Historical Painting and the Figure of King Tomislav Printed on Postcards for the 1000th Anniversary of the Kingdom of Croatia in 1925

Unutar članka obrađuje se historijsko slikarstvo, odnosno lik kralja Tomislava tiskan na razglednicama tijekom obilje- žavanja tisućite obljetnice Hrvatskoga Kraljevstva 1925. godine. Lik kralja Tomislava u izvornom je obliku bio dio pla- kata ili slike, a svoje je mjesto reproduciranjem pronašao na ukupno šest razglednica tijekom 1925. godine. Svaki od ovih šest motiva analizira se u kontekstu specifičnog slikarskog opusa, općeg likovnog stanja u međuratnom razdoblju te aktualnih društveno-političkih prilika. Razglednice se pritom uzimaju isključivo kao sredstvo masovne komunikaci- je kojim se posreduje historijsko slikarstvo, odnosno lik kralja Tomislava i doba uspona Hrvatskoga Kraljevstva. Unu- tar zaključka vrednuje se uloga historijskog slikarstva kao komunikatora informacija u obilježavanju tisućite obljetnice Hrvatskoga Kraljevstva 1925. godine. Pritom se osobito upućuje na ulogu grafičkih reprodukcija i njihovu važnost pri formiranju kolektivne povijesne memorije i nacionalnog identiteta širih društvenih slojeva.The article focuses on historical painting and the figure of King Tomislav printed on postcards for the 1000th anniversary of the Kingdom of Croatia in 1925. In its original form, the figure of King Tomislav was represented on posters or paint- ings, and during 1925 it was reproduced on six postcards. Each of these six motifs has been analyzed in the context of their specific painting opuses, the general artistic situation in the interwar period, and the socio-political circumstances. The postcards have been considered exclusively as a means of mass communication mediating historical painting, i.e. the figure of King Tomislav and the rise of the Kingdom of Croatia. The conclusion assesses the role of historical painting as a means of communicating information related to the 1000th anniversary of the Kingdom of Croatia in 1925. Special focus has been on the role of printed reproductions and their importance in shaping the collective historical memory and national identity of wider social strata

Historical Painting in the Oeuvre of Bela Čikoš Sesija: from Arrival of the Croats to The Last Bogomils

U članku se obrađuje historijsko slikarstvo nacionalne tematike u opusu Bele Čikoša Sesije. Na temelju poznatih i nekih manje poznatih djela (poput tzv. Dolaska Hrvata ili Scene lova, Nikole Šubića Zrinskog, Trenkovih pandura, Pokrštenja Hrvata te Posljednjih bogumila) ističu se opće karakteristike Čikoševa bavljenja povijesnim temama i motivima. Interpretacije se temelje na prijašnjim znanstvenim i stručnim istraživanjima, a provode se u specifičnom biografskom, kulturnom, nacionalnom i političkom kontekstu. Čikoševi povijesni prizori analiziraju se, naposljetku, u svjetlu postupne negacije klasične akademske slike te jačanja simboličkih tendencija u umjetnosti.The paper discusses historical painting of national subject matter in the oeuvre of Bela Čikoš Sesija. On the basis of known and some less known works (such as the so-called Arrival of the Croats or the Hunting Scene, Nikola Šubić Zrinski, Trenck’s Pandours, Baptism of the Croats and The Last Bogomils), the author emphasises general features of Čikoš’s approach to historical themes and motifs, with interpretations based on previous scholarly and professional research and considered within a specific biographical, cultural, national and political context. Finally, Čikoš’s historical scenes are analysed in the light of gradual negation of classical academic image and of strengthening of symbolic tendencies in art

Ljudevit Gaj, Karel Svoboda, Illustrations for Dogodovštine Ilirije Velike and the Beginnings of Historical Painting in Croatia

U članku se obrađuju i prezentiraju ilustracije češkog slikara Karela Svobode (1824.– 1870.) nastale za nikad objavljeno djelo Ljudevita Gaja Dogodovština Ilirije Velike. Analiza Svobodinih drvoreza i crteža, sačuvanih u Zbirci rukopisa i starih knjiga Nacionalne i sveučilišne knjižnice u Zagrebu, uključuje ikonografsko određivanje i tumačenje prizora, njihovo postavljanje u kontekst kulturnopolitičkih zbivanja 1840-ih godina te početaka historijskog slikarstva u Hrvatskoj i na širem području Habsburške Monarhije.This paper features the first detailed analysis, evaluation and presentation of the illustrations of the Czech painter Karel Svoboda (1824–1870) that were created for the never-published work of the Croatian politician and writer, the Illyrian Ljudevit Gaj (1809–1872) Dogodovštine Ilirije Velike [The History of Greater Illyria]. Svoboda\u27s drawings for this monography are kept in the Manuscripts and Old Books Collection of the National and University Library in Zagreb, where they arrived after the Croatian Provincial Government purchased Gaj’s bequest in 1892. All of Svoboda’s drawings are signed and dated, but they do not contain inscriptions that would suggest which scenes from the book they represent. However, Gaj’s munpublished manuscripts made it possible to conduct a content and iconographic analysis of the drawings. In addition to the cover of Dogodovštine Ilirije Velike, Svoboda illustrated Gaj\u27s monography with the following drawings: Scenes from the Story of the Golden Fleece, Roman Battles with the Histri, History of Illyria in the Reign of Emperors Octavian or Tiberius, the Illyrian Revolt against the Romans, Čeh, Leh and Meh, the Settlement of the Croats, Croats’ Fight against the Franks, Assassination of King Zvonimir, Oath of the Hungarian King Coloman to the Croatian Nobility, Gathering of the Slovenes and the Enthronement of the Carinthian Duke on Gosposvetsko polje, Miloš Obilić Kills Sultan Murat, the Church of the Ravanica Monastery in Serbia, and the Baptism of the Croats or the Oath of Nikola Šubić Zrinski before the Breakout from Sziget. In addition to the content and iconographic analysis of the illustrations, this text presents their stylistic and cultural-historical contextualization, especially with regard to the artistic and political circumstances in the Habsburg Monarchy. Just like Gaj’s text, the illustrations were supposed to emphasize the autochthonism of the South Slavs in their territory, their right to independence, and their long and rich history, all with the aim of securing the most favourable political position in modern times on the basis of historical and ethnic rights. Svoboda’s illustrations belong to the earliest examples of the so-called historical painting in Croatia. Many of the scenes depicted by this artist remained ubiquitous in this genre of painting in the subsequent decades

ART HISTORY ACTIVITY OF IVAN KUKULJEVIĆ SAKCINSKI

Prouĉavanje povijesno-umjetniĉke djelatnosti Ivana Kukuljevića Sakcinskog zapoĉinje izlaganjem povijesnih okolnosti i životopisom samoga protagonista. Potom slijedi analiza pojedinaĉnih studija koje ukljuĉuju Slovnik umjetnika jugoslavenskih, tekstove posvećene tzv. umjetnicima Schiavonima te putna izvješća i bilješke nastale u razdoblju neoapsolutizma. U završnom poglavlju definiraju se temeljne znaĉajke Kukuljevićeva stvaralaštva te obrađuju specifiĉne aktivnosti, poput konzervatorske službe i prikupljanja spomeniĉke građe. Naposljetku, vrednovanjem utemeljiteljske uloge, ukazuje se na nužnost preispitivanja povijesno-umjetniĉkoga diskursa i njegove historizacije.The study of the art history of Ivan Kukuljević Sakcinski commences with the exposition of the historic circumstances and the biography of the protagonist himself. After that ensues an analysis of individual studies which include Slovnik umjetnika jugoslavenskih, texts dedicated to the so-called artists Schiavoni as well as travelling reports and notes which originated during the period of neoapsolutism. In the closing chapter the basic characteristics of Kukuljević's work are defined and specific activites covered, such as the conservatory service and the collecting of monumental materia. Finally, through an evaluation of the foundational role, the necessity of a reassessment of the art history discourse and its historisation is indicated

History painting in Croatia from the Illyrian movement to the Second world war

Historijsko slikarstvo u Hrvatskoj definira se i obrađuje kao specifični likovni žanr, odnosno ishodišni fenomen tzv. dugog 19. stoljeća te sastavni dio europskog i, u užem smislu, srednjoeuropskog kulturnog kruga. Prikazivanje povijesti (prvenstveno na slikarskom platnu) i popularizacija najzastupljenijih tema i motiva (putem različitih grafičkih tehnika) dovode se u bliski i uzajamni odnos s formiranjem nacionalnog identiteta, jačanjem građanskog sloja i provođenjem specifičnih kulturnih politika. Prateći izvršenu katalogizaciju i periodizaciju žanra, kronološkim redom analiziraju se opusi istaknutih predstavnika: Franje Salghettija Driolija, Vjekoslava Karasa, Josipa Franje Mückea, Ferdinanda Quiquereza, Vlahe Bukovca, Mate Celestina Medovića, Bele Čikoša Sesije, Otona Ivekovića, Ivana Tišova te Josipa Horvata Međimurca. Posebna pažnja posvećuje se pritom slikama u tzv. Zlatnoj dvorani Odjela za bogoštovlje i nastavu hrvatske Zemaljske vlade u Opatičkoj 10 u Zagrebu te aktivnostima Društva „Medulić“.History painting in Croatia is defined and studied as a specific art genre, that is, as the phenomenon of the so-called long 19th century and an integral part of the European and, in the narrow sense, Central European cultural circle. The presentation of history (primarily on canvas) and the popularization of the most represented themes and motifs (through various graphic techniques) are brought into a close and reciprocal relationship with the formation of national identity, the strengthening of the bourgeoisie and the implementation of specific cultural policies. Following the accomplished cataloguing and periodization of the genre, the works of prominent representatives are analyzed in chronological order: Franjo Salghetti Drioli, Vjekoslav Karas, Josip Franjo Mücke, Ferdinand Quiquerez, Vlaho Bukovac, Mate Celestin Medović, Bela Čikoš Sesija, Oton Iveković, Ivan Tišov and Josip Horvat Međimurec. Special attention is paid to the paintings in the so-called Golden Hall of the Department of Religious and Educational Affairs of Croatian Provincial Government in 10 Opatička Street in Zagreb and the activities of the „Medulić“ Societ