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- Jasna Jovanov, Ph.D. jasna.jovanov@gmail.com Graduated from the Belgrade Faculty of Philosophy History of Art Depart... moreJasna Jovanov, Ph.D.
jasna.jovanov@gmail.com
Graduated from the Belgrade Faculty of Philosophy History of Art Department, where she also submitted her magisterial thesis. She got her Ph.D. at the Novi Sad University Center for Interdisciplinary and Multidisciplinary Studies. She worked at the Gallery of Matica Srpska in Novi Sad a from 1978 until 1992, and afterward until 1999, she was involved in private research, occasionally contracted by the Museum of Modern Art. Since 1999, she is appointed as The Pavle Beljanski Memorial Collection director and chief curator. She is a Professor of Art History at the Novi Sad Faculty of Sciences Department of Geography, Tourism and Hotel Management (since 2005) and at the Novi Sad EDUCONS University Academy of Classic Painting (since 2008).
Her research topics are within area of Modern Art; she published her research in various monographs and papers, as well as in catalogues of the exhibitions: on Dadaism in Yugoslavia, about artists: Stevan Aleksić, Nadežda Petrović, Marko Murat, Vlaho Bukovac, Risto Stijović, Danica Jovanović; papers related to problems of legacies, connections and relations between art and tourism, art and politics, and about art critic. She write art critic, essays on the subject of fine arts, design and photography, TV scripts and translate texts on history and theory of art and fiction. She was an editor of numerous publications, especially monograph of The Pavle Beljanski Memorial Collection and “Flat Horizon: Art and Life of Milan Konjović” published by Fibonacci Accademic Press, San Francisco. For her contribution in the field of promotion of modern art, she received The Spark of Culture Award (2003), and the ICOM National Committee Curator of the Year Award (2008, 2010, 2013, 2016).edit
Ljubica Cuca Sokić 1914 - 2009 - 2014 Although extremely autonomous both as a person and as an artist, LJubica Cuca Sokić has nurtured good professional and personal relations with artists from the earliest days her generation, as well... more
Ljubica Cuca Sokić 1914 - 2009 - 2014
Although extremely autonomous both as a person and as an artist, LJubica Cuca Sokić has nurtured good professional and personal relations with artists from the earliest days her generation, as well as later with students to whom she passed on some of her creativity. During most of her long creative life, she performed independently in public. except for a short period in 1940, when she was one of the founders and a member of the Group of Ten.
The group's work manifested itself in two exhibitions - one was held in February
in Belgrade, and the second in Zagreb in September. Although the group did not have a single program, nor was uniformity of expression demanded from the artist, it is possible with some members determine the common characteristics, as opposed to the mutual differences that make them up autonomous creators. About the reasons for the gathering of the group, as well as about the reaction of the public to wen performance, we learn from announcements and shows in Belgrade, Novi Sad and Zagreb press, and about the layout of the exhibition based on photos published also in press or discovered in the archives of individual artists. The goal of the author of this paper is to round up and evaluate the sources on that topic, and to determine the course of events, reconstructs u as far as possible the appearance of the settings, as well as to summarize the reactions of the public opinion.
Key words. - Ten, exhibitions, art groups, art criticism, Belgrade, Zagreb
Although extremely autonomous both as a person and as an artist, LJubica Cuca Sokić has nurtured good professional and personal relations with artists from the earliest days her generation, as well as later with students to whom she passed on some of her creativity. During most of her long creative life, she performed independently in public. except for a short period in 1940, when she was one of the founders and a member of the Group of Ten.
The group's work manifested itself in two exhibitions - one was held in February
in Belgrade, and the second in Zagreb in September. Although the group did not have a single program, nor was uniformity of expression demanded from the artist, it is possible with some members determine the common characteristics, as opposed to the mutual differences that make them up autonomous creators. About the reasons for the gathering of the group, as well as about the reaction of the public to wen performance, we learn from announcements and shows in Belgrade, Novi Sad and Zagreb press, and about the layout of the exhibition based on photos published also in press or discovered in the archives of individual artists. The goal of the author of this paper is to round up and evaluate the sources on that topic, and to determine the course of events, reconstructs u as far as possible the appearance of the settings, as well as to summarize the reactions of the public opinion.
Key words. - Ten, exhibitions, art groups, art criticism, Belgrade, Zagreb
Collection of papers from the Conference held in Ohrid in September 2029 on investigation, protection and management of cultural heritage: Ratko Duev, Elizabeta Dimitrova, Irena Teodora Vesevska and Jovana Savevska organizers.
Research Interests:
This is the catalog of the exhibition of the Memorial Collection of Pavel Beljanski, which was held in the Art Pavilion in Zagreb./Radi se o katalogu izložbe Spomen-zbirke Pavla Beljanskoga koja je održana u Umjetnickom paviljonu u Zagrebu.
Research Interests:
Exhibitions of the Independent Artists Group in Vojvodina 1924–1925 The activity of the Independent Artists Group between 1921 and 1927 consisted mainly of participating in group exhibitions or of individual exhibitions of the majority... more
Exhibitions of the Independent Artists Group in Vojvodina 1924–1925
The activity of the Independent Artists Group between 1921 and 1927 consisted mainly of participating in group exhibitions or of individual exhibitions of the majority of group members. The Group insisted on exhibiting their works in places outside major artistic centres of the Kingdom of Yugoslavia, especially in Croatia and in Vojvodina. In the course of 1924 and 1925 the Group organized two series of exhibitions, first in Novi Sad and Sombor, and then in Stari Bečej, Novi Bečej, Senta, Velika Kikinda (Kikinda) and Veliki Bečkerek (Zrenjanin). The Independent Artists Group also participated in the 5th Yugoslav Art Exhibition (V jugoslovenska umetnička izložba) in Belgrade, where they exhibited alongside artists of the Spring Salon
(Proljetni salon), as well as in Novi Sad in the 6th Yugoslav Art Exhibition (VI jugoslovenska umetnička izložba), which was their last exhibition. Members of the group changed, so that all exhibitions in question included the works of Jerolim Miše and Vladimir Varlaj, and some of them the works of Ljubo Babić, Jozo Kljaković, Zlatko Šulentić, Frano Kršinić, Marin Studin, Ivan Meštrović, Vladimir Becić and Krsto Hegedušić. The Independent Artists Group represents one of the artistic collectives active during the interwar period, brought together solely on the basis of artistic criteria. Furthermore, incited by the ideas of de-metropolisation of art, of bringing culture closer to wider public in light of the influence of post-revolutionary Russia, as well as by the intention to exert a commercial effect, the Group started the aforementioned series of travelling exhibitions. New findings enabled the identification of Jeronim Miše as the ideator of the said process, while the research of archival documents and media coverage permitted the analysis of these exhibitions and the
attempt of identifying the exhibited works, as well as an inquiry into the afterlife of sold paintings.
The activity of the Independent Artists Group between 1921 and 1927 consisted mainly of participating in group exhibitions or of individual exhibitions of the majority of group members. The Group insisted on exhibiting their works in places outside major artistic centres of the Kingdom of Yugoslavia, especially in Croatia and in Vojvodina. In the course of 1924 and 1925 the Group organized two series of exhibitions, first in Novi Sad and Sombor, and then in Stari Bečej, Novi Bečej, Senta, Velika Kikinda (Kikinda) and Veliki Bečkerek (Zrenjanin). The Independent Artists Group also participated in the 5th Yugoslav Art Exhibition (V jugoslovenska umetnička izložba) in Belgrade, where they exhibited alongside artists of the Spring Salon
(Proljetni salon), as well as in Novi Sad in the 6th Yugoslav Art Exhibition (VI jugoslovenska umetnička izložba), which was their last exhibition. Members of the group changed, so that all exhibitions in question included the works of Jerolim Miše and Vladimir Varlaj, and some of them the works of Ljubo Babić, Jozo Kljaković, Zlatko Šulentić, Frano Kršinić, Marin Studin, Ivan Meštrović, Vladimir Becić and Krsto Hegedušić. The Independent Artists Group represents one of the artistic collectives active during the interwar period, brought together solely on the basis of artistic criteria. Furthermore, incited by the ideas of de-metropolisation of art, of bringing culture closer to wider public in light of the influence of post-revolutionary Russia, as well as by the intention to exert a commercial effect, the Group started the aforementioned series of travelling exhibitions. New findings enabled the identification of Jeronim Miše as the ideator of the said process, while the research of archival documents and media coverage permitted the analysis of these exhibitions and the
attempt of identifying the exhibited works, as well as an inquiry into the afterlife of sold paintings.
Danica Jovanović (1886-1914): Jahre und Ereignisse Im Oktober 1963 wurde das Gemälde Der Kopf der Zigeunerin von Danica Jovanović unter anderem im Museum von Srem, in Sremska Mitrovica, in der Ausstellung mit dem Titel „Nadežda Petrović... more
Danica Jovanović (1886-1914): Jahre und Ereignisse
Im Oktober 1963 wurde das Gemälde Der Kopf der Zigeunerin von Danica Jovanović unter anderem im Museum von Srem, in Sremska Mitrovica, in der Ausstellung mit dem Titel „Nadežda Petrović und die Anfänge der modernen serbischen Malerei“ ausgestellt. Fast fünfzig Jahre nach ihrem tragischen Tod wurde das Werk der serbischen Malerin Danica Jovanović, neben den Gemälden ihrer bekanntesten Zeitgenossen, wie Beta Vukanović, Nadežda Petrović, Milan Milovanović, Kosta Milićević, Natalija Cvetković, Miloš Golubović und anderen ausgestellt. Eine sorgfältigere Analyse von Danica Jovanovićs Werk und Persönlichkeit dauerte fast weitere 25 Jahre, wodurch ihre Gemälde zum ersten Mal zusammen an einem Ort ausgestellt wurden. Während dieser langen Zeit, die vom September 1914 bis zur Ausstellung dauerte, war ihre künstlerische Tätigkeit mehr oder weniger beiläufig, eher im Zusammenhang mit ihrem tragischen Tod als in Bezug auf ihre Bedeutung für die moderne serbische Kultur und Kunst, erwähnt worden. Die Briefe, die Danica Jovanović an ihre frühere Kunstlehrerin aus Novi Sad, Anđelija Sandić, und an die Schulleiterin des Frauengymnasiums von Novi Sad, Arkadije Varađanin, schrieb, werfen ein wenig mehr Licht auf ihre Persönlichkeit. Sie offenbaren Fragmente ihres Privatlebens und ihrer Studienzeit in München, ihre Einstellung zur Malerei, sowie ihre Zukunftsentwürfe. Andererseits gibt es viele Details, die wichtig erscheinen, wie beispielsweise die Namen von Professoren und Kollegen, mit denen sie Zeit verbracht hat, sowie ihre Eindrücke von bei möglichen Reisen durch Europa, den Kosovo und den Süden Serbiens während der Balkankriege (höchstwahrscheinlich in Sommer 1913), geheim geblieben. Es scheint sogar, dass Danica Jovanović Fakten über ihre Reisen durch die, während der Balkankriege von den Türken befreiten Gebiete, bewusst geheim gehalten hat. Sie war Bürgerin des Österreichisch - Ungarischen Reiches, daher war ihre Geheimhaltung ganz logisch. In den Geburtsbüchern der Kirche in Beška findet man eine Notiz über die Geburt von Danica Jovanović, am 4. Januar 1886. Die nächsten, später für ihre Biografie wichtigen schriftlichen Daten, stammen erst aus der Zeit ihrer verspäteten Einschulung in Novi Sad (1904–1907). Das von der Welt der Kunst faszinierte Mädchen aus Beška fand es höchstwahrscheinlich äußerst schwierig, ihrem Umfeld zu beweisen, dass die Malerei der einzige Weg in ihrem Leben war, der es wert war, beschritten zu werden. Sie beharrte jedoch auf ihren Überzeugungen und begann schließlich im Herbst 1907 ihre künstlerische Ausbildung an der Kunstgewerbeschule in Belgrad. Danach hielt sich Danica vom Oktober 1909 bis zum Juli 1914 in München auf. Am 1. Dezember 1909 trat in die Damenkunstakademie ein. Das erste Jahr des Studiums schloss sie, nach eigenen Angaben, als eine der besten Studentinnen der Akademie ab, was sie sehr stolz machte. Sie betrachtete die Malerei als ihre einzige Berufung im Leben. In ihrem zweiten Jahr begann sie mit der Ölmalerei und durfte das Gemälde von Peter Paul Rubens, in der Königlichen Pinakothek kopieren. Sie wollte ein Diplom machen, damit sie an Schulen unterrichten darf. Gleichzeitig war ihr bewusst, dass das Abitur ihre Ausbildung nicht beendete Sie wollte nach Rom, in „die mit Stücken des Klassizismus gepflasterte Stadt“. Sie beabsichtigte auch, nach ihrem Studienabschluss in München, in ihre nach Heimat zurückzukehren und Frauen das Entwerfen von Teppichmustern beizubringen. Skizzen, die sie von Bauern in farbenfrohen Volkstrachten zeichnete, sind ein weiteres Ergebnis ihrer Interessenslage. Nach ihrem Abschluss an der Kunstakademie für Frauen, im Jahr 1914 durfte Danica Jovanović als Kunstlehrerin arbeiten und Sie erwarb den Titel einer ausgebildeten akademischen Malerin. Dadurch wurde sie in den Kunstfrauenverein aufgenommen, was ihr die Teilnahme an Ausstellungen in München ermöglichte. Ihr Wunsch, serbische Frauen zu unterrichten und ihnen die Kunst des Volksschmucks beizubringen, ist auch Ausdruck von Danicas tiefem Patriotismus. Eine Bürgerin Österreich-Ungarns, die zusammen mit anderen serbischen Studenten, Zeit in München verbracht hatte, nach Belgrad und in andere Teile Serbiens gereist war, um dort Arbeit zu finden, muss den Verdacht der Behörden erweckt haben. Es ist also kein Wunder, dass Danica zu denen gehörte, die in Beška festgenommen und in Petrovaradin vor ein Kriegsgericht gestellt worden sind.
Die Schlacht auf dem Berg Cer war eine der ersten bedeutenden Militäroperationen im Ersten Weltkrieg und fand vom 1. bis 8. August statt, genau zu der Zeit, als Danica Jovanović aus München gekehrt war. In Beška, wie in vielen anderen serbischen Dörfern nördlich der Sava und der Donau, warteten die Menschen aufgeregt auf die Ankunft serbischer Soldaten vom Schlachtfeld und sie stellten brennende Kerzen in den die Fenster. Doch statt der erwarteten Befreier trafen die österreichischen Soldatentruppen ein. Als Vergeltungsmaßnahme nahmen sie Geiseln gefangen. Danica Jovanović war in der Gruppe von Menschen aus Beška, die am 12. September 1914 in der Festung Petrovaradin erschossen wurden. Danica Jovanović war eine der wenigen Malerinnen aus der Vojvodina und auch eine der letzten serbischen Malerinnen, die München als ihren Ausbildungsort gewählt hatten.
Ihr künstlerischer Nachlass lässt sich in zwei Gruppen einteilen:
Zum einen, die Arbeiten mit Bezug zur Akademie in ihrer Münchner Zeit. Zum anderen Gemälde, die während ihrer Sommerferien und auf Reisen entstanden sind.
Aus der Studienzeit gibt es zwei Skizzenblöcke mit einer Reihe von Zeichnungen (eine davon ist Danicas Selbstporträt), die ihre Fähigkeit zeigen, dem, was sie gezeichnet hat, mit Blei- und Kohlestiften mit festen und energischen Strichen Form zu geben, ohne viele Details oder Unsicherheiten. Dann sind da ihre Ölgemälde auf Karton oder Leinwand, meist Studien von Köpfen verschiedener Akademiemodelle, gemalt nach Schulregeln, wie gleichmäßige unauffällige Striche, reduzierte dunkle Farben, konventionelle Schattierungen. Diese tragen zu einer sehr realistischen Herangehensweise bei. Was die Arbeit von Danica Jovanović herausragend macht, sind die Gemälde, in denen ihr energischer Charakter zum Vorschein kommt, z.B. mit dicker Paste gemalt, mit kräftigen, bewussten Strichen, die oft den Umrissen folgen, und mit leuchtenden Farben, die immer Akzente zulassen. Danica Jovanović erklärte sich eindeutig zur Koloristin und interessierte sich hauptsächlich für das Aufeinanderprallen farbiger Oberflächen und das Lichtspiel, das sie miteinander verbinden konnte. Danica Jovanović interessierte sich auch für symbolische Malerei.
Sie hat in einer Reihe von Ölgemälden viele Symbole in ihr Thema aufgenommen, wie dies in ihrem Werk vom blinden Zigeuner-Bettlermädchen zum Ausdruck kommt. Und das letzte Gemälde im heutigen Werk von Danica Jovanović hat vor allem dokumentarischen Charakter. Es zeigt die zerstörte Save-Brücke in Belgrad, die gleich zu Beginn des Ersten Weltkriegs bombardiert wurde. Es ist offensichtlich, dass sie es malen wollte, anstatt es fotografisch abzulichten, denn das Gemälde folgt nicht der inneren Logik, die anderen Gemälden innewohnt. Auch dies spricht für die Annahme, dass Danica Jovanovićs künstlerisches Potenzial bis zu ihrem Tod noch nicht voll ausgeschöpft war. Obwohl von Zeit zu Zeit ein unbekanntes Gemälde von ihr in der Öffentlichkeit auftaucht, und obwohl ein jedes dieser „neuen“ Werk Danica Jovanovićs Bedeutung für die serbische Kunst und Kultur nur steigern kann, wird es uns nicht helfen, mehr über ihre Dilemmata und Träume zu erfahren. Diese durften, und werden leider niemals wahr werden.
Im Oktober 1963 wurde das Gemälde Der Kopf der Zigeunerin von Danica Jovanović unter anderem im Museum von Srem, in Sremska Mitrovica, in der Ausstellung mit dem Titel „Nadežda Petrović und die Anfänge der modernen serbischen Malerei“ ausgestellt. Fast fünfzig Jahre nach ihrem tragischen Tod wurde das Werk der serbischen Malerin Danica Jovanović, neben den Gemälden ihrer bekanntesten Zeitgenossen, wie Beta Vukanović, Nadežda Petrović, Milan Milovanović, Kosta Milićević, Natalija Cvetković, Miloš Golubović und anderen ausgestellt. Eine sorgfältigere Analyse von Danica Jovanovićs Werk und Persönlichkeit dauerte fast weitere 25 Jahre, wodurch ihre Gemälde zum ersten Mal zusammen an einem Ort ausgestellt wurden. Während dieser langen Zeit, die vom September 1914 bis zur Ausstellung dauerte, war ihre künstlerische Tätigkeit mehr oder weniger beiläufig, eher im Zusammenhang mit ihrem tragischen Tod als in Bezug auf ihre Bedeutung für die moderne serbische Kultur und Kunst, erwähnt worden. Die Briefe, die Danica Jovanović an ihre frühere Kunstlehrerin aus Novi Sad, Anđelija Sandić, und an die Schulleiterin des Frauengymnasiums von Novi Sad, Arkadije Varađanin, schrieb, werfen ein wenig mehr Licht auf ihre Persönlichkeit. Sie offenbaren Fragmente ihres Privatlebens und ihrer Studienzeit in München, ihre Einstellung zur Malerei, sowie ihre Zukunftsentwürfe. Andererseits gibt es viele Details, die wichtig erscheinen, wie beispielsweise die Namen von Professoren und Kollegen, mit denen sie Zeit verbracht hat, sowie ihre Eindrücke von bei möglichen Reisen durch Europa, den Kosovo und den Süden Serbiens während der Balkankriege (höchstwahrscheinlich in Sommer 1913), geheim geblieben. Es scheint sogar, dass Danica Jovanović Fakten über ihre Reisen durch die, während der Balkankriege von den Türken befreiten Gebiete, bewusst geheim gehalten hat. Sie war Bürgerin des Österreichisch - Ungarischen Reiches, daher war ihre Geheimhaltung ganz logisch. In den Geburtsbüchern der Kirche in Beška findet man eine Notiz über die Geburt von Danica Jovanović, am 4. Januar 1886. Die nächsten, später für ihre Biografie wichtigen schriftlichen Daten, stammen erst aus der Zeit ihrer verspäteten Einschulung in Novi Sad (1904–1907). Das von der Welt der Kunst faszinierte Mädchen aus Beška fand es höchstwahrscheinlich äußerst schwierig, ihrem Umfeld zu beweisen, dass die Malerei der einzige Weg in ihrem Leben war, der es wert war, beschritten zu werden. Sie beharrte jedoch auf ihren Überzeugungen und begann schließlich im Herbst 1907 ihre künstlerische Ausbildung an der Kunstgewerbeschule in Belgrad. Danach hielt sich Danica vom Oktober 1909 bis zum Juli 1914 in München auf. Am 1. Dezember 1909 trat in die Damenkunstakademie ein. Das erste Jahr des Studiums schloss sie, nach eigenen Angaben, als eine der besten Studentinnen der Akademie ab, was sie sehr stolz machte. Sie betrachtete die Malerei als ihre einzige Berufung im Leben. In ihrem zweiten Jahr begann sie mit der Ölmalerei und durfte das Gemälde von Peter Paul Rubens, in der Königlichen Pinakothek kopieren. Sie wollte ein Diplom machen, damit sie an Schulen unterrichten darf. Gleichzeitig war ihr bewusst, dass das Abitur ihre Ausbildung nicht beendete Sie wollte nach Rom, in „die mit Stücken des Klassizismus gepflasterte Stadt“. Sie beabsichtigte auch, nach ihrem Studienabschluss in München, in ihre nach Heimat zurückzukehren und Frauen das Entwerfen von Teppichmustern beizubringen. Skizzen, die sie von Bauern in farbenfrohen Volkstrachten zeichnete, sind ein weiteres Ergebnis ihrer Interessenslage. Nach ihrem Abschluss an der Kunstakademie für Frauen, im Jahr 1914 durfte Danica Jovanović als Kunstlehrerin arbeiten und Sie erwarb den Titel einer ausgebildeten akademischen Malerin. Dadurch wurde sie in den Kunstfrauenverein aufgenommen, was ihr die Teilnahme an Ausstellungen in München ermöglichte. Ihr Wunsch, serbische Frauen zu unterrichten und ihnen die Kunst des Volksschmucks beizubringen, ist auch Ausdruck von Danicas tiefem Patriotismus. Eine Bürgerin Österreich-Ungarns, die zusammen mit anderen serbischen Studenten, Zeit in München verbracht hatte, nach Belgrad und in andere Teile Serbiens gereist war, um dort Arbeit zu finden, muss den Verdacht der Behörden erweckt haben. Es ist also kein Wunder, dass Danica zu denen gehörte, die in Beška festgenommen und in Petrovaradin vor ein Kriegsgericht gestellt worden sind.
Die Schlacht auf dem Berg Cer war eine der ersten bedeutenden Militäroperationen im Ersten Weltkrieg und fand vom 1. bis 8. August statt, genau zu der Zeit, als Danica Jovanović aus München gekehrt war. In Beška, wie in vielen anderen serbischen Dörfern nördlich der Sava und der Donau, warteten die Menschen aufgeregt auf die Ankunft serbischer Soldaten vom Schlachtfeld und sie stellten brennende Kerzen in den die Fenster. Doch statt der erwarteten Befreier trafen die österreichischen Soldatentruppen ein. Als Vergeltungsmaßnahme nahmen sie Geiseln gefangen. Danica Jovanović war in der Gruppe von Menschen aus Beška, die am 12. September 1914 in der Festung Petrovaradin erschossen wurden. Danica Jovanović war eine der wenigen Malerinnen aus der Vojvodina und auch eine der letzten serbischen Malerinnen, die München als ihren Ausbildungsort gewählt hatten.
Ihr künstlerischer Nachlass lässt sich in zwei Gruppen einteilen:
Zum einen, die Arbeiten mit Bezug zur Akademie in ihrer Münchner Zeit. Zum anderen Gemälde, die während ihrer Sommerferien und auf Reisen entstanden sind.
Aus der Studienzeit gibt es zwei Skizzenblöcke mit einer Reihe von Zeichnungen (eine davon ist Danicas Selbstporträt), die ihre Fähigkeit zeigen, dem, was sie gezeichnet hat, mit Blei- und Kohlestiften mit festen und energischen Strichen Form zu geben, ohne viele Details oder Unsicherheiten. Dann sind da ihre Ölgemälde auf Karton oder Leinwand, meist Studien von Köpfen verschiedener Akademiemodelle, gemalt nach Schulregeln, wie gleichmäßige unauffällige Striche, reduzierte dunkle Farben, konventionelle Schattierungen. Diese tragen zu einer sehr realistischen Herangehensweise bei. Was die Arbeit von Danica Jovanović herausragend macht, sind die Gemälde, in denen ihr energischer Charakter zum Vorschein kommt, z.B. mit dicker Paste gemalt, mit kräftigen, bewussten Strichen, die oft den Umrissen folgen, und mit leuchtenden Farben, die immer Akzente zulassen. Danica Jovanović erklärte sich eindeutig zur Koloristin und interessierte sich hauptsächlich für das Aufeinanderprallen farbiger Oberflächen und das Lichtspiel, das sie miteinander verbinden konnte. Danica Jovanović interessierte sich auch für symbolische Malerei.
Sie hat in einer Reihe von Ölgemälden viele Symbole in ihr Thema aufgenommen, wie dies in ihrem Werk vom blinden Zigeuner-Bettlermädchen zum Ausdruck kommt. Und das letzte Gemälde im heutigen Werk von Danica Jovanović hat vor allem dokumentarischen Charakter. Es zeigt die zerstörte Save-Brücke in Belgrad, die gleich zu Beginn des Ersten Weltkriegs bombardiert wurde. Es ist offensichtlich, dass sie es malen wollte, anstatt es fotografisch abzulichten, denn das Gemälde folgt nicht der inneren Logik, die anderen Gemälden innewohnt. Auch dies spricht für die Annahme, dass Danica Jovanovićs künstlerisches Potenzial bis zu ihrem Tod noch nicht voll ausgeschöpft war. Obwohl von Zeit zu Zeit ein unbekanntes Gemälde von ihr in der Öffentlichkeit auftaucht, und obwohl ein jedes dieser „neuen“ Werk Danica Jovanovićs Bedeutung für die serbische Kunst und Kultur nur steigern kann, wird es uns nicht helfen, mehr über ihre Dilemmata und Träume zu erfahren. Diese durften, und werden leider niemals wahr werden.
Research Interests:
GRAPHIC ARTWORKS BY MILO MILUNOVIĆ S u m m a r y Even as a young artist, in addition to painting, Milo Milunović introduced other techniques in his art practice: fresco, mosaic, as well as graphics. In the interwar period, he dabbled in... more
GRAPHIC ARTWORKS BY MILO MILUNOVIĆ
S u m m a r y
Even as a young artist, in addition to painting, Milo Milunović introduced other techniques
in his art practice: fresco, mosaic, as well as graphics. In the interwar period, he dabbled in graphics
since he had to illustrate a book, and he continued to practice graphics in the post-war period, as
well as to produce posters. It was as late as in the late 1960’s, after his successful breakthrough into
linearism and associativity in painting, that he began to realize themes he was preoccupied with in
graphics. This is to do with Mediterranean scenes depicting marine flora and fauna, fishing nets and
fish traps, boats, fishermen, birds in cages and in nature. He depicted these scenes using a great
number of techniques, from etching, through aquatint, lithography to “relief technique in copper”.
His achievement in the area of graphics is a significant contribution to Yugoslav and Serbian
graphics, and this paper aims at pointing out his most important achievements and the processes of
their creation.
S u m m a r y
Even as a young artist, in addition to painting, Milo Milunović introduced other techniques
in his art practice: fresco, mosaic, as well as graphics. In the interwar period, he dabbled in graphics
since he had to illustrate a book, and he continued to practice graphics in the post-war period, as
well as to produce posters. It was as late as in the late 1960’s, after his successful breakthrough into
linearism and associativity in painting, that he began to realize themes he was preoccupied with in
graphics. This is to do with Mediterranean scenes depicting marine flora and fauna, fishing nets and
fish traps, boats, fishermen, birds in cages and in nature. He depicted these scenes using a great
number of techniques, from etching, through aquatint, lithography to “relief technique in copper”.
His achievement in the area of graphics is a significant contribution to Yugoslav and Serbian
graphics, and this paper aims at pointing out his most important achievements and the processes of
their creation.
Research Interests:
DANICA JOVANOVIĆ: DREAMS THAT WILL NEVER COME TRUE Danica Jovanović (January 4, 1886 – September 12, 1914) is one of the most important Serbian painters from the beginning of the 20th century. She belongs to the generation of artists... more
DANICA JOVANOVIĆ: DREAMS THAT WILL NEVER COME TRUE
Danica Jovanović (January 4, 1886 – September 12, 1914) is one of the most important Serbian painters from the beginning of the 20th century. She belongs to the generation of artists who attended the women's Art and Craft School in Belgrade, under Beta Vukanović; she continued her education in Munich, where she graduated from the Women's Painting Academy in March 1914. Born in Beška as the fifth child in a peasant family, she was brought up on the foundations of Serbian civil society in the Austro-Hungarian monarchy, and was educated thanks to the understanding of her professor and the director of the Higher Girls' School in Novi Sad, as well as the Benevolent Cooperative of Serbian Women from Novi Sad and the Dunđerski family. Along with her training in painting, she is also involved in the work of the Serbian patriotic association "Srbadija" in Munich. During her schooling in Belgrade and Munich, as well as during her summer vacations in Beška, she painted intensively, which resulted in an artistic legacy of hundreds of works. In addition to the works that indicate the process of overcoming painting problems, in Danica Jovanović's artistic legacy there are also pictures that indicate a tendency towards gestural painting, the use of intense colors and expressive interpretation of characters. She painted still lifes, portraits and figures in folk costumes, as well as several landscapes, three of which depict bridges: the bridge near the Ljum tower, the Vizier's bridge on Drim and the collapsed Sava bridge in Belgrade. Bridges that were current during the Balkan Wars indicate that she closely followed the development of war operations, but there is no evidence that she directly participated in them. On the other hand, her involvement in "Srbadija", her stay in Belgrade at the beginning of the First World War, when she painted the destroyed Sava bridge, as well as the statements of her Munich colleagues about her strong national consciousness indicate the reasons why Danica Jovanović already in the first days of the First World War II attracted the attention of the police and military authorities from Petrovaradin. As one of the first artists, she fell as a victim of the First World War on September 12, 1914 in Petrovaradin, where, after a trial, she was shot with a group of hostages from Beška.
After the war, the work of Danica Jovanović fell into oblivion, and it was only at the beginning of the seventh decade of the 20th century that it began to be systematically researched and discovered, as well as her unusual life path, interests and plans for the future.
Danica Jovanović (January 4, 1886 – September 12, 1914) is one of the most important Serbian painters from the beginning of the 20th century. She belongs to the generation of artists who attended the women's Art and Craft School in Belgrade, under Beta Vukanović; she continued her education in Munich, where she graduated from the Women's Painting Academy in March 1914. Born in Beška as the fifth child in a peasant family, she was brought up on the foundations of Serbian civil society in the Austro-Hungarian monarchy, and was educated thanks to the understanding of her professor and the director of the Higher Girls' School in Novi Sad, as well as the Benevolent Cooperative of Serbian Women from Novi Sad and the Dunđerski family. Along with her training in painting, she is also involved in the work of the Serbian patriotic association "Srbadija" in Munich. During her schooling in Belgrade and Munich, as well as during her summer vacations in Beška, she painted intensively, which resulted in an artistic legacy of hundreds of works. In addition to the works that indicate the process of overcoming painting problems, in Danica Jovanović's artistic legacy there are also pictures that indicate a tendency towards gestural painting, the use of intense colors and expressive interpretation of characters. She painted still lifes, portraits and figures in folk costumes, as well as several landscapes, three of which depict bridges: the bridge near the Ljum tower, the Vizier's bridge on Drim and the collapsed Sava bridge in Belgrade. Bridges that were current during the Balkan Wars indicate that she closely followed the development of war operations, but there is no evidence that she directly participated in them. On the other hand, her involvement in "Srbadija", her stay in Belgrade at the beginning of the First World War, when she painted the destroyed Sava bridge, as well as the statements of her Munich colleagues about her strong national consciousness indicate the reasons why Danica Jovanović already in the first days of the First World War II attracted the attention of the police and military authorities from Petrovaradin. As one of the first artists, she fell as a victim of the First World War on September 12, 1914 in Petrovaradin, where, after a trial, she was shot with a group of hostages from Beška.
After the war, the work of Danica Jovanović fell into oblivion, and it was only at the beginning of the seventh decade of the 20th century that it began to be systematically researched and discovered, as well as her unusual life path, interests and plans for the future.
Research Interests:
Jasna Jovanov Art and Political Repression by the end of the 20th Century in Vojvodina During almost half of the century, how long in some Europian countries lasted the period of comunist authority, artistic creative work developed... more
Jasna Jovanov
Art and Political Repression by the end of the 20th Century in Vojvodina
During almost half of the century, how long in some Europian countries lasted the period of comunist authority, artistic creative work developed with more or less freedom, depending of the certan regimes to accept modern artistic currents. Intoduction of the multiparty society on one hand brought special freedom of creation, but on the other, it alco caused the numerous restrictions, which were imposed by laminated political, national and economic turbulences. Changes in the society moved the focus of the state institutions onto the alternative scene, as well as to the specific form of "art of rebeliion". One of very few museums which in the last decade of the 20th century folloved contemporary artistic accomlishments, was The Museum of Modern Art in Novi Sad, Vojvodina. Next to the ehxibitions, artistic creations also was presented, at that time, though street happenings and fillm production. On the other hand, "middle course" art was dieing out and was replacet by the "state painting", which predominantly had populistic caracter. Only recently, new generation of artists is present on the scene that started filling up long standing empiness by using their painting.
Art and Political Repression by the end of the 20th Century in Vojvodina
During almost half of the century, how long in some Europian countries lasted the period of comunist authority, artistic creative work developed with more or less freedom, depending of the certan regimes to accept modern artistic currents. Intoduction of the multiparty society on one hand brought special freedom of creation, but on the other, it alco caused the numerous restrictions, which were imposed by laminated political, national and economic turbulences. Changes in the society moved the focus of the state institutions onto the alternative scene, as well as to the specific form of "art of rebeliion". One of very few museums which in the last decade of the 20th century folloved contemporary artistic accomlishments, was The Museum of Modern Art in Novi Sad, Vojvodina. Next to the ehxibitions, artistic creations also was presented, at that time, though street happenings and fillm production. On the other hand, "middle course" art was dieing out and was replacet by the "state painting", which predominantly had populistic caracter. Only recently, new generation of artists is present on the scene that started filling up long standing empiness by using their painting.
Јасна Јованов ТОДОР МАНОЈЛОВИЋ И НОВИ ИДЕАЛИ У СРПСКОЈ МОДРНОЈ УМЕТНОСТИ "Есејисти драгоценог музеалног знања, ствари му се, кад их такне, срдачно одазивају. О Гетеу, или о чинквеченту, или о Монтењу, ја сам дубоко уверен, данас нико као... more
Јасна Јованов ТОДОР МАНОЈЛОВИЋ И НОВИ ИДЕАЛИ У СРПСКОЈ МОДРНОЈ УМЕТНОСТИ "Есејисти драгоценог музеалног знања, ствари му се, кад их такне, срдачно одазивају. О Гетеу, или о чинквеченту, или о Монтењу, ја сам дубоко уверен, данас нико као он не зна и, што је више, нико тако фино не слути." (Милош Црњански, Ритмови Тодора Манојловића) Критичар "нејуначком времену упркос" У мноштву проблемских тачака које се препознају чак и на основу летимичног увида у ликовно-критичарски опус Тодора Манојловића, најупадљивија је свакако чињеница о разнородности културних миљеа који су формирали критичара/историчара уметности/ песника/драматичара/есејисту, ствараоца и аутора који је својим делом показао да ренесансна радозналост и свестраност нису само историјска категорија, већ животна чињеница сваке културне епохе. Постоје назнаке да се Тодор Манојловић и пре Првог светског рата у својим текстовима освртао на ликовна догађања, на мађарском као језику којим се тада као писац изражавао 1 , али ће изјашњавање о томе ипак бити препуштено неким будућим истраживачима. У недостатку поузданих података, може се рећи да је до првог ликовнокритичког оглашавања Тодора Манојловића, тачније речено писања о проблемима ликовности, од значаја за српску културу, дошло 1917. године. У питању је расправа PAGE 1 1 Milan Solarov, Prve tri decenije, Ulaznica, god. XXVI, Zrenjanin, Jul 1992, 18.
Research Interests:
The Role of Cultural Institutions in Creating the Policy for Candidacy of the European Capital of Culture Jasna Jovanov, Department of Geography, Tourism and Hotel Management, Novi Sad, Tijana Palkovljević, Lolita Pejović, The Gallery of... more
The Role of Cultural Institutions in Creating the Policy for Candidacy of the European
Capital of Culture
Jasna Jovanov, Department of Geography, Tourism and Hotel Management, Novi Sad, Tijana Palkovljević, Lolita Pejović, The Gallery of Matica srpska, Novi Sad
The title of the European Capital of Culture is recognized as an opportunity for renewal and modernization of cultural institutions as the promoters in the nomination procedure, improving their appeal to the audience. This event, which lasts for one year is designed to highlight the cultural esources, regional characteristics and integration of the city’s various cultural segments into the uropean cultural matrix. The prerequisite for the candidacy is primarily the awareness of the local ommunity on the need and importance of involve ment in this process and different benefits that ould result. Defined cultural policy of the region and the city profiles the identity of all institutional and non-institutional participants and improves the interdepartmental cooperation between Culture and Tourism. Positive attitude and cooperation of these segments is a prerequisite for the candidate status and participation in further processes. The preparation for obtaining the candidate status opens possibilities of expanding citizens’ knowledge on cultural offer and its lesser-known elements. At the same time, the city would be recognized by its culture, being a participant of wider cultural processes. The preparations for the candidacy of Novi Sad for the European Capital of Culture 2020 started at the beginning of 2012. In this process, two main target groups have to be considered: local residents and tourists. Therefore, in order to propose a concept which will fulfill the needs of both target groups, the aim of this paper is to present the program potentials of cultural institutions, with special reference to museums, their role and importance during the nomination process and within the event, concerning the tourist offer of the city and the region.
Keywords: European Capital of Culture,
museums, tourism, Novi Sad
Capital of Culture
Jasna Jovanov, Department of Geography, Tourism and Hotel Management, Novi Sad, Tijana Palkovljević, Lolita Pejović, The Gallery of Matica srpska, Novi Sad
The title of the European Capital of Culture is recognized as an opportunity for renewal and modernization of cultural institutions as the promoters in the nomination procedure, improving their appeal to the audience. This event, which lasts for one year is designed to highlight the cultural esources, regional characteristics and integration of the city’s various cultural segments into the uropean cultural matrix. The prerequisite for the candidacy is primarily the awareness of the local ommunity on the need and importance of involve ment in this process and different benefits that ould result. Defined cultural policy of the region and the city profiles the identity of all institutional and non-institutional participants and improves the interdepartmental cooperation between Culture and Tourism. Positive attitude and cooperation of these segments is a prerequisite for the candidate status and participation in further processes. The preparation for obtaining the candidate status opens possibilities of expanding citizens’ knowledge on cultural offer and its lesser-known elements. At the same time, the city would be recognized by its culture, being a participant of wider cultural processes. The preparations for the candidacy of Novi Sad for the European Capital of Culture 2020 started at the beginning of 2012. In this process, two main target groups have to be considered: local residents and tourists. Therefore, in order to propose a concept which will fulfill the needs of both target groups, the aim of this paper is to present the program potentials of cultural institutions, with special reference to museums, their role and importance during the nomination process and within the event, concerning the tourist offer of the city and the region.
Keywords: European Capital of Culture,
museums, tourism, Novi Sad
Research Interests:
Dragan Aleksić as a Critical Interpreter of Art Dragan Aleksić (1901 – 1958) was a poet, film director, art critic and the founder of the Dadaist movement in Yugoslavia in 1920. While studying Slavic Languages in Prague, he encountered... more
Dragan Aleksić as a Critical Interpreter of Art
Dragan Aleksić (1901 – 1958) was a poet, film director, art critic and the
founder of the Dadaist movement in Yugoslavia in 1920. While studying Slavic Languages in Prague, he encountered Dadaism and began his Dadaist practice together with Branko Ve Poljanski. During two years of his Dadaist activities, one aspect of his work formed art criticism that was characterized by a writing style imbued with Dadaist poetics, particular vocabulary and sentences resembling advertising messages. In addition to essays in which he explained Dadaism as a new synthetic artistic expression, Aleksić wrote about the artwork of the movement’s key figures. After deliberately abandoning Dadaism, Aleksić kept writing about visual arts, which gradually transformed him from an avant-gardist into an interpreter of contemporary artistic developments. In this period, he moved from Zagreb to Belgrade and joint the artists gathered around the Moscow Hotel. Aleksić’s writing turned him into a commentator of
the most current developments in the international artistic arena. At the same time, he continued with his support and efforts to synthesize the creative discourse, which can be attested by his texts on African art and its impacts on the European artistic matrix and on expressionist painting, the latter of which was at the time becoming increasingly present on Belgrade’s artistic stage. In 1927, he became the culture editor and art critic for the Vreme daily newspaper and a chronicler of art developments in Belgrade. In spite of his obligation to regularly report on exhibitions, he never abandoned his affirmative attitude to phenomena and occurrences in the world of art that were ahead of their time.
He paid special attention to the work of Milena Pavlović Barilli, Mihailo S. Petrov, Branko Ve Poljanski, Kosta Hakman, Sreten Stojanović, Emanuel Vidović, Jovan Bijelić, Petar Dobrović and the Oblik Group among whose members he paid special attention to Ignjat Job and his work
Dragan Aleksić (1901 – 1958) was a poet, film director, art critic and the
founder of the Dadaist movement in Yugoslavia in 1920. While studying Slavic Languages in Prague, he encountered Dadaism and began his Dadaist practice together with Branko Ve Poljanski. During two years of his Dadaist activities, one aspect of his work formed art criticism that was characterized by a writing style imbued with Dadaist poetics, particular vocabulary and sentences resembling advertising messages. In addition to essays in which he explained Dadaism as a new synthetic artistic expression, Aleksić wrote about the artwork of the movement’s key figures. After deliberately abandoning Dadaism, Aleksić kept writing about visual arts, which gradually transformed him from an avant-gardist into an interpreter of contemporary artistic developments. In this period, he moved from Zagreb to Belgrade and joint the artists gathered around the Moscow Hotel. Aleksić’s writing turned him into a commentator of
the most current developments in the international artistic arena. At the same time, he continued with his support and efforts to synthesize the creative discourse, which can be attested by his texts on African art and its impacts on the European artistic matrix and on expressionist painting, the latter of which was at the time becoming increasingly present on Belgrade’s artistic stage. In 1927, he became the culture editor and art critic for the Vreme daily newspaper and a chronicler of art developments in Belgrade. In spite of his obligation to regularly report on exhibitions, he never abandoned his affirmative attitude to phenomena and occurrences in the world of art that were ahead of their time.
He paid special attention to the work of Milena Pavlović Barilli, Mihailo S. Petrov, Branko Ve Poljanski, Kosta Hakman, Sreten Stojanović, Emanuel Vidović, Jovan Bijelić, Petar Dobrović and the Oblik Group among whose members he paid special attention to Ignjat Job and his work
Research Interests:
The Influence of Vienna and Munich on Serbian Realism The advent of Realism in Serbian painting 1n 1880-ies characterized the very moment it had kept pace with European artistic tendencies. Serbian disciples studied painting abroad,... more
The Influence of Vienna and Munich on Serbian Realism
The advent of Realism in Serbian painting 1n 1880-ies characterized the very moment it had kept pace with European artistic tendencies. Serbian disciples studied painting abroad, primarily in Munich, where this period was also a sort of turning point. A decisive incentive of Gustave Courbet, the Barbizon School and Manet, known from the International Exhibition in 1869, had a long-therm influence on the formation of expression of the German School of realism, and indirectly also on the formation of the Serbian realistic painters. Although usually the starting point of their way to Munich, Vienna is generally, considered as a second level of influence. Realism introduced new topics in the Serbian painting, but its major failure determining all other characteristics was the lack of critical intonation and of social determination of its content. Thus, it was restricted to the level of commentary of a conceived, even non-existing life.
The advent of Realism in Serbian painting 1n 1880-ies characterized the very moment it had kept pace with European artistic tendencies. Serbian disciples studied painting abroad, primarily in Munich, where this period was also a sort of turning point. A decisive incentive of Gustave Courbet, the Barbizon School and Manet, known from the International Exhibition in 1869, had a long-therm influence on the formation of expression of the German School of realism, and indirectly also on the formation of the Serbian realistic painters. Although usually the starting point of their way to Munich, Vienna is generally, considered as a second level of influence. Realism introduced new topics in the Serbian painting, but its major failure determining all other characteristics was the lack of critical intonation and of social determination of its content. Thus, it was restricted to the level of commentary of a conceived, even non-existing life.
Research Interests:
Jasna Jovanov The Spirit o f Munich in the Symbolism o f Marko Murat During the 19th century numerous painters from Central Europe, as well as from the Austro-Hungarian monarchy, pursued their education in Munich. One o f them was the... more
Jasna Jovanov
The Spirit o f Munich in the Symbolism o f Marko Murat
During the 19th century numerous painters from Central Europe, as well as from the Austro-Hungarian monarchy, pursued their education in Munich. One o f them was the painter Marko Murat (Luka Šipanska, 1864 - Dubrovnik, 1944), who commenced his studies at the
Royal Academy o f Fine Arts in 1887 under the professor Karl Raupp, first with the financial aid o f Baron Luj Vranyczany, and later Velimir Todorović. His professors also included Ludwig Herterich, Wilhelm von Lindenchhmidt and Otto Seitz. The end o f Murat's studies and sojourn in Munich was marked by the painting Palm Sunday in Dubrovnik, exhibited
in Glaspalast in 1893. From 1898 to 1920 he lived in Belgrade, where he worked as an educator and participated in various exhibitions. His solo exhibitions took place in 1894, 1898 and 1904; he exhibited at Yugoslav art exhibitions (from 1904 to 1922), in Sombor (1910 and 1921), Liège (1905), Rome (1911) and Paris (1919), often as a member o f the »Lado«
and »Medulić« associations. He was one o f the founders o f the School o f Arts and Crafts in Belgrade. After the First World War he was appointed head conservator o f the Direction for Arts and Monuments in Dubrovnik, where he would spend the rest o f his life. Having fully
accepted the poetics o f the Munich school o f painting, in his paintings Marko Murat emphasised the symbolic elements expressed through body language, interplay o f light and shadow and mysticism particularly evident in the works produced in the second half o f his life. His
most important paintings were painted in Dubrovnik and its surroundings before the First World War, with human figure in landscape as one o f his favourite subjects.
The Spirit o f Munich in the Symbolism o f Marko Murat
During the 19th century numerous painters from Central Europe, as well as from the Austro-Hungarian monarchy, pursued their education in Munich. One o f them was the painter Marko Murat (Luka Šipanska, 1864 - Dubrovnik, 1944), who commenced his studies at the
Royal Academy o f Fine Arts in 1887 under the professor Karl Raupp, first with the financial aid o f Baron Luj Vranyczany, and later Velimir Todorović. His professors also included Ludwig Herterich, Wilhelm von Lindenchhmidt and Otto Seitz. The end o f Murat's studies and sojourn in Munich was marked by the painting Palm Sunday in Dubrovnik, exhibited
in Glaspalast in 1893. From 1898 to 1920 he lived in Belgrade, where he worked as an educator and participated in various exhibitions. His solo exhibitions took place in 1894, 1898 and 1904; he exhibited at Yugoslav art exhibitions (from 1904 to 1922), in Sombor (1910 and 1921), Liège (1905), Rome (1911) and Paris (1919), often as a member o f the »Lado«
and »Medulić« associations. He was one o f the founders o f the School o f Arts and Crafts in Belgrade. After the First World War he was appointed head conservator o f the Direction for Arts and Monuments in Dubrovnik, where he would spend the rest o f his life. Having fully
accepted the poetics o f the Munich school o f painting, in his paintings Marko Murat emphasised the symbolic elements expressed through body language, interplay o f light and shadow and mysticism particularly evident in the works produced in the second half o f his life. His
most important paintings were painted in Dubrovnik and its surroundings before the First World War, with human figure in landscape as one o f his favourite subjects.
Research Interests:
Najstariji dokaz prisustva pastela kao relativno mlade likovne tehnike, u Vojvodini nalazimo na dva portreta – Katarine Planker i Johana Georga Benhera, radovima malo poznatog bečkog slikara Šervica (Scherwitz). Nastali u osamnaestom... more
Najstariji dokaz prisustva pastela kao relativno mlade likovne tehnike, u Vojvodini nalazimo
na dva portreta – Katarine Planker i Johana Georga Benhera, radovima malo poznatog
bečkog slikara Šervica (Scherwitz). Nastali u osamnaestom veku, rađeni su na ko-
ži i verovatno predstavljaju uspomenu sa nekog putovanja, a danas se nalaze u privatoj
kolekciji. Prvobitno spravljena od crvenih, crnih i belih zemljanih pigmenata, pastelna
kreda je ušla u upotrebu kao tehnika pogodna prevashodno za skiciranje. Mada jednostavna
za rukovanje, zbog osetljivosti i krhkosti završenog dela, tehnika crtnja pastelom
nije doživela onu popularnost i „medijski” značaj koji su doživele druge slične tehnike,
kao što je grafika koja je gotovo istovremeno ušla u upotrebu. Sve do našeg doba, taj odnos
je ostao isti: pastel je ostao „elitna”, retka i na ovim prostorima ne mnogo korišćena,
mada izuzetno prefinjena i mogućnostima bogata tehnika.
na dva portreta – Katarine Planker i Johana Georga Benhera, radovima malo poznatog
bečkog slikara Šervica (Scherwitz). Nastali u osamnaestom veku, rađeni su na ko-
ži i verovatno predstavljaju uspomenu sa nekog putovanja, a danas se nalaze u privatoj
kolekciji. Prvobitno spravljena od crvenih, crnih i belih zemljanih pigmenata, pastelna
kreda je ušla u upotrebu kao tehnika pogodna prevashodno za skiciranje. Mada jednostavna
za rukovanje, zbog osetljivosti i krhkosti završenog dela, tehnika crtnja pastelom
nije doživela onu popularnost i „medijski” značaj koji su doživele druge slične tehnike,
kao što je grafika koja je gotovo istovremeno ušla u upotrebu. Sve do našeg doba, taj odnos
je ostao isti: pastel je ostao „elitna”, retka i na ovim prostorima ne mnogo korišćena,
mada izuzetno prefinjena i mogućnostima bogata tehnika.
Research Interests:
U razmatranju korena srpske moderne umetnosti neminovno se nameću tri imena: Anton Ažbe, Beta Vukanović i Kiril Kutlik. Mada poreklom iz različitih zemalja, njih povezuje činjenica da su bili slikari, različitih autorskih opredeljenja,... more
U razmatranju korena srpske moderne umetnosti neminovno se nameću tri imena: Anton Ažbe, Beta Vukanović i Kiril Kutlik. Mada poreklom iz različitih zemalja, njih povezuje činjenica da su bili slikari, različitih autorskih opredeljenja, ali uspešni u pedagoškom radu, koji se vremenski poklapa u kratkom periodu tokom decenije kraja XIX i početka XX veka. Anton Ažbe (1862 – 1905) je bio slovenački slikar koji se obrazovao na umetničkim akademijama u Beču i Minhenu. U razmatranju moderne srpske umetnosti njegova umetnička zaostavština verovatno ne bi privukla našu pažnju, da nije one druge strane njegovog angažmana – pedagoškog rada koji započinje 1892, kada je u Minhenu otvorio sopstvenu umetničku školu. Škola je otvorena na inicijativu Rikarda Jakopiča i slovenačkih slikara iz njegovog okruženja. Pored umetnika iz različitih evropskih i prekomorskih zemalja, kao što su kroz njegov atelje su, naročito oko 1900. godine, prošlo četrnaestoro srpskih slikara koji su potom umetnički duh Minhena donosili u domovinu. Među njima su bili i autori čija imena predstavljaju sinonim za umetnost epohe: Nadežda Petrović, Milan Milovanović, Kosta Milićević, Bora Stevanović i Ljuba Ivanović. Među polaznicima Ažbeove slikarske škole, na samom početku se našla i Nemica Babett Bachmajer (1872 – 1972) koju srpska kultura poznaje kao Betu Vukanović. Zahvaljujući udaji za slikara Ristu Vukanovića, Beta je svoj dug i uspešan život od 1898. vezala za Beograd. Kao pedagog, bila je aktivna od 1900. kada je sa suprugom preuzela, nakon smrti vlasnika, Srpsku crtačko-slikarsku školu Kirila Kutlika. Usmerena na školovanje u oblasti umetnosti i umetničkih zanata, ova škola je značajna jer se iz nje razvila buduća Umetničko-zanatska (1905), pa Umetnička škola (1919) i konačno, Akademija likovnih umetnosti 1937. godine. Posebno u periodu do Prvog svetskog rata, kada je vodila žensko odeljenje, Beta Vukanović je zaslužna za školovanje nekoliko generacija srpskih slikarki, od Vidosave Kovačević, Preko Natalije Cvetković, Ane Marinković, Danice Jovanović, do Anđelije Lazarević i Ljubice Filipović. Pošto je Rista Vukanović u januaru 1918. preminuo u Parizu od posledica bolesti zadobijene u Prvom svetskom ratu, Beta je odlučila da se vrati u Beograd i nastavi započetu pedagošku misiju. Kiril Kutlik (Cyril Kutlík, 1869 – 1900) je proveo svega pet godina svog kratkog života u Beogradu. Rođen u češkom mestu Križilice, ovaj slovački slikar, ilustrator i pedagog, bio je osnivač i glavni predavač u prvoj pravoj umetničkoj školi u Beogradu. U Beogradu je i ranije bilo pokušaja da se umetničko školovanje podigne na viši nivo. Od Dimitrija Avramovića (1845), preko Jovana Deroka i Steve Todorovića koji je držao privatnu slikarsku školu od 1857. do 1863. do Đorđa Krstića koji je 1881.
Research Interests:
Research Interests:
Dragan Aleksić (1901–1958) was poet, movie director, art critic and the founder of Dadaistic movement in Yugoslavia in 1920. He studied Slavistic in Prague where he was introduced to the avant-guard movements as Dadaism. Stil living in... more
Dragan Aleksić (1901–1958) was poet, movie director, art critic and the founder of Dadaistic movement in Yugoslavia in 1920. He studied Slavistic in Prague where he was introduced to the avant-guard movements as Dadaism. Stil living in Prague he started with dadaistic practice organizing happenings with other Yugoslav students, as Branko Ve Poljanski. On the road to Zagreb he met Lajos Kassák and published a poem in his magazine „Ma“. In Zagreb he became contributor in magazine “Zenit“ whose editor was Ljubomir Micić. In 1921, he started to publish art critic using dadaistic vocabular, showing a great knowledge of actual art movements and important dadaistic and constructivistic artists. So he wrote essays on Kurt Schwitters and Vladimir Tatlin. In 1922, Dragan Aleksić published two Dada magazines: “Dada Tank“ and “Dada Jazz“. In later he wrote abour Alexander Archipenko’s sculpture. At the end of 1922, he moved to Belgrade and continued to write abut visual arts and also on literrarry subjects, using dadaistic and futuristic teminology. This paper will show the importance of Dragan Aleksić for Yugoslav dadaistic movement, specially for a phenomenon of dadaistic art critic, and also the importance of his work for establishing Surrealistic movement in Serbia.
Key words: Dragan Aleksić, dadaism, art criticism
Key words: Dragan Aleksić, dadaism, art criticism
Research Interests:
Research Interests:
Photography as an (E)Vocation of the Painter. Forgotten Hobby of Nadežda Petrović In Serbian art history Nadežda Petrović (1873–1915) is known as a painter, art critic, organiser of art exhibi-tions, founder of art associations. She was... more
Photography as an (E)Vocation of the Painter. Forgotten Hobby of Nadežda Petrović
In Serbian art history Nadežda Petrović (1873–1915) is known as a painter, art critic, organiser of art exhibi-tions, founder of art associations. She was a great pa-triot. She participated in the Balkan Wars and WWI as a nurse, but she also took photographs of the battlefields. During her studies in Munich (1898–1903), she bought a Kodak camera and created her first photographic works, while back home she continued to photograph a variety of subjects. The photographic legacy of Nadežda Petrović reveals the presence of a distinct pictorial con-cept and style, in other words, her artistic personal-ity. While taking photographs, she watched the world through the camera with the eye of an artist, accepting the principles of pictorialism. The aim of this paper is to highlight the importance of her photographic legacy, its artistic value, the pioneering role of Nadežda Petrović among women photographers in contemporary Ser-bian and worldwide women’s photography, and the way those photographs reveal her personality.
Key words: Nadežda Petrović, photography, pictorialism, woman photographers
Fotografija kot izziv. Pozabljeni konjiček Nadežde Petrović
Nadežda Petrović (1873–1915) je v srbski umetnostni zgodovini poznana kot slikarka, umetnostna kritičarka, organizatorica razstav in ustanoviteljica umetnostnih združenj. Bila je velika domoljubka, na bojiščih balkan-skih vojn in prve svetovne vojne je delovala kot nego-valka in fotografinja. Med študijem v Münchnu (1898– 1903) je kupila Kodakovo kamero in začela fotografirati. S fotografiranjem najrazličnejših žanrov je nadaljevala tudi po vrnitvi domov. Njena fotografska zapuščina raz-kriva značilen likovni koncept in slog, pravo umetniško osebnost. Ko je fotografirala, je skozi objektiv zrla z očmi umetnice in upoštevala načela piktorializma. Pri-spevek izpostavlja pomen njene fotografske zapuščine, njeno umetniško vrednost in pionirsko vlogo Petroviće-ve v sočasni srbski in svetovni ženski fotografiji.
Ključne besede: Nadežda Petrović, fotografija, piktorializem, ženska fotografija
In Serbian art history Nadežda Petrović (1873–1915) is known as a painter, art critic, organiser of art exhibi-tions, founder of art associations. She was a great pa-triot. She participated in the Balkan Wars and WWI as a nurse, but she also took photographs of the battlefields. During her studies in Munich (1898–1903), she bought a Kodak camera and created her first photographic works, while back home she continued to photograph a variety of subjects. The photographic legacy of Nadežda Petrović reveals the presence of a distinct pictorial con-cept and style, in other words, her artistic personal-ity. While taking photographs, she watched the world through the camera with the eye of an artist, accepting the principles of pictorialism. The aim of this paper is to highlight the importance of her photographic legacy, its artistic value, the pioneering role of Nadežda Petrović among women photographers in contemporary Ser-bian and worldwide women’s photography, and the way those photographs reveal her personality.
Key words: Nadežda Petrović, photography, pictorialism, woman photographers
Fotografija kot izziv. Pozabljeni konjiček Nadežde Petrović
Nadežda Petrović (1873–1915) je v srbski umetnostni zgodovini poznana kot slikarka, umetnostna kritičarka, organizatorica razstav in ustanoviteljica umetnostnih združenj. Bila je velika domoljubka, na bojiščih balkan-skih vojn in prve svetovne vojne je delovala kot nego-valka in fotografinja. Med študijem v Münchnu (1898– 1903) je kupila Kodakovo kamero in začela fotografirati. S fotografiranjem najrazličnejših žanrov je nadaljevala tudi po vrnitvi domov. Njena fotografska zapuščina raz-kriva značilen likovni koncept in slog, pravo umetniško osebnost. Ko je fotografirala, je skozi objektiv zrla z očmi umetnice in upoštevala načela piktorializma. Pri-spevek izpostavlja pomen njene fotografske zapuščine, njeno umetniško vrednost in pionirsko vlogo Petroviće-ve v sočasni srbski in svetovni ženski fotografiji.
Ključne besede: Nadežda Petrović, fotografija, piktorializem, ženska fotografija
Research Interests:
Stevan Aleksić: Painter on the Borderline The extensive and diverse opus of the painter Stevan Aleksić (1876–1923) belongs to the most significant and most provocative phenomena in the Serbian painting at the beginning of the... more
Stevan Aleksić:
Painter on the Borderline
The extensive and diverse opus of the painter Stevan Aleksić (1876–1923) belongs to the most significant and most provocative phenomena in the Serbian painting at the beginning of the 20th Century. Aleksić's work – highly regarded and appreciated, but also criticized by his contemporaries - has been interpreted from many different standpoints. Since his life and work were related to the border-line area of the Austrian-Hungarian Monarchy - without much contact with Belgrade, in which the main trends of modern Serbian art were formed at the beginning of the 20th Century – he has often been proclaimed an epigone, marginal artist and an artist of an anachronistic expression. Only when viewed from the aspect of the painting poetics found in the Munich School and in the context of central European painting - in relation to the artistic trends of the region in which he lived and created, as well as to the historical circumstances during his creative life – it is possible to assess Aleksić's opus in a different, more positive light.
Painter on the Borderline
The extensive and diverse opus of the painter Stevan Aleksić (1876–1923) belongs to the most significant and most provocative phenomena in the Serbian painting at the beginning of the 20th Century. Aleksić's work – highly regarded and appreciated, but also criticized by his contemporaries - has been interpreted from many different standpoints. Since his life and work were related to the border-line area of the Austrian-Hungarian Monarchy - without much contact with Belgrade, in which the main trends of modern Serbian art were formed at the beginning of the 20th Century – he has often been proclaimed an epigone, marginal artist and an artist of an anachronistic expression. Only when viewed from the aspect of the painting poetics found in the Munich School and in the context of central European painting - in relation to the artistic trends of the region in which he lived and created, as well as to the historical circumstances during his creative life – it is possible to assess Aleksić's opus in a different, more positive light.
Research Interests:
Vladimir Krivošejev, PhD, National Museum, Valjevo Jasna Jovanov, PhD, The Pavle Beljanski Memorial Collection, Novi Sad 108 Nadežda’s Valjevo Hospital The common term Valjevo Hospital, at least when... more
Vladimir Krivošejev, PhD, National Museum, Valjevo
Jasna Jovanov, PhD, The Pavle Beljanski Memorial Collection, Novi Sad
108
Nadežda’s Valjevo Hospital
The common term Valjevo Hospital, at least when re-ferred to the early years of the Great War, does not imply a specific hospital facility or a hospital in general. It actually signifies a set of particular events that took place between July 1914 and October 1915, which turned the city into a huge hospital. It was a period when Valjevo, together with Valjevo Hospital, became a symbol of suf-fering, but also sacrifice, compassion, and international collaboration against the epidemic of great proportions.
The specific symbol of such city of Valjevo has been the painting of Nadežda Petrović, known as Valjevo Hospital
(1915). The painting depicts tents of an enclosed army field hospital, located in the countryside. It is believed that this work from 1915 represents the last painting of Nadežda Petrović, which shows the hospital facility she used to volunteer for before she died of typhus fever on
April 3rd, 1915.
The main goal of the study was to locate the hospi-tal facilities in Valjevo in the period between 1914 and
1915, and determine which is the one on the painting.
The research has shown there were eight hospital facilities in Valjevo in that period and they were dispersed around thirty buildings all over the city. Nadežda Petrović
was assigned to the First Emergency Hospital which was located within the fortifications of 17th Artillery Regiment barracks whose architecture and space does not match the motifs from the painting. These facts required ad-ditional comparative investigations into Nadežda’s war assignments. They opened up the possibility that the painting was created in the early autumn of 1914 while Nadežda was volunteering at the First Field Hospital of the Danube Division, which was situated in tents, and stationed near the village Pecka (municipality Osečina), in the rear of the Drina front. This assumption has been further supported by the facts that this painting used to have different names: Hospital Tents and the Tents of the Field Hospital and that the approximate time of its making was set between 1913 and 1915. The name Valjevo Hospital 1915 has been in use only after 1960s, when the painting was moved from a private collection to the Museum of the Contemporary Art.
The above facts all suggest that determing the date and name, during the reception of a painting without any mark or a signature into the museum repository, was not based on the established facts, but rather on a tremen-dous admiration for Nadežda, by associating motifs on the painting with the time and place of her death.
Jasna Jovanov, PhD, The Pavle Beljanski Memorial Collection, Novi Sad
108
Nadežda’s Valjevo Hospital
The common term Valjevo Hospital, at least when re-ferred to the early years of the Great War, does not imply a specific hospital facility or a hospital in general. It actually signifies a set of particular events that took place between July 1914 and October 1915, which turned the city into a huge hospital. It was a period when Valjevo, together with Valjevo Hospital, became a symbol of suf-fering, but also sacrifice, compassion, and international collaboration against the epidemic of great proportions.
The specific symbol of such city of Valjevo has been the painting of Nadežda Petrović, known as Valjevo Hospital
(1915). The painting depicts tents of an enclosed army field hospital, located in the countryside. It is believed that this work from 1915 represents the last painting of Nadežda Petrović, which shows the hospital facility she used to volunteer for before she died of typhus fever on
April 3rd, 1915.
The main goal of the study was to locate the hospi-tal facilities in Valjevo in the period between 1914 and
1915, and determine which is the one on the painting.
The research has shown there were eight hospital facilities in Valjevo in that period and they were dispersed around thirty buildings all over the city. Nadežda Petrović
was assigned to the First Emergency Hospital which was located within the fortifications of 17th Artillery Regiment barracks whose architecture and space does not match the motifs from the painting. These facts required ad-ditional comparative investigations into Nadežda’s war assignments. They opened up the possibility that the painting was created in the early autumn of 1914 while Nadežda was volunteering at the First Field Hospital of the Danube Division, which was situated in tents, and stationed near the village Pecka (municipality Osečina), in the rear of the Drina front. This assumption has been further supported by the facts that this painting used to have different names: Hospital Tents and the Tents of the Field Hospital and that the approximate time of its making was set between 1913 and 1915. The name Valjevo Hospital 1915 has been in use only after 1960s, when the painting was moved from a private collection to the Museum of the Contemporary Art.
The above facts all suggest that determing the date and name, during the reception of a painting without any mark or a signature into the museum repository, was not based on the established facts, but rather on a tremen-dous admiration for Nadežda, by associating motifs on the painting with the time and place of her death.
Research Interests:
Jasna Jovanov, PhD, The Pavle Beljanski Memorial Collection, Novi Sad What Nadežda Petrović Means to Us Today Nadežda Petrović was an active participant of great historic events, an initiator and a partaker of the most noteworthy art... more
Jasna Jovanov, PhD, The Pavle Beljanski Memorial Collection, Novi Sad
What Nadežda Petrović Means to Us Today
Nadežda Petrović was an active participant of great historic events, an initiator and a partaker of the most noteworthy art events in the early 20th century, and an outstanding figure in Serbian art history. The artistic and social activities of this painter have always provided an endless source of effort to formulate her impact on
Serbian culture, as well as the culture of the neighbour-ing countries. Her painting, art criticism, photography, valuable correspondence, the reputation of an active artist involved in national and women’s rights issues, have all been available for a wider research, reception and interpre-tation in historiography and art criticism. From the first period, when most of Nadežda’s contemporaries showed a lack of any understanding for her art, then during the interwar period, and especially since the mid 20th century, there has been a increasing number of researchers who have looked into complex and versatile life of this artist.
Ever since the early contributions to her work made by Todor Manojlović (1917), followed by Branko Popović
(1938) who noticed and emphasized Nadežda’s parallel political and artistic engagement, and the chronological classification of Nadežda Petrović’s works in the studies of Bojana Radojković and Momčilo Stevanović (1950), the comprehensive doctoral thesis of Katarina Ambrozić
(1955) still holds a prominent place. The interpretations from the late 20th and early 21st century have gradually moved their focus from mostly stylistic analysis and cat-egorizations to ideological, political, and social context, which is particularly demonstrated in the monograph texts of Ljubica Miljković (1998), Olivera Janković (2003), and Lidija Merenik (2006) . Taking into account more recent studies on Nadežda Petrović’s photographies by Milanka Todić (2001) and Jasna Jovanov (2013), as well as series of other critic reviews and papers on this artist, it becomes evident how such an extensive collection of literature creates endless possibilities to reinterpret the entire work of Nadežda Petrović. Also, abundant archive evidence represents only partially explored field whose interpretation is still about to commence. The consid-erable painter’s correspondence kept in the National
Museum in Belgrade, National Museum in Čačak, Ivan Meštrović Museums in Zagreb, and Modern and National Gallery in Ljubljana, but also in private property, offers substantial resources for updating Nadežda’s biography. Despite the large number of research projects, Nadežda Petrović’s life and work has not yet been fully explored or interpreted. Finding an answer about what Nadežda Petrović means to us today actually opens further ques-tions that lead us to the answer.
What Nadežda Petrović Means to Us Today
Nadežda Petrović was an active participant of great historic events, an initiator and a partaker of the most noteworthy art events in the early 20th century, and an outstanding figure in Serbian art history. The artistic and social activities of this painter have always provided an endless source of effort to formulate her impact on
Serbian culture, as well as the culture of the neighbour-ing countries. Her painting, art criticism, photography, valuable correspondence, the reputation of an active artist involved in national and women’s rights issues, have all been available for a wider research, reception and interpre-tation in historiography and art criticism. From the first period, when most of Nadežda’s contemporaries showed a lack of any understanding for her art, then during the interwar period, and especially since the mid 20th century, there has been a increasing number of researchers who have looked into complex and versatile life of this artist.
Ever since the early contributions to her work made by Todor Manojlović (1917), followed by Branko Popović
(1938) who noticed and emphasized Nadežda’s parallel political and artistic engagement, and the chronological classification of Nadežda Petrović’s works in the studies of Bojana Radojković and Momčilo Stevanović (1950), the comprehensive doctoral thesis of Katarina Ambrozić
(1955) still holds a prominent place. The interpretations from the late 20th and early 21st century have gradually moved their focus from mostly stylistic analysis and cat-egorizations to ideological, political, and social context, which is particularly demonstrated in the monograph texts of Ljubica Miljković (1998), Olivera Janković (2003), and Lidija Merenik (2006) . Taking into account more recent studies on Nadežda Petrović’s photographies by Milanka Todić (2001) and Jasna Jovanov (2013), as well as series of other critic reviews and papers on this artist, it becomes evident how such an extensive collection of literature creates endless possibilities to reinterpret the entire work of Nadežda Petrović. Also, abundant archive evidence represents only partially explored field whose interpretation is still about to commence. The consid-erable painter’s correspondence kept in the National
Museum in Belgrade, National Museum in Čačak, Ivan Meštrović Museums in Zagreb, and Modern and National Gallery in Ljubljana, but also in private property, offers substantial resources for updating Nadežda’s biography. Despite the large number of research projects, Nadežda Petrović’s life and work has not yet been fully explored or interpreted. Finding an answer about what Nadežda Petrović means to us today actually opens further ques-tions that lead us to the answer.
Research Interests:
Danica Jovanović (1886 – 1914) was one of the most influential Serbian female painters from the beginning of the 20th century. She began her art studies in Belgrade School of Arts and Crafts, and continued them in Munich Ladies’ Academy... more
Danica Jovanović (1886 – 1914) was one of the most influential Serbian female painters from the beginning of the 20th century. She began her art studies in Belgrade School of Arts and Crafts, and continued them in Munich Ladies’ Academy in 1910. She graduated from the Academy in 1914, when she returned to her homeland at the beginning of WW I. Austrian court martial sentenced her to death by firing squad, along with many others arrested in Beška and other parts of Srem; they were executed on September 14th, 1914, in one of the trenches of the Petrovaradin Fortress. Artistic legacy of Danica Jovanović, created between 1909 and 1914, consists of drawings – mostly made during her studies in Munich, paintings from the Academy, or those painted in her homeland during holidays. Those paintings are mostly portraits, paintings of still life, themed pieces, landscapes, as well as a number of figures of peasants in traditional garbs from Serbia and Kosovo. These figures were mostly painted on smaller pieces of cardboard, sketch-like and dynamic, which suggests working with live models, but there are also those that suggest the use of postcards as models. Their themes establish them as a part of the Serbian national emancipation movement, which corresponds with the concept of emancipation of women in Serbia, as well as in Serbian art. The goal of the study is to determine the characteristics that connect these two subjects in artistic field, as well as in works of Danica Jovanović in general.
Keywords
Danica Jovanović, start od the 20th century, Munich school of painting, women emancipation
Keywords
Danica Jovanović, start od the 20th century, Munich school of painting, women emancipation
Research Interests:
Exhibitions of the Independent Artists Group in Vojvodina 1924–1925 The activity of the Independent Artists Group between 1921 and 1927 consisted mainly of participating in group exhibitions or of individual exhibitions of the majority... more
Exhibitions of the Independent Artists Group in Vojvodina 1924–1925
The activity of the Independent Artists Group between 1921 and 1927 consisted mainly of participating in group exhibitions or of individual exhibitions of the majority of group members. The Group insisted on exhibiting their works in places outside major artistic centres of the Kingdom of Yugoslavia, especially in Croatia and in Vojvodina. In the course of 1924 and 1925 the Group organized two series of exhibitions, first in Novi Sad and Sombor, and then in Stari Bečej, Novi Bečej, Senta, Velika Kikinda (Kikinda) and Veliki Bečkerek (Zrenjanin). The Independent Artists Group also participated in the 5th Yugoslav Art Exhibition (V jugoslovenska umetnička izložba) in Belgrade, where they exhibited alongside artists of the Spring Salon (Proljetni salon), as well as in Novi Sad in the 6th Yugoslav Art Exhibition (VI jugoslovenska umetnička izložba), which was their last exhibition. Members of the group changed, so that all exhibitions in question included the works of Jerolim Miše and Vladimir Varlaj, and some of them the works of Ljubo Babić, Jozo Kljaković, Zlatko Šulentić, Frano Kršinić, Marin Studin, Ivan Meštrović, Vladimir Becić and Krsto Hegedušić. The Independent Artists Group represents one of the artistic collectives active during the interwar period, brought together solely on the basis of artistic criteria. Furthermore, incited by the ideas of de-metropolisation of art, of bringing culture closer to wider public in light of the influence of post-revolutionary Russia, as well as by the intention to exert a commercial effect, the Group started the aforementioned series of travelling exhibitions. New findings enabled the identification of Jeronim Miše as the ideator of the said process, while the research of archival documents and media coverage permitted the analysis of these exhibitions and the attempt of identifying the exhibited works, as well as an inquiry into the afterlife of sold paintings.
The activity of the Independent Artists Group between 1921 and 1927 consisted mainly of participating in group exhibitions or of individual exhibitions of the majority of group members. The Group insisted on exhibiting their works in places outside major artistic centres of the Kingdom of Yugoslavia, especially in Croatia and in Vojvodina. In the course of 1924 and 1925 the Group organized two series of exhibitions, first in Novi Sad and Sombor, and then in Stari Bečej, Novi Bečej, Senta, Velika Kikinda (Kikinda) and Veliki Bečkerek (Zrenjanin). The Independent Artists Group also participated in the 5th Yugoslav Art Exhibition (V jugoslovenska umetnička izložba) in Belgrade, where they exhibited alongside artists of the Spring Salon (Proljetni salon), as well as in Novi Sad in the 6th Yugoslav Art Exhibition (VI jugoslovenska umetnička izložba), which was their last exhibition. Members of the group changed, so that all exhibitions in question included the works of Jerolim Miše and Vladimir Varlaj, and some of them the works of Ljubo Babić, Jozo Kljaković, Zlatko Šulentić, Frano Kršinić, Marin Studin, Ivan Meštrović, Vladimir Becić and Krsto Hegedušić. The Independent Artists Group represents one of the artistic collectives active during the interwar period, brought together solely on the basis of artistic criteria. Furthermore, incited by the ideas of de-metropolisation of art, of bringing culture closer to wider public in light of the influence of post-revolutionary Russia, as well as by the intention to exert a commercial effect, the Group started the aforementioned series of travelling exhibitions. New findings enabled the identification of Jeronim Miše as the ideator of the said process, while the research of archival documents and media coverage permitted the analysis of these exhibitions and the attempt of identifying the exhibited works, as well as an inquiry into the afterlife of sold paintings.
Research Interests:
Nadežda Petrović (1873–1915) is one of the most important names of Serbian modern art. She is best known as a painter, art critic, organiser of art exhibitions and founder of art associations, by her patriotic senses and encouraging... more
Nadežda Petrović (1873–1915) is one of the most important names of Serbian modern art. She is best known as a painter, art critic, organiser of art exhibitions and founder of art associations, by her patriotic senses and encouraging public awakening of national consciousness. She participated in Balkan Wars and the First World War as a nurse, but also painted and photographed. As she was growing up in an educated bourgeois family she was familiar with photography starting with her early age. Beside many family photographs where is she also present she could learn about usage of photography in creation of artwork from her first teacher Đorđe Krstić and as a student of the Serbian Drawing and Painting School in Belgrade. She went to Munich in 1898 into the studio of Anton Ažbe, and afterward in the studio of Julius Exter. Then she bought Kodak’s camera and started taking photographs. About this she wrote in letters to mother and send photographs to Belgrade. When she left the studies in Munich and came back to Belgrade continuing to take photographs. As studio she used family house courtyard photographing family gatherings, sisters, guests and other artists. Already on these it could be noticed her aspiration to overcome the documentary and to achieve a more complex effect. In Munich she has learned about artistic articulation of the photography and accepted the idea of the pictorialism. Taking photographs within family circle she took attention to the disposition of masses, contrasts between black and white, composition centring and applying different observation angles and transacted views. In several occasion she intervened on negatives using double exposure. It has to be noted that these photographs with noticeable emphasized emotions are not taken for public display in contrast to Nadežda’s paintings. That is exactly the reason why it was not publicly known about their existence for a long time. These photographs are very different than those Nadežda took during Balkan wars, at the beginning and spring of 1913, in surroundings of Prizren, Kosovo. Then, as well as during the First World War, she was the only woman that had a status of war painter ad photographer, while being a nurse at the same time. Photographs she took during wars have more similarity with her paintings than family photographs, especcialy because orientation to the nature. Taken from the high point, with elevated foreground and emphasized deep space, selection of motifs suggests primal power and majesty of nature. While depicting soldiers, she was using moments of rest, far away from horrifying scenes of the military hospital where Nadežda worked. In spite of differences between motifs and emotional approach in thematic segments these photographs are part of the same opus testifying about extraordinary role and importance of Nadežda Petrović in Serbian photography, especially in the fact that she was the first Serbian female artist who was continuous and dedicated photographer.
Research Interests:
During the 19th century Bačka saw major social changes which also influenced the demands of the surroundings to the artists. Still the largest part of visual art centred on church and portrait painting, and the changes introduced by... more
During the 19th century Bačka saw major social changes which also influenced the demands of the surroundings to the artists. Still the largest part of visual art centred on church and portrait painting, and the changes introduced by Classicism into painting struggled with the primacy of stan-dard Baroque/Rococo patterns. As the century went by, and the artistic movements replaced one another, the generic and thematic repertoire also changed. Incited by the efforts for national libera-tion, the artists interpreted historical topics from the Serbian Middle Ages and literature and depicted important contemporary events. In the spirit of Romanticism, they re-examined their own capabilities and introduced the self-portrait as a form of that re-examination. Realism introduced a new genre into painting – the landscape, and the depiction of Oriental scenes as a result of intensified interest in ex-oticism in Europe. It also brought numerous polemics between the traditionalists and the proponents of new ideas, embodied in the dispute on Orthodoxy in Serbian fresco painting, as well as the rise of art criticism and the discussion on the artists’s position in society. These were the parameters which served as the perspective for the retrospect of the relevant fragments of the work of certain authors who created in Bačka during the 19th century. They first and foremost include Arsenije Teodorović (Perlez 1767 – Novi Sad 1826) as a representative of the Age of Enlightenment, who considered himself a fresco painter and simultaneously painted portraits of the members of the intellectual elite. Like his great predecessors, he was active in the towns along the Military Frontier and Buda in the north, and he worked for customers of various confessions, similarly to the painter of more modest potential, Ilija Lončarević (Bački Monoštor ? – Donji Rajić near Novska). Painter Pavle Simić (Novi Sad, 1818–1876), owing to the new topics in historical painting, was considered one of the heralds of Romanticism, culminating in the figure of Đura Jakšić (Srpska Crnja 1832 – Beograd 1878) and No-vak Radonić (Mol 1826 – Sremska Kamenica 1890), painters who expressed themselves in diverse painting genres and introduced important changes into historical painting. Đura Jakšić is the first Serbian painter educated in Munich; Đorđe Krstić (Stara Kanjiža 1851 – Belgrade 1907) is the first Serbian painter who spent an entire decade receiving education in Munich. He contributed to the art of Bačka with novelties in religious painting and one of the first exhibitions in Novi Sad. The painter nowadays known as Philip Alexius de László (Budapest 1869 – London 1937) and a major portrait-ist of higher society members through Europe is related to Bačka through his short sojourns in Stari Bečej. The renown which village life paintings brought him then supported his further education. In Bačka he is almost forgotten, unlike Ferencz Eisenhut (Bačka Palanka 1857 – Munich 1903) who achieved fame in Munich as a painter of Oriental themes, and in Bačka as an author of monumental historical compositions. Although the opus of the mentioned authors is indicative of the state of the arts in Bačka during the 19th century, it parallelly shows that it was not territorially isolated and that in artistic, historical and social terms Bačka must be regarded as an integral part of its surroundings.
Research Interests:
In 1970, Ljubo Babić donated the painting A Portrait of Agnes Antonija Babić to the memorial collection of Pavle Beljanski in Novi Sad, which was initially listed in the in-ventory book as a work by an unknown author. Subsequent research... more
In 1970, Ljubo Babić donated the painting A Portrait of Agnes Antonija Babić to the memorial collection of Pavle Beljanski in Novi Sad, which was initially listed in the in-ventory book as a work by an unknown author. Subsequent research has shown that this is a work by the painter Ilija Lončarević from Sombor, created in 1825. Research has also shown that the archive of the memorial collection also holds the correspond-ence between Ljubo Babić and Beljanski, which was intensive after their meeting at the exhibition of the collection of Pavle Beljanski in the Museum of the City of Belgrade in 1952, and Babić’s subsequent correspondence with Vera Jovanović, regarding the actu-al donation. The correspondence between Babić and Beljanski was about their meeting, which took place in April 1952. Pavle Beljanski later spoke about this event: when he visited the exhibition, Ljubo Babić was at first surprised by its scope and quality, and then touched by the fact that these were paintings by artists whom he had met with since he was a student, studied with, had been their professor, or exhibited with them. The impressions Ljubo Babić took away with him from this exhibition, and the insight into the remainder of Pavle Beljanski’s collection, have contributed to some of the paintings being displayed at and reproduced for the publication that accompanied the exhibition „Half a Century of Yugoslav Painting 1900-1950“ which was realised in Zagreb in 1953, to mark the 50th anniversary of the First Yugoslav Artistic Exhibition, which was held in 1904. Participation in the work of the Organisational Committee of this Zagreb ex-hibition was the reason for Babić’s stay in Belgrade. It is certain that Ljubo Babić was previously informed about the size and significance of Beljanski’s collection and, during the many years filled with various activities (he painted, conducted research in the do-main of history and theory of art, worked in pedagogy, restoration of art works, museol-ogy, creation of museum exhibitions, worked as an art critic), starting with his studies in Munich, then Paris, a period of travelling and exhibiting in various world metropoles, to his final return to Zagreb, his contacts with the authors from Beljanski’s collection were very frequent, multi-layered and dynamic. The overall impression that the exhibition in the Museum of the City of Belgrade left on Babić led to correspondence between the art historian and the collector, in which expressions of mutual respect were visible. Finally, almost two decades later, came the donation to the memorial collection, as a sign of re-membrance of their acquaintance which, although brief, had far exceeded an ordinary friendship. Although it was believed initially that the portrayed Agnes Antonija Babić was related to the family of Ljubo Babić, the family genealogy showed that this was not correct. On the basis of the painter’s signature, and of numerous documents, it is known that the author of the painting, Ilija Lončarević, had the status of a citizen of Sombor, a city in which Beljanski’s ancestors lived; it is also known that the author spent most of his artistic career working in Slavonia. His status as a citizen of Sombor could be one of the reasons why Ljubo Babić decided to donate this very painting, which he initially in-terpreted as a family portrait, and not one of his works, which would be more fitting to the profile of the legacy of Pavle Beljanski.
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Mada izrazito autonomna i kao ličnost i kao umetnik, Ljubica Cuca Sokić je od najranijih dana negovala dobre profesionalne i lične odnose sa umetnicima svoje generacije, kao i kasnije sa studentima kojima je prenosila deo kreativnosti.... more
Mada izrazito autonomna i kao ličnost i kao umetnik, Ljubica Cuca Sokić
je od najranijih dana negovala dobre profesionalne i lične odnose sa umetnicima
svoje generacije, kao i kasnije sa studentima kojima je prenosila deo kreativnosti.
Tokom većeg dela dugog stvaralačkog života u javnosti je nastupala samostalno,
osim kratke etape tokom 1940. godine, kada je bila jedan od osnivača i član Grupe Desetorica. Rad grupe manifestovao se dvema izložbama – jedna je održana u februaru u Beogradu, a druga u Zagrebu u septembru. Mada grupa nije imala jedinstven program, niti se od umetnika tražila uniformnost izraza, kod njenih pripadnika moguće je utvrditi zajedničke karakteristike, nasuprot međusobnim razlikama koje ih čine autonomnim stvaraocima. O razlozima okupljawa grupe, kao i o reakciji javnosti na wen nastup, saznajemo iz najava i prikaza u beogradskoj, novosadskoj i zagrebačkoj štampi, a o izgledu postavke izložbi na osnovu fotografija objavljenih takođe u štampi ili otkrivenih u arhivama pojedinih umetnika. Cilj autora ovog rada jeste da zaokruži i proceni izvore o toj temi, te da utvrdi tok događaja, rekonstruiše u mogućoj meri izgled postavki, kao i da sumira reakcije javnog mnjenja.
Ključne reči. – Desetorica, izložbe, umetničke grupe, likovna kritika,
Beograd, Zagreb
je od najranijih dana negovala dobre profesionalne i lične odnose sa umetnicima
svoje generacije, kao i kasnije sa studentima kojima je prenosila deo kreativnosti.
Tokom većeg dela dugog stvaralačkog života u javnosti je nastupala samostalno,
osim kratke etape tokom 1940. godine, kada je bila jedan od osnivača i član Grupe Desetorica. Rad grupe manifestovao se dvema izložbama – jedna je održana u februaru u Beogradu, a druga u Zagrebu u septembru. Mada grupa nije imala jedinstven program, niti se od umetnika tražila uniformnost izraza, kod njenih pripadnika moguće je utvrditi zajedničke karakteristike, nasuprot međusobnim razlikama koje ih čine autonomnim stvaraocima. O razlozima okupljawa grupe, kao i o reakciji javnosti na wen nastup, saznajemo iz najava i prikaza u beogradskoj, novosadskoj i zagrebačkoj štampi, a o izgledu postavke izložbi na osnovu fotografija objavljenih takođe u štampi ili otkrivenih u arhivama pojedinih umetnika. Cilj autora ovog rada jeste da zaokruži i proceni izvore o toj temi, te da utvrdi tok događaja, rekonstruiše u mogućoj meri izgled postavki, kao i da sumira reakcije javnog mnjenja.
Ključne reči. – Desetorica, izložbe, umetničke grupe, likovna kritika,
Beograd, Zagreb
Research Interests:
Throughout the history, Danube represented the backbone of the territory through which it flowed in many ways. After the administrative division of the Kingdom of Yugoslavia, which was proclaimed in1929 by King Alexander Karadjordjevic,... more
Throughout the history, Danube represented the backbone of the territory through which it flowed in many ways. After the administrative division of the Kingdom of Yugoslavia, which was proclaimed in1929 by King Alexander Karadjordjevic, this river has become the focal point of the newly established region called the Danube Banovina. Very soon, a decision was made to build an administrative building of this new region – Banovina, which lasted from 1936 to 1939. Built by the architect Dragiše Brašovana, this building is the most monumental of all buildings in the style and spirit of modernism, the symbol of power of the region, and due to the fact that the shape resembles a luxury ship on the Danube, it also symbolize the river in which vicinity is located. Moreover, built in the shape of an elongated horseshoe, with a high tower at one end, it resembles baroque churches characteristic for the Vojvodina region. With a hull made of white marble and its interior decorated with a variety of luxurious materials, it represents a unique work of art. The building belongs to the district of Novi Sad called Mali Liman (Small Estuary), built between the two world wars, the site of the former fortifications and drained wetlands. This district is located around the Boulevard of Queen Mary and the Prince Tomislav bridge where the most important public buildings were concentrated, making a unique urban complex. As well as in time when the building of Banovina was built, it became a focal point of the district, similarly like Danube is a central point of Novi Sad. This paper deals with various aspects of observation of this building - placing it in cultural, historical, artistic, urban, architectural and symbolic context, as well as in the creative context of Dragiša Brašovana’s Novi Sad architectural work. In that way, its importance for tourism and travel opportunities in a variety of presentations of the complex of Banovina, Mali liman (Small Estuaries), were pointed out, as the urban whole and individual buildings, which are also very significant, making an ideological matrix that led to their construction. In addition, this indicates the possibility of enriching the tourism offer of the city and the region, so one must conclude that the immediate past with their spiritual and material heritage offers a variety of attractive potentials which fit into the overall tourism offer.
Keywords: Danube, Region, Banovina, Modernism, Dragiša Brašovan, Tourism
Keywords: Danube, Region, Banovina, Modernism, Dragiša Brašovan, Tourism
Research Interests:
In his art reviews Rastko Petrović strove to chronicle and define the Serbian art scene between the two world wars. His work as an art critic ran parallel with his career as a writer and diplomat, and it developed in three main stages. In... more
In his art reviews Rastko Petrović strove to chronicle and define the Serbian art scene between the two world wars. His work as an art critic ran parallel with his career as a writer and diplomat, and it developed in three main stages. In the first stage, which began in Paris in 1921 and lasted until 1926 Petrović examined the trends in Serbian painting through the prism of international art styles that were current at the time. In May 1931 he began contributing regular art reviews to the Politika daily, covering Belgrade exhibitions until the fall of 1935. In the meantime, his views expressed at this time were verified by art historians. After his departure for the United States, he did not write professional art criticism anymore, but he produced some essays on Renaissance artists, particularly those of Slavonic origin. In the three decades during which he actively wrote, Rastko Petrović was continually devoted to art, and his evolution as an art critic was similar to the development of Serbian art in the first half of the 20th century. Growing up in the early 20th century, at a time when the moderate impressionism of the Belgrade school of painters was dominant, and influenced by the expressive coloring of his sister’s, Nadežda Petrović’s brushwork, he developed intellectually by witnessing the disintegration of form in Cubism, the tendencies of «pure painting», the subversion of social and artistic norms in Dadaism, and the attempts to channel the stream of consciousness and the automatic in Surrealism, eventually discarding it all in favor of an aestheticized poetics of «fine painting», to find in artistic styles of the past the universal values than he had been searching for all his life.
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Events significant to the course of history in the Serbian Middle Ages often attracted the attention of Serbian painters in the 19th century. Their visual interpretations come in the works of the Romantic painters, building a distinctive... more
Events significant to the course of history in the Serbian Middle Ages often attracted the attention of Serbian painters in the 19th century. Their visual interpretations come in the works of the Romantic painters, building a distinctive and codified thematic collection in the genre of historic painting. The cycle on Stefan Nemanja, his sons and the scions of his line fills a key place there. One of the last in the series is the theme of the burning
of the relics of Saint Sava, where the Romantic preoccupation with the Middle Ages, thanks to a special array of pictorial intervention, gains an undoubtedly symbolist
quality and thus interprets the Serbian and Byzantine Middle Ages in the spirit of modernism. Stevan Aleksić was among the painers that used national tragedy of burning St. Sava's relics for his monumental symbolistic paintings.
of the relics of Saint Sava, where the Romantic preoccupation with the Middle Ages, thanks to a special array of pictorial intervention, gains an undoubtedly symbolist
quality and thus interprets the Serbian and Byzantine Middle Ages in the spirit of modernism. Stevan Aleksić was among the painers that used national tragedy of burning St. Sava's relics for his monumental symbolistic paintings.
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In his interviews taped in 1970 and 1973 Risto Stijović was remembering the various phases of his artistic education, his life, friends, exhibitions and artistic models and his own sculptures from different periods of his work. Thus, part... more
In his interviews taped in 1970 and 1973 Risto Stijović was remembering the various
phases of his artistic education, his life, friends, exhibitions and artistic models and his
own sculptures from different periods of his work. Thus, part of his narration concerns
his Paris atelier in Cité Falguière 11 and other artists who lived or had their ateliers in
the neighborhood around 1920 including Amedeo Clemente Modigliani, Chaim Soutine, Milo Milunović, Sreten Stojanović. Stijović also speaks about his teachers and role models Đoka Jovanović, Jean Antoine Injalbert, Joseph Antoine Bernard and François Pompon and about his own interpretation of the knowledge they offered to him. He also mentiones the bohemian life in Paris, coffee shops where artist used to meet, gallery owners who exhibited and sold their works and different life and artistic temptations, which he experienced and which made him decide to leave Paris and his career there and return to Belgrade in 1928. There was also a place in his memories for Žana Dišan Stijović whom Risto married in Paris in 1920 and who was the first and most frank critic of his works and his life companion until 1973. Special segment is devoted to the sculptures, which Pavle Beljanski included in his collection as well as to some painters represented in the collection who were the friends of Stijović but also to the memories of the great collector himself. These interviews have not been completely reproduced but certain fragments have been chosen that could present in the best way the personality and work of Risto Stijovićand his conntacts with other artists in Paris and Belgrade and with Pavle Beljanski.
phases of his artistic education, his life, friends, exhibitions and artistic models and his
own sculptures from different periods of his work. Thus, part of his narration concerns
his Paris atelier in Cité Falguière 11 and other artists who lived or had their ateliers in
the neighborhood around 1920 including Amedeo Clemente Modigliani, Chaim Soutine, Milo Milunović, Sreten Stojanović. Stijović also speaks about his teachers and role models Đoka Jovanović, Jean Antoine Injalbert, Joseph Antoine Bernard and François Pompon and about his own interpretation of the knowledge they offered to him. He also mentiones the bohemian life in Paris, coffee shops where artist used to meet, gallery owners who exhibited and sold their works and different life and artistic temptations, which he experienced and which made him decide to leave Paris and his career there and return to Belgrade in 1928. There was also a place in his memories for Žana Dišan Stijović whom Risto married in Paris in 1920 and who was the first and most frank critic of his works and his life companion until 1973. Special segment is devoted to the sculptures, which Pavle Beljanski included in his collection as well as to some painters represented in the collection who were the friends of Stijović but also to the memories of the great collector himself. These interviews have not been completely reproduced but certain fragments have been chosen that could present in the best way the personality and work of Risto Stijovićand his conntacts with other artists in Paris and Belgrade and with Pavle Beljanski.
Thanks to the friendship between Dr Pál Grünbaum, later Galambos, wordly famous and appreciated artist Philip Alexius de László came to Óbecse during three consecutive years (1889–1891). During that time young de László, then Laub,... more
Thanks to the friendship between Dr Pál Grünbaum, later Galambos, wordly famous and appreciated artist Philip Alexius de László came to Óbecse during three consecutive years (1889–1891). During that time young de László, then Laub, painted a number of distinguished citizens of Old Bečej and Vrbas family portraits that helped him, together with national scholarships, to continue his studies in Munich and Paris. Beside portraits, important part of Philip de László’s Bácska opus belong to the genre scenes, where he was always sure in performance. A large number of this de László’s early period paintings are still untraced, but we know about them through literary references and there are also photographs in the De László Archive, which is now in London in the National Portrait Gallery’s Heinz Archive and Library. The writers of the de László Catalogue Raisonné seek these seminal works also: https://www.delaszlocatalogueraisonne.com . Artworks of the young painter are testifying about his talent, but also about Bačka and its citizens at the end of 19th Century. Illuminating Philip de László’s Vojvodina opus in the contexts of his oeuvre and time, give us insight of wider European art courses, their presence in Bačka, and socio-economic framwork for this art.
Key words: Philip Alexius de László, Laub Fülöp, Pál Grünbaum, Galambos, 19th Century, Bačka, Bečej, Vrbas, portrait, genre scene
Key words: Philip Alexius de László, Laub Fülöp, Pál Grünbaum, Galambos, 19th Century, Bačka, Bečej, Vrbas, portrait, genre scene
This rich, in-depth exploration of Dada’s roots in East-Central Europe is a vital addition to existing research on Dada and the avant-garde. Through deeply researched case studies and employing novel theoretical approaches, the volume... more
This rich, in-depth exploration of Dada’s roots in East-Central Europe is a vital addition to existing research on Dada and the avant-garde. Through deeply researched case studies and employing novel theoretical approaches, the volume rewrites the history of Dada as a story of cultural and political hybridity, border-crossings, transitions, and transgressions, across political, class and gender lines. Dismantling prevailing notions of Dada as a “Western” movement, the contributors to this volume present East-Central Europe as the locus of Dada activity and techniques. The articles explore how artists from the region pre-figured Dada as well as actively “cannibalized”, that is, reabsorbed and further hybridized, a range of avant-garde techniques, thus challenging “Western” cultural hegemony.
Research Interests: Performing Arts, Transnational and World History, Futurism, Modernist Literature (Literary Modernism), Tristan Tzara, and 15 moreModernist Literature, Feminist Art History, 20th century Avant-Garde, Central and Eastern Europe, Dadaism, Bauhaus, Dadaism & Surrealism, Visual and Performing Arts, Hungarian Art (19-20th century), Yugoslav Modernism, Modern Polish History, Austrian art history, Modernist Literature (Literary Modernism) Literatura, Periodicals Studies, and Dragan Aleksić
Camilla Ylla Koffler (1911–1954) For connoisseurs of art photography, the name Ylla Koffler is not unknown. It is less known that her artistic beginnings are connected to Belgrade. After she became interested in sculpture in Budapest, she... more
Camilla Ylla Koffler (1911–1954)
For connoisseurs of art photography, the name Ylla Koffler is not unknown. It is less known that her artistic beginnings are connected to Belgrade. After she became interested in sculpture in Budapest, she graduated from the Art School in Belgrade, and critics noted her performance at the Autumn Salon in 1931. Although it is less known and significant for her later career than the time when she lived in Paris and later in New York, the change of her name to Ylla and a rich social life are also associated with the Belgrade period. Having come into contact with the medium of photography in Ergy Landau's studio, she herself began to shoot the subjects she loved the most: animals, observing them in the same way as other portraitists observe their models - as beings with character, emotions and personal characteristics. As an established animalist photographer, she already exhibited at a collective exhibition in 1933, and then had a solo exhibition; started publishing photos in magazines and receiving rave reviews. "Ylla has a divine gift for understanding animals and manages to elicit expressive expressions from them." That gift is balanced with her amazing talent for photography," wrote Jacques Guenne in L`Art vivant magazine at the time. She also published her first two photo albums (Chiens and Chats) in 1935, which will later be one of the forms of presenting her work. In 1937, she participated in a photography exhibition in New York, along with Ergy Landau, Man Ray, André Kertész, Nora Dumas and others. This performance opened the door for her to move to the North American continent before the Nazi occupation of France in 1941. Ylla's photographs from the Paris period were placed, with exceptional recommendations, in Belgrade, in the decorator's studio of her mother Margita Koffler. In 1940, the Belgrade newspaper Vreme published an article about Ylla and her notable work in Paris in the field of animalistic photography. Arriving in New York was a new beginning for Ylla, but also the opening of new opportunities – she gained the respect of gallerists and curators, photo albums were simultaneously published in several world centers, and she enjoyed the sympathy of the audience and pet owners who wanted to immortalize them. Finally, the real interaction between different species, as well as the free movement of wild animals in their natural environment, she experienced and recorded on camera during her stay in Africa and India. It was this stay in India that was fatal: always determined to get as authentic a shot as possible, she did not survive a fall from a moving vehicle, and she was filming the scene of the buffalo race.
With the intention of introducing the former Belgrade resident, resident of Paris, New York to a wider audience, this exhibition can only offer a part of Ylla's exciting life and her determination to always achieve the best: whether she is molding clay, depicting animals, or simply creating a personal performance in public.
For connoisseurs of art photography, the name Ylla Koffler is not unknown. It is less known that her artistic beginnings are connected to Belgrade. After she became interested in sculpture in Budapest, she graduated from the Art School in Belgrade, and critics noted her performance at the Autumn Salon in 1931. Although it is less known and significant for her later career than the time when she lived in Paris and later in New York, the change of her name to Ylla and a rich social life are also associated with the Belgrade period. Having come into contact with the medium of photography in Ergy Landau's studio, she herself began to shoot the subjects she loved the most: animals, observing them in the same way as other portraitists observe their models - as beings with character, emotions and personal characteristics. As an established animalist photographer, she already exhibited at a collective exhibition in 1933, and then had a solo exhibition; started publishing photos in magazines and receiving rave reviews. "Ylla has a divine gift for understanding animals and manages to elicit expressive expressions from them." That gift is balanced with her amazing talent for photography," wrote Jacques Guenne in L`Art vivant magazine at the time. She also published her first two photo albums (Chiens and Chats) in 1935, which will later be one of the forms of presenting her work. In 1937, she participated in a photography exhibition in New York, along with Ergy Landau, Man Ray, André Kertész, Nora Dumas and others. This performance opened the door for her to move to the North American continent before the Nazi occupation of France in 1941. Ylla's photographs from the Paris period were placed, with exceptional recommendations, in Belgrade, in the decorator's studio of her mother Margita Koffler. In 1940, the Belgrade newspaper Vreme published an article about Ylla and her notable work in Paris in the field of animalistic photography. Arriving in New York was a new beginning for Ylla, but also the opening of new opportunities – she gained the respect of gallerists and curators, photo albums were simultaneously published in several world centers, and she enjoyed the sympathy of the audience and pet owners who wanted to immortalize them. Finally, the real interaction between different species, as well as the free movement of wild animals in their natural environment, she experienced and recorded on camera during her stay in Africa and India. It was this stay in India that was fatal: always determined to get as authentic a shot as possible, she did not survive a fall from a moving vehicle, and she was filming the scene of the buffalo race.
With the intention of introducing the former Belgrade resident, resident of Paris, New York to a wider audience, this exhibition can only offer a part of Ylla's exciting life and her determination to always achieve the best: whether she is molding clay, depicting animals, or simply creating a personal performance in public.
Research Interests:
From a Female Perspective History teaches us about the different views towards women throughout the ages - from labeling them as the greatest sinners and culprits for the fall of humanity to the high points of their power, when women... more
From a Female Perspective
History teaches us about the different views towards women throughout the ages - from labeling them as the greatest sinners and culprits for the fall of humanity to the high points of their power, when women controlled entire empires and their rulers, or created priceless works of art - especially in literature and fine arts. Serbian history is not lacking in such examples, but we will only consider a few recent cases from the more recent times, which speak of no easy path to equality and what we today pompously call "women's emancipation", and the role that women have played with their exemplary achievements north and south of the rivers Danube and Sava. One of those examples is the writer Eustahija Arsić, who as early as 1816 "tried to exceed the limits of conservative exclusivity that denied women any sociological function". In her work Poleznaja razmišljenija, she stood up for the education of women, and “her work created a crack through which, overcoming the pressure of prejudice, later attempts will be made”: the emergence of the first Serbian journalist Julijana Radivojević who became the editor of the Talia almanac in 1829, and then towards the middle of the 18th century, the first Serbian academic painter Katarina Ivanović, the poet Milica Stojadinović Srpkinja, and Ana Feldmann as the first woman to open a photo studio in Serbia. It is known that the first pianos arrived in Serbia in the third decade of the 19th century, for the needs of Miloš and Jevrem Obrenović’s daughters, but the first piano compositions, written by a woman, were created much earlier: salon piece In the Hours of Solitude by Julijana Dimitrijević was published in 1795, and a hundred years later the Collection of Serbian Poems by Hristina Dimitrijević, a composer who wrote short piano compositions, was also published. There are many similar recorded examples, and each of them, along with all the other unnamed women who have dedicated themselves to various forms of artistic creation, have contributed to the advancement of women's role in our society. The first public attempt made towards women's affirmation in Serbian civil society, which took place in 1865, shows us how painstaking this process was. At the public and religious assembly in Sremski Karlovci, the archpriest Pavle Nikolić raised the issue of women's voting rights in church municipalities. This proposal was met with bewilderment, and then loud laughter, followed by interjections by Svetozar Miletić. The proposal was rejected as inappropriate. Two years later, at the Belgrade Youth Assembly, the Russian envoy Bochkarov proposed proclaiming the right of women to public work, but that also yielded no results. The issue of equality between men and women was also advocated by the writer Draga Dejanović, who in her articles in Matica, Mlada Srbadija and Zastava sincerely advocated the implementation of the basic principles of social and cultural equality between the sexes. It should also be mentioned that the call for equality from the male side came from Svetozar Marković, as evidenced by his discussion of Whether a Woman is Capable of Being Equal to a Man; The Liberation of Women. In essence, life itself has shown that some processes are impossible to stop. The socially desirable subordination of women, which throughout history has had support in various religions, inevitably began to weaken in the early 20th century. The ideas of Christianity that rested on the cult of the Virgin Mary, her sinless conception, and advocacy of women's suffering, faced with the growing presence of the female population in schools and universities, could not stop the process of change. At the beginning of the 20th century, the struggle for women's emancipation was intensifying in all segments of society; at the same time, the influence of religion in industrial societies was growing weaker. Along with the work engagement, it helped the real liberation of women. A whole century and more has passed since then; women's heads are once again hiding under the headscarf, feredza, niqab, and veil, women's rights to take control of their own lives and destinies are being brought under scrutiny, laws are made that limit position and status of women, disenfranchising them even further. Not even the feminist movement, which in the second half of the 20th century greatly contributed to the equal position of women, has the strength to overcome the newly established fortress of religious beliefs, which represents a true bastion of female subordination today. That is why the contribution of many women who have been engaged in art or public work throughout the ages is invaluable. In Serbian culture, new names are constantly emerging and it is very difficult to single out specific figures. In another instance, this selection could have been vastly different; still, without the protagonists of this exhibition, the history of Serbian culture could not have been written in the manner in which it was.
History teaches us about the different views towards women throughout the ages - from labeling them as the greatest sinners and culprits for the fall of humanity to the high points of their power, when women controlled entire empires and their rulers, or created priceless works of art - especially in literature and fine arts. Serbian history is not lacking in such examples, but we will only consider a few recent cases from the more recent times, which speak of no easy path to equality and what we today pompously call "women's emancipation", and the role that women have played with their exemplary achievements north and south of the rivers Danube and Sava. One of those examples is the writer Eustahija Arsić, who as early as 1816 "tried to exceed the limits of conservative exclusivity that denied women any sociological function". In her work Poleznaja razmišljenija, she stood up for the education of women, and “her work created a crack through which, overcoming the pressure of prejudice, later attempts will be made”: the emergence of the first Serbian journalist Julijana Radivojević who became the editor of the Talia almanac in 1829, and then towards the middle of the 18th century, the first Serbian academic painter Katarina Ivanović, the poet Milica Stojadinović Srpkinja, and Ana Feldmann as the first woman to open a photo studio in Serbia. It is known that the first pianos arrived in Serbia in the third decade of the 19th century, for the needs of Miloš and Jevrem Obrenović’s daughters, but the first piano compositions, written by a woman, were created much earlier: salon piece In the Hours of Solitude by Julijana Dimitrijević was published in 1795, and a hundred years later the Collection of Serbian Poems by Hristina Dimitrijević, a composer who wrote short piano compositions, was also published. There are many similar recorded examples, and each of them, along with all the other unnamed women who have dedicated themselves to various forms of artistic creation, have contributed to the advancement of women's role in our society. The first public attempt made towards women's affirmation in Serbian civil society, which took place in 1865, shows us how painstaking this process was. At the public and religious assembly in Sremski Karlovci, the archpriest Pavle Nikolić raised the issue of women's voting rights in church municipalities. This proposal was met with bewilderment, and then loud laughter, followed by interjections by Svetozar Miletić. The proposal was rejected as inappropriate. Two years later, at the Belgrade Youth Assembly, the Russian envoy Bochkarov proposed proclaiming the right of women to public work, but that also yielded no results. The issue of equality between men and women was also advocated by the writer Draga Dejanović, who in her articles in Matica, Mlada Srbadija and Zastava sincerely advocated the implementation of the basic principles of social and cultural equality between the sexes. It should also be mentioned that the call for equality from the male side came from Svetozar Marković, as evidenced by his discussion of Whether a Woman is Capable of Being Equal to a Man; The Liberation of Women. In essence, life itself has shown that some processes are impossible to stop. The socially desirable subordination of women, which throughout history has had support in various religions, inevitably began to weaken in the early 20th century. The ideas of Christianity that rested on the cult of the Virgin Mary, her sinless conception, and advocacy of women's suffering, faced with the growing presence of the female population in schools and universities, could not stop the process of change. At the beginning of the 20th century, the struggle for women's emancipation was intensifying in all segments of society; at the same time, the influence of religion in industrial societies was growing weaker. Along with the work engagement, it helped the real liberation of women. A whole century and more has passed since then; women's heads are once again hiding under the headscarf, feredza, niqab, and veil, women's rights to take control of their own lives and destinies are being brought under scrutiny, laws are made that limit position and status of women, disenfranchising them even further. Not even the feminist movement, which in the second half of the 20th century greatly contributed to the equal position of women, has the strength to overcome the newly established fortress of religious beliefs, which represents a true bastion of female subordination today. That is why the contribution of many women who have been engaged in art or public work throughout the ages is invaluable. In Serbian culture, new names are constantly emerging and it is very difficult to single out specific figures. In another instance, this selection could have been vastly different; still, without the protagonists of this exhibition, the history of Serbian culture could not have been written in the manner in which it was.
Research Interests:
The Dada period in Yugoslav art is mostly connected with Dragan Aleksić. Dadaistic work of Dragan Aleksić changed the course and the identity of Dada movement in former Yugoslavia. His intensive dadaistic activities lasted for three years... more
The Dada period in Yugoslav art is mostly connected with Dragan Aleksić. Dadaistic work of Dragan Aleksić changed the course and the identity of Dada movement in former Yugoslavia. His intensive dadaistic activities lasted for three years and afterwards, he focused his work towards the development of the avant-garde concepts, while gradually altering the form but maintaining the critical acuteness. Being more versatile than the rest of the leading Dada artists, he included numerous forms of dadaistic discourse, from publishing the journal, inventing a special dadaistic language and terminology, through writing the manifesto, poetry, art critic, plays, performing, filming, profiling of the special visual dadaistic expression, to the apocryphal history of the genesis, development, performance and the conclusion of Yugoslav Dadaism (Yougo Dada). In this period, he was engaged in the effective cooperation with a number of avant-garde artists from Zagreb and Belgrade, like Sava Šumanović, Rastko Petrović, Mihailo S. Petrov, etc. Also, he established contacts with the most prominent Dada artist from the leading European cultural centres, as well as from Eastern and Central Europe: Tristan Tzara, Walter Mehring, Kurt Schwitters, Raoul Hausmann, Czont Aádám, Kassák Lajos, Karel Čapek, Karel Teige and others. Intensive dadaistic activities and the effective communication enabled Yugoslav Dadaism to profile itself as authentic, avant-garde movement, whose true course was charted mostly owing to the actions of one man – Dragan Aleksić. The aim of this study is to highlight different aspects of Dragan Aleksić’s dadaistic work, through the known facts interpreted in the light of new findings on the subject, and to establish the position of Yougo Dada within the European and East-Central European avant-garde context.
Research Interests:
DANICA JOVANOVIĆ: (January 4th, 1886 - November 12th, 1914) In October 1963, the painting Head Study by Danica Jovanović was, among others, exhibited in the Museum of Srem in Sremska Mitrovica, at the exhibition entitled "Nadežda... more
DANICA JOVANOVIĆ:
(January 4th, 1886 - November 12th, 1914)
In October 1963, the painting Head Study by Danica Jovanović was, among others, exhibited in the Museum of Srem in Sremska Mitrovica, at the exhibition entitled "Nadežda Petrović and the Early Modern Painting in Serbia". Almost fifty years after her tragic demise, the work of the Serbian painter Danica Jovanović was displayed alongside the paintings produced by her best-known contemporaries, such as Beta Vukanović, Nadežda Petrović, Milan Milovanović, Kosta Milićević, Natalija Cvetković, Miloš Golubović and others. A more meticulous analysis of Danica Jovanović's work and personality took almost another twenty-five years to be completed, as a result of which her paintings were for the first time exhibited together in one place. During that long period, which lasted from September 1914 until the exhibition, her artistic activity had been referred to more or less casually, rather in the context of her tragic death than in respect to her significance for the modern Serbian culture and art. The letters Ms Jovanović wrote to her former art teacher from Novi Sad, Anđelija Sandić, and to the headmaster of Novi Sad Female High School, Arkadije Varađanin, cast a little more light on her personality. They reveal fragments of her private life and schooling in Munich, her attitude to painting, as well as her designs on future. On the other hand, many details which seem important, such as names of professors and colleagues she used to spend time with, as well as her impressions from possible trips through Europe, Kosovo and the south of Serbia during the Balkan Wars (most probably in Summer of 1913), remain secret. It even appears that Ms Jovanović deliberately kept facts about her journeys throughout regions liberated from the Turks during the Balkan Wars secret. She was a citizen of the Austrian- Hungarian Empire, so her secretiveness was quite logical.
In the birth records of the church in Beška, one can find a notice of Danica Jovanović's birth on January 4, 1886. The next, later written data important for her biography come only from the period of her belated schooling in Novi Sad (1904-1907). The girl from Beška, fascinated by the world of art, most probably found it extremely difficult to prove to her milieu that, in her life, painting was the only road worth travelling. However, she persevered in her convictions and finally started her artistic education at the School of Art and Craft in Belgrade in Autumn of 1907. After that, Danica stayed in Munich from October 1909 to August 2nd, 1914. On December 1st, 1909, she entered the Girls' Art Academy. According to her own words, she finished the first year of the course as one of the best students at the academy, which made her very proud. She thought of painting as her only vocation in life. In her second year, she took up oil painting, and was allowed to copy the painting of Peter Paul Rubens at the Royal Pinacotheca. She wanted to get a diploma, so she can be allowed to teach in schools. At the same time, she was aware that graduation did not put an end to her education, and she wanted to go to Rome, “the city paved with pieces of classicism”. She also intended to come back to Yugoslavia after graduatio,n and instruct women on designing carpet patterns. Sketches she drew of peasants in colorful folk attire are another product of the same interest. Having graduated from the Girls' Art Academy in 1914, Danica Jovanović was allowed to work as an art teacher, and earned the title of a trained painter. Thanks to that, she was admitted into the Women's Art Association, which enabled her to take part in exhibition in Munich. Her wish to educate Serb women and teach them the art of folk-style ornamenting is also an expressions of Danica's deep patriotism. A citizen of Austrian-Hungarian Empire, who spent time together with other Serb students in Munich, traveled to Belgrade and round other parts of Serbia and wanted to find a job there, must have raised suspicion of authorities, so it is no wonder that Danica was among those who were arrested in Beška and tried at a court-martial in Petrovaradin.
The battle on Mt. Cer was one of the first significant military operations in World War I. It took place from August 1st to 8th, precisely at the time when Danica Jovanović returned from Munich. In Beška, just like in many other Serb villages north of the Sava and the Danube, people waited for Serbian soldiers to arrive from the battlefield with excitement, leaving lit candles in the windows. But, instead of the liberators they expected, the Austrian army troops arrived and took hostages as a form of retaliation. Danica Jovanović was in the group of people from Beška who were shot at the Petrovaradin Fortress on September 12th, 1914.
Danica Jovanović was one of the few painters from Vojvodina, and also among the last Serbian painters who have chosen Munich as the place of their education. Her artistic legacy can be divided into two groups: the works related to the Academy and her Munich period, and paintings produced during her summer vacations and trips. From the school period there are two sketching pads with a number of drawings (one of them being Danica's self-portrait), which show her skill in giving form to what she drew using pencils and coal-pencils, applying firm and energetic strokes, without much details or unsureness. Then there are her oils on cardboard or canvas, mostly studies of heads of various academy models, painted in the way set by school rules: uniform, inconspicuous strokes, reduced, dark colors, conventional methods of shading, all contributing to a very realistic approach. What makes Danica Jovanović's work outstanding is in the paintings where her energetic character comes to surface: painted in thick paste, with strong, deliberate strokes which often follow the outlines, and bright colors which always allow for highlights. Danica Jovanović declared herself definitely a colorist, interested mainly in the clash of colored surfaces and the play of light that binds them together. Danica Jovanović was also interested in symbolist painting. She has included many symbols in a series of oil paintings on very popular subject of blind Gipsy beggar girl. And the final painting amongst Danica Jovanović's works as they are known today is primarily documentary in character: it shows the destroyed bridge over river Sava in Belgrade, which was bombed at the very beginning of WWI. It is obviously that she wanted to paint it, instead of making a photographic image of it, because the painting does not follow the inner logic inherent in other paintings. This is another thing that speaks in favor of the assumption that Danica Jovanović's artistic potentials had not been fully expressed by the time she died. Although from time to time, an unknown painting of hers appears in public, and although every such "new" work can only increase Danica Jovanović’s significance for Serbian art and culture, it will not help us learn more about her dilemmas and dreams that will never come true.
(January 4th, 1886 - November 12th, 1914)
In October 1963, the painting Head Study by Danica Jovanović was, among others, exhibited in the Museum of Srem in Sremska Mitrovica, at the exhibition entitled "Nadežda Petrović and the Early Modern Painting in Serbia". Almost fifty years after her tragic demise, the work of the Serbian painter Danica Jovanović was displayed alongside the paintings produced by her best-known contemporaries, such as Beta Vukanović, Nadežda Petrović, Milan Milovanović, Kosta Milićević, Natalija Cvetković, Miloš Golubović and others. A more meticulous analysis of Danica Jovanović's work and personality took almost another twenty-five years to be completed, as a result of which her paintings were for the first time exhibited together in one place. During that long period, which lasted from September 1914 until the exhibition, her artistic activity had been referred to more or less casually, rather in the context of her tragic death than in respect to her significance for the modern Serbian culture and art. The letters Ms Jovanović wrote to her former art teacher from Novi Sad, Anđelija Sandić, and to the headmaster of Novi Sad Female High School, Arkadije Varađanin, cast a little more light on her personality. They reveal fragments of her private life and schooling in Munich, her attitude to painting, as well as her designs on future. On the other hand, many details which seem important, such as names of professors and colleagues she used to spend time with, as well as her impressions from possible trips through Europe, Kosovo and the south of Serbia during the Balkan Wars (most probably in Summer of 1913), remain secret. It even appears that Ms Jovanović deliberately kept facts about her journeys throughout regions liberated from the Turks during the Balkan Wars secret. She was a citizen of the Austrian- Hungarian Empire, so her secretiveness was quite logical.
In the birth records of the church in Beška, one can find a notice of Danica Jovanović's birth on January 4, 1886. The next, later written data important for her biography come only from the period of her belated schooling in Novi Sad (1904-1907). The girl from Beška, fascinated by the world of art, most probably found it extremely difficult to prove to her milieu that, in her life, painting was the only road worth travelling. However, she persevered in her convictions and finally started her artistic education at the School of Art and Craft in Belgrade in Autumn of 1907. After that, Danica stayed in Munich from October 1909 to August 2nd, 1914. On December 1st, 1909, she entered the Girls' Art Academy. According to her own words, she finished the first year of the course as one of the best students at the academy, which made her very proud. She thought of painting as her only vocation in life. In her second year, she took up oil painting, and was allowed to copy the painting of Peter Paul Rubens at the Royal Pinacotheca. She wanted to get a diploma, so she can be allowed to teach in schools. At the same time, she was aware that graduation did not put an end to her education, and she wanted to go to Rome, “the city paved with pieces of classicism”. She also intended to come back to Yugoslavia after graduatio,n and instruct women on designing carpet patterns. Sketches she drew of peasants in colorful folk attire are another product of the same interest. Having graduated from the Girls' Art Academy in 1914, Danica Jovanović was allowed to work as an art teacher, and earned the title of a trained painter. Thanks to that, she was admitted into the Women's Art Association, which enabled her to take part in exhibition in Munich. Her wish to educate Serb women and teach them the art of folk-style ornamenting is also an expressions of Danica's deep patriotism. A citizen of Austrian-Hungarian Empire, who spent time together with other Serb students in Munich, traveled to Belgrade and round other parts of Serbia and wanted to find a job there, must have raised suspicion of authorities, so it is no wonder that Danica was among those who were arrested in Beška and tried at a court-martial in Petrovaradin.
The battle on Mt. Cer was one of the first significant military operations in World War I. It took place from August 1st to 8th, precisely at the time when Danica Jovanović returned from Munich. In Beška, just like in many other Serb villages north of the Sava and the Danube, people waited for Serbian soldiers to arrive from the battlefield with excitement, leaving lit candles in the windows. But, instead of the liberators they expected, the Austrian army troops arrived and took hostages as a form of retaliation. Danica Jovanović was in the group of people from Beška who were shot at the Petrovaradin Fortress on September 12th, 1914.
Danica Jovanović was one of the few painters from Vojvodina, and also among the last Serbian painters who have chosen Munich as the place of their education. Her artistic legacy can be divided into two groups: the works related to the Academy and her Munich period, and paintings produced during her summer vacations and trips. From the school period there are two sketching pads with a number of drawings (one of them being Danica's self-portrait), which show her skill in giving form to what she drew using pencils and coal-pencils, applying firm and energetic strokes, without much details or unsureness. Then there are her oils on cardboard or canvas, mostly studies of heads of various academy models, painted in the way set by school rules: uniform, inconspicuous strokes, reduced, dark colors, conventional methods of shading, all contributing to a very realistic approach. What makes Danica Jovanović's work outstanding is in the paintings where her energetic character comes to surface: painted in thick paste, with strong, deliberate strokes which often follow the outlines, and bright colors which always allow for highlights. Danica Jovanović declared herself definitely a colorist, interested mainly in the clash of colored surfaces and the play of light that binds them together. Danica Jovanović was also interested in symbolist painting. She has included many symbols in a series of oil paintings on very popular subject of blind Gipsy beggar girl. And the final painting amongst Danica Jovanović's works as they are known today is primarily documentary in character: it shows the destroyed bridge over river Sava in Belgrade, which was bombed at the very beginning of WWI. It is obviously that she wanted to paint it, instead of making a photographic image of it, because the painting does not follow the inner logic inherent in other paintings. This is another thing that speaks in favor of the assumption that Danica Jovanović's artistic potentials had not been fully expressed by the time she died. Although from time to time, an unknown painting of hers appears in public, and although every such "new" work can only increase Danica Jovanović’s significance for Serbian art and culture, it will not help us learn more about her dilemmas and dreams that will never come true.
Research Interests:
The term Black Carbon was coined by noted Serbian- American physicist Tihomir Novakov (1929-2015) in the 1970s. Black carbon, refers to the sunlight absorbing portion of ambient particulate matter and is a key component in soot and the... more
The term Black Carbon was coined by noted Serbian-
American physicist Tihomir Novakov (1929-2015) in the
1970s. Black carbon, refers to the sunlight absorbing
portion of ambient particulate matter and is a key
component in soot and the cause of negative
environmental impact on the atmosphere. This multimedia
exhibition, co-curated by art historians Jasna Jovanov and
Anna Novakov, (Dr. Novakov’s daughter), focuses on
contemporary artists working on black carbon as a
subject matter in their work. As a Provisional Art Space
[PAS] project, the exhibition highlights innovative sci-art
projects that shed light on global climate change. The
works in the exhibition are sensory based and include
pioneering work in visual, and aural art.
American physicist Tihomir Novakov (1929-2015) in the
1970s. Black carbon, refers to the sunlight absorbing
portion of ambient particulate matter and is a key
component in soot and the cause of negative
environmental impact on the atmosphere. This multimedia
exhibition, co-curated by art historians Jasna Jovanov and
Anna Novakov, (Dr. Novakov’s daughter), focuses on
contemporary artists working on black carbon as a
subject matter in their work. As a Provisional Art Space
[PAS] project, the exhibition highlights innovative sci-art
projects that shed light on global climate change. The
works in the exhibition are sensory based and include
pioneering work in visual, and aural art.
Research Interests:
Flat Horizon. The Life and Art of Milan Konjović edited by: Jasna Jovanov PhD, Anna Novakov PhD Fibonacci Academic Press, San Francisco in cooperation with the Pavle Beljanski Memorial Collection, Novi Sad and the Milan Konjović... more
Flat Horizon. The Life and Art of Milan Konjović
edited by: Jasna Jovanov PhD, Anna Novakov PhD
Fibonacci Academic Press, San Francisco in cooperation with the Pavle Beljanski Memorial Collection, Novi Sad and the Milan Konjović Gallery, Sombor, 2014.
At the end of 2014, a representative publication Flat Horizon was published by Fibonacci Academic Press from San Francisco, in cooperation with the Memorial Collection of Pavle Beljanski from Novi Sad and the Gallery "Milan Konjović" from Sombor. The Life and Art of Milan Konjović, edited by Dr. Jasna Jovanov and Dr. Ana Novakov. In accordance with the already confirmed importance of the artistic personality of Milan Konjović, the editors of the publication gathered a team of associates from Serbia and the United States of America, of proven scientific and professional integrity, for the realization of a complex research project. The result of this successful cooperation is the mentioned collection of works, a kind of monograph by Milan Konjović performed according to the highest standards of not only local, but also international practice.
Publications on national art published abroad, which promote not only the work of artists but also cultural heritage, are a rare occurrence in our historiography in which certain artistic phenomena and personalities have not yet been adequately valorized even within the domestic public. Milan Konjović (1898–1993) belongs to authors from the Yugoslav area whose painting already during his artistic development exceeded the framework of the national and became a part of the international cultural scene. His biography and opus are known to the domestic professional and general public, and an international group of researchers viewed them from different angles, which further contributed to a better understanding not only of painters, but also of time and artistic phenomena that surrounded and inspired him. Thus, in addition to introducing the foreign public to the personality and work of Milan Konjović, this edition also provides new possible interpretations to domestic experts. Along with the contribution to the popularization of the artist and his work, revealing and special emphasis on hitherto unknown or insufficiently researched segments of Konjović's life, it is especially worth emphasizing the long-term research work of each collaborator and reading known facts in a new methodological key. Special mention should be made of the efforts made by the editors of the publication, Jasna Jovanov and Ana Novakov, to connect these texts into a single whole, as well as the success of harmonizing them with the requirements of the modern approach in professional historical and artistic theory.
The 295-page publication begins with introductory texts by Irma Lang, Milan Konjović’s Legacy: Reflection on a Lifetime of Achievement and Dr. Jasna Jovanov and Dr. Ana Novakov, Flat Horizon. The text by Irma Lang represents Milan Konjović seen through the eyes of his long-term associate and the first curator of the "Milan Konjović" Gallery in Sombor. Irma Lang provides a framework for further texts by Dr. Jasna Jovanov, Dr. Ana Novakov, Sava Stepanova, Ana Rakić, Maja Marković, Rozice B. with a chronological review of Konjović's life and work, with special insight into his exhibition activities and the formation and work of the Gallery. Schroeder (Rossitza B. Schroeder) and Dr. Ljubomir Milanovic. The texts, historiographically and methodologically grounded in contemporary historical and artistic theory, provide new views of Konjović's work, from its beginnings in Prague, through his career in Paris, during and after World War II and finally his later achievements, thus confirming the various possibilities of reading art. opus.
Within the publication itself, Konjović's life and artistic development are followed through three clearly separated units: Background And Early Years, Konjović At Mid-Century and Art And Religion.
The first part introduces readers to the formation, painting and life of Milan Konjović in Prague and Paris through the texts of Jasna Jovanov, Milan Konjović in Czechoslovakia and Ana Novakov, From London to Monsouris: Milan Konjović’s Three Paris Studios. Jasna Jovanov's text sheds light on Konjović's education in Prague, where as a young painter he sought inspiration and discovered the limits of academic art education. Ana Novakov follows Konjović's rise on the international Parisian scene between the two world wars through the Parisian studios in which the artist created.
The second set, with texts by Sava Stepanov, Milan Konjović’s Painting during World War I and World War II, Ana Rakić, People 1951 and Maja Marković The Nude in Milan Konjović’s Oeuvre, reveals the development of Milan Konjović’s career in the middle of the 20th century. Sava Stepanov's text follows Konjović's painting during the wars: the First and Second World Wars and the captivity in Osnabrück. One of the limits of the artist's mature expression, the exhibition People from 1951, is processed by the text of Ana Rakić. Konjović's thematic focus in this period is on the landscapes and people of his native Vojvodina, and the influences of the Prague and Paris periods served as the basis for painting in his homeland. Thematic units in his oeuvre, such as nudes, are also considered in the text by Maja Marković.
Within the third part, the relationship between the artistic and the religious in the works of Milan Konjović is followed through the texts of Rozica B. Schroeder, The Visual Heritage of Mediaeval Serbia in the Art of Milan Konjović and Ljubomir Milanović, Structuring the Sacred in the Art of Milan Konjović. The authors discuss the later paintings of Milan Konjović, in which there is interest in medieval Serbian motifs and the incorporation of Byzantine religious symbols into contemporary art.
After comprehensive textual studies and biographies of experts, reproductions of Milan Konjović's work and rarely published documentary material (222 pages) accompanying the texts follow. The most significant works of Milan Konjović, which are kept by national cultural institutions, are reproduced in the color of top quality, which, along with the representative equipment of the edition, additionally contributes to the visual impression and adequate presentation of Milan Konjović's art.
The importance of the collection of works Flat Horizon should be especially emphasized. The Life and Art of Milan Konjović brings to the profession, emphasizing the most demanding part of every scientific-professional endeavor - research work. Thus, new generations have before them completed hitherto insufficiently researched parts of Milan Konjović's life and opus, and many complex aspects of the artistic trends of the 20th century are additionally clarified and approached, especially in those segments that are not accessible or easily understood at the level of national art history. In this way, the educational role of the publication is fulfilled.
After a long period, Milan Konjović's work is presented on a wider international stage on a scientific basis, and the texts of the most invited authors of the current art theory of art in the country and cooperation with foreign experts provide a new and fresh aspect in understanding his art. Within the framework of international recognition of the value of Konjović's opus, which is an inexhaustible source of new knowledge, this publication makes an exceptional contribution.
The importance of such projects for the popularization of national art outside the borders of our country, which reminds the professional and general public in the country and abroad of the greats of our art scene, contributes to the promotion of our culture internationally, which is one of the basic tasks of the profession. An exceptional success for domestic historiography was achieved with the publication of the monograph Flat Horizon. The Life and Art of Milan Konjović in the United States is a stimulus for new research endeavors, but also for new reflections on the role of contemporary art history.
Tijana Palkovljević Bugarski, PhD
Matica Srpska Gallery
edited by: Jasna Jovanov PhD, Anna Novakov PhD
Fibonacci Academic Press, San Francisco in cooperation with the Pavle Beljanski Memorial Collection, Novi Sad and the Milan Konjović Gallery, Sombor, 2014.
At the end of 2014, a representative publication Flat Horizon was published by Fibonacci Academic Press from San Francisco, in cooperation with the Memorial Collection of Pavle Beljanski from Novi Sad and the Gallery "Milan Konjović" from Sombor. The Life and Art of Milan Konjović, edited by Dr. Jasna Jovanov and Dr. Ana Novakov. In accordance with the already confirmed importance of the artistic personality of Milan Konjović, the editors of the publication gathered a team of associates from Serbia and the United States of America, of proven scientific and professional integrity, for the realization of a complex research project. The result of this successful cooperation is the mentioned collection of works, a kind of monograph by Milan Konjović performed according to the highest standards of not only local, but also international practice.
Publications on national art published abroad, which promote not only the work of artists but also cultural heritage, are a rare occurrence in our historiography in which certain artistic phenomena and personalities have not yet been adequately valorized even within the domestic public. Milan Konjović (1898–1993) belongs to authors from the Yugoslav area whose painting already during his artistic development exceeded the framework of the national and became a part of the international cultural scene. His biography and opus are known to the domestic professional and general public, and an international group of researchers viewed them from different angles, which further contributed to a better understanding not only of painters, but also of time and artistic phenomena that surrounded and inspired him. Thus, in addition to introducing the foreign public to the personality and work of Milan Konjović, this edition also provides new possible interpretations to domestic experts. Along with the contribution to the popularization of the artist and his work, revealing and special emphasis on hitherto unknown or insufficiently researched segments of Konjović's life, it is especially worth emphasizing the long-term research work of each collaborator and reading known facts in a new methodological key. Special mention should be made of the efforts made by the editors of the publication, Jasna Jovanov and Ana Novakov, to connect these texts into a single whole, as well as the success of harmonizing them with the requirements of the modern approach in professional historical and artistic theory.
The 295-page publication begins with introductory texts by Irma Lang, Milan Konjović’s Legacy: Reflection on a Lifetime of Achievement and Dr. Jasna Jovanov and Dr. Ana Novakov, Flat Horizon. The text by Irma Lang represents Milan Konjović seen through the eyes of his long-term associate and the first curator of the "Milan Konjović" Gallery in Sombor. Irma Lang provides a framework for further texts by Dr. Jasna Jovanov, Dr. Ana Novakov, Sava Stepanova, Ana Rakić, Maja Marković, Rozice B. with a chronological review of Konjović's life and work, with special insight into his exhibition activities and the formation and work of the Gallery. Schroeder (Rossitza B. Schroeder) and Dr. Ljubomir Milanovic. The texts, historiographically and methodologically grounded in contemporary historical and artistic theory, provide new views of Konjović's work, from its beginnings in Prague, through his career in Paris, during and after World War II and finally his later achievements, thus confirming the various possibilities of reading art. opus.
Within the publication itself, Konjović's life and artistic development are followed through three clearly separated units: Background And Early Years, Konjović At Mid-Century and Art And Religion.
The first part introduces readers to the formation, painting and life of Milan Konjović in Prague and Paris through the texts of Jasna Jovanov, Milan Konjović in Czechoslovakia and Ana Novakov, From London to Monsouris: Milan Konjović’s Three Paris Studios. Jasna Jovanov's text sheds light on Konjović's education in Prague, where as a young painter he sought inspiration and discovered the limits of academic art education. Ana Novakov follows Konjović's rise on the international Parisian scene between the two world wars through the Parisian studios in which the artist created.
The second set, with texts by Sava Stepanov, Milan Konjović’s Painting during World War I and World War II, Ana Rakić, People 1951 and Maja Marković The Nude in Milan Konjović’s Oeuvre, reveals the development of Milan Konjović’s career in the middle of the 20th century. Sava Stepanov's text follows Konjović's painting during the wars: the First and Second World Wars and the captivity in Osnabrück. One of the limits of the artist's mature expression, the exhibition People from 1951, is processed by the text of Ana Rakić. Konjović's thematic focus in this period is on the landscapes and people of his native Vojvodina, and the influences of the Prague and Paris periods served as the basis for painting in his homeland. Thematic units in his oeuvre, such as nudes, are also considered in the text by Maja Marković.
Within the third part, the relationship between the artistic and the religious in the works of Milan Konjović is followed through the texts of Rozica B. Schroeder, The Visual Heritage of Mediaeval Serbia in the Art of Milan Konjović and Ljubomir Milanović, Structuring the Sacred in the Art of Milan Konjović. The authors discuss the later paintings of Milan Konjović, in which there is interest in medieval Serbian motifs and the incorporation of Byzantine religious symbols into contemporary art.
After comprehensive textual studies and biographies of experts, reproductions of Milan Konjović's work and rarely published documentary material (222 pages) accompanying the texts follow. The most significant works of Milan Konjović, which are kept by national cultural institutions, are reproduced in the color of top quality, which, along with the representative equipment of the edition, additionally contributes to the visual impression and adequate presentation of Milan Konjović's art.
The importance of the collection of works Flat Horizon should be especially emphasized. The Life and Art of Milan Konjović brings to the profession, emphasizing the most demanding part of every scientific-professional endeavor - research work. Thus, new generations have before them completed hitherto insufficiently researched parts of Milan Konjović's life and opus, and many complex aspects of the artistic trends of the 20th century are additionally clarified and approached, especially in those segments that are not accessible or easily understood at the level of national art history. In this way, the educational role of the publication is fulfilled.
After a long period, Milan Konjović's work is presented on a wider international stage on a scientific basis, and the texts of the most invited authors of the current art theory of art in the country and cooperation with foreign experts provide a new and fresh aspect in understanding his art. Within the framework of international recognition of the value of Konjović's opus, which is an inexhaustible source of new knowledge, this publication makes an exceptional contribution.
The importance of such projects for the popularization of national art outside the borders of our country, which reminds the professional and general public in the country and abroad of the greats of our art scene, contributes to the promotion of our culture internationally, which is one of the basic tasks of the profession. An exceptional success for domestic historiography was achieved with the publication of the monograph Flat Horizon. The Life and Art of Milan Konjović in the United States is a stimulus for new research endeavors, but also for new reflections on the role of contemporary art history.
Tijana Palkovljević Bugarski, PhD
Matica Srpska Gallery
Research Interests:
Ivan Radović (Vršac, 21 June 1894 – Belgrade, 14 August 1973) His father was a clergyman, his elder brother, Milorad (1892-1934) was engaged in photography. Radović finished Teachers’ College in Sombor and from 1917 to 1919 studied... more
Ivan Radović (Vršac, 21 June 1894 – Belgrade, 14 August 1973)
His father was a clergyman, his elder brother, Milorad (1892-1934) was engaged
in photography. Radović finished Teachers’ College in Sombor and from
1917 to 1919 studied painting at the Art Academy in Budapest, with Professor Istvan
Réti. In 1918 he spent a month in a painters’ colony in Nagybanya, on a special
grant. In Budapest he moved in the circles of avant-garde artists and got acquainted
with the art of cubism, expressionism and Hungarian activism. He drew
a lot, particularly nudes with bodies shaped in the constructivist and expressive
manner. In 1919-1920, he was at the Art Academy in Prague, with Professor Joseph
Loukota. He frequently saw Milan Konjović, a friend from Sombor, and Borislav
Bogdanović. The Prague Academy did not have a major influence on his painting,
but the contemporary Czech art, particularly the one that developed from cubism,
left a deep imprint. After 1921 he travelled to Vienna and Munich, in 1925 to Paris.
In 1922 he took part in the Fifth Yugoslav Art Exhibition in Belgrade, as a member
of the group Slobodni (Free Artists), called by the critics (Todor Manojlović) our
„neo-classical“ or „constructivist“ artists. Radović then returned to Sombor in order
to study constructive and cubist forms (abstract watercolours, drawings, collages).
In 1925 he had a solo exhibition in Belgrade. From 1926 onwards he concentrated
on problems of form, and his interests progressed from constructivism and expressionism
to abstract art. His inspiration after 1935 was neo-classicism and he turned
to nudes represented in mythological and allegoric themes. Radović moved to
Belgrade in 1927, where he painted and played ping-pong. He began to paint naive-
like scenes and had a busy schedule of exhibitions (1928, 1929, 1932, 1933),
either on his own or as a member of the group Oblik (Form). From 1932 to 1940
he composed his paintings in an intimist manner, turned towards the inner world
and space, thematically inclined to nudes, occasional still-lifes or interiors. His intimist
interests were most directly expressed after his second sojourn in Paris, in
1937, where he was fascinated by Bonnard’s paintings. He spent some war years
in a POW camp in Germany, but afterwards returned to Belgrade. Only after 1950
did Radović get integrated into the new society. He was a member of the group
Šestorica (Six Artists) and focused on rural countryside, which earned him the
epithet of the painter of „romanticism from Vojvodina“. The essential framework of
Radović’s painting were villages in Bačka, represented in an atmosphere of optimism,
humanism and openheartedness. He exhibited his works in Belgrade in
1952 and 1960, in Zrenjanin and Subotica in 1963, in 1964 in Vršac, in 1966 in Novi
Sad, in the Gallery of Matica Srpska. He received the Politika award from the Vladislav
Ribnikar Fund in 1967. A retrospective was organized in the Gallery of the Serbian
Academy of Sciences and Arts in 1971 – the author of the exhibition was Miodrag
B. Protić and the show was visited by thirty thousand people. That year Ivan
Radović received the highest state award (the AVNOJ award). He died in Belgrade
in 1973 and was buried in the Avenue of the Notable. Radović was also awarded in
Paris, Philadelphia, Brussels.
His father was a clergyman, his elder brother, Milorad (1892-1934) was engaged
in photography. Radović finished Teachers’ College in Sombor and from
1917 to 1919 studied painting at the Art Academy in Budapest, with Professor Istvan
Réti. In 1918 he spent a month in a painters’ colony in Nagybanya, on a special
grant. In Budapest he moved in the circles of avant-garde artists and got acquainted
with the art of cubism, expressionism and Hungarian activism. He drew
a lot, particularly nudes with bodies shaped in the constructivist and expressive
manner. In 1919-1920, he was at the Art Academy in Prague, with Professor Joseph
Loukota. He frequently saw Milan Konjović, a friend from Sombor, and Borislav
Bogdanović. The Prague Academy did not have a major influence on his painting,
but the contemporary Czech art, particularly the one that developed from cubism,
left a deep imprint. After 1921 he travelled to Vienna and Munich, in 1925 to Paris.
In 1922 he took part in the Fifth Yugoslav Art Exhibition in Belgrade, as a member
of the group Slobodni (Free Artists), called by the critics (Todor Manojlović) our
„neo-classical“ or „constructivist“ artists. Radović then returned to Sombor in order
to study constructive and cubist forms (abstract watercolours, drawings, collages).
In 1925 he had a solo exhibition in Belgrade. From 1926 onwards he concentrated
on problems of form, and his interests progressed from constructivism and expressionism
to abstract art. His inspiration after 1935 was neo-classicism and he turned
to nudes represented in mythological and allegoric themes. Radović moved to
Belgrade in 1927, where he painted and played ping-pong. He began to paint naive-
like scenes and had a busy schedule of exhibitions (1928, 1929, 1932, 1933),
either on his own or as a member of the group Oblik (Form). From 1932 to 1940
he composed his paintings in an intimist manner, turned towards the inner world
and space, thematically inclined to nudes, occasional still-lifes or interiors. His intimist
interests were most directly expressed after his second sojourn in Paris, in
1937, where he was fascinated by Bonnard’s paintings. He spent some war years
in a POW camp in Germany, but afterwards returned to Belgrade. Only after 1950
did Radović get integrated into the new society. He was a member of the group
Šestorica (Six Artists) and focused on rural countryside, which earned him the
epithet of the painter of „romanticism from Vojvodina“. The essential framework of
Radović’s painting were villages in Bačka, represented in an atmosphere of optimism,
humanism and openheartedness. He exhibited his works in Belgrade in
1952 and 1960, in Zrenjanin and Subotica in 1963, in 1964 in Vršac, in 1966 in Novi
Sad, in the Gallery of Matica Srpska. He received the Politika award from the Vladislav
Ribnikar Fund in 1967. A retrospective was organized in the Gallery of the Serbian
Academy of Sciences and Arts in 1971 – the author of the exhibition was Miodrag
B. Protić and the show was visited by thirty thousand people. That year Ivan
Radović received the highest state award (the AVNOJ award). He died in Belgrade
in 1973 and was buried in the Avenue of the Notable. Radović was also awarded in
Paris, Philadelphia, Brussels.
Research Interests:
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,... 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.
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.
Research Interests: Visual Studies, Iconography, Art History, Contemporary Art, Graphic Design, and 15 morePainting, History of Museums, Fashion History, History of Sculpture, Nobility, Visual Communication, Sculpture, History of Art, Modernism (Art History), Visual Arts, 18th-20th century Modern/Comtemporary Art, History of architecture, History of Art and Architecture, Art and Art History, and History of Architecture
Danica Jovanovic (Beska, 04.Januar 1886 – Petrovaradin, 12.September 1914) ist eine der bedeutendsten serbischen Maler zu Anfang des 20.Jahrhunderts. Sie gehört der Generation von Künstlerinnen an, die die Mädchenklasse der Kunst- und... more
Danica Jovanovic (Beska, 04.Januar 1886 – Petrovaradin, 12.September 1914) ist eine der bedeutendsten serbischen Maler zu Anfang des 20.Jahrhunderts. Sie gehört der Generation von Künstlerinnen an, die die Mädchenklasse der Kunst- und Handwerkschule in Belgrad besuchte (bei Beta Vukanovic. Die Ausbildung setzte sie in München fort, wo sie im März 1914 auf der Damen-Kunst-Akademie absolvierte.
Geboren in Beska, als 5.Kind einer Bauernfamilie, wurde sie im Sinne der serbischen Gutbürgerlichen Gesellschaft in der Österreich-Ungarischen Monarchie erzogen. Ihre Ausbildung verdankt sie dem Verständnis des Professors und Direktors der Höheren Mädchenschule in Novi Sad, der wohltätigen serbischen Vereinigung Novosatkinja, sowie der berühmten Vojvodiner Familie Dundjerski.
Zum Studium nach München ging Sie im Jahre 1909, wo sie sich auf die Damenakademie einschrieb. Neben der Weiterbildung in der Malerei, schließt sie sich in München dem patriotischen Verein „Srbadija“ an.
Während ihrer Ausbildung in Belgrad und München, sowie auch während der Sommerferien in Beska hat sie intensiv gemalt. Sie hinterließ ein Kunst-Nachlass von etwa 100 Bildern.
Neben den Verwirklichungen, die auf den Prozess von Problem-Bewältigung in der Malerei deuten, befinden sich im Nachlass von Danica Jovanovic auch Bilder, die auf die Neigung zur gestischen Malerei hinweisen, intensive Farben und ausdrucksvolle Interpretation von Gesichtern. Sie malte die stille Natur, Menschen in Volkstrachten und einige Landschaftsbilder. Drei von diesen Landschaftsbildern zeigen Brücken: die Brücke bei Ljum Kula, die Wesir-Brücke über der Drina und die zerstörte Belgrader Brücke über der Save. Die Brücken, die während der Balkankriege aktuell waren, zeigen, dass sie sehr aufmerksam die Entwicklung des Kriegsgeschehens verfolgte, aber es gibt keinen Beweis dafür, dass sie unmittelbar daran teilnahm. Andererseits, ihr Einsatz in der „Srbadija“, der Aufenthalt in Belgrad zu Beginn des 1.Weltkriegs als sie die zerstörte Sava-Brücke malte, sowie die Aussagen ihrer Münchener Kollegen über ihr ausgeprägtes Nationalbewusstsein, deuten darauf hin, weshalb Danica Jovanovic bereits in den ersten Tagen des 1.Weltkriegs, die Aufmerksamkeit der Polizei und der Militärmacht in Petrovaradin erregte. Wahrscheinlich ist sie der erste Künstler, der als Opfer des 1.Weltkrieges ihr Leben ließ; am 12.September 1914 in Petrovaradin, als sie mit anderen Geiseln aus Beska verurteilt und durch Erschießen hingerichtet wurde.
Nach dem Krieg fielen die Werke von Danica Jovanovic in Vergessenheit und erst zu Beginn der siebziger Jahre begann man systematisch mit deren Erforschung und Entdeckung, auch ihres ungewöhnlichen Lebensweges, ihrer Interessen und ihrer Zukunftspläne.
Geboren in Beska, als 5.Kind einer Bauernfamilie, wurde sie im Sinne der serbischen Gutbürgerlichen Gesellschaft in der Österreich-Ungarischen Monarchie erzogen. Ihre Ausbildung verdankt sie dem Verständnis des Professors und Direktors der Höheren Mädchenschule in Novi Sad, der wohltätigen serbischen Vereinigung Novosatkinja, sowie der berühmten Vojvodiner Familie Dundjerski.
Zum Studium nach München ging Sie im Jahre 1909, wo sie sich auf die Damenakademie einschrieb. Neben der Weiterbildung in der Malerei, schließt sie sich in München dem patriotischen Verein „Srbadija“ an.
Während ihrer Ausbildung in Belgrad und München, sowie auch während der Sommerferien in Beska hat sie intensiv gemalt. Sie hinterließ ein Kunst-Nachlass von etwa 100 Bildern.
Neben den Verwirklichungen, die auf den Prozess von Problem-Bewältigung in der Malerei deuten, befinden sich im Nachlass von Danica Jovanovic auch Bilder, die auf die Neigung zur gestischen Malerei hinweisen, intensive Farben und ausdrucksvolle Interpretation von Gesichtern. Sie malte die stille Natur, Menschen in Volkstrachten und einige Landschaftsbilder. Drei von diesen Landschaftsbildern zeigen Brücken: die Brücke bei Ljum Kula, die Wesir-Brücke über der Drina und die zerstörte Belgrader Brücke über der Save. Die Brücken, die während der Balkankriege aktuell waren, zeigen, dass sie sehr aufmerksam die Entwicklung des Kriegsgeschehens verfolgte, aber es gibt keinen Beweis dafür, dass sie unmittelbar daran teilnahm. Andererseits, ihr Einsatz in der „Srbadija“, der Aufenthalt in Belgrad zu Beginn des 1.Weltkriegs als sie die zerstörte Sava-Brücke malte, sowie die Aussagen ihrer Münchener Kollegen über ihr ausgeprägtes Nationalbewusstsein, deuten darauf hin, weshalb Danica Jovanovic bereits in den ersten Tagen des 1.Weltkriegs, die Aufmerksamkeit der Polizei und der Militärmacht in Petrovaradin erregte. Wahrscheinlich ist sie der erste Künstler, der als Opfer des 1.Weltkrieges ihr Leben ließ; am 12.September 1914 in Petrovaradin, als sie mit anderen Geiseln aus Beska verurteilt und durch Erschießen hingerichtet wurde.
Nach dem Krieg fielen die Werke von Danica Jovanovic in Vergessenheit und erst zu Beginn der siebziger Jahre begann man systematisch mit deren Erforschung und Entdeckung, auch ihres ungewöhnlichen Lebensweges, ihrer Interessen und ihrer Zukunftspläne.
Research Interests:
The pastels of Ljubica Cuca Sokic A pastel is a technique Ljubica Cuca Sokic (1914–2009) used to explore throughout her creative period, particularly between 1950 and 1970 when she exhibited them most frequently. She used the... more
The pastels of Ljubica Cuca Sokic
A pastel is a technique Ljubica Cuca Sokic (1914–2009) used to explore throughout
her creative period, particularly between 1950 and 1970 when she exhibited them most frequently. She used the technique distinctly during the period of her full artistic maturity, when the author, herself, reached the point of identifying her own life with painting. Most of the pastels belong to so-called non-realistic period where the pursuit for pure artistry prevails over the thematic assignment, while the process of associative reducing leads, on occasions, to a complete abstraction. The themes are common for the creative workof Ljubica Cuca Sokic: still lifes which reflect her different thoughts on relation betweenan object and its artistic interpretation, followed by spatial compositions which attain a close relation with the abstract, and finally portraits and nudes which notably endeavor to balance between a psychological and a visual interpretation. Ljubica Cuca Sokic took an interest in art owing to the influence of the painter Zora Petrovic. After finishing the School of Art in Belgrade (1936) she stayed in Paris until 1939 where she studied Cézanne, Chardin, Courbet, Corot, Bonnard, Villard, Matisse, Braque, Picasso. Influenced by the French painting where the expresson is based on artistic sensation, she, herself, also consistently supported the idea of the pure artistry. Cuca Sokic nurtured strong bonds of friendship with her contemporaries like Aleksa Celebonovic, Bogdan Suput, Jurica Ribar. She was one of the founders of the group „The Ten“ in 1940, a professor at the Academy of Fine Arts in Belgrade (1948–1962), a member of SASA, and a winner of many awards; she explored different art techniques, from drawing to pastel, watercolour and graphics. She did children’s illustations and independently exhibited over 30 times (the first time in Belgrade in 1939), along with retrospective exhibitions arranged in her honour in 1964, 1977/78 and 1995 in Belgrade. Since the first group exhibition in Paris in
1937, she participated in numerous exhibitions in Yugoslavia and abroad. Her pastels were displayed in Rima Gallery in Kragujevac in 2010.
A pastel is a technique Ljubica Cuca Sokic (1914–2009) used to explore throughout
her creative period, particularly between 1950 and 1970 when she exhibited them most frequently. She used the technique distinctly during the period of her full artistic maturity, when the author, herself, reached the point of identifying her own life with painting. Most of the pastels belong to so-called non-realistic period where the pursuit for pure artistry prevails over the thematic assignment, while the process of associative reducing leads, on occasions, to a complete abstraction. The themes are common for the creative workof Ljubica Cuca Sokic: still lifes which reflect her different thoughts on relation betweenan object and its artistic interpretation, followed by spatial compositions which attain a close relation with the abstract, and finally portraits and nudes which notably endeavor to balance between a psychological and a visual interpretation. Ljubica Cuca Sokic took an interest in art owing to the influence of the painter Zora Petrovic. After finishing the School of Art in Belgrade (1936) she stayed in Paris until 1939 where she studied Cézanne, Chardin, Courbet, Corot, Bonnard, Villard, Matisse, Braque, Picasso. Influenced by the French painting where the expresson is based on artistic sensation, she, herself, also consistently supported the idea of the pure artistry. Cuca Sokic nurtured strong bonds of friendship with her contemporaries like Aleksa Celebonovic, Bogdan Suput, Jurica Ribar. She was one of the founders of the group „The Ten“ in 1940, a professor at the Academy of Fine Arts in Belgrade (1948–1962), a member of SASA, and a winner of many awards; she explored different art techniques, from drawing to pastel, watercolour and graphics. She did children’s illustations and independently exhibited over 30 times (the first time in Belgrade in 1939), along with retrospective exhibitions arranged in her honour in 1964, 1977/78 and 1995 in Belgrade. Since the first group exhibition in Paris in
1937, she participated in numerous exhibitions in Yugoslavia and abroad. Her pastels were displayed in Rima Gallery in Kragujevac in 2010.
Research Interests:
Constantin Brancusi: Flight of the Divine Machinist Romania born sculptor Constantin Brâncuşi (Hobita, Romania, 19 February 1876 – Paris, France, 16 March 1957) has made most of his artworks in France and therefore he became one of the... more
Constantin Brancusi: Flight of the Divine Machinist
Romania born sculptor Constantin Brâncuşi (Hobita, Romania, 19 February 1876 – Paris, France, 16 March 1957) has made most of his artworks in France and therefore he became one of the most prominent artist of the Paris School. Very early he was included into avant-garde movement that has overcome European borders, so his art has influenced American sculptors at the beginning of the 20th Century. Growing up in the rural and archaic mountain area, Brâncuşi’s artistic personality was formed in unusual mixture of traditional woodcarver and highly sophisticated modern artist. He started art studies at the Craiova School of Arts and Crafts (1894 – 1898), after which he enrolled in the National School of Fine Arts in Bucharest (1898 – 1902). One of his earliest surviving works, under the guidance of his anatomy teacher, Dimitrie Gerota, is a masterfully rendered écorché (statue of a man with skin removed to reveal the muscles underneath) which was exhibited at the Romanian Athenaeum in 1903. Though just an anatomical study, it foreshadowed the sculptor's later efforts to reveal essence rather than merely copy outward appearance. He gained lot of prizes during studies and, with a small scholarship, in 1903 he started his barefoot journey to Paris where he gets in 1904, after Vienna, Munich and Basel. In Paris he is studying in the Ecole nationale supérieure de beaux arts in the studio of sculptor Antonin Mercié. Only one sculpture from 1905 survives, Pride, the head of a young girl cast in bronze from plaster. This was one of three works exhibited at the Salon d’Automne in 1906. Brâncuşi works for a short time during 1907 as the assistant of August Rodin and then he continues his career independetly. He exhibits since 1906 in Salon’s and other group exhibitions in Paris and became friend with a lot of prominent contemporaries, like Amedeo Modigliani, Chaim Soutine, Fernand Leger,Henri le douanier Rousseau, Pablo Picasso, Guillaume Apollinaire, Filippo Tommaso Marinetti, Marcel Duchamp, Tristan Tzara and others. Under influence of Andre Derain he became interested in African sculpture. In USA participates in the “Armory Show” in New York 1913, and in many other important group exhibitions of modern art in New York and Chicago. He had solo exhibitions in New York in 1914, 1916 and 1926. Brâncuşi has begun his career as sculptor in Paris with the sculpture The Kiss, tombstone at the Montparnasse graveyard. Already here it is noticeable his abstract style which emphasizes clean geometrical lines that balance forms inherent in his materials with the symbolic allusions of representational art. Constantin Brâncuşi studied with academic oriented sculptors, but he developed his art under influences of Romanian traditional and folk art, Egyptian and African sculpture, art of the Far East and Avant-garde movements of the 1920s. Famous Brâncuşi works include the Sleeping Muse (1908), The Kiss (1908), Prometheus (1911), Mademoiselle Pogany (1913), The Newborn (1915), Bird in Space (1919) and The Column of the Infinite, popularly known as The Endless Column (1938). Brâncuşi determinated most of his sculpture motifs between 1909 and 1925 and continued to develop them in numerous variations. Around 1920 he started to make pedestals for his sculptures, considering them as equal parts of the whole. He carved them in wood or stone, or casted and meticulously polished them. Worldwide fame in 1933 brought him the commission of building a meditation temple in India for Maharajah of Indore, wich was never made. In 1938, he finished the World War I monument in Târgu-Jiu where he had spent much of his childhood. Table of Silence, The Gate of the Kiss, and Endless Column commemorate the courage and sacrifice of Romanian civilians who in 1916 fought off a German invasion. After meeting Man Ray in 1921 Brâncuşi begin with photograph. He mostly photographed various arrangements of his sculptures in the studio, believing that photograph can say about them more than words. In 1952 Brancusi is granted French citizenship. On the initiative of James Johnson Sweeney, 1955 the first Brâncuşi museum retrospective is held, at the Solomon R. Guggenheim Museum, New York. After his last will and testament, Brâncuşi studio in Impasse Ronsin and all its contents were bequeted to the French nation (1956).
Romania born sculptor Constantin Brâncuşi (Hobita, Romania, 19 February 1876 – Paris, France, 16 March 1957) has made most of his artworks in France and therefore he became one of the most prominent artist of the Paris School. Very early he was included into avant-garde movement that has overcome European borders, so his art has influenced American sculptors at the beginning of the 20th Century. Growing up in the rural and archaic mountain area, Brâncuşi’s artistic personality was formed in unusual mixture of traditional woodcarver and highly sophisticated modern artist. He started art studies at the Craiova School of Arts and Crafts (1894 – 1898), after which he enrolled in the National School of Fine Arts in Bucharest (1898 – 1902). One of his earliest surviving works, under the guidance of his anatomy teacher, Dimitrie Gerota, is a masterfully rendered écorché (statue of a man with skin removed to reveal the muscles underneath) which was exhibited at the Romanian Athenaeum in 1903. Though just an anatomical study, it foreshadowed the sculptor's later efforts to reveal essence rather than merely copy outward appearance. He gained lot of prizes during studies and, with a small scholarship, in 1903 he started his barefoot journey to Paris where he gets in 1904, after Vienna, Munich and Basel. In Paris he is studying in the Ecole nationale supérieure de beaux arts in the studio of sculptor Antonin Mercié. Only one sculpture from 1905 survives, Pride, the head of a young girl cast in bronze from plaster. This was one of three works exhibited at the Salon d’Automne in 1906. Brâncuşi works for a short time during 1907 as the assistant of August Rodin and then he continues his career independetly. He exhibits since 1906 in Salon’s and other group exhibitions in Paris and became friend with a lot of prominent contemporaries, like Amedeo Modigliani, Chaim Soutine, Fernand Leger,Henri le douanier Rousseau, Pablo Picasso, Guillaume Apollinaire, Filippo Tommaso Marinetti, Marcel Duchamp, Tristan Tzara and others. Under influence of Andre Derain he became interested in African sculpture. In USA participates in the “Armory Show” in New York 1913, and in many other important group exhibitions of modern art in New York and Chicago. He had solo exhibitions in New York in 1914, 1916 and 1926. Brâncuşi has begun his career as sculptor in Paris with the sculpture The Kiss, tombstone at the Montparnasse graveyard. Already here it is noticeable his abstract style which emphasizes clean geometrical lines that balance forms inherent in his materials with the symbolic allusions of representational art. Constantin Brâncuşi studied with academic oriented sculptors, but he developed his art under influences of Romanian traditional and folk art, Egyptian and African sculpture, art of the Far East and Avant-garde movements of the 1920s. Famous Brâncuşi works include the Sleeping Muse (1908), The Kiss (1908), Prometheus (1911), Mademoiselle Pogany (1913), The Newborn (1915), Bird in Space (1919) and The Column of the Infinite, popularly known as The Endless Column (1938). Brâncuşi determinated most of his sculpture motifs between 1909 and 1925 and continued to develop them in numerous variations. Around 1920 he started to make pedestals for his sculptures, considering them as equal parts of the whole. He carved them in wood or stone, or casted and meticulously polished them. Worldwide fame in 1933 brought him the commission of building a meditation temple in India for Maharajah of Indore, wich was never made. In 1938, he finished the World War I monument in Târgu-Jiu where he had spent much of his childhood. Table of Silence, The Gate of the Kiss, and Endless Column commemorate the courage and sacrifice of Romanian civilians who in 1916 fought off a German invasion. After meeting Man Ray in 1921 Brâncuşi begin with photograph. He mostly photographed various arrangements of his sculptures in the studio, believing that photograph can say about them more than words. In 1952 Brancusi is granted French citizenship. On the initiative of James Johnson Sweeney, 1955 the first Brâncuşi museum retrospective is held, at the Solomon R. Guggenheim Museum, New York. After his last will and testament, Brâncuşi studio in Impasse Ronsin and all its contents were bequeted to the French nation (1956).
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On The Very Edge brings together fourteen empirical and comparative essays about the production, perception, and reception of modernity and modernism in the visual arts, architecture, and literature of interwar Serbia (1918–1941). The... more
On The Very Edge brings together fourteen empirical and comparative essays about the production, perception, and reception of modernity and modernism in the visual arts, architecture, and literature of interwar Serbia (1918–1941). The contributions highlight some idiosyncratic features of modernist processes in this complex period in Serbian arts and society, which emerged ‘on the very edge’ between territorial and cultural, new and old, modern and traditional identities. With an open methodological framework this book reveals a vibrant and intertwined artistic scene, which, albeit prematurely, announced interests in pluralism and globalism. On The Very Edge addresses issues of artistic identities and cultural geographies and aims to enrich contextualized studies of modernism and its variants in the Balkans and Europe, while simultaneously re-mapping and adjusting the prevailing historical canon.
BOOK REVIEWS: https://www.cambridge.org/core/journals/slavic-review/article/on-the-very-edge-modernism-and-modernity-in-the-arts-and-architecture-of-interwar-serbia-19181941-ed-bogdanovic-jelena-lilien-filipovitch-robinson-and-igor-marjanovic-leuven-leuven-university-press-2014-x-349-pp-bibliography-index-illustrations-figures-maps-5900-paper/9B9B1588BBB2B2639F08BD194E620ECC
http://beogradskonasledje.rs/wp-content/uploads/2016/11/217-220-zlata-vuksanovic-macura.pdf
https://www.ceeol.com/search/article-detail?id=244386
https://www.academia.edu/35693547/Review_of_On_the_Very_Edge._Modernism_and_Modernity_in_the_Arts_and_Architecture_of_Interwar_Serbia_1918-1941_ed._by_Jelena_Bogdanovi%C4%87_Lilien_Filipovitch_Robinson_and_Igor_Marjanovi%C4%87
https://www.academia.edu/23326774/Walking_a_fine_line_-_Jelena_Bogdanovi%C4%87_Lilien_Filipovitch_Robinson_Igor_Marianovi%C4%87_editors_On_the_Very_Edge._Modernism_and_Modernity_in_the_Arts_and_Architecture_of_Interwar_Serbia_1918-1941_
https://www.academia.edu/23527152/Aleksandar_Ignjatovi%C4%87_On_the_Very_Edge_Modernism_and_Modernity_in_the_Arts_and_Architecture_of_Interwar_Serbia_1918_1941_Leuven_Belgium_Leuven_University_Press_2014_by_Jelena_Bogdanovi%C4%87_Lilien_Filipovitch_Robinson_and_Igor_Marjanovi%C4%87_eds._Southeastern_Europe_40_1_2016_118-120
BOOK REVIEWS: https://www.cambridge.org/core/journals/slavic-review/article/on-the-very-edge-modernism-and-modernity-in-the-arts-and-architecture-of-interwar-serbia-19181941-ed-bogdanovic-jelena-lilien-filipovitch-robinson-and-igor-marjanovic-leuven-leuven-university-press-2014-x-349-pp-bibliography-index-illustrations-figures-maps-5900-paper/9B9B1588BBB2B2639F08BD194E620ECC
http://beogradskonasledje.rs/wp-content/uploads/2016/11/217-220-zlata-vuksanovic-macura.pdf
https://www.ceeol.com/search/article-detail?id=244386
https://www.academia.edu/35693547/Review_of_On_the_Very_Edge._Modernism_and_Modernity_in_the_Arts_and_Architecture_of_Interwar_Serbia_1918-1941_ed._by_Jelena_Bogdanovi%C4%87_Lilien_Filipovitch_Robinson_and_Igor_Marjanovi%C4%87
https://www.academia.edu/23326774/Walking_a_fine_line_-_Jelena_Bogdanovi%C4%87_Lilien_Filipovitch_Robinson_Igor_Marianovi%C4%87_editors_On_the_Very_Edge._Modernism_and_Modernity_in_the_Arts_and_Architecture_of_Interwar_Serbia_1918-1941_
https://www.academia.edu/23527152/Aleksandar_Ignjatovi%C4%87_On_the_Very_Edge_Modernism_and_Modernity_in_the_Arts_and_Architecture_of_Interwar_Serbia_1918_1941_Leuven_Belgium_Leuven_University_Press_2014_by_Jelena_Bogdanovi%C4%87_Lilien_Filipovitch_Robinson_and_Igor_Marjanovi%C4%87_eds._Southeastern_Europe_40_1_2016_118-120
Research Interests: European History, Human Geography, Cultural Geography, Urban Geography, Eastern European Studies, and 67 moreEuropean Studies, Comparative Literature, Art History, Education, Self and Identity, Art, Modernism (Literature), Architecture, Football (soccer), History of Education, Literature, South East European Studies, Space and Place, Balkan Studies, Urban History, Feminist Philosophy, Urban Planning, Modern Art, Painting, Identity (Culture), East European studies, Modernization, Architectural History, Urban Studies, Modernist Literature (Literary Modernism), Modernist Architecture (Architectural Modernism), Housing, Serbian history, Feminism, Modernity, History of Belgrade, History of Art, Modernism (Art History), Modern Architecture, Modernism, History of Women in Architecture, Applied Arts, Urban And Regional Planning, Avant-Garde, Women Artists, 20th Century, Interdisciplinary Studies, Feminist Literary Theory and Gender Studies, Public Space, 20th century Avant-Garde, Women and Culture, Serbian Literature, History of architecture, History and Theory of Modern Architecture, Balkans, Women and Gender Studies, Sport, Slavic Studies, Urban Design, Serbia, Spa and Health Tourism, European Avant Garde, School Architecture, Serbian Studies, Interwar period, 1919 - 1939, Garden City, Central and Southeast Europe, History of Urban Planning, Architecture and Public Spaces, Concepts of Modernism and Postmodernism, Sport Architecture, and Modernism and tradition
The National Gallery (NGM) keeps paintings of Stevan Aleksić, Marko Murat and Leon Koen. Their opus indicates three different interpretations of Symbolist expression. Through the presentation of their paintings, this paper will describe,... more
The National Gallery (NGM) keeps paintings of Stevan Aleksić, Marko Murat and Leon Koen. Their opus indicates three different interpretations of Symbolist expression. Through the presentation of their paintings, this paper will describe, thanks to the features such as individuality of Symbolist formulation, dislocation of creative space and Munich, as the origin of their Symbolism, that the mentioned artists are related by their own unique poetic, which is currently a focus of art history research.
Key words: Symbolism, National Gallery, Skopje, Marko Murat, Stevan Aleksić, Leon Koen, Munich.
Key words: Symbolism, National Gallery, Skopje, Marko Murat, Stevan Aleksić, Leon Koen, Munich.