izgleda da imamo i više nego dovoljno zakonskih regulativa, dugotrajnost problema vezanih uz spomenike i umjetnička djela u javnom prostoru govore u prilog tome da bez nove zakonske podloge neće biti moguće donositi kvalitetnije i odgovornije odluke temeljene na stručnim procjenama. Sadašnja praksa pokazuje da bez zakonske regulative, „diktat ulice“ i interesnih grupacija bliskih gradonačelnicima i političkim moćnicima, određuju (ne)kvalitetu spomen obilježja i svih ostalih intervencija u prostoru. Odraz nekulture u Hrvatskoj očituje se u nedostatku svijesti o značaju, vrijednostima i osjetljivosti javnih prostora, nedostatku brige o mjestima koja građanima predstavljaju „dnevne boravke“ na otvorenom, jer sve što se postavi u javnom prostoru, čak i najmanja intervencija, određuje identitet ulice, trga ili parka. Sveukupna razina kvalitete uređenja naših javnih prostora govori o uređenosti države i o kulturi naroda.
The paper is published with a summary in English.
U ovoj studiji predstavljena je teza o posto... more The paper is published with a summary in English.
U ovoj studiji predstavljena je teza o postojanju antimodernizma, kao regresivne tendencije unutar moderne hrvatske likovne umjetnosti. Likovni umjetnici antimodernisti izražavajući se u tradicionalnim likovnim idiomima poput plenerizma, impresionizma, monumentalizma ili realističkih inačica, odabiru tematiku u prostorima onkraj modernoga vremena kao pohvalu iskonskome zavičaju, prošlim ili mitskim vremenima odnosno čistoj i netaknutoj prirodi, ostvarujući kontrast modernome dobu i njegovim tehnološkim dostignućima. Te značajke praćene su odbojnošću prema suvremenim avangardnim likovnim tendencijama, kao i divljenjem minulim vremenima u tekstovima likovnih umjetnika antimodernista (likovne kritike, pisma, dnevnici, književna djela). Izdvojeno je nekoliko tipičnih opusa koji su jasno artikulirali svoje antimodernistička stajališta i značajke u pisanom i u likovnome dijelu opusa: Ivan Meštrović, Jozo Kljaković, Jerolim Miše, Ljubo Babić i Juraj Plančić. Implementacija će ove teze, upućivanjem na svjesno odbijanje moderniteta u brojnih hrvatskih likovnih umjetnika, doprinijeti novom sagledavanju umjetnosti periferne sredine.
Ante Katunarić i Split 1900. - 1935. (zbornik radova), 2016
Ante Katunarić (Split, January 11th 1877 – May 2nd 1935), marked the period
between the great war... more Ante Katunarić (Split, January 11th 1877 – May 2nd 1935), marked the period between the great wars in Split with his work as not only an artist, but also a journalist, writer, musician, pedagogue, photographer, and athlete. After completing elementary and high school in Split, he enrolled in the Art Academy of Rome in 1892, where he also graduated in 1896. He spent the next year, 1897, in Chioggia with his friend Emanuel Vidović, where they shared an atelier. One of Katunarić’s few well-known works related to the field of illustration from the very beginnings of the twentieth century is his participation in the notable book by Vicko Mihaljević – Neurastenicus, Pregršt šušnja (Abundant Rustles), published in 1900. There can be no doubt that, alongside Meneghello Dinčić, a portion of the illustrations and vignettes from the book were made by Ante Katunarić, as the author’s dedication in the song »To my colleagues« (pg. 179-181) clearly indicates. The two illustrators are difficult to tell apart according to their handwriting, and a large number of the illustrations belongs to the third less skilled hand of practically amateurish quality. Considering that a handful of the poorer, amateurish illustrations are signed with the initials V. M., we can assume that the author of the book, Vicko Mihaljević, tried his hand at drawing, as the handwriting of Virgil Meneghello Dinčić, with his artistic background, would have to have been of a higher quality. With Vicko Mihaljević’s illustrations, we can observed not only his poor artistic skills, but also an extreme propensity for variations on the, at the time, popular characters Max and Moritz, by the famous Wilhelm Busch, as his characters of children from Split are remarkably similar to those of Busch. How well acquainted was Katunarić with Italian, German, and Austrian magazines from that time remains an open question; did he have copies of Italian comedy magazines such as Il Pasquino, Il Fischietto, La Rana, and the numerous others that were often dominated by portrait caricatures, as was the case with Duje Balavac, for which Katunarić was the chief editor from the first issue to the last remains open question. Considering his stay in Italy, we can assume that he was familiar with the Italian press, but we can say with certainty that he was familiar with Simplicisimus from Munich, as a certain caricature from Duje Balavac from 1908 specifically refers to it. Katunarić has a solid grasp of arranging the composition of a motif and various graphical techniques. A large portion of his graphical opus can be linked to academicism and echoes of romanticism, as is evident from the works of Crnčić or Krizman. It is only in his portraits and self-portraits done with specific graphical techniques that we can occasionally see echoes of expressionism. The ability of Katunarić’s graphics to bring to life the feeling of the landscape and the psychological expressiveness of the persona in the portrait (the portrait of Božo Lovrić is particularly expressive) are certainly qualities that art critique might be more inclined to point out had the author dedicated himself more to his work and less to the other activities that occupied his time. Katunarić’s graphical culture is part of the very culture of Split in the time between the great wars, and it deserves special attention within the context of its own time and space, as well as the totality of Croatian graphics from that time. We should also mention that his use of photographs (which he processes himself), as an assistive tool for his graphics (a common practice for the time), also speaks of his graphical culture. Even though it is too early to speak of the definitive position of Katunarić’s graphical opus, a selection of his works will absolutely deserved a place in any synthetic reviews of Croatian graphical history. From his artistic opus, which includes both photography and illustrations for magazines, across his literary opus, and all the way to his forays into music, sports, and carnivals, Ante Katunarić needs to be considered within the context of his humor and versatility alongside the spirit of the time and local cultural scene of Split.
The paper is published with a summary in English.
Istraživanje manje poznatog dijela opusa Dra... more The paper is published with a summary in English.
Istraživanje manje poznatog dijela opusa Dragana Melkusa (Bektež kraj Požege, 28. 10. 1860. – Osijek, 5. 9. 1917.) koje se odnosi na područje grafičkog oblikovanja knjiga i časopisa doprinos je upotpunjavanju cjelokupne slike o njegovom svestranom djelovanju. Analiziraju se karakteristike Melkusova rukopisa te se rekonstruiraju njegovi minhenski uzori. Ističe se Melkusovo unošenje lokalnih ikonografskih elemenata u secesijski izraz te njegova posebna sklonost oblikovanju specifičnog oblika ilustracije: vinjete. Temeljem sakupljenih podataka i razmatranjem novije literature o Melkusu, interpretacija njegova doprinosa nastaje u kontekstu grafičke produkcije u razdoblju secesije u Hrvatskoj te u kontekstu sagledavanja cjelokupne Melkusove ličnosti i njegovih mnogobrojnih aktivnosti.
Desetak sačuvanih plakata i predložaka za plakate u zbirci dr. Josipa Kovačića pokazuju raznoliki... more Desetak sačuvanih plakata i predložaka za plakate u zbirci dr. Josipa Kovačića pokazuju raznoliki oblikovni raspon u ovome segmentu opusa Bogumila Cara, nezaobilaznom u sastavljanju novih sinteza povijesti plakata u Hrvatskoj. Danas je teško rekonstruirati Carev ilustratorski opus jer ne postoji sustavna evidencija toga dijela njegova opusa. Vrlo često nije signirao svoje ilustracije, plakate i karikature, vjerojatno i zbog toga što se nije gledalo s odobravanjem da gimnazijski profesor uz svoj pedagoški posao objavljuje ponekad vrlo lascivne crteže. Osim toga, dugotrajno negiranje bilo kakve vrijednosti ilustrativnog ili reklamnog crteža u našoj sredini dovelo je do toga da se i sami autori nisu brinuli o arhiviranju i čuvanju takvih vrsta primijenjene umjetnosti, što je dovelo do gubitka brojnih artefakata i arhivskih dokumenata iz tog područja. Da u zbirci dr. Kovačića ne postoje sačuvani fragmenti tog dijela opusa, možda bi Carev udio u povijesti ilustracije u Hrvatskoj bio potpuno zaboravljen. Zaokupljenost arhitekturom počela je prelaziti uobičajene granice što je rezultiralo njegovom odlukom da u zreloj dobi započne studirati arhitekturu. Od 1927. godine kada je imao 36 godina, Bogumil Car tri godine je studirao arhitekturu i polagao ispite. Studij je prekinuo zbog preopterećenosti jer je istodobno radio kao gimnazijski profesor. Osim što u gotovo svim oblicima njegova stvaralaštva, od ilustracije i karikature do slikarstva možemo vidjeti koliko je Car pažljivo promatrao arhitekturu, ne samo zanimljive građevine i ambijentalne cjeline u krajoliku nego i interijere te dizajn namještaja i rasvjete što se također vidi i na njegovim crtežima.
Paper is published in English with a summary in Slovenian. Here is summary in Croatian.
Inter... more Paper is published in English with a summary in Slovenian. Here is summary in Croatian.
Interpretacija odnosa karikature i slikarstva Antuna Motike (Pula, 30.12.1902.- Zagreb, 13.2.1992.) temelji se na analizama karikatura koje je Motika izrađivao za vrijeme školovanja u gimnaziji u Pazinu te na karikaturama koje je objavljivao 1929. i 1930. godine u zagrebačkom humorističkom tjedniku "Koprive". Uočene su i protumačene razlike u likovnom izrazu između karikatura iz 1929. koje su po nekim svojstvima bliske karakteristikama izraza Georga Grosza, a karikature iz 1930. može se povezati sa svojstvima Picassovog neoklasicističkog načina izražavanja. Kao što je Picasso prestao izrađivati karikature nakon što se počeo izražavati na kubistički način, tako se i Motika iza 1930. više nije bavio karikaturom nego je elemente grotesknog i karikaturalnog inkorporirao u štafelajno slikarstvo i skulpturu. Istraživanje odnosa karikature i slikarstva omogućilo je interpretaciju složenog odnosa različitih utjecaja i individualnih značajki Motikina likovnog izraza. Kao posebno zanimljivo istaknuto je nekoliko značajnih elemenata Motikinog izraza prisutnih još od vremena djetinjstva, a koji su najbolje vidljivi u bilježnici "Moje karikature" iz 1918. - 1919. godine kada je Motiki bilo 16 odnosno 17 godina. Uočeno je da je već tada intuitivno iskazana Motikina zaokupljenost prikazivanjem prostora i svjetla na taj način što je prostor često promatrao s povišena očišta ili iz ptičje perspektive, a čestu prisutnost sunca kao izvora svjetlosti možemo povezati s temom svjetlosti koja je središnji motiv njegova stvaralaštva, motiv s kojim je radio raznovrsne eksperimente od 1940. godine kada je došao u Zagreb. Tada je započeo upotrebljavati raznovrsne materijale i kombinirati različite tehnike. U to vrijeme nastajale su i njegove apstraktne slike na kojima je prenosio ritam glazbe. Velik dio cjelokupnog stvaralaštva izveden je u tehnikama gvaša i akvarela, a od završetka Drugog svjetskog rata često je radio kolaže, dekalkomanije, svjetlosne projekcije, a također i skulpture u keramici, staklu i bronci. Motiv svemira, odnosno sunčeva sustava također često nalazimo u kasnim godinama njegova stvaralaštva. Prikazivanje prostora gotovo iz ptičje perspektive ili iz izrazito povišena položaja osim na crtežima u gimnazijskoj bilježnici prisutan je i na karikaturama objavljivanim 1929. godine u "Koprivama". Motikin desetomjesečni boravak u Parizu 1930. godine u svakom slučaju bio je značajan za njegovo sazrijevanje, ali prenaglašavanje utjecaja Bonnarda, Utrilla, Dufya ili drugih slikara pogrešno je jer je Motika najraznovrsnije utjecaje upijao i transformirao kroz rad na vlastitom izrazu, neprestano razvijajući ona svojstva koja su njegovom duhovnom ustrojstvu bila najbliža. Upravo ta svojstva lako prepoznajemo već u dobi od 16 odnosno 17 godina, kada još nije mogao poznavati djela slikara tzv. pariške škole. Rasvjetljavanje odnosa karikature i slikarstva Antuna Motike omogućava bolje razumijevanje njegova stvaralačkog procesa i logičnog razvoja bogatog i zanimljivog opusa. Saznanja o formiranju Motikinog likovnog izraza mogu doprinositi novim interpretacijama kao i valorizaciji stvaralaštva kojem treba naći mjesto i u povijesti umjetnosti izvan nacionalnih okvira u kojima je nastalo.
The Independent Artists Group was active from 1921 until
1927. In that period they held thirteen... more The Independent Artists Group was active from 1921 until
1927. In that period they held thirteen exhibitions in small
and large towns in Croatia and Vojvodina, and as the Independent Artists Group they appeared at the 5th and 6th Yugoslav Exhibition in Belgrade and Novi Sad. Members of the
Independent Artists Group (Ljubo Babic, Vladimir Becic,
Jozo Kljakovic, Frano Krsinic, Ivan Mestrovic, Jerolim Mise,
Marin Studin, Zlatko Sulentic, Vladimir Varlaj) staged a number
of exhibitions which had a significant artistic, educational
and cultural effect in provincial centers. The exhibitions
had a noticeable commercial effect (a large number of the
exhibited paintings was sold). The group members respected
their individual artistic differences, and artistic quality was
the basic stipulation for membership (just like in the Group
of Four in 1928 and the Group of Three in 1929). Ljubo
Babic initiated the Group, and probably organized everything
while the group was active.
The Independent Artists Group did not have a program, unless
we consider their negative view of certain developments
or inclinations, particularly in regard to the Spring Salon, as
a program definition, formulated in 1924 when the exhibition
in Split was held. The Independent Artists Group determined
there were three artist groups in the second stage of the
Spring Salon: the older generation whose leading figure was
Krizman, the generation of young talents who mostly studied
in Prague and Paris during the First World War (Gecan,
Uzelac, Trepse, Sumanovic and so on) and members of the
Independent Artists Group. On the one hand, members of the
Independent Artists Group were against the pseudo-national
romanticism of the older generation, and on the other, they
opposed the trendy mimicking of the avant-garde artistic
idiom displayed by a part of the younger generation. The
Independent Artists Group is an important and artistically
interesting link between the Spring Salon and the Group of
Three, a group of Croatian painters who leaned toward different forms of European realism in the 1920s, and through individual idioms tried to contribute to the creation of the national artistic idiom.
Gotovo svako postavljanje skulpture u javnom prostoru u Hrvatskoj izaziva neku vrst skandala i to... more Gotovo svako postavljanje skulpture u javnom prostoru u Hrvatskoj izaziva neku vrst skandala i to toliko često i redovito, da smo se na to navikli i postali neosjetljivi kao i na mnoge druge pojave. Skandalozni primjeri javnih skulptura povlače za sobom kritiku takvih spomeničkih rješenja od strane povijesno umjetničke struke koja je gotovo jednoglasna u osudama ovakve prakse. Ipak, sve osude i brojni tekstovi i medijski istupi ostaju bez ikakva odjeka, a sve lošiji spomenici svakodnevno stihijski niču svuda oko nas.
Od svih likovnih umjetnosti, problem originala i kopije u skulpturi najuočljiviji je još od antič... more Od svih likovnih umjetnosti, problem originala i kopije u skulpturi najuočljiviji je još od antičkih vremena. Specifičnosti i shvaćanja skulpture kroz povijest su se mijenjale na manje uočljiv način nego što se to događalo sa slikarstvom, odnosno, sa svim oblicima dvodimenzionalnoga prikazivanja. Tijekom XX. stoljeća brojne radikalne transformacije načina oblikovanja skulpturalnoga djela potiču na nova i drugačija promišljanja skulpture. Tijekom dvadesetoga stoljeća, lakoću kvalitetnoga reproduciranja i multipliciranja slikarskoga djela, slijedi izvrsna tehnička kvaliteta u kopiranju i multipliciranju trodimenzionalno oblikovanoga djela. Problem sve teže mogućnosti (ili nemogućnosti) kontrole umnažanja skulpturalnoga djela odražava se ne samo na području zaštite autorskih prava nego prije svega na području promjene percepcije, a sukladno tome i recepcije skulpture.
Prikazi grada između utopije i distopije, u karikaturi, stripu i animiranom filmu, od 1945. - 2020. godine, 2024
Frano Dulibić interdisciplinarnim pristupom istražuje prikaz grada u popularnoj kulturi od 1945. ... more Frano Dulibić interdisciplinarnim pristupom istražuje prikaz grada u popularnoj kulturi od 1945. do 2020. u Hrvatskoj. Kroz karikaturu, strip i animirani film, autor povezuje povijest umjetnosti, povijest filma, antropologiju i sociologiju. Ova knjiga nudi intrigantan uvid u odnos čovjeka i njegovog urbanog okruženja, analizirajući kako se tijekom vremena mediji popularne kulture mijenjaju te istodobno oblikuju naše viđenje sebe i svijeta.
Omer Mujadžić (born on Febuary 1, 1903 in Bosanska Gradiška; died October 28, 1991 in Zagreb). As... more Omer Mujadžić (born on Febuary 1, 1903 in Bosanska Gradiška; died October 28, 1991 in Zagreb). As the youngest student, at the age of 15, he was accepted by the Royal art academy in Zagreb. After he had completed his study he received a scholarship from the French government and stayed in Paris from 1924. to 1926. For less than a year (1929.-1930.) he was a member of the artistic group Zemlja. During his lifetime he participated in numerous group exhibitions and organised three independent ones. His formative period is characterised by neoclassicistic and magic realism. In the 1930s he lightened his palette and softened the form in accordance to colouristic and poetic realism. During the Second World War he was dedicating his time to the exploration of delicate tone sclaes with which he made his distinctive imprint in intimistic motives. The intimism painter, Omer Mujadžić, was a great drawer, an exceptional painter of nudes, portraits and religious paintings. In addition to the beforehand mentioned topics, he also painted landscapes and still life. Because of his introverted and selfsupressed nature he avoided public appearances. He was the painter who devoted himself to his atelier work and who was, his whole life, commited to painting which longed for modernism in reliance to the tradition of European painting.
Omer Mujadžić rođen je 1. veljače 1903. u Bosanskoj Gradišci, a umro u Zagrebu 28. listopada 1991. Kao najmlađi student, u dobi od svega petnaest godina, 1918. godine upisuje Kraljevsku umjetničku akademiju u Zagrebu. Nakon završetka studija dobiva stipendiju francuske vlade te boravi u Parizu od 1924. do 1926. godine. Od 1929. do 1930. član je umjetničke grupe Zemlja. Za života je sudjelovao na mnogim skupnim izložbama i priredio tri samostalne izložbe. Njegovo formativno razdoblje karakterizira neoklasicistički i magični realizam. Tridesetih godina rasvjetljava paletu i omekšava formu u skladu s tada aktualnim kolorističko poetskim realizmom. Tijekom drugog svjetskog rata počinje se posvećivati istraživanju profinjenih tonskih skala kojima stvara svoj prepoznatljiv izraz u intimističkim motivima. Slikar intimizma, Omer Mujadžić bio je sjajan crtač, izuzetan slikar aktova, portreta i sakralnih kompozicija. Osim navedenih tema, slikao je i krajolike te mrtve prirode. Zbog introvertiranog i samozatajnog karaktera izbjegavao je javna istupanja. Bio je slikar koji se posvetio radu u atelijeru i koji je čitav svoj radni vijek bio predan slikarstvu koje je tražilo modernizam u oslanjanju na tradiciju europskog slikarstva.
Pjer Križanić (Glina, 19. svibnja 1890.–Beograd, 21. siječnja 1962.), karikaturist, slikar i liko... more Pjer Križanić (Glina, 19. svibnja 1890.–Beograd, 21. siječnja 1962.), karikaturist, slikar i likovni kritičar, svoj životni put i obrazovanje započeo je na rodnoj Baniji, a potom dolazi u Zagreb, gdje završava Obrtnu školu te nastavlja studirati slikarstvo na likovnoj akademiji. U Zagrebu je objavio svoje prve karikature te time započeo karijeru karikaturista. Zagrebačko razdoblje Pjera Križanića njegove su formativne godine, doba likovnog sazrijevanja i formiranja stava o karikaturi kao specifičnom načinu izražavanja. To je vrijeme kada Križanić razvija svoj prepoznatljiv rukopis i sazrijeva u svojim političkim stavovima, što sačinjava podlogu za stvaranje iznimnog opusa sadržajne, provokativne i duhovite političke karikature. Karijeru započetu u Zagrebu nastavio je u Beogradu 1922. Istraživanje zagrebačke dionice Križanićeva plodnog crtačkog opusa razmatra njegove uzore, likovne karakteristike njegova rukopisa te izražajnost i snagu političkih poruka koje u mnogim primjerima nadilaze trenutak u kojem su nastale.
Split i Vladan Desnica 1918. - 1945. : Umjetničko stvaralaštvo između kulture i politike, Zbornik radova sa znanstvenog skupa Desničini susreti 2015. , 2016
The paper examines the art scene in interwar Split. Along with the dominant moderate modernism, ... more The paper examines the art scene in interwar Split. Along with the dominant moderate modernism, special attention is paid to the very pronounced anti-modernist tendency, which was an important feature of the broader art context in Europe and Croatia. Both the artists and art critics were almost united in their suspicion of avant-garde movements in art as well as in their preoccupation with regional themes, whereas modernism developed in Split in pronounced harmony with tradition. The art scene in Split grew after World War I, and as many as 130 exhibitions were mounted in the interwar period. It can be said that the Split artists active at the time worked in the shadow of their great and renowned contemporaries such as Ivan Meštrović, Marin Tartaglia, Jerolim Miše and Jozo Kljaković, who kept strong connections to Split although they did not reside in it then. Animosity to avant-garde movements is especially felt in the reception of the works of Marin Tartaglia, which were done in the manner of the Italian avant-garde and presented at the Medulić exhibition in 1919; they were characterized by critics as “perverted” and “disgusting.” Ivo Dellale stands out among the art critics in Split; a pioneer in the appropriation of Croce’s aesthetics in Croatia, he wrote about contemporary European art with considerably greater appreciation (especially cubism and expressionism). In the interwar painting in Split one recognizes anti-modernism in the work of Emanuel Vidović, which is greatly permeated by melancholy, nostalgia and the patina of time, in Ignjat Job’s ecstatic scenes brimming with the dynamics of Mediterranean life, in Silvije Bonacci Čiko’s paintings as metaphors of nostalgia and praises to the sea, in Vjekoslav Parać and Milan Tolić’s escape into the idealized home region, and in the work of the Meneghellos. Achievements of great quality in the "eld of graphic design and caricature can be found in the work of Radovan Tommaseo, Ivo Tijardović and Angjeo Uvodić, done in the style of art déco. e sculptural part of the Split art scene is examined on the examples of recognition of the original primitivism of form in the work of Petar Smajić, and the sensibility for classical forms in the work of Dujam Penić, which has been described by Vladan Desnica in the most competent manner.
Umjetnost i tržište, Vrednovanje umjetničkih djela u tržišnoj ekonomiji / Turković, Vera ; Novina, Arijana (ur.). .
Ekonomska kriza i nedovoljna i neadekvatna zakonska regulativa, doveli su do zamiranja tržišta ko... more Ekonomska kriza i nedovoljna i neadekvatna zakonska regulativa, doveli su do zamiranja tržišta koje zapravo nikada na području Hrvatske nije bilo razvijeno. Detektirani su i navedeni uzroci vegetiranja tržišta te izneseni argumenti za nužnu reformu pravne regulative vezane uz tržište umjetnina. Predložene su mjere za novu pravnu regulativu vezanu uz trgovanje umjetninama, a koje bi razradio interdisciplinarni tim stručnjaka. Riječ je o iznimno važnom problemu vezanom uz kulturni identitet Hrvatske i egzistenciju nekoliko tisuća ljudi koji žive od umjetničke produkcije.
The paper explores the importance of the diverse and
compelling drawing oeuvre of Omer Mujadžić (... more The paper explores the importance of the diverse and compelling drawing oeuvre of Omer Mujadžić (Bosanska Gradiška, February 1, 1903 – Zagreb, October 28, 1991). Mujadžić gave a significant contribution to the field of applied drawing for scientific purposes: he executed drawings for botany classes while working for the Royal Botanical Institute (1922–1924), drawings for the Archaeological Museum in Zagreb (1927–1931), human anatomy drawings for the School of Medicine (for a short period in 1926), as well as for the classes at the Academy of Fine Arts in Zagreb (1933–1949). He also produced encyclopaedic and book illustrations and banknote templates. Although important, this part of Mujadžić ’ s professional activity is clearly different from the drawings he created as sketches for paintings, or drawings produced as the individual, finished works of art. As with any other artist, understanding of the logic of Mujadžić ’ s artistic path, as well as his artistic development and changes, depends on the knowledge and understanding of his formative period. In this particular case the difficulty is due to the extremely small number of Mujadžić ’ s early works. The known data and the retrieved works of art indicate, however, that his formative period was characterized not only by his self-denying personality, but also by four specific factors determining, each in its own way, the course of his artistic production. 1. Professors at the Academy of Fine Arts – Ivanka Reberski has written that Mujadžić was “raised in the tradition of Meštrović ’ s and Kljaković ’ s ‘sculptural’ expression”; indeed, when analysing his formative path in the period from 1918, when he began his studies at the Academy of Fine Arts in Zagreb, until 1924, when he exhibited his paintings for the first time, it becomes evident – especially on the basis of art reviews – that he had almost reached his artistic maturity by that time. However, one should not forget the words of Mujadžić himself, who stated: “My real teacher was Ljubo Babić.” … “I owe him much, very much.” 2. Paris: Old masters and the School of Paris – Like all other artists in Zagreb, Mujadžić was well informed on various tendencies in the visual arts of the period. His formation was reaching its pinnacle in the period of strongest response to the avant-garde tendencies, accompanied by a search for order and clarity of expression. The small number of preserved drawings and paintings created under the influence of his Paris sojourn between 1924 and 1926, as well as several published interviews with Mujadžić and art reviews, all suggest that his expression was influenced by the works of old masters, which he had studied in the Louvre, rather than the contemporary artists belonging to the School of Paris. In a very short period, Mujadžić tried to reconcile the features of Lhote ’ s, Picasso ’ s and Derain ’ s painting with the traditional values of European painting from the Renaissance to Corot, which he considered as far more important. The return to various forms of realism during the 1920s enabled numerous painters to create within the framework of modernism without embracing avantgarde tendencies. After a short phase of adherence to the left wing of realist tendencies represented by the group “Zemlja” (1929–1930) and defined as critical realism, Omer Mujadžić established his expression within neo-Classicist realism, later to be transformed into his distinctive intimism. 3. Childhood in Bosnia – Childhood images preserved as memories, people and places of Bosnia, the setting, colours, women, and atmosphere of Bosnia would be transferred into his painting, especially after 1940 when his motifs started becoming increasingly intimate. 4. Drawing skills and applied drawing – Working on commission, while using skills acquired through long-term practice, limits the author ’ s expression. In Mujadžić ’ s case, this limitation meant a stronger connection to the reality: from the microscopic reality, invisible to the naked eye (drawing sections of plants for the Botanical Institute), and anatomy drawings for the School of Medicine in Zagreb, to drawings of archaeological exhibits (for the Archaeological Museum). These challenging tasks are complemented by another one of a later date: fifteen years of teaching anatomy at the Academy. Furthermore, it is less known that Mujadžić drew illustrations (in a much larger number of publications than has been observed), and it is also rarely mentioned that he designed banknote templates. In conclusion, it is to be expected that an introvert painter who was already as a student engaged in drawing the reality in order to earn his subsistence, would remain close to rendering the reality in his painting in all phases of his oeuvre, regardless of stylistic or thematic changes.
Većina stručnjaka koji se bave javnim spomenicima, bez obzira radili oni u konzervatorskim služba... more Većina stručnjaka koji se bave javnim spomenicima, bez obzira radili oni u konzervatorskim službama, na fakultetima ili Institutu za povijest umjetnosti, bez obzira bili oni povjesničari umjetnosti ili arhitekti, složno je u stavu da sadašnji način odabira i postavljanja spomenika ili spomen obilježja nije održiv.
Javni prostor definira i kulturni identitet određenog mjesta i svaka intervencija u javni prostor mijenja njegovu prirodu, načine korištenja i komuniciranja građana. Posljednjih nekoliko godina, javni prostor postao je poligon za realiziranje ideja moćnika iz gradskih uprava, bez provođenja javnih natječaja.
Koncept podizanja spomenika u javnom prostoru, isključivo u smislu iskazivanja počasti određenoj ličnosti ili događaju, razvijene nacije su prevladale i već desetljećima sve su rjeđe intervencije u prostoru na taj „klasičan“ način. Ta „stroga“ ozbiljnost javnog prostora zamijenjena je umjetničkim i dizajnerskim intervencijama u javnom prostoru, svime što se može podvesti pod pojam „public art“. Takav pristup donosi daleko više vedrine, lakoće, boja i raznovrsnih oblika u prostor. Prostori u koje se na taj način intervenira stječu nove vizualne kvalitete, stvaraju se nova žarišne točke okupljanja, omogućava se i drugačija komunikacija korisnika tog prostora.
Intervencije u javni prostor su izrazito kompleksne, bez obzira radilo se o spomenicima, javnoj rasvjeti ili o klupama u parku. Svaki javni prostor ima svoje karakteristike, svoje posebnosti koje treba poštivati i nije moguće samo tako „naguravati“ kojekakve oblike i misliti da će to biti prihvaćeno, bez stručnog povjerenstva i javnog natječaja, odnosno, bez suvisle zakonske regulative.
U posljednja dva desetljeća Hrvatsku su obilježila brojna rušenja, oštećivanja i krađe javnih spomenika, a potom postavljanje različitih spomenika i spomen obilježja uglavnom niske ili upitne kvalitete. Iako izgleda da imamo i više nego dovoljno zakonskih regulativa, dugotrajnost problema vezanih uz spomenike i umjetnička djela u javnom prostoru govore u prilog tome da bez nove zakonske podloge neće biti moguće donositi kvalitetnije i odgovornije odluke temeljene na stručnim procjenama. Sadašnja praksa pokazuje da bez zakonske regulative, „diktat ulice“ i interesnih grupacija bliskih gradonačelnicima i političkim moćnicima, određuju (ne)kvalitetu spomen obilježja i svih ostalih intervencija u prostoru. Odraz nekulture u Hrvatskoj očituje se u nedostatku svijesti o značaju, vrijednostima i osjetljivosti javnih prostora, nedostatku brige o mjestima koja građanima predstavljaju „dnevne boravke“ na otvorenom, jer sve što se postavi u javnom prostoru, čak i najmanja intervencija, određuje identitet ulice, trga ili parka. Sveukupna razina kvalitete uređenja naših javnih prostora govori o uređenosti države i o kulturi naroda.
The paper is published with a summary in English.
U ovoj studiji predstavljena je teza o posto... more The paper is published with a summary in English.
U ovoj studiji predstavljena je teza o postojanju antimodernizma, kao regresivne tendencije unutar moderne hrvatske likovne umjetnosti. Likovni umjetnici antimodernisti izražavajući se u tradicionalnim likovnim idiomima poput plenerizma, impresionizma, monumentalizma ili realističkih inačica, odabiru tematiku u prostorima onkraj modernoga vremena kao pohvalu iskonskome zavičaju, prošlim ili mitskim vremenima odnosno čistoj i netaknutoj prirodi, ostvarujući kontrast modernome dobu i njegovim tehnološkim dostignućima. Te značajke praćene su odbojnošću prema suvremenim avangardnim likovnim tendencijama, kao i divljenjem minulim vremenima u tekstovima likovnih umjetnika antimodernista (likovne kritike, pisma, dnevnici, književna djela). Izdvojeno je nekoliko tipičnih opusa koji su jasno artikulirali svoje antimodernistička stajališta i značajke u pisanom i u likovnome dijelu opusa: Ivan Meštrović, Jozo Kljaković, Jerolim Miše, Ljubo Babić i Juraj Plančić. Implementacija će ove teze, upućivanjem na svjesno odbijanje moderniteta u brojnih hrvatskih likovnih umjetnika, doprinijeti novom sagledavanju umjetnosti periferne sredine.
Ante Katunarić i Split 1900. - 1935. (zbornik radova), 2016
Ante Katunarić (Split, January 11th 1877 – May 2nd 1935), marked the period
between the great war... more Ante Katunarić (Split, January 11th 1877 – May 2nd 1935), marked the period between the great wars in Split with his work as not only an artist, but also a journalist, writer, musician, pedagogue, photographer, and athlete. After completing elementary and high school in Split, he enrolled in the Art Academy of Rome in 1892, where he also graduated in 1896. He spent the next year, 1897, in Chioggia with his friend Emanuel Vidović, where they shared an atelier. One of Katunarić’s few well-known works related to the field of illustration from the very beginnings of the twentieth century is his participation in the notable book by Vicko Mihaljević – Neurastenicus, Pregršt šušnja (Abundant Rustles), published in 1900. There can be no doubt that, alongside Meneghello Dinčić, a portion of the illustrations and vignettes from the book were made by Ante Katunarić, as the author’s dedication in the song »To my colleagues« (pg. 179-181) clearly indicates. The two illustrators are difficult to tell apart according to their handwriting, and a large number of the illustrations belongs to the third less skilled hand of practically amateurish quality. Considering that a handful of the poorer, amateurish illustrations are signed with the initials V. M., we can assume that the author of the book, Vicko Mihaljević, tried his hand at drawing, as the handwriting of Virgil Meneghello Dinčić, with his artistic background, would have to have been of a higher quality. With Vicko Mihaljević’s illustrations, we can observed not only his poor artistic skills, but also an extreme propensity for variations on the, at the time, popular characters Max and Moritz, by the famous Wilhelm Busch, as his characters of children from Split are remarkably similar to those of Busch. How well acquainted was Katunarić with Italian, German, and Austrian magazines from that time remains an open question; did he have copies of Italian comedy magazines such as Il Pasquino, Il Fischietto, La Rana, and the numerous others that were often dominated by portrait caricatures, as was the case with Duje Balavac, for which Katunarić was the chief editor from the first issue to the last remains open question. Considering his stay in Italy, we can assume that he was familiar with the Italian press, but we can say with certainty that he was familiar with Simplicisimus from Munich, as a certain caricature from Duje Balavac from 1908 specifically refers to it. Katunarić has a solid grasp of arranging the composition of a motif and various graphical techniques. A large portion of his graphical opus can be linked to academicism and echoes of romanticism, as is evident from the works of Crnčić or Krizman. It is only in his portraits and self-portraits done with specific graphical techniques that we can occasionally see echoes of expressionism. The ability of Katunarić’s graphics to bring to life the feeling of the landscape and the psychological expressiveness of the persona in the portrait (the portrait of Božo Lovrić is particularly expressive) are certainly qualities that art critique might be more inclined to point out had the author dedicated himself more to his work and less to the other activities that occupied his time. Katunarić’s graphical culture is part of the very culture of Split in the time between the great wars, and it deserves special attention within the context of its own time and space, as well as the totality of Croatian graphics from that time. We should also mention that his use of photographs (which he processes himself), as an assistive tool for his graphics (a common practice for the time), also speaks of his graphical culture. Even though it is too early to speak of the definitive position of Katunarić’s graphical opus, a selection of his works will absolutely deserved a place in any synthetic reviews of Croatian graphical history. From his artistic opus, which includes both photography and illustrations for magazines, across his literary opus, and all the way to his forays into music, sports, and carnivals, Ante Katunarić needs to be considered within the context of his humor and versatility alongside the spirit of the time and local cultural scene of Split.
The paper is published with a summary in English.
Istraživanje manje poznatog dijela opusa Dra... more The paper is published with a summary in English.
Istraživanje manje poznatog dijela opusa Dragana Melkusa (Bektež kraj Požege, 28. 10. 1860. – Osijek, 5. 9. 1917.) koje se odnosi na područje grafičkog oblikovanja knjiga i časopisa doprinos je upotpunjavanju cjelokupne slike o njegovom svestranom djelovanju. Analiziraju se karakteristike Melkusova rukopisa te se rekonstruiraju njegovi minhenski uzori. Ističe se Melkusovo unošenje lokalnih ikonografskih elemenata u secesijski izraz te njegova posebna sklonost oblikovanju specifičnog oblika ilustracije: vinjete. Temeljem sakupljenih podataka i razmatranjem novije literature o Melkusu, interpretacija njegova doprinosa nastaje u kontekstu grafičke produkcije u razdoblju secesije u Hrvatskoj te u kontekstu sagledavanja cjelokupne Melkusove ličnosti i njegovih mnogobrojnih aktivnosti.
Desetak sačuvanih plakata i predložaka za plakate u zbirci dr. Josipa Kovačića pokazuju raznoliki... more Desetak sačuvanih plakata i predložaka za plakate u zbirci dr. Josipa Kovačića pokazuju raznoliki oblikovni raspon u ovome segmentu opusa Bogumila Cara, nezaobilaznom u sastavljanju novih sinteza povijesti plakata u Hrvatskoj. Danas je teško rekonstruirati Carev ilustratorski opus jer ne postoji sustavna evidencija toga dijela njegova opusa. Vrlo često nije signirao svoje ilustracije, plakate i karikature, vjerojatno i zbog toga što se nije gledalo s odobravanjem da gimnazijski profesor uz svoj pedagoški posao objavljuje ponekad vrlo lascivne crteže. Osim toga, dugotrajno negiranje bilo kakve vrijednosti ilustrativnog ili reklamnog crteža u našoj sredini dovelo je do toga da se i sami autori nisu brinuli o arhiviranju i čuvanju takvih vrsta primijenjene umjetnosti, što je dovelo do gubitka brojnih artefakata i arhivskih dokumenata iz tog područja. Da u zbirci dr. Kovačića ne postoje sačuvani fragmenti tog dijela opusa, možda bi Carev udio u povijesti ilustracije u Hrvatskoj bio potpuno zaboravljen. Zaokupljenost arhitekturom počela je prelaziti uobičajene granice što je rezultiralo njegovom odlukom da u zreloj dobi započne studirati arhitekturu. Od 1927. godine kada je imao 36 godina, Bogumil Car tri godine je studirao arhitekturu i polagao ispite. Studij je prekinuo zbog preopterećenosti jer je istodobno radio kao gimnazijski profesor. Osim što u gotovo svim oblicima njegova stvaralaštva, od ilustracije i karikature do slikarstva možemo vidjeti koliko je Car pažljivo promatrao arhitekturu, ne samo zanimljive građevine i ambijentalne cjeline u krajoliku nego i interijere te dizajn namještaja i rasvjete što se također vidi i na njegovim crtežima.
Paper is published in English with a summary in Slovenian. Here is summary in Croatian.
Inter... more Paper is published in English with a summary in Slovenian. Here is summary in Croatian.
Interpretacija odnosa karikature i slikarstva Antuna Motike (Pula, 30.12.1902.- Zagreb, 13.2.1992.) temelji se na analizama karikatura koje je Motika izrađivao za vrijeme školovanja u gimnaziji u Pazinu te na karikaturama koje je objavljivao 1929. i 1930. godine u zagrebačkom humorističkom tjedniku "Koprive". Uočene su i protumačene razlike u likovnom izrazu između karikatura iz 1929. koje su po nekim svojstvima bliske karakteristikama izraza Georga Grosza, a karikature iz 1930. može se povezati sa svojstvima Picassovog neoklasicističkog načina izražavanja. Kao što je Picasso prestao izrađivati karikature nakon što se počeo izražavati na kubistički način, tako se i Motika iza 1930. više nije bavio karikaturom nego je elemente grotesknog i karikaturalnog inkorporirao u štafelajno slikarstvo i skulpturu. Istraživanje odnosa karikature i slikarstva omogućilo je interpretaciju složenog odnosa različitih utjecaja i individualnih značajki Motikina likovnog izraza. Kao posebno zanimljivo istaknuto je nekoliko značajnih elemenata Motikinog izraza prisutnih još od vremena djetinjstva, a koji su najbolje vidljivi u bilježnici "Moje karikature" iz 1918. - 1919. godine kada je Motiki bilo 16 odnosno 17 godina. Uočeno je da je već tada intuitivno iskazana Motikina zaokupljenost prikazivanjem prostora i svjetla na taj način što je prostor često promatrao s povišena očišta ili iz ptičje perspektive, a čestu prisutnost sunca kao izvora svjetlosti možemo povezati s temom svjetlosti koja je središnji motiv njegova stvaralaštva, motiv s kojim je radio raznovrsne eksperimente od 1940. godine kada je došao u Zagreb. Tada je započeo upotrebljavati raznovrsne materijale i kombinirati različite tehnike. U to vrijeme nastajale su i njegove apstraktne slike na kojima je prenosio ritam glazbe. Velik dio cjelokupnog stvaralaštva izveden je u tehnikama gvaša i akvarela, a od završetka Drugog svjetskog rata često je radio kolaže, dekalkomanije, svjetlosne projekcije, a također i skulpture u keramici, staklu i bronci. Motiv svemira, odnosno sunčeva sustava također često nalazimo u kasnim godinama njegova stvaralaštva. Prikazivanje prostora gotovo iz ptičje perspektive ili iz izrazito povišena položaja osim na crtežima u gimnazijskoj bilježnici prisutan je i na karikaturama objavljivanim 1929. godine u "Koprivama". Motikin desetomjesečni boravak u Parizu 1930. godine u svakom slučaju bio je značajan za njegovo sazrijevanje, ali prenaglašavanje utjecaja Bonnarda, Utrilla, Dufya ili drugih slikara pogrešno je jer je Motika najraznovrsnije utjecaje upijao i transformirao kroz rad na vlastitom izrazu, neprestano razvijajući ona svojstva koja su njegovom duhovnom ustrojstvu bila najbliža. Upravo ta svojstva lako prepoznajemo već u dobi od 16 odnosno 17 godina, kada još nije mogao poznavati djela slikara tzv. pariške škole. Rasvjetljavanje odnosa karikature i slikarstva Antuna Motike omogućava bolje razumijevanje njegova stvaralačkog procesa i logičnog razvoja bogatog i zanimljivog opusa. Saznanja o formiranju Motikinog likovnog izraza mogu doprinositi novim interpretacijama kao i valorizaciji stvaralaštva kojem treba naći mjesto i u povijesti umjetnosti izvan nacionalnih okvira u kojima je nastalo.
The Independent Artists Group was active from 1921 until
1927. In that period they held thirteen... more The Independent Artists Group was active from 1921 until
1927. In that period they held thirteen exhibitions in small
and large towns in Croatia and Vojvodina, and as the Independent Artists Group they appeared at the 5th and 6th Yugoslav Exhibition in Belgrade and Novi Sad. Members of the
Independent Artists Group (Ljubo Babic, Vladimir Becic,
Jozo Kljakovic, Frano Krsinic, Ivan Mestrovic, Jerolim Mise,
Marin Studin, Zlatko Sulentic, Vladimir Varlaj) staged a number
of exhibitions which had a significant artistic, educational
and cultural effect in provincial centers. The exhibitions
had a noticeable commercial effect (a large number of the
exhibited paintings was sold). The group members respected
their individual artistic differences, and artistic quality was
the basic stipulation for membership (just like in the Group
of Four in 1928 and the Group of Three in 1929). Ljubo
Babic initiated the Group, and probably organized everything
while the group was active.
The Independent Artists Group did not have a program, unless
we consider their negative view of certain developments
or inclinations, particularly in regard to the Spring Salon, as
a program definition, formulated in 1924 when the exhibition
in Split was held. The Independent Artists Group determined
there were three artist groups in the second stage of the
Spring Salon: the older generation whose leading figure was
Krizman, the generation of young talents who mostly studied
in Prague and Paris during the First World War (Gecan,
Uzelac, Trepse, Sumanovic and so on) and members of the
Independent Artists Group. On the one hand, members of the
Independent Artists Group were against the pseudo-national
romanticism of the older generation, and on the other, they
opposed the trendy mimicking of the avant-garde artistic
idiom displayed by a part of the younger generation. The
Independent Artists Group is an important and artistically
interesting link between the Spring Salon and the Group of
Three, a group of Croatian painters who leaned toward different forms of European realism in the 1920s, and through individual idioms tried to contribute to the creation of the national artistic idiom.
Gotovo svako postavljanje skulpture u javnom prostoru u Hrvatskoj izaziva neku vrst skandala i to... more Gotovo svako postavljanje skulpture u javnom prostoru u Hrvatskoj izaziva neku vrst skandala i to toliko često i redovito, da smo se na to navikli i postali neosjetljivi kao i na mnoge druge pojave. Skandalozni primjeri javnih skulptura povlače za sobom kritiku takvih spomeničkih rješenja od strane povijesno umjetničke struke koja je gotovo jednoglasna u osudama ovakve prakse. Ipak, sve osude i brojni tekstovi i medijski istupi ostaju bez ikakva odjeka, a sve lošiji spomenici svakodnevno stihijski niču svuda oko nas.
Od svih likovnih umjetnosti, problem originala i kopije u skulpturi najuočljiviji je još od antič... more Od svih likovnih umjetnosti, problem originala i kopije u skulpturi najuočljiviji je još od antičkih vremena. Specifičnosti i shvaćanja skulpture kroz povijest su se mijenjale na manje uočljiv način nego što se to događalo sa slikarstvom, odnosno, sa svim oblicima dvodimenzionalnoga prikazivanja. Tijekom XX. stoljeća brojne radikalne transformacije načina oblikovanja skulpturalnoga djela potiču na nova i drugačija promišljanja skulpture. Tijekom dvadesetoga stoljeća, lakoću kvalitetnoga reproduciranja i multipliciranja slikarskoga djela, slijedi izvrsna tehnička kvaliteta u kopiranju i multipliciranju trodimenzionalno oblikovanoga djela. Problem sve teže mogućnosti (ili nemogućnosti) kontrole umnažanja skulpturalnoga djela odražava se ne samo na području zaštite autorskih prava nego prije svega na području promjene percepcije, a sukladno tome i recepcije skulpture.
Research on censorship and self-censorship in Croatia is focused on political cartoons and carica... more Research on censorship and self-censorship in Croatia is focused on political cartoons and caricatures in the period of communist system (1945–1990) until the breakup of Yugoslavia, and on the recent period of independent Republic of Croatia. The research provides documented examples of censorship and self-censorship that have been found in archives and literature and obtained from authors directly. During the period of Yugoslavia some authors bypassed censorship barriers in various creative ways, risking arrests and prosecutions, while in Republic of Croatia they risk their jobs and livelihood. This paper documents the stages and forms of the censorship and self-censorship through specific examples of political cartoons and caricatures in Croatia over the seventy-year period, with reference to recent global circumstances that indicate that the political cartoon is endangered.
From Imagination to Animation: Six Decades of Zagreb film, 2023
One of the important components that determined the Zagreb School of Animated Film is Zagreb's ... more One of the important components that determined the Zagreb School of Animated Film is Zagreb's unique tradition of single panel cartoon, illustration and comic strips, in which exceptionally gifted cartoonists worked. Several researchers of the history of animation note how this component influenced the formation of the artistic expression of the main authors of the Zagreb Cartoon School. The fact is that the production of animated films was started by cartoonists and comic strips artists gathered by Fadil Hadžić in the editorial office of the humorous magazine Kerempuh.
From specific socio-political circumstances, some components of artistic expression were formed: 1. Thematic limitation by censorship in all forms of expression, including single panel cartoons, comics and animated films, from the 1950s on, resulted in a focus on universal human topics which affected modern people and individuals. 2. In terms of form, a space of freedom was found in new design research and experiments, new ways of stylization and application of reduced animation, a space where politics could not have reasons for opposition. 3. The marginal position of the animated film as a medium primarily intended for children was like a protected oasis in which the authors of the Zagreb School of Cartoon Film turned to topics whose goal is not only humorous entertainment for children, but the creation of films for all generations or only for adults. They were topical, psychological, and in terms of addressing existential problems of individuals, difficult and complex, true works of art.
Analiza cjelokupna opusa Aleksandra Marksa rasvjetljava kontekst u kojem je likovno sazrijevao, o... more Analiza cjelokupna opusa Aleksandra Marksa rasvjetljava kontekst u kojem je likovno sazrijevao, okolnosti u kojima je radio za razne poslodavce, te su valorizirani najvažniji segmenti njegova opusa. Istaknut je njegov doprinos u ilustracijama za časopise, posebno za Republiku i Telegram, kada su njegovi radovi usporedivi s najboljim hrvatskim ilustratorima onog vremena. Analiziran je njegov doprinos u ilustriranim slikovnicama i knjigama za odrasle, a posebno su interpretirane karakteristike iznimna Markova doprinosa u realizacijama crtanih filmova.
Fifty Years of World Festival of Animated Film - Animafest Zagreb, 2022
Jedna od karakteristika postmodernizma jest da je svaki oblik izražavanja prihvatljiv i da je to ... more Jedna od karakteristika postmodernizma jest da je svaki oblik izražavanja prihvatljiv i da je to razdoblje prihvaćanja najrazličitijih načina izražavanja što je najsažetije izrazio Tonko Maroević: „Nećemo kazati da je stanje bilo nalik „mirnoj koegzistenciji“ raznovrsnih poetika i estetika, ali više nismo bili svjedoci odlučnih i žestokih polarizacija kakve smo poznavali u prošlosti (figuracija - apstrakcija, intimizam - angažman, konstruktivno - imaginativno, konceptualno - objektivno, itd.)“. Osim sve manje vidljivog modernističkog istraživanja novih ili drugačijih mogućnosti medija crtanog filma (koji je bio najizraženiji pedesetih i šezdesetih godina) uočljiva prisutnost i koegzistencija različitih poetika među autorima Zagrebačke škole crtanog filma predstavlja poveznicu s postmodernizmom. Moguće je da bi se izostanak izravnih referenci na trendove u slikarstvu i grafici osamdesetih godina, moglo tumačiti i kao novu, višu razinu sazrijevanja i svijesti o mogućnostima medija animiranog filma koji sam stvara trendove i nove tendencije među autorima.
Tisja Kljaković Braić, Spomenik živom čoviku, 2021
Tekst je objavljen u katalogu monografske izložbe održane u Galeriji Klovićevi dvori u Zagrebu 20... more Tekst je objavljen u katalogu monografske izložbe održane u Galeriji Klovićevi dvori u Zagrebu 2021. godine. Izložba je najvećim dijelom bila usredotočena na autoričino slikarstvo, a manjim dijelom na crteže. "Oduvijek je za slikare predstavljao izazov i pravi smisao slikarstva prikazati ono što je većini ljudi nevidljivo. U tom smislu i Tisja u potpunosti ispunjava svoju ulogu, u svom i našem vremenu i prostoru: svakim svojim djelom pokazuje nam radost življenja u neizmjernom broju čudesnih trenutaka kojima dozvoljavamo da nam tako lako promaknu."
Od crteža do skulptura, Petrićevo stvaralaštvo obilježava dvojnost: s jedne strane, primitivistič... more Od crteža do skulptura, Petrićevo stvaralaštvo obilježava dvojnost: s jedne strane, primitivistička forma, koja vuče svoje podrijetlo tisućama godina u prošlosti, a s druge, suvremen, aktualan, aktivistički sadržaj, žestoka kritika društva. U Petrićevom kiparskom opusu podjednako kao i u crtežima, grafikama, plakatima i karikaturama vidimo zajednička obilježja. To nije vidljivo samo u oblikovnom pogledu, u njegovu rukopisu: „Petrićev oblik uvijek zadržava ironiju i podrugljivost“ (I. Š. Banov), nego i u sadržajnom pogledu u kojem je Petrić buntovno i polemički neprestano nastojao „svima baciti u lice istinu stvarnosti“. Unatoč brojnim polemikama u kojima je i sam sudjelovao, Petrićev crtački i grafički opus, tijekom osamdesetih godina, bio je od strane struke prepoznat kao značajan doprinos na onodobnoj likovnoj sceni, ne samo od likovne kritike, nego i činjenicom da su mu između 1985. i 1989. različiti stručni žiriji dodijelili pet otkupnih nagrada na izložbama jugoslavenskog crteža i grafike. Tonko Maroević izabrao je Petrića među nekolicinom istaknutih majstora crteža da u jednom broju književnog časopisa Republika 1992. godine crtežima poprati tekstove. Petrićev opus ne samo crtežima, nego i karikaturama, stripovima i grafikama svojim angažiranim stavom odražava stvarnost, odražava trenutak u kojem je svaki pojedini rad nastajao. Time su Petrićevi radovi dokument vremena, a s obzirom na njegovo nastojanje da takve angažirane teme podigne na globalnu razinu, njegove poruke često imaju univerzalni karakter i aktualnost koja nije prolaznog karaktera.
Nastavit će se..., Strip i vizualna kultura u Hrvatskoj, 2020
Strip podrazumijeva naraciju, priču koja se odvija u nekom zamišljenom vremenu i prostoru, dok se... more Strip podrazumijeva naraciju, priču koja se odvija u nekom zamišljenom vremenu i prostoru, dok se karikatura (portretna i situacijska) događa ponajprije u trenutku u kojem je sažela bit određene ideje, odnosno predstavlja vizualiziranu misao koja najčešće ima duhoviti karakter. Zbog specifičnosti odnosa prema naraciji, Will Eisner strip je definirao kao sekvencijalnu umjetnost, odnosno umjetnost slijeda, a Scottu McCloudu stripovi su „crteži i druge slike supostavljene (jukstaponirane, op. a.) u namjerni slijed”. Za karikaturu je bitan trenutak, često izvanvremenski trenutak, u kojem se vizualizira duhovita ideja ili komentar. To je zapravo trenutak osvještavanja, slično katarzi koja se događa kroz humor. Ponekad, ako je karikatura izvedena od dva, tri ili četiri crteža, označava transformaciju lika ili predmeta u neodređenom vremenskom slijedu. No za razliku od stripa, karikatura nema narativni karakter u smislu priče koja se odvija kroz stanovito vrijeme. Osim toga, u stripu se prelamaju ili isprepliću dvije različite komponente vremena. Jedna je vrijeme u kojem se odvija priča, a druga je komponenta vrijeme koje protječe između pojedinih sličica stripa, vrijeme koje je određeno brzinom čitanja, odnosno percipiranja promatrača/čitatelja, vrijeme u kojem promatrač/čitatelj vlastitom imaginacijom „dovršava” crteže i radnju između crteža.Karikatura je utjecala na strip u smislu prihvaćanja postupka karikiranja u humorističkim, crtački izrazito stiliziranim stripovima, ali taj postupak samo je jedna karakteristika takvih stripova, među kojima dominiraju karakteristike koje određuju strip kao medij popularne kulture, a to je prije svega narativni slijed slika i teksta koji ih prati. Veze između karikature i stripa mnogostruke su i protežu se u različitim smjerovima, ovisno o autorima. Isto možemo reći i za mnogostrukost odnosa između stripa i filma. Dugo vremena u javnosti je prevladavalo mišljenje o stripu kao mediju površne zabave za mlade koji čak može djelovati i negativno. Takvo mišljenje proizlazilo je iz stereotipa da jednostavni, a posebno stilizirani ili karikaturalni crteži ne mogu biti jednako sadržajni i prenositi duboke duhovne poruke poput klasičnih umjetničkih formi. Sve donedavno provlačio se problem pogrešnog valoriziranja medija stripa kod onih koji su uspoređivali strip sa slikarstvom, što je redovno rezultiralo omalovažavanjem stripa, a to nije bilo ništa drugo nego miješanje kruški i jabuka, odnosno temeljno nerazumijevanje prirode pojedinog medija, njegovih mogućnosti i ciljeva. Svako djelo treba valorizirati u okvirima medija u kojem je nastalo. Podjednako loše prolazili su karikaturisti jer se smatralo da se bave „neozbiljnim” crtarijama. Ipak, vrijeme tako površnog i pogrešnog zaključivanja uglavnom je prošlo.
Od prvog Grge, Ico Voljevica (Mostar, 18. 7. 1922. – Zagreb, 30. 10. 2008.) stvorio je likovni ko... more Od prvog Grge, Ico Voljevica (Mostar, 18. 7. 1922. – Zagreb, 30. 10. 2008.) stvorio je likovni koncept koji karakterizira jednostavnost i jasnoća poruke. Od glavnog lika i njegovih sugovornika do prostora u kojem se nalaze, sve je pojednostavljeno stilizacijom koja vidljivu stvarnost svodi na elementarne činjenice. Likovna jednostavnost Grge na simboličkoj razini postiže prije svega laku čitljivost kao i poistovjećivanje svakog građanina s Grginim reakcijama na tadašnja zbivanja. Brojni čitatelji desetljećima su započinjali s čitanjem Večernjeg lista od njegove posljednje stranice na kojoj se nalazio tada iznimno popularni Grga. Takvu vrstu popularnosti crtanog lika danas nije moguće usporediti niti s jednim sličnim jer u doba kada tiskane novine imaju izuzetno niske naklade, a fragmentiranost interneta onemogućava okupljanje raznorodne publike oko jednog autorski osmišljenog likovnog fenomena, oni više ne postoje.
Grga je objavljivan prvo u tjedniku Kerempuh, od 1950. do 1955. Potom je svakodnevno objavljivan u Narodnom listu, od 1955. do 1961., a gašenjem Narodnog lista nastavlja objavljivanje u Večernjem listu od 1962. do 2000. godine, gdje je dobio svoje stalno mjesto na zadnjoj stranici. Iza 2000. godine Grgu se još moglo vidjeti u Privrednom vjesniku i dvotjedniku Vijenac.
Tekst je objavljen u knjizi: Tisja Kljaković Braić, "Oni". Fraktura, Zagreb 2018.
"Oni" sa svoj... more Tekst je objavljen u knjizi: Tisja Kljaković Braić, "Oni". Fraktura, Zagreb 2018.
"Oni" sa svojim gledanjem u ogledalo, odlascima na plažu, svakodnevnim ritualima, ulascima u more ili dućan, kuhanjem, peglanjem… u onim su situacijama za koje su potrebni istančano oko i suveren jednostavan crtež da se u njima pronađe ono što svima nedostaje – toplina i humor, a to je nešto čega Tisja Kljaković Braić ima u neizmjernim količinama i nesebično dijeli sa svima.
"Potpuno je nevažno jesu li 'Oni' u izvanbračnoj zajednici ili u braku. Važna je samo ljubav između dvoje partnera, koja je zapravo jedini pravi lajtmotiv svih crteža, ljubav koju vidimo na trenutke kod bližnjih, ponekad u vlastitom domu, ili ako smo sami, to su ljubav i razumijevanje kakvima težimo, kakve čitav život priželjkujemo, ljubav kojoj se nadamo, sve do kraja svojih malih smiješnih života."
Published in: Andrija Maurović, the Known and the Unknown, Galerija Klovićevi dvori, Zagreb 2007.... more Published in: Andrija Maurović, the Known and the Unknown, Galerija Klovićevi dvori, Zagreb 2007. To comprehend the Andrija Maurović oeuvre before his exceptional comic strips production in comparison with his contemporaries is not simple, because illustration is one of the least covered areas in Croatian art history. But even when we look at this oeuvre in isolation, we see numerous qualities of an illustrator who completely identified with the motif and visually objectified the ethical principles of the protagonists of the illustrations. On the other hand, anyone who wanted to seek out the artistic qualities in these works would be doing Maurović no service, for he was not creating art (of which he was well aware), rather creating mass culture products that were primarily determined by the laws of supply and demand in the mass market. He was equally creative in different media and techniques: caricatures and cartoons, postcards, trademarks or posters. He managed to be a reliable outsourcer for numerous publishers particularly because of the specific relationship of the three components of drawing skills, good approaches found for very varied tasks and rapidity of performance. But all these qualities would be worthless without consumer satisfaction. Covering Maurović’s before-the-comic-strip work, in all its breadth and multiplicity, we have seen in many different examples individual characteristics that all found their proper place in the comic, creating a synergetic effect and thus coming to full expression in the new medium.
Walter Neugebauer was born in Tuzla (Bosnia) but shortly afterwards moved to Zagreb with his fami... more Walter Neugebauer was born in Tuzla (Bosnia) but shortly afterwards moved to Zagreb with his family. He and his brother Norbert developed an interest in art and at the age of twelve, and Neugebauer had his first cartoons published in a catholic parish paper. At age 14 he drew the children's page of the newspaper Novosti. He made his first comics with the foreign characters 'Popaj' ('Popeye') and 'Nasdine Hodja' ('Nasredin Hodze') for magazine Oko, with scripts by his brother Norbert, from 1935 to 1937. He worked with Branko Kovac at Hrvatski Dnevnik and then with Norbert Neugebauer again on comics for Novosti and Veseli Zabavnik. Two years later he was co-founder of Mickeystrip, the first Yugoslav comic magazine, for which he drew 'Jack Jackson' and 'Bimbo Bambus', again with his brother Norbert. Walter Neugebauer continued to work for Mickeystrip until 1940, and then worked on many stories for his own magazines Veseli Vandrokas and Novi Vandrokas. He made an unfinished adaptation of Karl May's 'Winetou' in cooperation with his brother Norbert, as well as other stories with writer Branko Kovac. The magazine folded when Yugoslavia entered the war in 1941, and Walter and Norbert Neugebauer then launched the comic’s magazine Zabavnik in tabloid format. They relaunched 'Bimbo Bambus' and set up new series like 'Patuljak Nosko'. After the war, Zabavnik also folded and Neugebauer started working as a cartoonist for satirical papers like Kerempuh. He and his brother became very interested in animated cartoons, and began to work in animation studio, Duga-Film, in 1951. It was in 1954 when Walter Neugebauer met German comics publisher Rolf Kauka, who asked him to work for him at his studio in Munich. Neugebauer started freelancing for Rolf Kauka's 'Fix und Foxi' shortly afterwards. In the late 1950s, he also finished his old 1930s adaptation of Karl May's 'Winnetou', which is considered a masterpiece in German comics. Also art director, he set up the Kauka series 'Tom und Biberherz' and 'Bussi Bär'. Under Neugebauer's supervision, Kauka's Fix und Foxi became Germany's most successful comic magazine, even surpassing Walt Disney's Micky Maus. Still in Zagreb and later in Munich, he additionally worked on animation projects for Kauka, such as a 'Munchhausen' film. His team included Branco Karabajic, his brother Norbert, Berislav Fabek, Nikola Mucavac, Vlado Magdic and Turido Pausch, most of whom later also went to work for Kauka in Germany. Neugebauer broke with Kauka in 1972, after quarreling over finances and copyrights. He founded a new studio with Gisela Künstner and Kurt Italiaander, and focused on advertising art, co-creating characters like Haribo's 'Goldbär', 'Hubba Bubba' for Wrighlys as well as 'Sport-Billy'. He did cover illustrations and some 100 animated television ads for Ehapa's Mickey Maus comic book. Walter Neugebauer died May 31, 1992, in Geretsried, Germany.
Ljubo Babić je svojim cjelokupnim djelovanjem u različitim područjima ostvario doprinos koji je m... more Ljubo Babić je svojim cjelokupnim djelovanjem u različitim područjima ostvario doprinos koji je mjerljiv jedino s nekoliko najznačajnijih ličnosti u području likovnih umjetnosti dvadesetog stoljeća u Hrvatskoj. Nepravedna zapostavljenost prvo je ispravljena s retrospektivnom izložbom održanom 2010. godine u Modernoj galeriji pod naslovom Ljubo Babić – Antologija (autorice Ivanka Reberski, Libuše Jirsak i Lada Bošnjak Velagić), a potom i znanstvenim simpozijem u organizaciji DPUHa i Moderne galerije održanom 21. i 22. ožujka 2011, na temelju kojeg je nastao i ovaj zbornik u kojem je tiskano sedamnaest radova.
SUFFest 2021 Irena Jukić Pranjić "Dnevnik snivanja i filozofiranja", 2021
"Dnevnik snivanja i filozofiranja" Irene Jukić Pranjić neobična je slikovnica neočekivane koncepc... more "Dnevnik snivanja i filozofiranja" Irene Jukić Pranjić neobična je slikovnica neočekivane koncepcije i začudna sadržaja, jedna od rijetkih za koju se doista može reći da može biti namijenjena publici svih dobnih skupina. To nije slikovnica koja prikazuje šareni i veseli svijet u kojem je sve idealizirano. Isto tako, ovo nije slikovnica koja prikazuje samo strašan svijet koji nas okružuje. Zapravo, "Dnevnik snivanja i filozofiranja" je jedan iskren i iz vlastite intime ocrtan pogled na život kakav jest, u svoj svojoj složenosti i ljepoti.
Edo Kovačević, retrospektiva, Umjetnički paviljon, Zagreb 29.11.2006.-7.1.2007. Autorica izložbe:... more Edo Kovačević, retrospektiva, Umjetnički paviljon, Zagreb 29.11.2006.-7.1.2007. Autorica izložbe: Ivanka Reberski
Kerempuh je bio prvi humorističko-satirički list nakon Drugog svjetskog rata u socijalističkoj Ju... more Kerempuh je bio prvi humorističko-satirički list nakon Drugog svjetskog rata u socijalističkoj Jugoslaviji koji je stekao popularnost kod velikog broja čitatelja, te je uspio opstati tijekom politički iznimno osjetljivog razdoblja, kada je sloboda govora bila politički ograničena, a mediji popularne kulture smatrani produktom nepoćudne građanske kulture kapitalističkog zapada. Humor karikaturista u Kerempuhu često je bio plitak i sadržajno određen političkom propagandom kao što su to često bili i stripovi, ali istodobno, ponajviše zahvaljujući Fadilu Hadžiću, Kerempuh bio utočište dobrih crtača i poligon na kojem su likovno sazrijevali mladi kreativci koji su postali jezgra grupe autora Zagrebačke škole crtanog filma. U Kerempuhu su u svojim karikaturama i stripovima njihovi autori balansirali između jeftine i plitke političke propagande pod paskom komunističke partije i postupnog osvajanja malih prostora ograničene slobode govora te postupnog osvajanja velike slobode u likovnom izražavanju, koje je dovelo do u svijetu priznatog značaja Zagrebačke škole crtanog filma. Nakon prestanka izlaženja Kerempuha 1958. godine, njegovi karikaturisti, osim u području crtanog filma, nastavili su svoje karijere u drugim novinama, tjednicima i mjesečnicima, a dio njih i kao vrsni ilustratori i grafički dizajneri.
Iznimno zanimljiv časopis "Šišmiš" pokrenut 1915. godine, a izlazio je do 1917. godine, danas je ... more Iznimno zanimljiv časopis "Šišmiš" pokrenut 1915. godine, a izlazio je do 1917. godine, danas je gotovo zaboravljen. Otto Antonini, osim što je autor velikog broja objavljenih karikatura, prema dostupnim podacima izgleda da je i grafički koncipirao list kao i da je radio kao njegov likovni urednik. "Šišmiš" je velikim formatom i velikim reprodukcijama karikatura bio blizak njemačkim i francuskim uzorima, okrenut prema obrazovanijoj publici i višim slojevima društva koji su se zanimali za umjetnost te koji su poznavali i slijedili modne trendove. "Šišmiš" se pojavio za vrijeme Prvog svjetskog rata kao zabava koja je trebala stvarati satirični odmak od rata kao i ukazivati na njegovu apsurdnost.
Karikatura izaziva mnogo emotivnije reakcije od drugih načina likovnog izražavanja. Razmatraju se... more Karikatura izaziva mnogo emotivnije reakcije od drugih načina likovnog izražavanja. Razmatraju se odnosi cenzure, autocenzure, vulgarnosti i slobode izražavanja. Posebno je osjetljivo pitanje odnosa prava na vjeroispovijed i prava na slobodno izražavanje.
Nakon prerano umrlih Miroslava Kraljevića, Josipa Račića i Milana Steinera čije djelo i značaj da... more Nakon prerano umrlih Miroslava Kraljevića, Josipa Račića i Milana Steinera čije djelo i značaj danas dobro poznajemo, Tomislav Kolombar (r. 3. prosinca 1899. u Koprivnici) koji je umro od tuberkuloze 28. travnja 1920. godine napunivši tek dvadeset godina, nadovezuje se na listu prerano umrlih. Za razliku od ranije spomenutih, čije djelo ima kultni status, Kolombarov opus usprkos zalaganju nekoliko povjesničara umjetnosti tendira zaboravu i još uvijek nije monografski obrađen. Tomislav Kolombar ostavio je trag u pet knjiga koje je ilustrirao za koprivničkog izdavača Vinka Vošickog (Artur Schnitzler, "U kolu" (naslovnica), Guy de Maupassant, "Horla", Maksim Gorki, "Djetinjstvo" i dvije knjige Edgara Alana Poa, "Crni mačak" i "Krabulja crvene smrti", sve objavljeno između 1918-1920.). U zagrebačkim listovima "Šišmiš" (1916-1917), "Koprive" (1916-1920), "Ilustrovani list" (1916, 1918.) i "Osvit" (1919.) objavio je i velik broj ilustracija i karikatura. Oko dvije stotine objavljenih Kolombarovih crteža po svojim likovnim značajkama predstavljaju jedan od najekspresivnijih i najdojmljivijih opusa u povijesti ilustracije u Hrvatskoj.
The project Art and the State in Croatia from the Enlightenment to the Present aims to explore in... more The project Art and the State in Croatia from the Enlightenment to the Present aims to explore influences of the state regime on art production and interpretation of artworks and artistic heritage. Since the Croatian cultural and political space in the period from the late 18th century to 1991 formed part of different states (Austro-Hungarian Empire, Independent State of Croatia, Yugoslavia, Republic of Croatia), the project researchers will attempt to show the degree and nature of the impact the state-based bodies exerted on artistic production and cultural and educational policies. Croatian art will therefore be contextualised with artistic developments in the neighbouring countries or the areas of political association with Croatia, due to which the implementation of the project entails numerous field researches (urban space, museums, libraries, archives). In terms of its goals, the project is divided into two major groups of activities – research on the impact of the state on different areas of artistic production through commissions, grants and censorship, and the impacts on the process of artistic heritage production and care and on formal and informal education in the field of visual arts. In addition to the principal investigator Dragan Damjanović the project includes 14 researchers: Josipa Alviž, Marina Bregovac Pisk, Matea Brstilo Rešetar, Sandi Bulimbašić, Frano Dulibić, Ivan Kokeza, Silvija Lučevnjak, Lovorka Magaš Bilandžić, Zvonko Maković, Željka Miklošević, Jasminka Najcer Sabljak, Jasmina Nestić, Patricia Počanić and Sanja Zadro. By engaging researchers from heritage institutions (museums and conservation departments), the project contributes to the promotion of interinstitutional cooperation and ensures multidimensional views on intricate relationships between art and the state. Project results will be published in journals, books, proceedings, catalogues and the like, as well as through exhibitions and conferences. The team plans to organize two project-related scientific conferences and a workshop. Project is financed by Croatian Science Foundation (Hrvatska zaklada za znanost/ HRZZ).
ACE, Zbornik radova, 2. Međunarodna umjetničko znanstvena konferencija , 2022
Bogati izbor portala s edukativnim sadržajima na internetu i njihova iznimno brojna posjećenost p... more Bogati izbor portala s edukativnim sadržajima na internetu i njihova iznimno brojna posjećenost pokazuje da takvi oblici imaju sve važniju ulogu kao pomocna sredstva u obrazovanju. Portali s edukativnim sadržajem omogucavaju informacije o najnovijim znanstvenim istraživanjima iz svih podrucja na globalnoj razini, svim dobnim skupinama, te na taj nacin doprinose i cjeloživotnom obrazovanju. Između različitih pristupa edukativnim prezentacijama, posebno zanimljivi su edukativni videi koji koriste animiranu ilustraciju, kao što je to često na TED-Ed-u, a ponekad i na Big Think portalu. Ovo istraživanje usredotočeno je na utvrđivanje karakteristika animirane ilustracije, njezinu svrhovitost i učinkovitost u edukacijskim videima. Kritički su razmatrani pozitivni kao i mogući negativni aspekti korištenja edukacijskih video materijala u obrazovanju. Pojedini iznimno kvalitetni primjeri upotrebe animirane ilustracije u edukacijskim videima ukazuju na trend suvremene integracije, odnosno sinergijskog djelovanja znanosti i umjetnosti.
Andrija Maurović Between Political Ideologies and Pornography, 2019
Published work is in Croatian and English language (form page 31).
Težište ovog sagledavanja Ma... more Published work is in Croatian and English language (form page 31).
Težište ovog sagledavanja Maurovićevog djela je utjecaj političkih promjena i dominirajućih ideologija tijekom Maurovićeva života vidljivih u različitim aspektima njegova stvaralaštva. Nema nikakve sumnje da je on velikan hrvatskog stripa i da će to ostati, ali osim stripa u šezdeset godina njegova stvaralaštva nastao je čitav niz djela kojima je vizualno obogaćivao svakodnevicu brojnih generacija. Riječ je o iznimnoj raznovrsnosti u tematskom pogledu, u upotrebi različitih likovnih tehnika, a na kraju i u korištenju različitim medijima: od ilustracije i karikature preko stripa do plakata i štafelajnog slikarstva.
Vladimir Veličković, Davor Vrankić i Tomislav Čeranić, različiti su generacijski, po tehnikama i ... more Vladimir Veličković, Davor Vrankić i Tomislav Čeranić, različiti su generacijski, po tehnikama i pristupu crtežu, motivima i poetici, a prije svega vrlo različitim, prepoznatljivim rukopisima. Traženje poveznica između ove trojice autora bilo bi sasvim nepotrebno, a upravo njihova različitost čini ovu izložbu zanimljivom svakom promatraču koji posjeduje interes za specifičnosti koje su upravo u mediju crteža najzanimljivije, i to u crtežima koji u sebi sadrže karakteristike vremena i civilizacije koja posrće i urušava vlastite vrijednosti.
Tomislav Čeranić, Vladimir Veličković, Davor Vrankić, Mali salon, Rijeka, 25. 1. – 16. 2. 2013, Rijeka. (tekst u katalogu 18. Međunarodna izložba crteža, MMSU, Rijeka 2013.)
Tekst kataloga izložbe "Fotografije Ivana Kožarića", Galerija Križić Roban, održane od 25. 9. - 6... more Tekst kataloga izložbe "Fotografije Ivana Kožarića", Galerija Križić Roban, održane od 25. 9. - 6. 10. 2000.
Nikolina Manojlović Vračar, Što sve, LVI. Likanale, 2021
Knjiga “Što sve” u potpunosti je autorsko djelo; autorica je pristupila temi glagola odnosno prom... more Knjiga “Što sve” u potpunosti je autorsko djelo; autorica je pristupila temi glagola odnosno promišljanju jezika i njegovih neograničenih mogućnosti izražavanja kroz kratke pjesme u kojima je fokus na glagolima, a uz svaku pjesmu izradila je apstraktnu ilustraciju kao izravni odraz radnje opjevanog glagola. Ova knjiga predstavlja zanimljiv koncept u kojem se poigravanje jezikom u stihu nadopunjuje s kreativnim kontrapunktom u likovnoj, apstraktnoj formi. Apstraktni crteži najkonkretniji su odgovor na zadane teme, pedagoški mogu biti prava pomoć u savladavanju gradiva hrvatskog jezika, a nas kao promatrače mogu asocirati na neku zaboravljenu kaligrafsku kulturu. Likovna asocijativnost apstraktnih monokromnih crteža iznimno je jasna i dojmljiva te tako razumljiva svim generacijama.
Danijel Žeželj’s graphic novel Like a Dog is based on motifs from Kafka’s short story A Hunger Ar... more Danijel Žeželj’s graphic novel Like a Dog is based on motifs from Kafka’s short story A Hunger Artist and some of his other works. Creating a graphic novel about spiritual enlightenment through renunciation of all material things, even food, is an example of contemplating freedom of creation in any time and space.
Croatian version of the same text in comic novel book: Danijel Žeželj, Kao pas, Bodoni 2023, text Kavez slobode, str. 91- 93.
Svako lice odražava kompleksnost karaktera, a transformirano je u splet linija koje te osobnosti ... more Svako lice odražava kompleksnost karaktera, a transformirano je u splet linija koje te osobnosti čine još zagonetnijima i zanimljivijima od njihovih fotografija, te pozivaju na promatranje, ali i na čitanje. Njihova književna djela su tu, na dohvat ruke, odmah iza staklene koprene koja promatrača ovih crteža dijeli od knjiga, od nepreglednih, bezbrojnih svjetova uredno složenih na policama knjižnice. Za sve one koje zanima odnos slike i teksta, crteži Damira Karakaša iznimno su zanimljiva tema za sagledavanje tog međuodnosa na mnogobrojnim razinama. Pred nama je galerija od četrdeset dvije portretne studije spisateljica i spisatelja različitih nacionalnosti iz različitih povijesnih razdoblja.
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Books by Frano Dulibic
Omer Mujadžić rođen je 1. veljače 1903. u Bosanskoj Gradišci, a umro u Zagrebu 28. listopada 1991. Kao najmlađi student, u dobi od svega petnaest godina, 1918. godine upisuje Kraljevsku umjetničku akademiju u Zagrebu. Nakon završetka studija dobiva stipendiju francuske vlade te boravi u Parizu od 1924. do 1926. godine. Od 1929. do 1930. član je umjetničke grupe Zemlja. Za života je sudjelovao na mnogim skupnim izložbama i priredio tri samostalne izložbe. Njegovo formativno razdoblje karakterizira neoklasicistički i magični realizam. Tridesetih godina rasvjetljava paletu i omekšava formu u skladu s tada aktualnim kolorističko poetskim realizmom. Tijekom drugog svjetskog rata počinje se posvećivati istraživanju profinjenih tonskih skala kojima stvara svoj prepoznatljiv izraz u intimističkim motivima. Slikar intimizma, Omer Mujadžić bio je sjajan crtač, izuzetan slikar aktova, portreta i sakralnih kompozicija. Osim navedenih tema, slikao je i krajolike te mrtve prirode. Zbog introvertiranog i samozatajnog karaktera izbjegavao je javna istupanja. Bio je slikar koji se posvetio radu u atelijeru i koji je čitav svoj radni vijek bio predan slikarstvu koje je tražilo modernizam u oslanjanju na tradiciju europskog slikarstva.
Papers by Frano Dulibic
feature of the broader art context in Europe and Croatia. Both the artists and art critics were almost united in their suspicion of avant-garde movements in art as well as in their preoccupation with regional themes, whereas modernism developed in Split in pronounced harmony with tradition. The art scene in Split grew after World War I, and as many as 130 exhibitions were mounted in the interwar period. It can be said that the Split artists active at the time worked in the shadow of their great and renowned contemporaries such as Ivan Meštrović, Marin Tartaglia, Jerolim Miše and Jozo Kljaković, who kept strong connections to Split although they did not reside in it then. Animosity to avant-garde movements is especially felt in the reception of the works of Marin Tartaglia, which were done in the manner of the Italian avant-garde and presented at the Medulić exhibition in 1919; they were characterized by critics as “perverted” and “disgusting.” Ivo Dellale stands
out among the art critics in Split; a pioneer in the appropriation of Croce’s aesthetics in Croatia, he wrote about contemporary European art with considerably greater appreciation (especially cubism
and expressionism). In the interwar painting in Split one recognizes anti-modernism in the work of Emanuel Vidović, which is greatly permeated by melancholy, nostalgia and the patina of time, in Ignjat Job’s ecstatic scenes brimming with the dynamics of Mediterranean life, in Silvije Bonacci Čiko’s paintings as metaphors of nostalgia and praises to the sea, in Vjekoslav Parać and Milan Tolić’s escape into the idealized home region, and in the work of the Meneghellos. Achievements
of great quality in the "eld of graphic design and caricature can be found in the work of Radovan Tommaseo, Ivo Tijardović and Angjeo Uvodić, done in the style of art déco. e sculptural part of the Split art scene is examined on the examples of recognition of the original primitivism of form in the work of Petar Smajić, and the sensibility for classical forms in the work of Dujam Penić, which has been described by Vladan Desnica in the most competent manner.
compelling drawing oeuvre of Omer Mujadžić (Bosanska
Gradiška, February 1, 1903 – Zagreb, October 28, 1991).
Mujadžić gave a significant contribution to the field of applied
drawing for scientific purposes: he executed drawings
for botany classes while working for the Royal Botanical
Institute (1922–1924), drawings for the Archaeological
Museum in Zagreb (1927–1931), human anatomy drawings
for the School of Medicine (for a short period in 1926), as
well as for the classes at the Academy of Fine Arts in Zagreb
(1933–1949). He also produced encyclopaedic and book
illustrations and banknote templates.
Although important, this part of Mujadžić ’ s professional
activity is clearly different from the drawings he created as
sketches for paintings, or drawings produced as the individual,
finished works of art. As with any other artist, understanding
of the logic of Mujadžić ’ s artistic path, as well as his
artistic development and changes, depends on the knowledge
and understanding of his formative period. In this particular
case the difficulty is due to the extremely small number of
Mujadžić ’ s early works. The known data and the retrieved
works of art indicate, however, that his formative period was
characterized not only by his self-denying personality, but
also by four specific factors determining, each in its own
way, the course of his artistic production.
1. Professors at the Academy of Fine Arts – Ivanka Reberski
has written that Mujadžić was “raised in the tradition of
Meštrović ’ s and Kljaković ’ s ‘sculptural’ expression”; indeed,
when analysing his formative path in the period from 1918,
when he began his studies at the Academy of Fine Arts in
Zagreb, until 1924, when he exhibited his paintings for the
first time, it becomes evident – especially on the basis of art
reviews – that he had almost reached his artistic maturity
by that time. However, one should not forget the words of
Mujadžić himself, who stated: “My real teacher was Ljubo
Babić.” … “I owe him much, very much.”
2. Paris: Old masters and the School of Paris – Like all other
artists in Zagreb, Mujadžić was well informed on various
tendencies in the visual arts of the period. His formation was
reaching its pinnacle in the period of strongest response to the
avant-garde tendencies, accompanied by a search for order and
clarity of expression. The small number of preserved drawings
and paintings created under the influence of his Paris
sojourn between 1924 and 1926, as well as several published
interviews with Mujadžić and art reviews, all suggest that his
expression was influenced by the works of old masters, which
he had studied in the Louvre, rather than the contemporary
artists belonging to the School of Paris. In a very short period,
Mujadžić tried to reconcile the features of Lhote ’ s, Picasso ’ s
and Derain ’ s painting with the traditional values of European
painting from the Renaissance to Corot, which he considered
as far more important. The return to various forms of realism
during the 1920s enabled numerous painters to create within
the framework of modernism without embracing avantgarde
tendencies. After a short phase of adherence to the left
wing of realist tendencies represented by the group “Zemlja”
(1929–1930) and defined as critical realism, Omer Mujadžić
established his expression within neo-Classicist realism, later
to be transformed into his distinctive intimism.
3. Childhood in Bosnia – Childhood images preserved as
memories, people and places of Bosnia, the setting, colours,
women, and atmosphere of Bosnia would be transferred into
his painting, especially after 1940 when his motifs started
becoming increasingly intimate.
4. Drawing skills and applied drawing – Working on commission,
while using skills acquired through long-term
practice, limits the author ’ s expression. In Mujadžić ’ s case,
this limitation meant a stronger connection to the reality:
from the microscopic reality, invisible to the naked eye
(drawing sections of plants for the Botanical Institute), and
anatomy drawings for the School of Medicine in Zagreb, to
drawings of archaeological exhibits (for the Archaeological
Museum). These challenging tasks are complemented by
another one of a later date: fifteen years of teaching anatomy
at the Academy. Furthermore, it is less known that Mujadžić
drew illustrations (in a much larger number of publications
than has been observed), and it is also rarely mentioned
that he designed banknote templates. In conclusion, it is to
be expected that an introvert painter who was already as a
student engaged in drawing the reality in order to earn his
subsistence, would remain close to rendering the reality in
his painting in all phases of his oeuvre, regardless of stylistic
or thematic changes.
Javni prostor definira i kulturni identitet određenog mjesta i svaka intervencija u javni prostor mijenja njegovu prirodu, načine korištenja i komuniciranja građana. Posljednjih nekoliko godina, javni prostor postao je poligon za realiziranje ideja moćnika iz gradskih uprava, bez provođenja javnih natječaja.
Koncept podizanja spomenika u javnom prostoru, isključivo u smislu iskazivanja počasti određenoj ličnosti ili događaju, razvijene nacije su prevladale i već desetljećima sve su rjeđe intervencije u prostoru na taj „klasičan“ način. Ta „stroga“ ozbiljnost javnog prostora zamijenjena je umjetničkim i dizajnerskim intervencijama u javnom prostoru, svime što se može podvesti pod pojam „public art“. Takav pristup donosi daleko više vedrine, lakoće, boja i raznovrsnih oblika u prostor. Prostori u koje se na taj način intervenira stječu nove vizualne kvalitete, stvaraju se nova žarišne točke okupljanja, omogućava se i drugačija komunikacija korisnika tog prostora.
Intervencije u javni prostor su izrazito kompleksne, bez obzira radilo se o spomenicima, javnoj rasvjeti ili o klupama u parku. Svaki javni prostor ima svoje karakteristike, svoje posebnosti koje treba poštivati i nije moguće samo tako „naguravati“ kojekakve oblike i misliti da će to biti prihvaćeno, bez stručnog povjerenstva i javnog natječaja, odnosno, bez suvisle zakonske regulative.
U posljednja dva desetljeća Hrvatsku su obilježila brojna rušenja, oštećivanja i krađe javnih spomenika, a potom postavljanje različitih spomenika i spomen obilježja uglavnom niske ili upitne kvalitete. Iako izgleda da imamo i više nego dovoljno zakonskih regulativa, dugotrajnost problema vezanih uz spomenike i umjetnička djela u javnom prostoru govore u prilog tome da bez nove zakonske podloge neće biti moguće donositi kvalitetnije i odgovornije odluke temeljene na stručnim procjenama. Sadašnja praksa pokazuje da bez zakonske regulative, „diktat ulice“ i interesnih grupacija bliskih gradonačelnicima i političkim moćnicima, određuju (ne)kvalitetu spomen obilježja i svih ostalih intervencija u prostoru. Odraz nekulture u Hrvatskoj očituje se u nedostatku svijesti o značaju, vrijednostima i osjetljivosti javnih prostora, nedostatku brige o mjestima koja građanima predstavljaju „dnevne boravke“ na otvorenom, jer sve što se postavi u javnom prostoru, čak i najmanja intervencija, određuje identitet ulice, trga ili parka. Sveukupna razina kvalitete uređenja naših javnih prostora govori o uređenosti države i o kulturi naroda.
U ovoj studiji predstavljena je teza o postojanju antimodernizma, kao regresivne tendencije unutar moderne hrvatske likovne umjetnosti. Likovni umjetnici antimodernisti izražavajući se u tradicionalnim likovnim idiomima poput plenerizma, impresionizma, monumentalizma ili realističkih inačica, odabiru tematiku u prostorima onkraj modernoga vremena kao pohvalu iskonskome zavičaju, prošlim ili mitskim vremenima odnosno čistoj i netaknutoj prirodi, ostvarujući kontrast modernome dobu i njegovim tehnološkim dostignućima. Te značajke praćene su odbojnošću prema suvremenim avangardnim likovnim tendencijama, kao i divljenjem minulim vremenima u tekstovima likovnih umjetnika antimodernista (likovne kritike, pisma, dnevnici, književna djela). Izdvojeno je nekoliko tipičnih opusa koji su jasno artikulirali svoje antimodernistička stajališta i značajke u pisanom i u likovnome dijelu opusa: Ivan Meštrović, Jozo Kljaković, Jerolim Miše, Ljubo Babić i Juraj Plančić. Implementacija će ove teze, upućivanjem na svjesno odbijanje moderniteta u brojnih hrvatskih likovnih umjetnika, doprinijeti novom sagledavanju umjetnosti periferne sredine.
between the great wars in Split with his work as not only an artist, but also a journalist, writer, musician, pedagogue, photographer, and athlete. After completing
elementary and high school in Split, he enrolled in the Art Academy of Rome in
1892, where he also graduated in 1896. He spent the next year, 1897, in Chioggia
with his friend Emanuel Vidović, where they shared an atelier.
One of Katunarić’s few well-known works related to the field of illustration
from the very beginnings of the twentieth century is his participation in the
notable book by Vicko Mihaljević – Neurastenicus, Pregršt šušnja (Abundant
Rustles), published in 1900. There can be no doubt that, alongside Meneghello
Dinčić, a portion of the illustrations and vignettes from the book were made by
Ante Katunarić, as the author’s dedication in the song »To my colleagues« (pg.
179-181) clearly indicates. The two illustrators are difficult to tell apart according
to their handwriting, and a large number of the illustrations belongs to the third
less skilled hand of practically amateurish quality. Considering that a handful of the poorer, amateurish illustrations are signed with the initials V. M., we can assume
that the author of the book, Vicko Mihaljević, tried his hand at drawing, as
the handwriting of Virgil Meneghello Dinčić, with his artistic background, would
have to have been of a higher quality. With Vicko Mihaljević’s illustrations, we
can observed not only his poor artistic skills, but also an extreme propensity for
variations on the, at the time, popular characters Max and Moritz, by the famous
Wilhelm Busch, as his characters of children from Split are remarkably similar
to those of Busch.
How well acquainted was Katunarić with Italian, German, and Austrian
magazines from that time remains an open question; did he have copies of Italian
comedy magazines such as Il Pasquino, Il Fischietto, La Rana, and the numerous
others that were often dominated by portrait caricatures, as was the case with Duje
Balavac, for which Katunarić was the chief editor from the first issue to the last
remains open question. Considering his stay in Italy, we can assume that he was
familiar with the Italian press, but we can say with certainty that he was familiar
with Simplicisimus from Munich, as a certain caricature from Duje Balavac from
1908 specifically refers to it.
Katunarić has a solid grasp of arranging the composition of a motif and various
graphical techniques. A large portion of his graphical opus can be linked to
academicism and echoes of romanticism, as is evident from the works of Crnčić or
Krizman. It is only in his portraits and self-portraits done with specific graphical
techniques that we can occasionally see echoes of expressionism. The ability of
Katunarić’s graphics to bring to life the feeling of the landscape and the psychological expressiveness of the persona in the portrait (the portrait of Božo Lovrić is particularly expressive) are certainly qualities that art critique might be more inclined to point out had the author dedicated himself more to his work and less to the other activities that occupied his time. Katunarić’s graphical culture is part of the very culture of Split in the time between the great wars, and it deserves
special attention within the context of its own time and space, as well as the totality
of Croatian graphics from that time. We should also mention that his use of
photographs (which he processes himself), as an assistive tool for his graphics (a
common practice for the time), also speaks of his graphical culture. Even though
it is too early to speak of the definitive position of Katunarić’s graphical opus, a
selection of his works will absolutely deserved a place in any synthetic reviews
of Croatian graphical history.
From his artistic opus, which includes both photography and illustrations
for magazines, across his literary opus, and all the way to his forays into music,
sports, and carnivals, Ante Katunarić needs to be considered within the context
of his humor and versatility alongside the spirit of the time and local cultural
scene of Split.
Istraživanje manje poznatog dijela opusa Dragana Melkusa (Bektež kraj Požege, 28. 10. 1860. – Osijek, 5. 9. 1917.) koje se odnosi na područje grafičkog oblikovanja knjiga i časopisa doprinos je upotpunjavanju cjelokupne slike o njegovom svestranom djelovanju. Analiziraju se karakteristike Melkusova rukopisa te se rekonstruiraju njegovi minhenski uzori. Ističe se Melkusovo unošenje lokalnih ikonografskih elemenata u secesijski izraz te njegova posebna sklonost oblikovanju specifičnog oblika ilustracije: vinjete. Temeljem sakupljenih podataka i razmatranjem novije literature o Melkusu, interpretacija njegova doprinosa nastaje u kontekstu grafičke produkcije u razdoblju secesije u Hrvatskoj te u kontekstu sagledavanja cjelokupne Melkusove ličnosti i njegovih mnogobrojnih aktivnosti.
Interpretacija odnosa karikature i slikarstva Antuna Motike (Pula, 30.12.1902.- Zagreb, 13.2.1992.) temelji se na analizama karikatura koje je Motika izrađivao za vrijeme školovanja u gimnaziji u Pazinu te na karikaturama koje je objavljivao 1929. i 1930. godine u zagrebačkom humorističkom tjedniku "Koprive". Uočene su i protumačene razlike u likovnom izrazu između karikatura iz 1929. koje su po nekim svojstvima bliske karakteristikama izraza Georga Grosza, a karikature iz 1930. može se povezati sa svojstvima Picassovog neoklasicističkog načina izražavanja. Kao što je Picasso prestao izrađivati karikature nakon što se počeo izražavati na kubistički način, tako se i Motika iza 1930. više nije bavio karikaturom nego je elemente grotesknog i karikaturalnog inkorporirao u štafelajno slikarstvo i skulpturu. Istraživanje odnosa karikature i slikarstva omogućilo je interpretaciju složenog odnosa različitih utjecaja i individualnih značajki Motikina likovnog izraza. Kao posebno zanimljivo istaknuto je nekoliko značajnih elemenata Motikinog izraza prisutnih još od vremena djetinjstva, a koji su najbolje vidljivi u bilježnici "Moje karikature" iz 1918. - 1919. godine kada je Motiki bilo 16 odnosno 17 godina. Uočeno je da je već tada intuitivno iskazana Motikina zaokupljenost prikazivanjem prostora i svjetla na taj način što je prostor često promatrao s povišena očišta ili iz ptičje perspektive, a čestu prisutnost sunca kao izvora svjetlosti možemo povezati s temom svjetlosti koja je središnji motiv njegova stvaralaštva, motiv s kojim je radio raznovrsne eksperimente od 1940. godine kada je došao u Zagreb. Tada je započeo upotrebljavati raznovrsne materijale i kombinirati različite tehnike. U to vrijeme nastajale su i njegove apstraktne slike na kojima je prenosio ritam glazbe. Velik dio cjelokupnog stvaralaštva izveden je u tehnikama gvaša i akvarela, a od završetka Drugog svjetskog rata često je radio kolaže, dekalkomanije, svjetlosne projekcije, a također i skulpture u keramici, staklu i bronci. Motiv svemira, odnosno sunčeva sustava također često nalazimo u kasnim godinama njegova stvaralaštva. Prikazivanje prostora gotovo iz ptičje perspektive ili iz izrazito povišena položaja osim na crtežima u gimnazijskoj bilježnici prisutan je i na karikaturama objavljivanim 1929. godine u "Koprivama". Motikin desetomjesečni boravak u Parizu 1930. godine u svakom slučaju bio je značajan za njegovo sazrijevanje, ali prenaglašavanje utjecaja Bonnarda, Utrilla, Dufya ili drugih slikara pogrešno je jer je Motika najraznovrsnije utjecaje upijao i transformirao kroz rad na vlastitom izrazu, neprestano razvijajući ona svojstva koja su njegovom duhovnom ustrojstvu bila najbliža. Upravo ta svojstva lako prepoznajemo već u dobi od 16 odnosno 17 godina, kada još nije mogao poznavati djela slikara tzv. pariške škole. Rasvjetljavanje odnosa karikature i slikarstva Antuna Motike omogućava bolje razumijevanje njegova stvaralačkog procesa i logičnog razvoja bogatog i zanimljivog opusa. Saznanja o formiranju Motikinog likovnog izraza mogu doprinositi novim interpretacijama kao i valorizaciji stvaralaštva kojem treba naći mjesto i u povijesti umjetnosti izvan nacionalnih okvira u kojima je nastalo.
1927. In that period they held thirteen exhibitions in small
and large towns in Croatia and Vojvodina, and as the Independent Artists Group they appeared at the 5th and 6th Yugoslav Exhibition in Belgrade and Novi Sad. Members of the
Independent Artists Group (Ljubo Babic, Vladimir Becic,
Jozo Kljakovic, Frano Krsinic, Ivan Mestrovic, Jerolim Mise,
Marin Studin, Zlatko Sulentic, Vladimir Varlaj) staged a number
of exhibitions which had a significant artistic, educational
and cultural effect in provincial centers. The exhibitions
had a noticeable commercial effect (a large number of the
exhibited paintings was sold). The group members respected
their individual artistic differences, and artistic quality was
the basic stipulation for membership (just like in the Group
of Four in 1928 and the Group of Three in 1929). Ljubo
Babic initiated the Group, and probably organized everything
while the group was active.
The Independent Artists Group did not have a program, unless
we consider their negative view of certain developments
or inclinations, particularly in regard to the Spring Salon, as
a program definition, formulated in 1924 when the exhibition
in Split was held. The Independent Artists Group determined
there were three artist groups in the second stage of the
Spring Salon: the older generation whose leading figure was
Krizman, the generation of young talents who mostly studied
in Prague and Paris during the First World War (Gecan,
Uzelac, Trepse, Sumanovic and so on) and members of the
Independent Artists Group. On the one hand, members of the
Independent Artists Group were against the pseudo-national
romanticism of the older generation, and on the other, they
opposed the trendy mimicking of the avant-garde artistic
idiom displayed by a part of the younger generation. The
Independent Artists Group is an important and artistically
interesting link between the Spring Salon and the Group of
Three, a group of Croatian painters who leaned toward different forms of European realism in the 1920s, and through individual idioms tried to contribute to the creation of the national artistic idiom.
Omer Mujadžić rođen je 1. veljače 1903. u Bosanskoj Gradišci, a umro u Zagrebu 28. listopada 1991. Kao najmlađi student, u dobi od svega petnaest godina, 1918. godine upisuje Kraljevsku umjetničku akademiju u Zagrebu. Nakon završetka studija dobiva stipendiju francuske vlade te boravi u Parizu od 1924. do 1926. godine. Od 1929. do 1930. član je umjetničke grupe Zemlja. Za života je sudjelovao na mnogim skupnim izložbama i priredio tri samostalne izložbe. Njegovo formativno razdoblje karakterizira neoklasicistički i magični realizam. Tridesetih godina rasvjetljava paletu i omekšava formu u skladu s tada aktualnim kolorističko poetskim realizmom. Tijekom drugog svjetskog rata počinje se posvećivati istraživanju profinjenih tonskih skala kojima stvara svoj prepoznatljiv izraz u intimističkim motivima. Slikar intimizma, Omer Mujadžić bio je sjajan crtač, izuzetan slikar aktova, portreta i sakralnih kompozicija. Osim navedenih tema, slikao je i krajolike te mrtve prirode. Zbog introvertiranog i samozatajnog karaktera izbjegavao je javna istupanja. Bio je slikar koji se posvetio radu u atelijeru i koji je čitav svoj radni vijek bio predan slikarstvu koje je tražilo modernizam u oslanjanju na tradiciju europskog slikarstva.
feature of the broader art context in Europe and Croatia. Both the artists and art critics were almost united in their suspicion of avant-garde movements in art as well as in their preoccupation with regional themes, whereas modernism developed in Split in pronounced harmony with tradition. The art scene in Split grew after World War I, and as many as 130 exhibitions were mounted in the interwar period. It can be said that the Split artists active at the time worked in the shadow of their great and renowned contemporaries such as Ivan Meštrović, Marin Tartaglia, Jerolim Miše and Jozo Kljaković, who kept strong connections to Split although they did not reside in it then. Animosity to avant-garde movements is especially felt in the reception of the works of Marin Tartaglia, which were done in the manner of the Italian avant-garde and presented at the Medulić exhibition in 1919; they were characterized by critics as “perverted” and “disgusting.” Ivo Dellale stands
out among the art critics in Split; a pioneer in the appropriation of Croce’s aesthetics in Croatia, he wrote about contemporary European art with considerably greater appreciation (especially cubism
and expressionism). In the interwar painting in Split one recognizes anti-modernism in the work of Emanuel Vidović, which is greatly permeated by melancholy, nostalgia and the patina of time, in Ignjat Job’s ecstatic scenes brimming with the dynamics of Mediterranean life, in Silvije Bonacci Čiko’s paintings as metaphors of nostalgia and praises to the sea, in Vjekoslav Parać and Milan Tolić’s escape into the idealized home region, and in the work of the Meneghellos. Achievements
of great quality in the "eld of graphic design and caricature can be found in the work of Radovan Tommaseo, Ivo Tijardović and Angjeo Uvodić, done in the style of art déco. e sculptural part of the Split art scene is examined on the examples of recognition of the original primitivism of form in the work of Petar Smajić, and the sensibility for classical forms in the work of Dujam Penić, which has been described by Vladan Desnica in the most competent manner.
compelling drawing oeuvre of Omer Mujadžić (Bosanska
Gradiška, February 1, 1903 – Zagreb, October 28, 1991).
Mujadžić gave a significant contribution to the field of applied
drawing for scientific purposes: he executed drawings
for botany classes while working for the Royal Botanical
Institute (1922–1924), drawings for the Archaeological
Museum in Zagreb (1927–1931), human anatomy drawings
for the School of Medicine (for a short period in 1926), as
well as for the classes at the Academy of Fine Arts in Zagreb
(1933–1949). He also produced encyclopaedic and book
illustrations and banknote templates.
Although important, this part of Mujadžić ’ s professional
activity is clearly different from the drawings he created as
sketches for paintings, or drawings produced as the individual,
finished works of art. As with any other artist, understanding
of the logic of Mujadžić ’ s artistic path, as well as his
artistic development and changes, depends on the knowledge
and understanding of his formative period. In this particular
case the difficulty is due to the extremely small number of
Mujadžić ’ s early works. The known data and the retrieved
works of art indicate, however, that his formative period was
characterized not only by his self-denying personality, but
also by four specific factors determining, each in its own
way, the course of his artistic production.
1. Professors at the Academy of Fine Arts – Ivanka Reberski
has written that Mujadžić was “raised in the tradition of
Meštrović ’ s and Kljaković ’ s ‘sculptural’ expression”; indeed,
when analysing his formative path in the period from 1918,
when he began his studies at the Academy of Fine Arts in
Zagreb, until 1924, when he exhibited his paintings for the
first time, it becomes evident – especially on the basis of art
reviews – that he had almost reached his artistic maturity
by that time. However, one should not forget the words of
Mujadžić himself, who stated: “My real teacher was Ljubo
Babić.” … “I owe him much, very much.”
2. Paris: Old masters and the School of Paris – Like all other
artists in Zagreb, Mujadžić was well informed on various
tendencies in the visual arts of the period. His formation was
reaching its pinnacle in the period of strongest response to the
avant-garde tendencies, accompanied by a search for order and
clarity of expression. The small number of preserved drawings
and paintings created under the influence of his Paris
sojourn between 1924 and 1926, as well as several published
interviews with Mujadžić and art reviews, all suggest that his
expression was influenced by the works of old masters, which
he had studied in the Louvre, rather than the contemporary
artists belonging to the School of Paris. In a very short period,
Mujadžić tried to reconcile the features of Lhote ’ s, Picasso ’ s
and Derain ’ s painting with the traditional values of European
painting from the Renaissance to Corot, which he considered
as far more important. The return to various forms of realism
during the 1920s enabled numerous painters to create within
the framework of modernism without embracing avantgarde
tendencies. After a short phase of adherence to the left
wing of realist tendencies represented by the group “Zemlja”
(1929–1930) and defined as critical realism, Omer Mujadžić
established his expression within neo-Classicist realism, later
to be transformed into his distinctive intimism.
3. Childhood in Bosnia – Childhood images preserved as
memories, people and places of Bosnia, the setting, colours,
women, and atmosphere of Bosnia would be transferred into
his painting, especially after 1940 when his motifs started
becoming increasingly intimate.
4. Drawing skills and applied drawing – Working on commission,
while using skills acquired through long-term
practice, limits the author ’ s expression. In Mujadžić ’ s case,
this limitation meant a stronger connection to the reality:
from the microscopic reality, invisible to the naked eye
(drawing sections of plants for the Botanical Institute), and
anatomy drawings for the School of Medicine in Zagreb, to
drawings of archaeological exhibits (for the Archaeological
Museum). These challenging tasks are complemented by
another one of a later date: fifteen years of teaching anatomy
at the Academy. Furthermore, it is less known that Mujadžić
drew illustrations (in a much larger number of publications
than has been observed), and it is also rarely mentioned
that he designed banknote templates. In conclusion, it is to
be expected that an introvert painter who was already as a
student engaged in drawing the reality in order to earn his
subsistence, would remain close to rendering the reality in
his painting in all phases of his oeuvre, regardless of stylistic
or thematic changes.
Javni prostor definira i kulturni identitet određenog mjesta i svaka intervencija u javni prostor mijenja njegovu prirodu, načine korištenja i komuniciranja građana. Posljednjih nekoliko godina, javni prostor postao je poligon za realiziranje ideja moćnika iz gradskih uprava, bez provođenja javnih natječaja.
Koncept podizanja spomenika u javnom prostoru, isključivo u smislu iskazivanja počasti određenoj ličnosti ili događaju, razvijene nacije su prevladale i već desetljećima sve su rjeđe intervencije u prostoru na taj „klasičan“ način. Ta „stroga“ ozbiljnost javnog prostora zamijenjena je umjetničkim i dizajnerskim intervencijama u javnom prostoru, svime što se može podvesti pod pojam „public art“. Takav pristup donosi daleko više vedrine, lakoće, boja i raznovrsnih oblika u prostor. Prostori u koje se na taj način intervenira stječu nove vizualne kvalitete, stvaraju se nova žarišne točke okupljanja, omogućava se i drugačija komunikacija korisnika tog prostora.
Intervencije u javni prostor su izrazito kompleksne, bez obzira radilo se o spomenicima, javnoj rasvjeti ili o klupama u parku. Svaki javni prostor ima svoje karakteristike, svoje posebnosti koje treba poštivati i nije moguće samo tako „naguravati“ kojekakve oblike i misliti da će to biti prihvaćeno, bez stručnog povjerenstva i javnog natječaja, odnosno, bez suvisle zakonske regulative.
U posljednja dva desetljeća Hrvatsku su obilježila brojna rušenja, oštećivanja i krađe javnih spomenika, a potom postavljanje različitih spomenika i spomen obilježja uglavnom niske ili upitne kvalitete. Iako izgleda da imamo i više nego dovoljno zakonskih regulativa, dugotrajnost problema vezanih uz spomenike i umjetnička djela u javnom prostoru govore u prilog tome da bez nove zakonske podloge neće biti moguće donositi kvalitetnije i odgovornije odluke temeljene na stručnim procjenama. Sadašnja praksa pokazuje da bez zakonske regulative, „diktat ulice“ i interesnih grupacija bliskih gradonačelnicima i političkim moćnicima, određuju (ne)kvalitetu spomen obilježja i svih ostalih intervencija u prostoru. Odraz nekulture u Hrvatskoj očituje se u nedostatku svijesti o značaju, vrijednostima i osjetljivosti javnih prostora, nedostatku brige o mjestima koja građanima predstavljaju „dnevne boravke“ na otvorenom, jer sve što se postavi u javnom prostoru, čak i najmanja intervencija, određuje identitet ulice, trga ili parka. Sveukupna razina kvalitete uređenja naših javnih prostora govori o uređenosti države i o kulturi naroda.
U ovoj studiji predstavljena je teza o postojanju antimodernizma, kao regresivne tendencije unutar moderne hrvatske likovne umjetnosti. Likovni umjetnici antimodernisti izražavajući se u tradicionalnim likovnim idiomima poput plenerizma, impresionizma, monumentalizma ili realističkih inačica, odabiru tematiku u prostorima onkraj modernoga vremena kao pohvalu iskonskome zavičaju, prošlim ili mitskim vremenima odnosno čistoj i netaknutoj prirodi, ostvarujući kontrast modernome dobu i njegovim tehnološkim dostignućima. Te značajke praćene su odbojnošću prema suvremenim avangardnim likovnim tendencijama, kao i divljenjem minulim vremenima u tekstovima likovnih umjetnika antimodernista (likovne kritike, pisma, dnevnici, književna djela). Izdvojeno je nekoliko tipičnih opusa koji su jasno artikulirali svoje antimodernistička stajališta i značajke u pisanom i u likovnome dijelu opusa: Ivan Meštrović, Jozo Kljaković, Jerolim Miše, Ljubo Babić i Juraj Plančić. Implementacija će ove teze, upućivanjem na svjesno odbijanje moderniteta u brojnih hrvatskih likovnih umjetnika, doprinijeti novom sagledavanju umjetnosti periferne sredine.
between the great wars in Split with his work as not only an artist, but also a journalist, writer, musician, pedagogue, photographer, and athlete. After completing
elementary and high school in Split, he enrolled in the Art Academy of Rome in
1892, where he also graduated in 1896. He spent the next year, 1897, in Chioggia
with his friend Emanuel Vidović, where they shared an atelier.
One of Katunarić’s few well-known works related to the field of illustration
from the very beginnings of the twentieth century is his participation in the
notable book by Vicko Mihaljević – Neurastenicus, Pregršt šušnja (Abundant
Rustles), published in 1900. There can be no doubt that, alongside Meneghello
Dinčić, a portion of the illustrations and vignettes from the book were made by
Ante Katunarić, as the author’s dedication in the song »To my colleagues« (pg.
179-181) clearly indicates. The two illustrators are difficult to tell apart according
to their handwriting, and a large number of the illustrations belongs to the third
less skilled hand of practically amateurish quality. Considering that a handful of the poorer, amateurish illustrations are signed with the initials V. M., we can assume
that the author of the book, Vicko Mihaljević, tried his hand at drawing, as
the handwriting of Virgil Meneghello Dinčić, with his artistic background, would
have to have been of a higher quality. With Vicko Mihaljević’s illustrations, we
can observed not only his poor artistic skills, but also an extreme propensity for
variations on the, at the time, popular characters Max and Moritz, by the famous
Wilhelm Busch, as his characters of children from Split are remarkably similar
to those of Busch.
How well acquainted was Katunarić with Italian, German, and Austrian
magazines from that time remains an open question; did he have copies of Italian
comedy magazines such as Il Pasquino, Il Fischietto, La Rana, and the numerous
others that were often dominated by portrait caricatures, as was the case with Duje
Balavac, for which Katunarić was the chief editor from the first issue to the last
remains open question. Considering his stay in Italy, we can assume that he was
familiar with the Italian press, but we can say with certainty that he was familiar
with Simplicisimus from Munich, as a certain caricature from Duje Balavac from
1908 specifically refers to it.
Katunarić has a solid grasp of arranging the composition of a motif and various
graphical techniques. A large portion of his graphical opus can be linked to
academicism and echoes of romanticism, as is evident from the works of Crnčić or
Krizman. It is only in his portraits and self-portraits done with specific graphical
techniques that we can occasionally see echoes of expressionism. The ability of
Katunarić’s graphics to bring to life the feeling of the landscape and the psychological expressiveness of the persona in the portrait (the portrait of Božo Lovrić is particularly expressive) are certainly qualities that art critique might be more inclined to point out had the author dedicated himself more to his work and less to the other activities that occupied his time. Katunarić’s graphical culture is part of the very culture of Split in the time between the great wars, and it deserves
special attention within the context of its own time and space, as well as the totality
of Croatian graphics from that time. We should also mention that his use of
photographs (which he processes himself), as an assistive tool for his graphics (a
common practice for the time), also speaks of his graphical culture. Even though
it is too early to speak of the definitive position of Katunarić’s graphical opus, a
selection of his works will absolutely deserved a place in any synthetic reviews
of Croatian graphical history.
From his artistic opus, which includes both photography and illustrations
for magazines, across his literary opus, and all the way to his forays into music,
sports, and carnivals, Ante Katunarić needs to be considered within the context
of his humor and versatility alongside the spirit of the time and local cultural
scene of Split.
Istraživanje manje poznatog dijela opusa Dragana Melkusa (Bektež kraj Požege, 28. 10. 1860. – Osijek, 5. 9. 1917.) koje se odnosi na područje grafičkog oblikovanja knjiga i časopisa doprinos je upotpunjavanju cjelokupne slike o njegovom svestranom djelovanju. Analiziraju se karakteristike Melkusova rukopisa te se rekonstruiraju njegovi minhenski uzori. Ističe se Melkusovo unošenje lokalnih ikonografskih elemenata u secesijski izraz te njegova posebna sklonost oblikovanju specifičnog oblika ilustracije: vinjete. Temeljem sakupljenih podataka i razmatranjem novije literature o Melkusu, interpretacija njegova doprinosa nastaje u kontekstu grafičke produkcije u razdoblju secesije u Hrvatskoj te u kontekstu sagledavanja cjelokupne Melkusove ličnosti i njegovih mnogobrojnih aktivnosti.
Interpretacija odnosa karikature i slikarstva Antuna Motike (Pula, 30.12.1902.- Zagreb, 13.2.1992.) temelji se na analizama karikatura koje je Motika izrađivao za vrijeme školovanja u gimnaziji u Pazinu te na karikaturama koje je objavljivao 1929. i 1930. godine u zagrebačkom humorističkom tjedniku "Koprive". Uočene su i protumačene razlike u likovnom izrazu između karikatura iz 1929. koje su po nekim svojstvima bliske karakteristikama izraza Georga Grosza, a karikature iz 1930. može se povezati sa svojstvima Picassovog neoklasicističkog načina izražavanja. Kao što je Picasso prestao izrađivati karikature nakon što se počeo izražavati na kubistički način, tako se i Motika iza 1930. više nije bavio karikaturom nego je elemente grotesknog i karikaturalnog inkorporirao u štafelajno slikarstvo i skulpturu. Istraživanje odnosa karikature i slikarstva omogućilo je interpretaciju složenog odnosa različitih utjecaja i individualnih značajki Motikina likovnog izraza. Kao posebno zanimljivo istaknuto je nekoliko značajnih elemenata Motikinog izraza prisutnih još od vremena djetinjstva, a koji su najbolje vidljivi u bilježnici "Moje karikature" iz 1918. - 1919. godine kada je Motiki bilo 16 odnosno 17 godina. Uočeno je da je već tada intuitivno iskazana Motikina zaokupljenost prikazivanjem prostora i svjetla na taj način što je prostor često promatrao s povišena očišta ili iz ptičje perspektive, a čestu prisutnost sunca kao izvora svjetlosti možemo povezati s temom svjetlosti koja je središnji motiv njegova stvaralaštva, motiv s kojim je radio raznovrsne eksperimente od 1940. godine kada je došao u Zagreb. Tada je započeo upotrebljavati raznovrsne materijale i kombinirati različite tehnike. U to vrijeme nastajale su i njegove apstraktne slike na kojima je prenosio ritam glazbe. Velik dio cjelokupnog stvaralaštva izveden je u tehnikama gvaša i akvarela, a od završetka Drugog svjetskog rata često je radio kolaže, dekalkomanije, svjetlosne projekcije, a također i skulpture u keramici, staklu i bronci. Motiv svemira, odnosno sunčeva sustava također često nalazimo u kasnim godinama njegova stvaralaštva. Prikazivanje prostora gotovo iz ptičje perspektive ili iz izrazito povišena položaja osim na crtežima u gimnazijskoj bilježnici prisutan je i na karikaturama objavljivanim 1929. godine u "Koprivama". Motikin desetomjesečni boravak u Parizu 1930. godine u svakom slučaju bio je značajan za njegovo sazrijevanje, ali prenaglašavanje utjecaja Bonnarda, Utrilla, Dufya ili drugih slikara pogrešno je jer je Motika najraznovrsnije utjecaje upijao i transformirao kroz rad na vlastitom izrazu, neprestano razvijajući ona svojstva koja su njegovom duhovnom ustrojstvu bila najbliža. Upravo ta svojstva lako prepoznajemo već u dobi od 16 odnosno 17 godina, kada još nije mogao poznavati djela slikara tzv. pariške škole. Rasvjetljavanje odnosa karikature i slikarstva Antuna Motike omogućava bolje razumijevanje njegova stvaralačkog procesa i logičnog razvoja bogatog i zanimljivog opusa. Saznanja o formiranju Motikinog likovnog izraza mogu doprinositi novim interpretacijama kao i valorizaciji stvaralaštva kojem treba naći mjesto i u povijesti umjetnosti izvan nacionalnih okvira u kojima je nastalo.
1927. In that period they held thirteen exhibitions in small
and large towns in Croatia and Vojvodina, and as the Independent Artists Group they appeared at the 5th and 6th Yugoslav Exhibition in Belgrade and Novi Sad. Members of the
Independent Artists Group (Ljubo Babic, Vladimir Becic,
Jozo Kljakovic, Frano Krsinic, Ivan Mestrovic, Jerolim Mise,
Marin Studin, Zlatko Sulentic, Vladimir Varlaj) staged a number
of exhibitions which had a significant artistic, educational
and cultural effect in provincial centers. The exhibitions
had a noticeable commercial effect (a large number of the
exhibited paintings was sold). The group members respected
their individual artistic differences, and artistic quality was
the basic stipulation for membership (just like in the Group
of Four in 1928 and the Group of Three in 1929). Ljubo
Babic initiated the Group, and probably organized everything
while the group was active.
The Independent Artists Group did not have a program, unless
we consider their negative view of certain developments
or inclinations, particularly in regard to the Spring Salon, as
a program definition, formulated in 1924 when the exhibition
in Split was held. The Independent Artists Group determined
there were three artist groups in the second stage of the
Spring Salon: the older generation whose leading figure was
Krizman, the generation of young talents who mostly studied
in Prague and Paris during the First World War (Gecan,
Uzelac, Trepse, Sumanovic and so on) and members of the
Independent Artists Group. On the one hand, members of the
Independent Artists Group were against the pseudo-national
romanticism of the older generation, and on the other, they
opposed the trendy mimicking of the avant-garde artistic
idiom displayed by a part of the younger generation. The
Independent Artists Group is an important and artistically
interesting link between the Spring Salon and the Group of
Three, a group of Croatian painters who leaned toward different forms of European realism in the 1920s, and through individual idioms tried to contribute to the creation of the national artistic idiom.
From specific socio-political circumstances, some components of artistic expression were formed: 1. Thematic limitation by censorship in all forms of expression, including single panel cartoons, comics and animated films, from the 1950s on, resulted in a focus on universal human topics which affected modern people and individuals. 2. In terms of form, a space of freedom was found in new design research and experiments, new ways of stylization and application of reduced animation, a space where politics could not have reasons for opposition. 3. The marginal position of the animated film as a medium primarily intended for children was like a protected oasis in which the authors of the Zagreb School of Cartoon Film turned to topics whose goal is not only humorous entertainment for children, but the creation of films for all generations or only for adults. They were topical, psychological, and in terms of addressing existential problems of individuals, difficult and complex, true works of art.
Izložba je najvećim dijelom bila usredotočena na autoričino slikarstvo, a manjim dijelom na crteže.
"Oduvijek je za slikare predstavljao izazov i pravi smisao slikarstva prikazati ono što je većini ljudi nevidljivo. U tom smislu i Tisja u potpunosti ispunjava svoju ulogu, u svom i našem vremenu i prostoru: svakim svojim djelom pokazuje nam radost življenja u neizmjernom broju čudesnih trenutaka kojima dozvoljavamo da nam tako lako promaknu."
Grga je objavljivan prvo u tjedniku Kerempuh, od 1950. do 1955. Potom je svakodnevno objavljivan u Narodnom listu, od 1955. do 1961., a gašenjem Narodnog lista nastavlja objavljivanje u Večernjem listu od 1962. do 2000. godine, gdje je dobio svoje stalno mjesto na zadnjoj stranici. Iza 2000. godine Grgu se još moglo vidjeti u Privrednom vjesniku i dvotjedniku Vijenac.
"Oni" sa svojim gledanjem u ogledalo, odlascima na plažu, svakodnevnim ritualima, ulascima u more ili dućan, kuhanjem, peglanjem… u onim su situacijama za koje su potrebni istančano oko i suveren jednostavan crtež da se u njima pronađe ono što svima nedostaje – toplina i humor, a to je nešto čega Tisja Kljaković Braić ima u neizmjernim količinama i nesebično dijeli sa svima.
"Potpuno je nevažno jesu li 'Oni' u izvanbračnoj zajednici ili u braku. Važna je samo ljubav između dvoje partnera, koja je zapravo jedini pravi lajtmotiv svih crteža, ljubav koju vidimo na trenutke kod bližnjih, ponekad u vlastitom domu, ili ako smo sami, to su ljubav i razumijevanje kakvima težimo, kakve čitav život priželjkujemo, ljubav kojoj se nadamo, sve do kraja svojih malih smiješnih života."
To comprehend the Andrija Maurović oeuvre before his exceptional comic strips production in comparison with his contemporaries is not simple, because illustration is one of the least covered areas in Croatian art history. But even when we look at this oeuvre in isolation, we see numerous qualities of an illustrator who completely identified with the motif and visually objectified the ethical principles of the protagonists of the illustrations. On the other hand, anyone who wanted to seek out the artistic qualities in these works would be doing Maurović no service, for he was not creating art (of which he was well aware), rather creating mass culture products that were primarily determined by the laws of supply and demand in the mass market. He was equally creative in different media and techniques: caricatures and cartoons, postcards, trademarks or posters. He managed to be a reliable outsourcer for numerous publishers particularly because of the specific relationship of the three components of drawing skills, good approaches found for very varied tasks and rapidity of performance. But all these qualities would be worthless without consumer satisfaction. Covering Maurović’s before-the-comic-strip work, in all its breadth and multiplicity, we have seen in many different examples individual characteristics that all found their proper place in the comic, creating a synergetic effect and thus coming to full expression in the new medium.
Project is financed by Croatian Science Foundation (Hrvatska zaklada za znanost/ HRZZ).
Težište ovog sagledavanja Maurovićevog djela je utjecaj političkih promjena i dominirajućih ideologija tijekom Maurovićeva života vidljivih u različitim aspektima njegova stvaralaštva. Nema nikakve sumnje da je on velikan hrvatskog stripa i da će to ostati, ali osim stripa u šezdeset godina njegova stvaralaštva nastao je čitav niz djela kojima je vizualno obogaćivao svakodnevicu brojnih generacija. Riječ je o iznimnoj raznovrsnosti u tematskom pogledu, u upotrebi različitih likovnih tehnika, a na kraju i u korištenju različitim medijima: od ilustracije i karikature preko stripa do plakata i štafelajnog slikarstva.
Tomislav Čeranić, Vladimir Veličković, Davor Vrankić, Mali salon, Rijeka, 25. 1. – 16. 2. 2013, Rijeka. (tekst u katalogu 18. Međunarodna izložba crteža, MMSU, Rijeka 2013.)
Croatian version of the same text in comic novel book: Danijel Žeželj, Kao pas, Bodoni 2023, text Kavez slobode, str. 91- 93.