early portraiture by Jerolim Miše, dated to the period from
1914–1916, as a crucial individual co... more early portraiture by Jerolim Miše, dated to the period from 1914–1916, as a crucial individual contribution to national Modernist painting. His portraits exhibited during 1916 – at the first exhibition of Croatian Spring Salon, which was a group exhibition, and then at the third, which was Miše’s solo-exhibition – caused quite a stir among the art critics. Therefore, this detailed analysis of the entire body of criticism seeks to reconstruct the historical reception of Miše’s portraits, since it is evident that they were recognized as an important step towards Modernist painting, which additionally shows their symptomatic significance. Previous approaches to this early segment of Jerolim Miše’s opus, which has largely been lost, is then interpreted from the point of view of its present art-historical treatment. The authors seek to explain the reserved attitude of art critics concerning Miše’s stylistic qualities by indicating the general attitude of some art historians towards various manifestations of Expressionism in Croatian painting. This reserved stance primarily refers to those painters who approached Expressionism from the Secessionist point of view, which is why the early portraiture of Miše’s is a perfect case for the analysis of that stylistic strand. Therefore, the authors have chosen this approach to the analysis, interpretation, and evaluation of the visual and conceptual characteristics of Miše’s portraits, which in their specific fusion of iconography and accentuated psychologism reveal themselves as undoubtedly close to the Expressionist model. In terms of technique, a special accent is placed on Miše’s use of colours, which are pure and clear, often contrasted (red, yellow, and green), mostly applied in broad brushstrokes and patches of colour, and can thus beinterpreted as an outspokenly expressive feature. Eventually, the authors indicate the distinction between Miše’s portraits from 1914 and those made during and after 1916, since they reveal considerable differences in both concept and technique within his valuable Modernist portraiture opus. Key words: Jerolim Miše, portraiture, Croatian Modernist painting, Secession, Expressionism, Spring Salon
early portraiture by Jerolim Miše, dated to the period from
1914–1916, as a crucial individual co... more early portraiture by Jerolim Miše, dated to the period from 1914–1916, as a crucial individual contribution to national Modernist painting. His portraits exhibited during 1916 – at the first exhibition of Croatian Spring Salon, which was a group exhibition, and then at the third, which was Miše’s solo-exhibition – caused quite a stir among the art critics. Therefore, this detailed analysis of the entire body of criticism seeks to reconstruct the historical reception of Miše’s portraits, since it is evident that they were recognized as an important step towards Modernist painting, which additionally shows their symptomatic significance. Previous approaches to this early segment of Jerolim Miše’s opus, which has largely been lost, is then interpreted from the point of view of its present art-historical treatment. The authors seek to explain the reserved attitude of art critics concerning Miše’s stylistic qualities by indicating the general attitude of some art historians towards various manifestations of Expressionism in Croatian painting. This reserved stance primarily refers to those painters who approached Expressionism from the Secessionist point of view, which is why the early portraiture of Miše’s is a perfect case for the analysis of that stylistic strand. Therefore, the authors have chosen this approach to the analysis, interpretation, and evaluation of the visual and conceptual characteristics of Miše’s portraits, which in their specific fusion of iconography and accentuated psychologism reveal themselves as undoubtedly close to the Expressionist model. In terms of technique, a special accent is placed on Miše’s use of colours, which are pure and clear, often contrasted (red, yellow, and green), mostly applied in broad brushstrokes and patches of colour, and can thus beinterpreted as an outspokenly expressive feature. Eventually, the authors indicate the distinction between Miše’s portraits from 1914 and those made during and after 1916, since they reveal considerable differences in both concept and technique within his valuable Modernist portraiture opus. Key words: Jerolim Miše, portraiture, Croatian Modernist painting, Secession, Expressionism, Spring Salon
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Papers by Petar Prelog
1914–1916, as a crucial individual contribution to national
Modernist painting. His portraits exhibited during 1916 –
at the first exhibition of Croatian Spring Salon, which was
a group exhibition, and then at the third, which was Miše’s
solo-exhibition – caused quite a stir among the art critics.
Therefore, this detailed analysis of the entire body of criticism
seeks to reconstruct the historical reception of Miše’s
portraits, since it is evident that they were recognized as
an important step towards Modernist painting, which additionally
shows their symptomatic significance. Previous
approaches to this early segment of Jerolim Miše’s opus,
which has largely been lost, is then interpreted from the point
of view of its present art-historical treatment. The authors
seek to explain the reserved attitude of art critics concerning
Miše’s stylistic qualities by indicating the general attitude
of some art historians towards various manifestations of
Expressionism in Croatian painting. This reserved stance primarily refers to those painters who approached Expressionism from the Secessionist point of view, which is why the early portraiture of Miše’s is a perfect case for the analysis of that stylistic strand. Therefore, the authors have chosen this approach to the analysis, interpretation, and evaluation of the visual and conceptual characteristics of Miše’s portraits, which in their specific fusion of iconography and accentuated psychologism reveal themselves as undoubtedly close to the Expressionist model. In terms of technique, a special accent is placed on Miše’s use of colours, which are pure and clear, often contrasted (red, yellow, and green), mostly applied in broad brushstrokes and patches of colour, and can thus beinterpreted as an outspokenly expressive feature. Eventually, the authors indicate the distinction between Miše’s portraits from 1914 and those made during and after 1916, since they reveal considerable differences in both concept and technique within his valuable Modernist portraiture opus.
Key words: Jerolim Miše, portraiture, Croatian Modernist
painting, Secession, Expressionism, Spring Salon
1914–1916, as a crucial individual contribution to national
Modernist painting. His portraits exhibited during 1916 –
at the first exhibition of Croatian Spring Salon, which was
a group exhibition, and then at the third, which was Miše’s
solo-exhibition – caused quite a stir among the art critics.
Therefore, this detailed analysis of the entire body of criticism
seeks to reconstruct the historical reception of Miše’s
portraits, since it is evident that they were recognized as
an important step towards Modernist painting, which additionally
shows their symptomatic significance. Previous
approaches to this early segment of Jerolim Miše’s opus,
which has largely been lost, is then interpreted from the point
of view of its present art-historical treatment. The authors
seek to explain the reserved attitude of art critics concerning
Miše’s stylistic qualities by indicating the general attitude
of some art historians towards various manifestations of
Expressionism in Croatian painting. This reserved stance primarily refers to those painters who approached Expressionism from the Secessionist point of view, which is why the early portraiture of Miše’s is a perfect case for the analysis of that stylistic strand. Therefore, the authors have chosen this approach to the analysis, interpretation, and evaluation of the visual and conceptual characteristics of Miše’s portraits, which in their specific fusion of iconography and accentuated psychologism reveal themselves as undoubtedly close to the Expressionist model. In terms of technique, a special accent is placed on Miše’s use of colours, which are pure and clear, often contrasted (red, yellow, and green), mostly applied in broad brushstrokes and patches of colour, and can thus beinterpreted as an outspokenly expressive feature. Eventually, the authors indicate the distinction between Miše’s portraits from 1914 and those made during and after 1916, since they reveal considerable differences in both concept and technique within his valuable Modernist portraiture opus.
Key words: Jerolim Miše, portraiture, Croatian Modernist
painting, Secession, Expressionism, Spring Salon