Ljubo Babić, istaknuti hrvatski povjesničar umjetnosti, autor prve kanonske knjige o hrvatskoj mo... more Ljubo Babić, istaknuti hrvatski povjesničar umjetnosti, autor prve kanonske knjige o hrvatskoj modernoj umjetnosti, autor je i najmizoginijeg teksta o ženema u umjetnosti ikada objavljenoga na stranicama hrvatskih tiskovina. U ovom se radu analiziraju njegovi tekstovi kako bi se istražila veza između Babićeve oštre kritike umjetničkoga stvaralaštva žena i njihove marginalizacije u kanonu. U prvom dijelu analizira se Babićev feministički ton u predgovoru Intimne izložbe Proljetnoga salona iz 1916., gdje zagovara umjetnički rad žena kao dio društveno progresivnog pokreta. Zatim se razmatraju njegove kritike, u kojima umjetnicama, prvenstveno članicama Kluba likovnih umjetnica, osporava sposobnost umjetničke kreacije i ograničava ih na područje primijenjene umjetnosti. Naposljetku, analiziraju se njegovi pregledi hrvatske moderne umjetnosti u kojima su umjetnice gotovo u potpunosti prešućene.
This article identifies the most important thematic points in early photography discourse through... more This article identifies the most important thematic points in early photography discourse through a critical reading of early essays that look at photography as a phenomenon. The research centers on the corpus of articles on photography published in Yugoslavian, mostly Croatian, periodicals from the beginning of the 20th century to 1941, mostly in magazines specialized in photography, which are the focus of special attention. The selection consists of articles dealing with the phenomena and divisions in the Croatian photography scene characterized by a strong polarization between professional and amateur photographers. The articles analyze photography as a cultural, social or ideological phenomenon, look into the question of the nature of photography as art or technology, as well as the establishment of a hierarchy of values with regard to photography genres, following trends on the European and world photography scene. Despite the fact that during the observed period the authors were still learning to write about photography, defining the subject and locating its central problems, and were looking for suitable methodologies, these writings constitute pioneering work, and the discussions would lay the foundation and framework for the development of an autonomous contemporary photography discourse.
Posebna soba. Žensko nasljeđe: roba, spektakl ili muzej za sve?, 2021
This paper is a part of wider research which addresses the reception of group exhibitions of Croa... more This paper is a part of wider research which addresses the reception of group exhibitions of Croatian women artists. This research started from the hypothesis that art criticism was a powerful medium in the institutional discouraging of women’s art creation. In this paper, three texts about women’s artistic creativity written by well-known male authors (painter Ljubo Babić, playwright Milan Begović and composer Pavao Markovac) were selected and analyzed. Finally, the paper establishes the connection between Babić’s article, as the most misogynist text about Croatian art ever written, and the art historical canon within which the women artists were marginalized or, more likely, completely left out.
This paper will use a corpus of photographs that were reproduced on the pages of specialized phot... more This paper will use a corpus of photographs that were reproduced on the pages of specialized photography magazines published during the interwar period to examine common display practices with a problem focus on gender and class positions of the photographers and the photographed, and the relation between sociability and power. By making interdisciplinary connections between perspectives, insights and approaches from art history, ethnology and cultural anthropology, the paper will contribute to the reappraisal of the “naturalness” of gender and class positions in a society. Out of all the photographs published in photography magazines, we chose those—about 350 photographs published between 1927 and 1941—that show the human figure, and our examination implied the abandoning the classical interpretive apparatus, aesthetic evaluations and reliance on the usual historical and artistic interpretations of these and similar images. The method used to analyze the depicted characters and situations relied on the analysis of the content, or more precisely on the image inventory, according to the frequency of individual motifs. The main aspects considered in selecting the photographs include representation according to occupation, ways of spending leisure time and emotions exhibited by characters, as well as the objects that surround them, their posture, actions they are engaged in, space in which they are located, age structure, etc. This method resulted in a complex understanding of dominant representation practices and patterns, as well as the presumed social asymmetries, and revealed how photography of that time expressed, reflected, encouraged and perpetuated stereotyping of certain social groups.
In order to create another powerful medium for spreading a new socialist and communist ideology i... more In order to create another powerful medium for spreading a new socialist and communist ideology in the period of Socialist Realism in Croatia (1945-1950), the goal of making visual art accessible to all social classes became one of the important tasks of the new society and its authorities. By merging a highly realistic style and a heroic touch, with a simple and contemporary subject, the purpose was to introduce to the people politically acceptable notions and values, such as optimism, collectivism, a desire to work, brotherhood and unity among others. In this paper some aspects of Croatian painting and art criticism, such as transfer of the ideology (so-called Party line), art criticism as the main medium for this transfer and the war thematics as the important subject matter, in the period of Socialist Realism will be discussed.
Arhitektura i vizuelne umetnosti u jugoslovenskom kontekstu: 1918–1941., 2021
U dosadašnjoj povijesno-umjetničkoj recepciji, Grupa trojice koju su činili slikari Ljubo Babić, ... more U dosadašnjoj povijesno-umjetničkoj recepciji, Grupa trojice koju su činili slikari Ljubo Babić, Jerolim Miše i Vladimir Becić, i koja je djelovala u prvoj polovini 1930-ih, tumačena je kao građansko krilo hrvatske međuratne umjetnosti: istican je naglasak na individualnom umjetničkom činu, subjektivna realistička impresija i izostanak ideološke tendencioznosti. U ovome radu analizom likovno- kritičkih tekstova i intervjua članova Grupe trojica, nastojat ću detektirati osnovne odrednice njihova isključujućeg građansko- elitističkog svjetonazora uvjetovanog interesom, donosno brigom za vlastiti položaj na likovnoj sceni i likovnome tržištu u uvjetima patrijarhalnoga kapitalističkog društva. Prilagođavajući kriterije procjene likovnome idiomu vlastite slikarske prakse (koloristički realizam), članovi Grupe trojice sustavno su kritizirali umjetnike koji su odstupali od dogme „objektivacije”, potom ženske akademske umjetnice i amatere, ali i iskazivali prezir prema široj publici, te sustavno osuđivali ostale kritičare i povjesničare umjetnosti koji su u svojim likovnim kritikama zastupali drugačije (uključivije) kriterije kritičke provjere.
LIKOVNE UMJETNOSTI, ARHITEKTURA I POVIJESNI IDENTITETI, 2018
U ovome će se radu, temeljem analize inventara portreta Jerolima Miše (poze, rekviziti, radnje ko... more U ovome će se radu, temeljem analize inventara portreta Jerolima Miše (poze, rekviziti, radnje kojima su zaokupljeni i prostori u kojima su smješteni likovi), dekonstruirati tipološki obrasci koji dominiraju njegovim prikazivačkim postupkom. U skladu s Mišinim djelovanjem u okviru dvaju miljea - u Zagrebu gdje je živio i Dalmaciji gdje je provodio ljeta slikajući - likove s njegovih slika moguće je podijeliti prema društvenoj klasi: na zagrebačke građan(k) e-intelektualce/ke i dalmatinske pučan(k)e. Pri tom rodnu nejednakost zamjećujemo u portretima dalmatinskoga puka, gdje su žene gotovo bez iznimke prikazane u submisivnim pozama pri rodno obilježenim radnjama u rodno obojenim prostorima, zaokupljene golom egzistencijom, dok je moment intelektualne zaokupljenosti rezerviran za građansko-intelektualnu klasu, i to ravnopravno distribuiran na ženske i muške likove. Specifičnim narativom oblikujući kolektivni identitet tih društvenih skupina, Miše pridonosi stvaranju identitetskog konstrukta koji zastupa interese vladajuće ideologije i klase, čiji je i sam pripadnik.
In this paper iconoclasm is understood in the broader sense, as abandoning and rejecting the old ... more In this paper iconoclasm is understood in the broader sense, as abandoning and rejecting the old subjects and forms in the totalitarian framework of the politically motivated directing and controlling of the visual arts. In the period of Socialist Realism we notice an intention for the creation of a ‘totalitarian’ mentality or collective ‘trance’ rather than only pressure or censorship in the art field (Briski Uzelac); we recognise attempts to influence the collective ‘unconscious’, to automate consciousness and shape it according to the desired mould (Groys). Political elites realized that visual arts have great importance in creating such a collective trance: the task of every artist is to visualize key ideas of the ideological discourse and to translate them into the language of art (Briski Uzelac). This paper will discuss the official, politically directed, Croatian art criticism, which worked as one of the important mediums for the transfer of the Socialist Realist ideology ("the Party line") both to the artists and their audience, and its dicursive strategies aimed at achieving the desirable and ‘correct’ subject matter and stylistics in the period of Socialist Realism (1945–1950). The discourse of art criticism functioned through the system of binary oppositions, where every desirable phenomenon has its forbidden or stigmatized mirror image. This paper focuses on these oppositions, based on the most important categories of the evaluation apparatus criteria: form, subject and content.
U ovome radu posvećenom djelovanju Udruženju likovnih umjetnika Hrvatske (ULUH) u razdoblju izmeđ... more U ovome radu posvećenom djelovanju Udruženju likovnih umjetnika Hrvatske (ULUH) u razdoblju između 1945. i 1952., razmotrit će se njegova uloga u nastojanju Države/Partije da nametne kanon socrealizma na područje likovne umjetnosti kroz totalitarnu organizaciju svijeta umjetnosti po uzoru na Sovjetski Savez. Osobita će se pozornost posvetiti mehanizmima kontrole i usmjeravanja likovne produkcije prema ideološki "ispravnom" socrealizmu u okvirima potpune odsječenosti od zapadno-europskih likovnih zbivanja.
Jerolim Miše’s landscape paintings hold a special place in the framework of socially and politica... more Jerolim Miše’s landscape paintings hold a special place in the framework of socially and politically conditioned attempts to define and form the so-called »our expression« (which means Croatian artistic expression) in the field of visual arts of the interwar period. Those landscapes represent a consistent and coherent narrative formed in the second half of the 1920s, characterized by atypical choice of sight and painting inventory. They present a natural environment of Middle and South Dalmatia, with a special interest for almost unknown small towns and villages, especially little islands (such as Šipan, Koločep and Vrnik, Pučišća and Supetar on the island of Brač, Rogač on the island of Šolta etc.) – »the other Dalmatia«. By selecting the narrow, fragmentary vistas of the regional scenery and the people that live in it or the man-made objects that are situated in that scenery (houses, boats, pathways etc.), Miše’s representation of the land and people is based on the details of the Dalmatian regional specialties and social empathy. Such an image of Dalmatia can be summarized by these words: a land where people live and work modestly and in harmony with nature. Just like Antun Gustav Matoš and Ljubo Babić, in this national space inhabited by people Miše finds the centre of national identity. With such landscapes he produces idealized and class conditioned image of the land and people, which is ideologically compatible with the national aspirations of the Croatian Peasant Party (Hrvatska seljačka stranka).
U radu se razmatraju dvije inicijative Udruženja likovnih umjetnika
Hrvatske iz 1960-ih kojima je... more U radu se razmatraju dvije inicijative Udruženja likovnih umjetnika Hrvatske iz 1960-ih kojima je uporište u ideji o »sintezi likovnih umjetnosti«: organizacija izložbi Zagrebačkoga salona i zalaganje za obavezni postotak koji bi se odvajao za likovnu opremu pri svakoj javnoj izgradnji. Budući da ULUH u razdoblju 1950-ih i 1960-ih privilegira onu varijantu umjerenoga modernizma koja se zasniva na ideji o autonomiji umjetnosti, vrijedno je istaknuti te dvije inicijative koje proizlaze iz ideje o sintezi, kao projekta druge, racionalističke varijante modernizma. Pritom se razmatra reformatorski potencijal ideje o sintezi, koja je iskorištena kao sredstvo u procesu modernizacije i demokratizacije Društva u tome razdoblju ‘tranzicije’ ULUH-a iz doktrinarnog i birokratskog u moderno strukovno udruženje. Cilj je ovoga rada na temelju arhivske dokumentacije, prikazom jednoga segmenta svijeta umjetnosti 1960-ih, dijelom rasvijetliti njegovo funkcioniranje i institucionalnu infrastrukturu.
World War I produced a completely new phenomenon on
the Croatian territory—a joint exhibition of ... more World War I produced a completely new phenomenon on the Croatian territory—a joint exhibition of female artists. This was the Intimate Exhibition of the Spring Salon held in 1916, which represented a harbinger of women’s artistic association in this region and brought a wholly new dimension of exhibition practice as one of the results of the first wave of the feminist movement. The paper presents a history of the idea of assembling female visual artists related to the exhibition of Nasta Rojc, Mila Wod and the Croatian folk art that took place in Vienna in 1914, and gives a contextual analysis of the impact of the First World War on gender roles and women’s position in society. The main part of the paper focuses on the recording and systematisation of antifeminist utterances which accompanied the 1916 Intimate Exhibition — primarily those by Kosta Strajnić and Vladimir Lunaček— and locates the origins of these utterances in the “feminine stereotype” and the notion of creativity as an ideological component of masculinity (Griselda Pollock). On the other hand, such attitudes provoked a feminist reaction which led to the first openly feminist utterances in the public space (Zofka Kveder, Andrija Milčinović), while the exhibition itself not only brought visibility to female artists on the Croatian visual art scene, but can be considered as the first step in feminist aspiration towards mastering the visual arts domain of public activities within the dominant patriarchal social model.
This paper discusses the reception discourse related to three waves of group exhibitions by Croat... more This paper discusses the reception discourse related to three waves of group exhibitions by Croatian women artists in the 20th century, with a focus on feminist strategies used in advocating and empowering women’s art. The considered body of texts includes reviews of the first exhibition – the Intimate Exhibition at the Spring Salon of 1916 – the exhibitions of the Club of Women Artists held in 1928-1940, and the exhibitions celebrating Women’s Day from 1960 until 1991. Although taking place in different circumstances and socio-political contexts, all these exhibitions generated public debates on art produced by women, and although they provoked misogynous and anti-feminist statements, they also resulted in openly feminist voices of authors such as Roksana Cuvaj, Zdenka Marković, Marija Hanževački, Verena Han, Nasta Rojc, Zofka Kveder, and others. Based on historiographical sources and texts from the field of feminist theory, this analysis of the art-critical corpus has identified the main strongholds of feminist discourse: disclosure of misogyny and its sources in public opinion and prejudice, critique of the social construction of female inferiority, research on women’s art history, endorsement and praise of female art, and so on. It was these feminist statements that enhanced creative self-awareness in women artists and also slowly tamed the society by getting it used to their presence, leading to the gradual suppression of stereotypes and slow dissolution of the dominant patriarchal matrix in Croatian art during the 20th century.
U ovom radu razmatraju se događaji oko Informbiroa koji su izravno potaknuli konačnu kanonizaciju... more U ovom radu razmatraju se događaji oko Informbiroa koji su izravno potaknuli konačnu kanonizaciju socrealizma te bili okidač u pritisku represivnoga partijskog aparata na likovnu umjetnost. Godinu do dvije dana nakon Rezolucije Informbiroa iz 1948. godine zamjećujemo dotad neviđene razmjere pritiska na umjetnike koji obuhvaća razne segmente likovnog života i djelovanja. Rad obuhvaća metode ideološkog pritiska koji se provodio uglavnom kroz ideološko-politički sektor Udruženja likovnih umjetnika Hrvatske (ULUH), što će omogućiti uvid u institucionalnu infrastrukturu stvorenu s ciljem poticanja stvaranja umjetničkih djela sukladnih socrealističkoj doktrini.
In this paper the Byzantine and Creto-Venetian icons will be presented as an important source of ... more In this paper the Byzantine and Creto-Venetian icons will be presented as an important source of inspiration in Croatian painting in the early 20th century. The author places that phenomenon within the context of European primitivism, a tendency of searching for inspiration in tribal, folk and medieval art in order to find an authentic, primordial expression. Intuitively recognising the spiritual dimension of icons some Croatian artists such as Jerolim Miše, Maksimilijan Vanka, Jozo Kljaković and Ljubo Babić used a number of Byzantine elements in some of their paintings, such as the flatness and linearity of design, hieratic posture and the flawless symmetrical frontality of a displayed character, the intense gaze directed at the observer, the golden background and the halo of light around the head. At the same time Iljko Gorenčević emphasised the connections and the similarities between the old icon art and the contemporary Expressionism, and Jerolim Miše recommended Russian and Byzantine art as a source of inspiration, for its deep spiritual insight. Kosta Strajnić explained this trend as an interest in other Slavic cultures, directed towards the creation of a new South Slavic culture in the period before the formation of a new Yugoslav state in 1918.
SAŽETAK: U ovome radu postavit će se teza o odlučujućem utjecaju Petra Dobrovića na formiranje ko... more SAŽETAK: U ovome radu postavit će se teza o odlučujućem utjecaju Petra Dobrovića na formiranje kolorističke faze Jerolima Miše, koja je karakteristična za njegov izraz tijekom 1930-ih godina. Kako bi se što bolje objasnio kontekst i argumentirala estetička podloga ovoga utjecaja, u tekstu će se ukratko predstaviti Mišino stvaralaštvo i obrazovno-radni vijek, s posebnim naglaskom na prisutnost unutar srpske likovne scene te rekapitulirati važnost i uloga Dobrovićeva slikarstva u hrvatskoj likovnoj umjetnosti. Također, komparativno će se sagledati Mišin i Dobrovićev opus, kako u slikarskome, tako i u likovno-kritičarskom smislu, a uočene podudarnosti nedvosmisleno će uputiti na logiku i opravdanost međusobnih komunikacija i utjecaja.
U ovoj studiji razmatra se uloga Antuna Gustava Matoša kao likovnoga kritičara i naslijeđe koje s... more U ovoj studiji razmatra se uloga Antuna Gustava Matoša kao likovnoga kritičara i naslijeđe koje su njegova riječ i misao ostavile u hrvatskoj povijesti umjetnosti. Uočena je njegova važnost u historiografiji hrvatske karikature, a prepoznat je i kao preteča kasnijih teza o »našemu izrazu«. Unutar njegova esteticističkoga likovnog programa, zamijećeno je i implicitno razumijevanje protoavangardnih pojava, a neke njegove ocjene pojedinih protagonista hrvatske likovne scene do danas su odredile stav struke prema njima. Stogodišnjica smrti velikog književnika, publicista i kritičara Antuna Gustava Matoša (1873.–1914.), čiji je snažni kulturni angažman rezultirao i interesom za likovnu umjetnost, do-bar je povod za rekapitulaciju i novo promišljanje njegove uloge u hrvatskoj likovnoj kritici te sagledavanje važnosti njegova naslijeđa za hrvatsku povijest umjetnosti. 1 Ova vremenska distanca pružit će nam potrebnu objektivnost u izvođenju teza i zaključaka pri ponovnom čitanju Matoše-vih tekstova s likovnom tematikom, kao i prilikom uvida u tekstove drugih autora koji su razmatrali njegov doprinos hrvatskoj likovnoj kritici. Interes za Matoša u hrvatskoj povijesti umjetnosti nije bez osnove jer gotovo da nema onovremene likovne ak-tualnosti o kojoj nije izrekao svoje mišljenje, pa je Matoš gotovo neizostavna referencija u prikazima brojnih likovnih tema i opusa. Zahvaljujući autoritetu koji je posjedovao na području kulturnih tema te iznimnoj sugestivnosti njegovih riječi, nije neobično da je svojim tekstovima dao izvjesni poticaj unutar određenih opusa i likovnih usmjerenja, ali i utjecao na neke povijesnoumjetničke ocjene i teze, koje su do danas ostale upisane kao opća mjesta u znanstvenoj misli hrvatske povijesti umjetnosti. Kako bismo precizno utvrdili njegov prinos kako unutar razvoja hrvatske likovne umjetnosti tako i povijesti umjetnosti, potrebno je najprije utvrditi dosadašnje mjesto Matoša na području likovnosti.
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.
U radu se predstavlja i problemski analizira korpus pisama koje je hrvatski slikar Jerolim Miše p... more U radu se predstavlja i problemski analizira korpus pisama koje je hrvatski slikar Jerolim Miše pisao svojoj zaručnici, kasnije supruzi, Anki Miše, rođenoj Malešević, pronađenih u slikarevoj ostavštini i jednoj privatnoj zbirci. Pisma su se pokazala iznimno važnima za rekonstrukciju biografije i opusa Jerolima Miše, kao vjerodostojan uvid u niz zanimljivih zbivanja u razdoblju djelovanja Proljetnoga salona, Grupe nezavisnih umjetnika i Grupe trojice, ali i kao posve intiman pogled u svijet umjetnika koji je izrazito refleksivan u smislu promišljanja sebe kao umjetnika, umjetnikova mjesta u društvu, ali i same umjetnosti, sve u skladu s općim odrednicama »duha vremena«. Pisma su podijeljena po razdobljima u tri skupine (1915–19., 1922. i 1926–70) i razmatrana kroz dva aspekta – intimni i javni. Toj osnovnoj podjeli dodan je i pogled iz rodnoga rakursa.
Apstrakt: I ako je Nadežda Petrović samo jednom izlagala u Hrvatskoj, i to tri slike na skupnoj i... more Apstrakt: I ako je Nadežda Petrović samo jednom izlagala u Hrvatskoj, i to tri slike na skupnoj izložbi Društva " Medulić " u Zagrebu 1910. godine, uočena je važnost nekih tekstova hrvatskih likovnih kritičara u ukupnoj kritičkoj recepci-ji njezina djela. Unatoč činjenici da najveći broj autora u svojim prikazima izložbi na kojima je izlagala s hrvatskim umjetnicima, Nadeždino ime i djelo potpuno prešućuje ili samo nabraja kao statističku činjenicu, u izdvojena četiri teksta (anonimnoga autora iz Obzora, Antuna Gustava Matoša, Dimitrija Mitrinovića i Jerolima Miše) implicitno je prisutno razumijevanje njezina djela. Svaki od ovih kritičara, unatoč vlastitim impresionističkim polazištima, uočava upravo ekspresionističke progresivne značajke njezina djela, ali i snagu njezina izraza. U radu se recepcija razmatra i iz rodnoga rakursa: uočeno je da kritičari u čijim interpretacijama dominiraju patrijarhalne teze (Kosta Strajnić, Ma-toš, Miše), pri tumačenju Nadeždina djela napuštaju konvencionalni ključ muškoga tumačenja ženskoga djela. Razlog tomu traži se u njezinome, za tadašnje pojmove " muškom " , političkom i socijalnom angažmanu, " muškoj " slikarskoj profesiji i odlasku na front, ali i ne manje važnoj, u tadašnje vrijeme za ženu neočekivanoj sigurnosti, snazi i hrabrosti likovnoga izraza. Ukratko će se rekapitulirati i poslijeratna recepcija Nadeždina djela, s osobitim naglaskom na tekstove progresivnih kritičara: Miće Bašičevića i Radoslava Putara.
Ljubo Babić, istaknuti hrvatski povjesničar umjetnosti, autor prve kanonske knjige o hrvatskoj mo... more Ljubo Babić, istaknuti hrvatski povjesničar umjetnosti, autor prve kanonske knjige o hrvatskoj modernoj umjetnosti, autor je i najmizoginijeg teksta o ženema u umjetnosti ikada objavljenoga na stranicama hrvatskih tiskovina. U ovom se radu analiziraju njegovi tekstovi kako bi se istražila veza između Babićeve oštre kritike umjetničkoga stvaralaštva žena i njihove marginalizacije u kanonu. U prvom dijelu analizira se Babićev feministički ton u predgovoru Intimne izložbe Proljetnoga salona iz 1916., gdje zagovara umjetnički rad žena kao dio društveno progresivnog pokreta. Zatim se razmatraju njegove kritike, u kojima umjetnicama, prvenstveno članicama Kluba likovnih umjetnica, osporava sposobnost umjetničke kreacije i ograničava ih na područje primijenjene umjetnosti. Naposljetku, analiziraju se njegovi pregledi hrvatske moderne umjetnosti u kojima su umjetnice gotovo u potpunosti prešućene.
This article identifies the most important thematic points in early photography discourse through... more This article identifies the most important thematic points in early photography discourse through a critical reading of early essays that look at photography as a phenomenon. The research centers on the corpus of articles on photography published in Yugoslavian, mostly Croatian, periodicals from the beginning of the 20th century to 1941, mostly in magazines specialized in photography, which are the focus of special attention. The selection consists of articles dealing with the phenomena and divisions in the Croatian photography scene characterized by a strong polarization between professional and amateur photographers. The articles analyze photography as a cultural, social or ideological phenomenon, look into the question of the nature of photography as art or technology, as well as the establishment of a hierarchy of values with regard to photography genres, following trends on the European and world photography scene. Despite the fact that during the observed period the authors were still learning to write about photography, defining the subject and locating its central problems, and were looking for suitable methodologies, these writings constitute pioneering work, and the discussions would lay the foundation and framework for the development of an autonomous contemporary photography discourse.
Posebna soba. Žensko nasljeđe: roba, spektakl ili muzej za sve?, 2021
This paper is a part of wider research which addresses the reception of group exhibitions of Croa... more This paper is a part of wider research which addresses the reception of group exhibitions of Croatian women artists. This research started from the hypothesis that art criticism was a powerful medium in the institutional discouraging of women’s art creation. In this paper, three texts about women’s artistic creativity written by well-known male authors (painter Ljubo Babić, playwright Milan Begović and composer Pavao Markovac) were selected and analyzed. Finally, the paper establishes the connection between Babić’s article, as the most misogynist text about Croatian art ever written, and the art historical canon within which the women artists were marginalized or, more likely, completely left out.
This paper will use a corpus of photographs that were reproduced on the pages of specialized phot... more This paper will use a corpus of photographs that were reproduced on the pages of specialized photography magazines published during the interwar period to examine common display practices with a problem focus on gender and class positions of the photographers and the photographed, and the relation between sociability and power. By making interdisciplinary connections between perspectives, insights and approaches from art history, ethnology and cultural anthropology, the paper will contribute to the reappraisal of the “naturalness” of gender and class positions in a society. Out of all the photographs published in photography magazines, we chose those—about 350 photographs published between 1927 and 1941—that show the human figure, and our examination implied the abandoning the classical interpretive apparatus, aesthetic evaluations and reliance on the usual historical and artistic interpretations of these and similar images. The method used to analyze the depicted characters and situations relied on the analysis of the content, or more precisely on the image inventory, according to the frequency of individual motifs. The main aspects considered in selecting the photographs include representation according to occupation, ways of spending leisure time and emotions exhibited by characters, as well as the objects that surround them, their posture, actions they are engaged in, space in which they are located, age structure, etc. This method resulted in a complex understanding of dominant representation practices and patterns, as well as the presumed social asymmetries, and revealed how photography of that time expressed, reflected, encouraged and perpetuated stereotyping of certain social groups.
In order to create another powerful medium for spreading a new socialist and communist ideology i... more In order to create another powerful medium for spreading a new socialist and communist ideology in the period of Socialist Realism in Croatia (1945-1950), the goal of making visual art accessible to all social classes became one of the important tasks of the new society and its authorities. By merging a highly realistic style and a heroic touch, with a simple and contemporary subject, the purpose was to introduce to the people politically acceptable notions and values, such as optimism, collectivism, a desire to work, brotherhood and unity among others. In this paper some aspects of Croatian painting and art criticism, such as transfer of the ideology (so-called Party line), art criticism as the main medium for this transfer and the war thematics as the important subject matter, in the period of Socialist Realism will be discussed.
Arhitektura i vizuelne umetnosti u jugoslovenskom kontekstu: 1918–1941., 2021
U dosadašnjoj povijesno-umjetničkoj recepciji, Grupa trojice koju su činili slikari Ljubo Babić, ... more U dosadašnjoj povijesno-umjetničkoj recepciji, Grupa trojice koju su činili slikari Ljubo Babić, Jerolim Miše i Vladimir Becić, i koja je djelovala u prvoj polovini 1930-ih, tumačena je kao građansko krilo hrvatske međuratne umjetnosti: istican je naglasak na individualnom umjetničkom činu, subjektivna realistička impresija i izostanak ideološke tendencioznosti. U ovome radu analizom likovno- kritičkih tekstova i intervjua članova Grupe trojica, nastojat ću detektirati osnovne odrednice njihova isključujućeg građansko- elitističkog svjetonazora uvjetovanog interesom, donosno brigom za vlastiti položaj na likovnoj sceni i likovnome tržištu u uvjetima patrijarhalnoga kapitalističkog društva. Prilagođavajući kriterije procjene likovnome idiomu vlastite slikarske prakse (koloristički realizam), članovi Grupe trojice sustavno su kritizirali umjetnike koji su odstupali od dogme „objektivacije”, potom ženske akademske umjetnice i amatere, ali i iskazivali prezir prema široj publici, te sustavno osuđivali ostale kritičare i povjesničare umjetnosti koji su u svojim likovnim kritikama zastupali drugačije (uključivije) kriterije kritičke provjere.
LIKOVNE UMJETNOSTI, ARHITEKTURA I POVIJESNI IDENTITETI, 2018
U ovome će se radu, temeljem analize inventara portreta Jerolima Miše (poze, rekviziti, radnje ko... more U ovome će se radu, temeljem analize inventara portreta Jerolima Miše (poze, rekviziti, radnje kojima su zaokupljeni i prostori u kojima su smješteni likovi), dekonstruirati tipološki obrasci koji dominiraju njegovim prikazivačkim postupkom. U skladu s Mišinim djelovanjem u okviru dvaju miljea - u Zagrebu gdje je živio i Dalmaciji gdje je provodio ljeta slikajući - likove s njegovih slika moguće je podijeliti prema društvenoj klasi: na zagrebačke građan(k) e-intelektualce/ke i dalmatinske pučan(k)e. Pri tom rodnu nejednakost zamjećujemo u portretima dalmatinskoga puka, gdje su žene gotovo bez iznimke prikazane u submisivnim pozama pri rodno obilježenim radnjama u rodno obojenim prostorima, zaokupljene golom egzistencijom, dok je moment intelektualne zaokupljenosti rezerviran za građansko-intelektualnu klasu, i to ravnopravno distribuiran na ženske i muške likove. Specifičnim narativom oblikujući kolektivni identitet tih društvenih skupina, Miše pridonosi stvaranju identitetskog konstrukta koji zastupa interese vladajuće ideologije i klase, čiji je i sam pripadnik.
In this paper iconoclasm is understood in the broader sense, as abandoning and rejecting the old ... more In this paper iconoclasm is understood in the broader sense, as abandoning and rejecting the old subjects and forms in the totalitarian framework of the politically motivated directing and controlling of the visual arts. In the period of Socialist Realism we notice an intention for the creation of a ‘totalitarian’ mentality or collective ‘trance’ rather than only pressure or censorship in the art field (Briski Uzelac); we recognise attempts to influence the collective ‘unconscious’, to automate consciousness and shape it according to the desired mould (Groys). Political elites realized that visual arts have great importance in creating such a collective trance: the task of every artist is to visualize key ideas of the ideological discourse and to translate them into the language of art (Briski Uzelac). This paper will discuss the official, politically directed, Croatian art criticism, which worked as one of the important mediums for the transfer of the Socialist Realist ideology ("the Party line") both to the artists and their audience, and its dicursive strategies aimed at achieving the desirable and ‘correct’ subject matter and stylistics in the period of Socialist Realism (1945–1950). The discourse of art criticism functioned through the system of binary oppositions, where every desirable phenomenon has its forbidden or stigmatized mirror image. This paper focuses on these oppositions, based on the most important categories of the evaluation apparatus criteria: form, subject and content.
U ovome radu posvećenom djelovanju Udruženju likovnih umjetnika Hrvatske (ULUH) u razdoblju izmeđ... more U ovome radu posvećenom djelovanju Udruženju likovnih umjetnika Hrvatske (ULUH) u razdoblju između 1945. i 1952., razmotrit će se njegova uloga u nastojanju Države/Partije da nametne kanon socrealizma na područje likovne umjetnosti kroz totalitarnu organizaciju svijeta umjetnosti po uzoru na Sovjetski Savez. Osobita će se pozornost posvetiti mehanizmima kontrole i usmjeravanja likovne produkcije prema ideološki "ispravnom" socrealizmu u okvirima potpune odsječenosti od zapadno-europskih likovnih zbivanja.
Jerolim Miše’s landscape paintings hold a special place in the framework of socially and politica... more Jerolim Miše’s landscape paintings hold a special place in the framework of socially and politically conditioned attempts to define and form the so-called »our expression« (which means Croatian artistic expression) in the field of visual arts of the interwar period. Those landscapes represent a consistent and coherent narrative formed in the second half of the 1920s, characterized by atypical choice of sight and painting inventory. They present a natural environment of Middle and South Dalmatia, with a special interest for almost unknown small towns and villages, especially little islands (such as Šipan, Koločep and Vrnik, Pučišća and Supetar on the island of Brač, Rogač on the island of Šolta etc.) – »the other Dalmatia«. By selecting the narrow, fragmentary vistas of the regional scenery and the people that live in it or the man-made objects that are situated in that scenery (houses, boats, pathways etc.), Miše’s representation of the land and people is based on the details of the Dalmatian regional specialties and social empathy. Such an image of Dalmatia can be summarized by these words: a land where people live and work modestly and in harmony with nature. Just like Antun Gustav Matoš and Ljubo Babić, in this national space inhabited by people Miše finds the centre of national identity. With such landscapes he produces idealized and class conditioned image of the land and people, which is ideologically compatible with the national aspirations of the Croatian Peasant Party (Hrvatska seljačka stranka).
U radu se razmatraju dvije inicijative Udruženja likovnih umjetnika
Hrvatske iz 1960-ih kojima je... more U radu se razmatraju dvije inicijative Udruženja likovnih umjetnika Hrvatske iz 1960-ih kojima je uporište u ideji o »sintezi likovnih umjetnosti«: organizacija izložbi Zagrebačkoga salona i zalaganje za obavezni postotak koji bi se odvajao za likovnu opremu pri svakoj javnoj izgradnji. Budući da ULUH u razdoblju 1950-ih i 1960-ih privilegira onu varijantu umjerenoga modernizma koja se zasniva na ideji o autonomiji umjetnosti, vrijedno je istaknuti te dvije inicijative koje proizlaze iz ideje o sintezi, kao projekta druge, racionalističke varijante modernizma. Pritom se razmatra reformatorski potencijal ideje o sintezi, koja je iskorištena kao sredstvo u procesu modernizacije i demokratizacije Društva u tome razdoblju ‘tranzicije’ ULUH-a iz doktrinarnog i birokratskog u moderno strukovno udruženje. Cilj je ovoga rada na temelju arhivske dokumentacije, prikazom jednoga segmenta svijeta umjetnosti 1960-ih, dijelom rasvijetliti njegovo funkcioniranje i institucionalnu infrastrukturu.
World War I produced a completely new phenomenon on
the Croatian territory—a joint exhibition of ... more World War I produced a completely new phenomenon on the Croatian territory—a joint exhibition of female artists. This was the Intimate Exhibition of the Spring Salon held in 1916, which represented a harbinger of women’s artistic association in this region and brought a wholly new dimension of exhibition practice as one of the results of the first wave of the feminist movement. The paper presents a history of the idea of assembling female visual artists related to the exhibition of Nasta Rojc, Mila Wod and the Croatian folk art that took place in Vienna in 1914, and gives a contextual analysis of the impact of the First World War on gender roles and women’s position in society. The main part of the paper focuses on the recording and systematisation of antifeminist utterances which accompanied the 1916 Intimate Exhibition — primarily those by Kosta Strajnić and Vladimir Lunaček— and locates the origins of these utterances in the “feminine stereotype” and the notion of creativity as an ideological component of masculinity (Griselda Pollock). On the other hand, such attitudes provoked a feminist reaction which led to the first openly feminist utterances in the public space (Zofka Kveder, Andrija Milčinović), while the exhibition itself not only brought visibility to female artists on the Croatian visual art scene, but can be considered as the first step in feminist aspiration towards mastering the visual arts domain of public activities within the dominant patriarchal social model.
This paper discusses the reception discourse related to three waves of group exhibitions by Croat... more This paper discusses the reception discourse related to three waves of group exhibitions by Croatian women artists in the 20th century, with a focus on feminist strategies used in advocating and empowering women’s art. The considered body of texts includes reviews of the first exhibition – the Intimate Exhibition at the Spring Salon of 1916 – the exhibitions of the Club of Women Artists held in 1928-1940, and the exhibitions celebrating Women’s Day from 1960 until 1991. Although taking place in different circumstances and socio-political contexts, all these exhibitions generated public debates on art produced by women, and although they provoked misogynous and anti-feminist statements, they also resulted in openly feminist voices of authors such as Roksana Cuvaj, Zdenka Marković, Marija Hanževački, Verena Han, Nasta Rojc, Zofka Kveder, and others. Based on historiographical sources and texts from the field of feminist theory, this analysis of the art-critical corpus has identified the main strongholds of feminist discourse: disclosure of misogyny and its sources in public opinion and prejudice, critique of the social construction of female inferiority, research on women’s art history, endorsement and praise of female art, and so on. It was these feminist statements that enhanced creative self-awareness in women artists and also slowly tamed the society by getting it used to their presence, leading to the gradual suppression of stereotypes and slow dissolution of the dominant patriarchal matrix in Croatian art during the 20th century.
U ovom radu razmatraju se događaji oko Informbiroa koji su izravno potaknuli konačnu kanonizaciju... more U ovom radu razmatraju se događaji oko Informbiroa koji su izravno potaknuli konačnu kanonizaciju socrealizma te bili okidač u pritisku represivnoga partijskog aparata na likovnu umjetnost. Godinu do dvije dana nakon Rezolucije Informbiroa iz 1948. godine zamjećujemo dotad neviđene razmjere pritiska na umjetnike koji obuhvaća razne segmente likovnog života i djelovanja. Rad obuhvaća metode ideološkog pritiska koji se provodio uglavnom kroz ideološko-politički sektor Udruženja likovnih umjetnika Hrvatske (ULUH), što će omogućiti uvid u institucionalnu infrastrukturu stvorenu s ciljem poticanja stvaranja umjetničkih djela sukladnih socrealističkoj doktrini.
In this paper the Byzantine and Creto-Venetian icons will be presented as an important source of ... more In this paper the Byzantine and Creto-Venetian icons will be presented as an important source of inspiration in Croatian painting in the early 20th century. The author places that phenomenon within the context of European primitivism, a tendency of searching for inspiration in tribal, folk and medieval art in order to find an authentic, primordial expression. Intuitively recognising the spiritual dimension of icons some Croatian artists such as Jerolim Miše, Maksimilijan Vanka, Jozo Kljaković and Ljubo Babić used a number of Byzantine elements in some of their paintings, such as the flatness and linearity of design, hieratic posture and the flawless symmetrical frontality of a displayed character, the intense gaze directed at the observer, the golden background and the halo of light around the head. At the same time Iljko Gorenčević emphasised the connections and the similarities between the old icon art and the contemporary Expressionism, and Jerolim Miše recommended Russian and Byzantine art as a source of inspiration, for its deep spiritual insight. Kosta Strajnić explained this trend as an interest in other Slavic cultures, directed towards the creation of a new South Slavic culture in the period before the formation of a new Yugoslav state in 1918.
SAŽETAK: U ovome radu postavit će se teza o odlučujućem utjecaju Petra Dobrovića na formiranje ko... more SAŽETAK: U ovome radu postavit će se teza o odlučujućem utjecaju Petra Dobrovića na formiranje kolorističke faze Jerolima Miše, koja je karakteristična za njegov izraz tijekom 1930-ih godina. Kako bi se što bolje objasnio kontekst i argumentirala estetička podloga ovoga utjecaja, u tekstu će se ukratko predstaviti Mišino stvaralaštvo i obrazovno-radni vijek, s posebnim naglaskom na prisutnost unutar srpske likovne scene te rekapitulirati važnost i uloga Dobrovićeva slikarstva u hrvatskoj likovnoj umjetnosti. Također, komparativno će se sagledati Mišin i Dobrovićev opus, kako u slikarskome, tako i u likovno-kritičarskom smislu, a uočene podudarnosti nedvosmisleno će uputiti na logiku i opravdanost međusobnih komunikacija i utjecaja.
U ovoj studiji razmatra se uloga Antuna Gustava Matoša kao likovnoga kritičara i naslijeđe koje s... more U ovoj studiji razmatra se uloga Antuna Gustava Matoša kao likovnoga kritičara i naslijeđe koje su njegova riječ i misao ostavile u hrvatskoj povijesti umjetnosti. Uočena je njegova važnost u historiografiji hrvatske karikature, a prepoznat je i kao preteča kasnijih teza o »našemu izrazu«. Unutar njegova esteticističkoga likovnog programa, zamijećeno je i implicitno razumijevanje protoavangardnih pojava, a neke njegove ocjene pojedinih protagonista hrvatske likovne scene do danas su odredile stav struke prema njima. Stogodišnjica smrti velikog književnika, publicista i kritičara Antuna Gustava Matoša (1873.–1914.), čiji je snažni kulturni angažman rezultirao i interesom za likovnu umjetnost, do-bar je povod za rekapitulaciju i novo promišljanje njegove uloge u hrvatskoj likovnoj kritici te sagledavanje važnosti njegova naslijeđa za hrvatsku povijest umjetnosti. 1 Ova vremenska distanca pružit će nam potrebnu objektivnost u izvođenju teza i zaključaka pri ponovnom čitanju Matoše-vih tekstova s likovnom tematikom, kao i prilikom uvida u tekstove drugih autora koji su razmatrali njegov doprinos hrvatskoj likovnoj kritici. Interes za Matoša u hrvatskoj povijesti umjetnosti nije bez osnove jer gotovo da nema onovremene likovne ak-tualnosti o kojoj nije izrekao svoje mišljenje, pa je Matoš gotovo neizostavna referencija u prikazima brojnih likovnih tema i opusa. Zahvaljujući autoritetu koji je posjedovao na području kulturnih tema te iznimnoj sugestivnosti njegovih riječi, nije neobično da je svojim tekstovima dao izvjesni poticaj unutar određenih opusa i likovnih usmjerenja, ali i utjecao na neke povijesnoumjetničke ocjene i teze, koje su do danas ostale upisane kao opća mjesta u znanstvenoj misli hrvatske povijesti umjetnosti. Kako bismo precizno utvrdili njegov prinos kako unutar razvoja hrvatske likovne umjetnosti tako i povijesti umjetnosti, potrebno je najprije utvrditi dosadašnje mjesto Matoša na području likovnosti.
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.
U radu se predstavlja i problemski analizira korpus pisama koje je hrvatski slikar Jerolim Miše p... more U radu se predstavlja i problemski analizira korpus pisama koje je hrvatski slikar Jerolim Miše pisao svojoj zaručnici, kasnije supruzi, Anki Miše, rođenoj Malešević, pronađenih u slikarevoj ostavštini i jednoj privatnoj zbirci. Pisma su se pokazala iznimno važnima za rekonstrukciju biografije i opusa Jerolima Miše, kao vjerodostojan uvid u niz zanimljivih zbivanja u razdoblju djelovanja Proljetnoga salona, Grupe nezavisnih umjetnika i Grupe trojice, ali i kao posve intiman pogled u svijet umjetnika koji je izrazito refleksivan u smislu promišljanja sebe kao umjetnika, umjetnikova mjesta u društvu, ali i same umjetnosti, sve u skladu s općim odrednicama »duha vremena«. Pisma su podijeljena po razdobljima u tri skupine (1915–19., 1922. i 1926–70) i razmatrana kroz dva aspekta – intimni i javni. Toj osnovnoj podjeli dodan je i pogled iz rodnoga rakursa.
Apstrakt: I ako je Nadežda Petrović samo jednom izlagala u Hrvatskoj, i to tri slike na skupnoj i... more Apstrakt: I ako je Nadežda Petrović samo jednom izlagala u Hrvatskoj, i to tri slike na skupnoj izložbi Društva " Medulić " u Zagrebu 1910. godine, uočena je važnost nekih tekstova hrvatskih likovnih kritičara u ukupnoj kritičkoj recepci-ji njezina djela. Unatoč činjenici da najveći broj autora u svojim prikazima izložbi na kojima je izlagala s hrvatskim umjetnicima, Nadeždino ime i djelo potpuno prešućuje ili samo nabraja kao statističku činjenicu, u izdvojena četiri teksta (anonimnoga autora iz Obzora, Antuna Gustava Matoša, Dimitrija Mitrinovića i Jerolima Miše) implicitno je prisutno razumijevanje njezina djela. Svaki od ovih kritičara, unatoč vlastitim impresionističkim polazištima, uočava upravo ekspresionističke progresivne značajke njezina djela, ali i snagu njezina izraza. U radu se recepcija razmatra i iz rodnoga rakursa: uočeno je da kritičari u čijim interpretacijama dominiraju patrijarhalne teze (Kosta Strajnić, Ma-toš, Miše), pri tumačenju Nadeždina djela napuštaju konvencionalni ključ muškoga tumačenja ženskoga djela. Razlog tomu traži se u njezinome, za tadašnje pojmove " muškom " , političkom i socijalnom angažmanu, " muškoj " slikarskoj profesiji i odlasku na front, ali i ne manje važnoj, u tadašnje vrijeme za ženu neočekivanoj sigurnosti, snazi i hrabrosti likovnoga izraza. Ukratko će se rekapitulirati i poslijeratna recepcija Nadeždina djela, s osobitim naglaskom na tekstove progresivnih kritičara: Miće Bašičevića i Radoslava Putara.
Katalog izložbe Na prekretnici: Jerolim Miše i Slavonski Brod održane 2023. u Muzeju Brodskog Pos... more Katalog izložbe Na prekretnici: Jerolim Miše i Slavonski Brod održane 2023. u Muzeju Brodskog Posavlja u Slavonskom Brodu
This exhibition catalogue presents an opportunity to show the results of the interdisciplinary co... more This exhibition catalogue presents an opportunity to show the results of the interdisciplinary consideration of a well-rounded, consistent and aesthetically clearly articulated oeuvre of a Croatian painter Jerolim Miše. Within the two aesthetic concepts of “subjectivation” and “objectivation”, which correspond to the two main phases of Miše’s work, his oeuvre is divided into units configured according to the selected characteristic thematic or ideological preoccupations, and within them we follow parallels and analogies in their artistic and literary forms. In addition, we highlight all those forces – the historical, political and social context, the intellectual and spiritual horizon as well as ideologemes and spirit of the times – that were reflected in his works and that reveal to us how incredibly layered this complex oeuvre really is.
U knjizi se donosi izbor likovnih kritika Jerolima Miše, kao i studija u kojoj se razmatraju filo... more U knjizi se donosi izbor likovnih kritika Jerolima Miše, kao i studija u kojoj se razmatraju filozofske postavke i glavne odrednice njegove likovno-kritičke misli.
Knjiga Imago, imaginatio, imaginabile. Zbornik u čast Zvonka Makovića
objavljena je u izdanju Fil... more Knjiga Imago, imaginatio, imaginabile. Zbornik u čast Zvonka Makovića objavljena je u izdanju Filozofskog fakulteta Sveučilišta u Zagrebu, a u njezinoj su realizaciji sudjelovali povjesničari umjetnosti, povjesničari, filozofi, konzervatori, etnolozi i muzejski djelatnici iz Hrvatske, Srbije i Italije. Zbornik na 448 stranica donosi 22 priloga o različitim temama s polja povijesti umjetnosti i kulturne povijesti te životopis i bibliografiju profesora Zvonka Makovića. Autori priloga su: Sanja Cvetnić, Franko Ćorić, Nadežda Čačinovič, Dragan Damjanović, Frano Dulibić, Ljerka Dulibić, Iskra Iveljić, Jasna Jovanov, Irena Kraševac, Silvija Lučevnjak, Lovorka Magaš Bilandžić, Tonko Maroević, Dino Milinović, Jasminka Najcer Sabljak, Iva Pasini Tržec, Milan Pelc, Tihana Petrović Leš, Giovanni Rubino, Katarina Nina Simončič, Ana Šeparović, Andreja Šimičić, Žarko Španiček, Radoslav Tomić i Daniel Zec. Urednici knjige su Lovorka Magaš Bilandžić i Dragan Damjanović.
U ovoj knjizi kombiniranjem monografskoga i problemskoga pristupa nastojalo se, ne samo formalno ... more U ovoj knjizi kombiniranjem monografskoga i problemskoga pristupa nastojalo se, ne samo formalno i stilski, već i kontekstualno, što slojevitije razraditi ključne aspekte djela hrvatskoga slikara i likovnoga kritičara Jerolima Miše, koji je djelovao tijekom prve polovine 20. stoljeća. Osim neophodnoga faktografsko-deskriptivnoga sloja koji rasvjetljava biografske podatke i značajke njegovih radova odnosno tekstova, interdisciplinarnim i kontekstualnim pristupom otvaraju se problemske cjeline, te na kraju i tri ekskursa kojima je njegovo djelo sagledano iz tri alternativna rakursa: u kontekstu ideološkog antimodernizma, sa stanovišta rodne problematike i preko teme autoportreta.
The review of the book Watching Waiting: The Photographic Representation of Empty Places, ed. Sa... more The review of the book Watching Waiting: The Photographic Representation of Empty Places, ed. Sandra Križić Roban, Ana Šverko. Leuven: Leuven University Press, 2023.
Prikaz izložbe i kataloga Umjetnost i život su jedno: Udruženje umjetnika Zemlja 1929.–1935. i pu... more Prikaz izložbe i kataloga Umjetnost i život su jedno: Udruženje umjetnika Zemlja 1929.–1935. i publikacije Problem umjetnosti kolektiva – slučaj Zemlja (2019)
Prikaz izložbe S obje strane objektiva (Zagreb 2016) i znanstvenog skupa (Novi Sad 2016) održanih... more Prikaz izložbe S obje strane objektiva (Zagreb 2016) i znanstvenog skupa (Novi Sad 2016) održanih povodom 100-godišnjice smrti slikarice Nadežde Petrović.
Prikaz Devetog međunarodnoga znanstvenog skupa ikonografskih studija Icons and Iconology održanog... more Prikaz Devetog međunarodnoga znanstvenog skupa ikonografskih studija Icons and Iconology održanog 2015. na Filozofskom fakultetu u Rijeci.
Izlaganje održano na znanstveno-stručnom simpoziju Inzularnost - rubovi europskih identiteta (Šip... more Izlaganje održano na znanstveno-stručnom simpoziju Inzularnost - rubovi europskih identiteta (Šipan, 12 - 15. listopada 2015).
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Papers by Ana Separovic
izložbe Proljetnoga salona iz 1916., gdje zagovara umjetnički rad žena kao dio društveno progresivnog pokreta. Zatim se razmatraju njegove kritike, u kojima umjetnicama, prvenstveno članicama Kluba likovnih umjetnica, osporava sposobnost umjetničke kreacije i ograničava ih na područje primijenjene umjetnosti. Naposljetku, analiziraju se njegovi
pregledi hrvatske moderne umjetnosti u kojima su umjetnice gotovo u potpunosti prešućene.
Croatian art ever written, and the art historical canon within which the women artists were marginalized or, more likely, completely left out.
approaches from art history, ethnology and cultural anthropology, the paper will contribute to the reappraisal of the “naturalness” of gender and class positions in a society. Out of all the photographs published in photography magazines, we chose those—about 350 photographs published between 1927 and 1941—that show the human figure, and our examination implied the abandoning the classical interpretive apparatus,
aesthetic evaluations and reliance on the usual historical and artistic interpretations of these and similar images. The method used to analyze the depicted characters and situations relied on the analysis of the content, or more precisely on the image inventory, according to the frequency of individual motifs. The main aspects considered in selecting the photographs include representation according to occupation, ways
of spending leisure time and emotions exhibited by characters, as well as the objects that surround them, their posture, actions they are engaged in, space in which they are located, age structure, etc. This method resulted in a complex understanding of dominant representation practices and patterns, as well as the presumed social asymmetries, and revealed how
photography of that time expressed, reflected, encouraged and perpetuated stereotyping of certain social groups.
with nature. Just like Antun Gustav Matoš and Ljubo Babić, in this national space inhabited by people Miše finds the centre of national identity. With such
landscapes he produces idealized and class conditioned image of the land and people, which is ideologically compatible with the national aspirations of the
Croatian Peasant Party (Hrvatska seljačka stranka).
Hrvatske iz 1960-ih kojima je uporište u ideji o »sintezi likovnih
umjetnosti«: organizacija izložbi Zagrebačkoga salona i zalaganje
za obavezni postotak koji bi se odvajao za likovnu opremu pri svakoj
javnoj izgradnji. Budući da ULUH u razdoblju 1950-ih i 1960-ih
privilegira onu varijantu umjerenoga modernizma koja se zasniva na
ideji o autonomiji umjetnosti, vrijedno je istaknuti te dvije inicijative
koje proizlaze iz ideje o sintezi, kao projekta druge, racionalističke
varijante modernizma. Pritom se razmatra reformatorski potencijal
ideje o sintezi, koja je iskorištena kao sredstvo u procesu modernizacije
i demokratizacije Društva u tome razdoblju ‘tranzicije’ ULUH-a iz doktrinarnog i birokratskog u moderno strukovno udruženje. Cilj je ovoga
rada na temelju arhivske dokumentacije, prikazom jednoga segmenta
svijeta umjetnosti 1960-ih, dijelom rasvijetliti njegovo funkcioniranje
i institucionalnu infrastrukturu.
the Croatian territory—a joint exhibition of female artists.
This was the Intimate Exhibition of the Spring Salon held in 1916,
which represented a harbinger of women’s artistic association
in this region and brought a wholly new dimension
of exhibition practice as one of the results of the first wave
of the feminist movement. The paper presents a history of
the idea of assembling female visual artists related to the
exhibition of Nasta Rojc, Mila Wod and the Croatian folk
art that took place in Vienna in 1914, and gives a contextual
analysis of the impact of the First World War on gender roles
and women’s position in society. The main part of the paper
focuses on the recording and systematisation of antifeminist
utterances which accompanied the 1916 Intimate Exhibition —
primarily those by Kosta Strajnić and Vladimir Lunaček—
and locates the origins of these utterances in the “feminine
stereotype” and the notion of creativity as an ideological
component of masculinity (Griselda Pollock). On the other
hand, such attitudes provoked a feminist reaction which
led to the first openly feminist utterances in the public space
(Zofka Kveder, Andrija Milčinović), while the exhibition
itself not only brought visibility to female artists on the
Croatian visual art scene, but can be considered as the first
step in feminist aspiration towards mastering the visual
arts domain of public activities within the dominant patriarchal
social model.
they also resulted in openly feminist voices of authors such as Roksana Cuvaj, Zdenka Marković, Marija Hanževački, Verena Han, Nasta Rojc, Zofka Kveder, and others. Based on historiographical sources and texts from the field of feminist theory, this analysis of the art-critical corpus has identified the main strongholds of feminist discourse: disclosure of misogyny and its sources in public opinion and prejudice, critique of the
social construction of female inferiority, research on women’s art history, endorsement and praise of female art, and so on. It was these feminist statements that enhanced creative self-awareness in women artists and also slowly tamed the society by getting it used to their presence, leading to the gradual suppression of stereotypes and slow dissolution
of the dominant patriarchal matrix in Croatian art during the 20th century.
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.
izložbe Proljetnoga salona iz 1916., gdje zagovara umjetnički rad žena kao dio društveno progresivnog pokreta. Zatim se razmatraju njegove kritike, u kojima umjetnicama, prvenstveno članicama Kluba likovnih umjetnica, osporava sposobnost umjetničke kreacije i ograničava ih na područje primijenjene umjetnosti. Naposljetku, analiziraju se njegovi
pregledi hrvatske moderne umjetnosti u kojima su umjetnice gotovo u potpunosti prešućene.
Croatian art ever written, and the art historical canon within which the women artists were marginalized or, more likely, completely left out.
approaches from art history, ethnology and cultural anthropology, the paper will contribute to the reappraisal of the “naturalness” of gender and class positions in a society. Out of all the photographs published in photography magazines, we chose those—about 350 photographs published between 1927 and 1941—that show the human figure, and our examination implied the abandoning the classical interpretive apparatus,
aesthetic evaluations and reliance on the usual historical and artistic interpretations of these and similar images. The method used to analyze the depicted characters and situations relied on the analysis of the content, or more precisely on the image inventory, according to the frequency of individual motifs. The main aspects considered in selecting the photographs include representation according to occupation, ways
of spending leisure time and emotions exhibited by characters, as well as the objects that surround them, their posture, actions they are engaged in, space in which they are located, age structure, etc. This method resulted in a complex understanding of dominant representation practices and patterns, as well as the presumed social asymmetries, and revealed how
photography of that time expressed, reflected, encouraged and perpetuated stereotyping of certain social groups.
with nature. Just like Antun Gustav Matoš and Ljubo Babić, in this national space inhabited by people Miše finds the centre of national identity. With such
landscapes he produces idealized and class conditioned image of the land and people, which is ideologically compatible with the national aspirations of the
Croatian Peasant Party (Hrvatska seljačka stranka).
Hrvatske iz 1960-ih kojima je uporište u ideji o »sintezi likovnih
umjetnosti«: organizacija izložbi Zagrebačkoga salona i zalaganje
za obavezni postotak koji bi se odvajao za likovnu opremu pri svakoj
javnoj izgradnji. Budući da ULUH u razdoblju 1950-ih i 1960-ih
privilegira onu varijantu umjerenoga modernizma koja se zasniva na
ideji o autonomiji umjetnosti, vrijedno je istaknuti te dvije inicijative
koje proizlaze iz ideje o sintezi, kao projekta druge, racionalističke
varijante modernizma. Pritom se razmatra reformatorski potencijal
ideje o sintezi, koja je iskorištena kao sredstvo u procesu modernizacije
i demokratizacije Društva u tome razdoblju ‘tranzicije’ ULUH-a iz doktrinarnog i birokratskog u moderno strukovno udruženje. Cilj je ovoga
rada na temelju arhivske dokumentacije, prikazom jednoga segmenta
svijeta umjetnosti 1960-ih, dijelom rasvijetliti njegovo funkcioniranje
i institucionalnu infrastrukturu.
the Croatian territory—a joint exhibition of female artists.
This was the Intimate Exhibition of the Spring Salon held in 1916,
which represented a harbinger of women’s artistic association
in this region and brought a wholly new dimension
of exhibition practice as one of the results of the first wave
of the feminist movement. The paper presents a history of
the idea of assembling female visual artists related to the
exhibition of Nasta Rojc, Mila Wod and the Croatian folk
art that took place in Vienna in 1914, and gives a contextual
analysis of the impact of the First World War on gender roles
and women’s position in society. The main part of the paper
focuses on the recording and systematisation of antifeminist
utterances which accompanied the 1916 Intimate Exhibition —
primarily those by Kosta Strajnić and Vladimir Lunaček—
and locates the origins of these utterances in the “feminine
stereotype” and the notion of creativity as an ideological
component of masculinity (Griselda Pollock). On the other
hand, such attitudes provoked a feminist reaction which
led to the first openly feminist utterances in the public space
(Zofka Kveder, Andrija Milčinović), while the exhibition
itself not only brought visibility to female artists on the
Croatian visual art scene, but can be considered as the first
step in feminist aspiration towards mastering the visual
arts domain of public activities within the dominant patriarchal
social model.
they also resulted in openly feminist voices of authors such as Roksana Cuvaj, Zdenka Marković, Marija Hanževački, Verena Han, Nasta Rojc, Zofka Kveder, and others. Based on historiographical sources and texts from the field of feminist theory, this analysis of the art-critical corpus has identified the main strongholds of feminist discourse: disclosure of misogyny and its sources in public opinion and prejudice, critique of the
social construction of female inferiority, research on women’s art history, endorsement and praise of female art, and so on. It was these feminist statements that enhanced creative self-awareness in women artists and also slowly tamed the society by getting it used to their presence, leading to the gradual suppression of stereotypes and slow dissolution
of the dominant patriarchal matrix in Croatian art during the 20th century.
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.
objavljena je u izdanju Filozofskog fakulteta Sveučilišta u Zagrebu, a u
njezinoj su realizaciji sudjelovali povjesničari umjetnosti, povjesničari,
filozofi, konzervatori, etnolozi i muzejski djelatnici iz Hrvatske, Srbije
i Italije. Zbornik na 448 stranica donosi 22 priloga o različitim temama s
polja povijesti umjetnosti i kulturne povijesti te životopis i bibliografiju profesora Zvonka Makovića. Autori priloga su: Sanja Cvetnić, Franko Ćorić, Nadežda Čačinovič, Dragan Damjanović, Frano Dulibić, Ljerka Dulibić, Iskra Iveljić, Jasna Jovanov, Irena Kraševac, Silvija Lučevnjak, Lovorka Magaš Bilandžić, Tonko Maroević, Dino Milinović, Jasminka Najcer Sabljak, Iva Pasini Tržec, Milan Pelc, Tihana Petrović Leš, Giovanni Rubino, Katarina Nina Simončič, Ana Šeparović, Andreja Šimičić, Žarko Španiček, Radoslav Tomić i Daniel Zec.
Urednici knjige su Lovorka Magaš Bilandžić i Dragan Damjanović.