TRANSFERS OF THE PAINTINGS OF PAINTER JOANNES ESENHART FROM THE OLD ZAGREB CATHEDRAL

Tekst problematizira slučaj transfera slika s oltara Blažene Djevice Marije i oltara sv. Ladislava iz nekadašnje zagrebačke prvostolnice na Kaptolu. Posebna pozornost posvećena je provenijenciji četiriju slika ljubljanskog baroknog slikara Joannesa Eisenharta s oltara Blažene Djevice Marije, koje 1950. godine ulaze u zbirni fond Strossmayerove galerije starih majstora HAZU-a. Slike su »nabavljene« od Gustava Maceljskog, potomka ugledne židovske obitelji iz Zagreba pod još nerazjašnjenim okolnostima, no način njihove muzealizacije indikativan je za razdoblje neposrednog poraća te upućuje na kulturnu politiku muzealizacije umjetnina u poslijeratnoj Hrvatskoj, koja je tada dijelom Jugoslavije.Author discusses fate of Joannnes Eisenhart’s paintings that originally had been placed in the baroque altars of Blessed Virgin Mary and St Ladislaus in the Zagreb Cathedral. These altars after the earthquake of 1880 were moved away. During the turbulent and dynamic twentieth century these two altars, together with the paintings, witnessed many relocations, changed owners, and endured physical fragmentations and adaptations. Due to the given circumstances many of the paintings – especially those from the altar of the Blessed Virgin – were lost. Moreover, because of these losses we today cannot recognize and reconstruct the original context and meaning for many of the preserved pictures. Still, on the basis of the archival and museum documentation a part of the story about four pictures from the Blessed Mary’s altar can be reconstructed. These paintings presently are kept within Strossmayer’s Gallery of Old Masters in the Croatian Academy of Sciences and Arts. The Academy has bought these pictures from Gustav (Deutsch) Maceljski, who was wealthy industrialist and merchant living in Zagreb. Analysis of the preserved documents enabled author to reconstruct a part of their historical path. Moreover, the analysis revealed some of the protagonists, who directly or indirectly participated in the transfer of these artworks, which consequently in 1950 led to the musealization of these four Joannes Eisenhart’s paintings. One of less known protagonists, in the process of musealization of a side image from the Blessed Mary’s altar that ended in the Diocesan museum at Kaptol, was Georg (Đuro) Schmee, a German merchant who lived in Zagreb. His role within trading scene of art pieces is rather well documented in documents that are kept in various archival institutions in Zagreb and abroad. Therefore, author has examined Schmee’s role in the processes of transfers, translocations and musealization of various art pieces in the period before, during and immediately after the World War II, especially regarding the fact that in this period general attitude towards cultural and art heritage was changed several times

Paintings in the Strossmayer Gallery of Old Masters from Several Noble Art Collections of the Interwar Period of Continental Croatia

U Strossmayerovoj galeriji starih majstora Hrvatske akademije znanosti i umjetnosti devetnaest je slika starih majstora koje potječu iz plemićkih zbirki međuratnog razdoblja. Autor analizira one koje su u zbirni fond pristigle iz nekoliko dvoraca kontinentalne Hrvatske, uz poseban osvrt na njihovu međuratnu provenijenciju, odnosno na sudbinu bivših vlasnika tih umjetnina tijekom turbulentnih vremena Drugog svjetskog rata i neposrednog poraća. Slike su u najvećoj mjeri muzealizirane posredovanjem poslijeratne Komisije za sakupljanje i očuvanje kulturnih spomenika i starina, tzv. KOMZA-e.The Strossmayer Gallery of Old Masters, Croatian Academy of Sciences and Arts contains nineteen paintings by old masters from noble art collections of the interwar period. The author analyzes the works from several manors in continental Croatia, with special reference to their interwar provenance, or the fate of their former owners at the turbulent times of World War II and the immediate postwar period. Through the mediation of the post-war the Commission for Gathering and Protection of Cultural Monuments and Antiquities, the so-called KOMZA, the paintings became part of the the Strossmayer Gallery collection

Društvena uloga dizajna i primijenjenih umjetnosti na primjeru izložbene manifestacije Zagrebački salon od 1960-ih do 1990-ih godina

Društvena uloga dizajna i primijenjene umjetnosti u radu prati se najprije kroz pregled društveno-političke situacije u Jugoslaviji (Hrvatskoj) neposredno nakon 2. svjetskog rata, zatim kroz prikaz situacije na kulturno-umjetničkoj sceni putem stanja na području likovne kritike (kontekstualiziraju se avangardna shvaćanja i tendencije u domaćoj kulturi i umjetnosti, s kontinuitetom još iz međuratnog razdoblja), da bi se prije same analize izložbene manifestacije Zagrebački salon; u razdoblju od 1960-ih do 1990-ih godina, spomenuo i razvoj domaćeg dizajna i primijenjene umjetnosti (njihova institucionalizacija i promocija). Za uvod u samu glavnu temu rada- Zagrebački salon, izabrane su najrelevantnije teme koje dovode i do organiziranja jedne ovakve značajne kulturne manifestacije; čiji kontinuitet postojanja pratimo sve do trenutka pisanja ovog rada. Dodatni izvor za dobivanje slike o situaciji na područjima domaćeg dizajna i primijenjenih umjetnosti, u razdoblju na koje smo se u ovome radu ograničili, predstavljala je i suvremena periodika, tj. stručne novine i časopisi

TRANSFERS OF THE PAINTINGS OF PAINTER JOANNES ESENHART FROM THE OLD ZAGREB CATHEDRAL

Tekst problematizira slučaj transfera slika s oltara Blažene Djevice Marije i oltara sv. Ladislava iz nekadašnje zagrebačke prvostolnice na Kaptolu. Posebna pozornost posvećena je provenijenciji četiriju slika ljubljanskog baroknog slikara Joannesa Eisenharta s oltara Blažene Djevice Marije, koje 1950. godine ulaze u zbirni fond Strossmayerove galerije starih majstora HAZU-a. Slike su »nabavljene« od Gustava Maceljskog, potomka ugledne židovske obitelji iz Zagreba pod još nerazjašnjenim okolnostima, no način njihove muzealizacije indikativan je za razdoblje neposrednog poraća te upućuje na kulturnu politiku muzealizacije umjetnina u poslijeratnoj Hrvatskoj, koja je tada dijelom Jugoslavije.Author discusses fate of Joannnes Eisenhart’s paintings that originally had been placed in the baroque altars of Blessed Virgin Mary and St Ladislaus in the Zagreb Cathedral. These altars after the earthquake of 1880 were moved away. During the turbulent and dynamic twentieth century these two altars, together with the paintings, witnessed many relocations, changed owners, and endured physical fragmentations and adaptations. Due to the given circumstances many of the paintings – especially those from the altar of the Blessed Virgin – were lost. Moreover, because of these losses we today cannot recognize and reconstruct the original context and meaning for many of the preserved pictures. Still, on the basis of the archival and museum documentation a part of the story about four pictures from the Blessed Mary’s altar can be reconstructed. These paintings presently are kept within Strossmayer’s Gallery of Old Masters in the Croatian Academy of Sciences and Arts. The Academy has bought these pictures from Gustav (Deutsch) Maceljski, who was wealthy industrialist and merchant living in Zagreb. Analysis of the preserved documents enabled author to reconstruct a part of their historical path. Moreover, the analysis revealed some of the protagonists, who directly or indirectly participated in the transfer of these artworks, which consequently in 1950 led to the musealization of these four Joannes Eisenhart’s paintings. One of less known protagonists, in the process of musealization of a side image from the Blessed Mary’s altar that ended in the Diocesan museum at Kaptol, was Georg (Đuro) Schmee, a German merchant who lived in Zagreb. His role within trading scene of art pieces is rather well documented in documents that are kept in various archival institutions in Zagreb and abroad. Therefore, author has examined Schmee’s role in the processes of transfers, translocations and musealization of various art pieces in the period before, during and immediately after the World War II, especially regarding the fact that in this period general attitude towards cultural and art heritage was changed several times

Vivat academia : Zamijenjene uloge (studenti i profesori Muzičke akademije u Zagrebu, 12.5.2021.)

Koncert iz ciklusa Vivat academia održan na Muzičkoj akademiji u Koncertnoj dvorani "Blagoje Bersa" 12.5.2021. Izvođači: Bartol Stopić (sopranski saksofon), Luka Relić (altovski saksofon), Jakov Varezić (tenorski saksofon), Dragutin Roić (altovski saksofon), Dominik Grgić (altovski saksofon), Tomislav Žužak (baritonski saksofon), Linda Mravunac Fabijanić (čembalo), Ivan Batoš (klavir). Program: 1. Boris Papandopulo (obr. Linda Mravunac Fabijanić): Koncert za čembalo i gudački orkestar (I. Toccata. Allegro con brio) (izvođači: Bartol Stopić, Luka Relić, Jakov Varezić, Tomislav Žužak, Linda Mravunac Fabijanić); 2. Johann Sebastian Bach (obr. Linda Mravunac Fabijanić): Koncert za čembalo i orkestar u d-molu BWV 1052 (I. Allegro – II. Adagio – III. Allegro) (izvođači: Bartol Stopić, Dragutin Roić, Jakov Varezić, Tomislav Žužak, Linda Mravunac Fabijanić); 3. César Franck (obr. Ivan Batoš): Simfonijske varijacije za klavir i orkestar (izvođači: Bartol Stopić, Dominik Grgić, Jakov Varezić, Tomislav Žužak, Ivan Batoš)

Vivat academia : Zamijenjene uloge (studenti i profesori Muzičke akademije Sveučilišta u Zagrebu, 12. 5. 2021.)

Koncert iz ciklusa Vivat academia održan na Muzičkoj akademiji u Koncertnoj dvorani "Blagoje Bersa" 12. 5. 2021. Izvođači: Bartol Stopić (sopranski saksofon), Luka Relić (altovski saksofon), Jakov Varezić (tenorski saksofon), Dragutin Roić (altovski saksofon), Dominik Grgić (altovski saksofon), nasl. doc. art. Tomislav Žužak (baritonski saksofon), Linda Mravunac Fabijanić, umj. sav. (čembalo), Ivan Batoš, v. umj. sur. (klavir). Program: 1. Boris Papandopulo (obr. Linda Mravunac Fabijanić): Koncert za čembalo i gudački orkestar (Toccata. Allegro con brio) (izvođači: Bartol Stopić, Luka Relić, Jakov Varezić, Tomislav Žužak, Linda Mravunac Fabijanić); 2. Johann Sebastian Bach (obr. Linda Mravunac Fabijanić): Koncert za čembalo i orkestar u d-molu BWV 1052 (Allegro – Adagio – Allegro) (izvođači: Bartol Stopić, Dragutin Roić, Jakov Varezić, Tomislav Žužak, Linda Mravunac Fabijanić); 3. César Franck (obr. Ivan Batoš): Simfonijske varijacije za klavir i orkestar (izvođači: Bartol Stopić, Dominik Grgić, Jakov Varezić, Tomislav Žužak, Ivan Batoš)

Looking at Zagreb: The Italian State as a Popularizer of Contemporary Art

In 1965, at the 12th International Conference of Critics, Artists and Art Scholars, held in Rimini, Verucchio and San Marino and devoted to the theme Art and Technology, Italian art critic Giulio Carlo Argan declared that Yugoslavia had overcome the problem of the relationship between art and technology. His statement concerned to the cultural milieu of Zagreb that Argan had known from the early Sixties. In the same year, Palma Bucarelli, the chief curator of the Rome National Gallery, attended the Brezovica conference held for Nova tendencija 3, to present a project in which the museum had a significant role as a state institution that had to encourage contemporary art in order to free artists from the pressures of the art market and private art galleries. In 1963, another art scholar, Umbro Apollonio, the curator of the Venice Biennale Archive for Contemporary Arts who had directly participated in the Venice exhibition Nuova tendenza 2, claimed that Italian Public Art School needed a new relationship between teaching and industries. My presentation aims to highlight how Argan, Bucarelli, Apollonio and other Italian scholars hoped for the state to intervene in the Italian art system and also how their ideas were inspired by the Croatian political and cultural situation of the 1960s