Stevan Dedijer, My Life of Curiosity and Insights, A Chronicle of the 20th Century, priredili Carin Dedijer i Miki Dedijer, Nordic Academic Press, Lund 2009.

Prikaz knjige

Jelena Dorotka Hoffman (1876-1965) - Rediscovering a forgotten Female Cubist Painter

U radu se prvi put iznosi biografi ja slikarice Jelene Dorotke Hoffmann koja je od 1907. do 1914. godine živjela u Parizu i imala vlastiti atelje na Montparnassu. Ondje je upoznala mnoge vodeće ličnosti svjetskog slikarstva (Matisse, Chagall, Picasso, Van Dongen, Léger, Laurencin), a radila je neko vrijeme i u Matisseovoj slikarskoj školi. U Parizu je prijateljevala s Marie Vassilieff, osnivačicom poznate pariške Académie Russe (Académie Vassilieff), a upoznala je i Ivana Meštrovića. Po izbijanju Prvog svjetskog rata napustila je Francusku i nakon višegodišnjih lutanja po Europi vratila se 1922. godine u rodni Dubrovnik u kojemu je u potpunoj anonimnosti živjela sve do smrti.The Paris phase of Jelena Dorotka Hoffman represents, along with Vinko Foretić who was in Paris at the same time and whom Hoffman probably knew, one of the fi rst contact of Croatian art with cubism. She was born into a noble family of Dubrovnik in 1876, and she left for Paris in 1907 to devote herself to art. As she was a person of means, she had her own apartment and atelier on Montparnasse, a place where new world art was being made. She studied in the painting school of Henri Matisse, and she was a friend of Marie Vassilieff, the founder of the famous Accadémie Russe (Accadémie Vassilieff). There she met many a giant of modern art, the young talented artists growing in stature, who frequented the cantine of Marie Vassilieff (Erik Satie, Henri Matisse, Nina Hamnett, Amedeo Modigliani, Ossip Zadkin, Juan Gris, Chaim Soutine). Among Croatian artists she maintained ties with Ivan Meštrović. At the beginning of the First World War and as a member of an enemy power, she had to leave Paris in the fall of 1914. She went to Spain where she stayed for several years. There she met and developed friendship with the well-known French female painter and print maker Marie Laurencin, who herself had to leave Paris. After years of wandering, Jelena Dorotka Hoffman returned to Dubrovnik in 1922, to stay there in total anonymity until her death in 1965. Her undoubtedly interesting opus has been only partially preserved, and this is the fi rst attempt to publish a small portion of it, along with a reconstruction of her life history, following the steps of the forgotten cubist female painter from Dubrovnik to Paris and back

Posthumous Glorification: Tomb, Park and Monument of Baltazar Bogišić

U radu se govori o veličanju uspomene na Baltazara Bogišića (1834- 1908), kada je u kratkom razdoblju od nekoliko godina nakon njegove smrti izgrađen nadgrobni spomenik na groblju Sv. Roka u Cavtatu, uređen gradski park na Ilijinoj glavici u Dubrovniku kojemu je, kao i susjednoj ulici, dano Bogišićevo ime te naposljetku postavljen javni spomenik na cavtatskoj obali, čime je trajno obilježena uspomena na velikog znanstvenika. Objavljuju se dosad nepoznati podaci o nastanku navedenih mjesta sjećanja, iznose se njihove stilske analize i atribucije te ih se pokušava smjestiti u tadašnji društveni i umjetnički kontekst Cavtata, odnosno Dubrovnika. Ukazuje se na udio Bogišićeve sestre Marije Bogišić-Pohl, kao i njezinih savjetnika, Đura Bijelića i Vlaha Bukovca, u ideji veličanja Baltazara Bogišića, te se opisuju okolnosti nastanka njegove grobnice, parka i javnog spomenika.Law historian, ethnographer and collectioner, Baltazar Bogišić (1834-1908), renowned and celebrated in his lifetime, has remained so well after his death. Although he did give certain thought to the future of his library and collection, he failed to provide a clear defi nition of their fate upon his death. Marija Bogišić- Pohl (1837-1920), his sister and sole heir, gathered able men of confi dence to help her create a concept of lasting tribute to Bogišić’s heritage and place. Among them were Đuro Bijelić, Vlaho Bukovac, Frano Kulišić, Antun Vučetić and Antun Bratić, who in a fairly short period of six years (1908-1914) came up with a result. With their ceaseless council and selfl ess support, the role of Đuro Bijelić and Vlaho Bukovac should be particularly emphasised. Marija Bogišić-Pohl erected a majestic tomb for her brother at the Cavtat cemetery, which in terms of style and concept falls among the most signifi cant examples of historicistic tomb sculpture in Dubrovnik and its surrounds. She funded the activity of the “Dub” civil society in designing the city park in Dubrovnik, which was named after Bogišić. Hitherto unknown is a curious detail concerning the design of the park fountain for which the famous sculptor Ivan Meštrović (1883-1962) was to be commissioned. From the inherited fi nancial funds she helped the renovation of the Franciscan church of Our Lady of Snow and the parish church of St Nicholas in Cavtat, as well as the construction of the modern local water supply. She supported the initiative of the citizens of Cavtat and Dubrovnik to erect a public monument in honour of Bogišić at the Cavtat waterfront, for the purpose of which, with her consent, one of the Bogišić properties was pulled down in order to create an open space at the entrance to Cavtat. Vlaho Bukovac was in charge of this project for which he commissioned the young sculptor Petar Pallavicini (1886-1958). This stone monument soon became, and has remained to this day, one of the central landmarks of Cavtat. Yet, probably the most rewarding were the efforts made towards the systematisation of Bogišić’s collection and the opening of his private library to the public, which have operated as a museum under the administration of the Croatian Academy of Sciences and Arts to the present day

Jelena Dorotka Hoffman (1876-1965) - Rediscovering a forgotten Female Cubist Painter

U radu se prvi put iznosi biografi ja slikarice Jelene Dorotke Hoffmann koja je od 1907. do 1914. godine živjela u Parizu i imala vlastiti atelje na Montparnassu. Ondje je upoznala mnoge vodeće ličnosti svjetskog slikarstva (Matisse, Chagall, Picasso, Van Dongen, Léger, Laurencin), a radila je neko vrijeme i u Matisseovoj slikarskoj školi. U Parizu je prijateljevala s Marie Vassilieff, osnivačicom poznate pariške Académie Russe (Académie Vassilieff), a upoznala je i Ivana Meštrovića. Po izbijanju Prvog svjetskog rata napustila je Francusku i nakon višegodišnjih lutanja po Europi vratila se 1922. godine u rodni Dubrovnik u kojemu je u potpunoj anonimnosti živjela sve do smrti.The Paris phase of Jelena Dorotka Hoffman represents, along with Vinko Foretić who was in Paris at the same time and whom Hoffman probably knew, one of the fi rst contact of Croatian art with cubism. She was born into a noble family of Dubrovnik in 1876, and she left for Paris in 1907 to devote herself to art. As she was a person of means, she had her own apartment and atelier on Montparnasse, a place where new world art was being made. She studied in the painting school of Henri Matisse, and she was a friend of Marie Vassilieff, the founder of the famous Accadémie Russe (Accadémie Vassilieff). There she met many a giant of modern art, the young talented artists growing in stature, who frequented the cantine of Marie Vassilieff (Erik Satie, Henri Matisse, Nina Hamnett, Amedeo Modigliani, Ossip Zadkin, Juan Gris, Chaim Soutine). Among Croatian artists she maintained ties with Ivan Meštrović. At the beginning of the First World War and as a member of an enemy power, she had to leave Paris in the fall of 1914. She went to Spain where she stayed for several years. There she met and developed friendship with the well-known French female painter and print maker Marie Laurencin, who herself had to leave Paris. After years of wandering, Jelena Dorotka Hoffman returned to Dubrovnik in 1922, to stay there in total anonymity until her death in 1965. Her undoubtedly interesting opus has been only partially preserved, and this is the fi rst attempt to publish a small portion of it, along with a reconstruction of her life history, following the steps of the forgotten cubist female painter from Dubrovnik to Paris and back

Hypnerotomachia Ragusina

Recenzija, prikaz izložbe "O umijeću gradnje – arhitektonski traktati od 16. do 18. stoljeća", Znanstvena knjižnica Dubrovnik, 29. 9. – 26. 11. 2010

Inventario dela giexia di S. Maria Mazor, de tute le argentarie, aparati deli sazerdoti, insenarii, libri, tapezarie et altre robe (1531.) – najstariji imovnik liturgijske opreme, ruha i paramenata dubrovačke prvostolnice

U radu se predstavlja i u cijelosti objavljuje dosad nepoznat inventarni popis liturgijske opreme, ruha i paramenata dubrovačke katedrale Gospe Velike (Sv. Marije Velike), pohranjen u Arhivu Biskupije dubrovačke. Sastavljen 1531. godine, Imovnik je podijeljen na šest cjelina (srebrninu, komplete misnog ornata, misnice, plašteve, predoltarnike te ostale tekstilne predmete), a u njemu su naknadno evidentirani i predmeti kojima je imovina prvostolnice nadopunjavana do 1575. godine