Public Sculptures of Petar Pallavicini in Dubrovnik

Pored niza poznatih skulptura, Petar Pallavicini je autor još dvaju skulptorskih djela u Dubrovniku. Godine 1935/6. izveo je reljefe za tri fasade Narodne banke u Dubrovniku. To su četiri reljefa smještena u zabate nad otvorima prizemlja Banke, alegorije tradicionalnih dubrovačkih gospodarskih grana. Nakon II. svjetskog rata, 1947/9. izrađuje reljef nadgrobnog spomenika grobnice obitelji Miljan na dubrovačkom groblju Boninovo.Born in Korčula, Petar Pallavicini (1887-1958) spent most of his life in Belgrade, where, attracted by the professional prospects of the then capital, he decided to settle in 1921 after graduating from the Art Academy in Prague. It was in Belgrade that he produced a series of decorative sculptures and works in the style he himself characterised as “spiritualised cubism”. In Dubrovnik, where he enjoyed most of his summers, Pallavicini was commissioned to execute the monument to Baltazar Bogišić, erected in Cavtat in 1913, where it still stands. Less known, however, is Pallavicini’s decorative work in Dubrovnik. The building of the National Bank was constructed in 1935/36 in one of the main thoroughfares of Dubrovnik (today Ulica hrvatskih branitelja). Pallavicini’s four reliefs, allegories of the traditional Dubrovnik crafts, adorn the pointed lunettes. The figures depicted in the relief panels are static, contemplative and lightly draped, the latter being his frequent expression. Morphological characteristics of the works and an article published in the paper “Novo doba” point to Petar Pallavicini as the author of this public relief in Dubrovnik. A reason more why these sculptures deserve our attention is the fact that in this period the sculpture of Dubrovnik was very modest. Between 1947 and 1949 Pallavicini was commissioned to decorate a headstone at Boninovo—Dubrovnik cemetry. He is the author of a bronze relief on the family grave of his friend, painter Niko Miljan. The relief with a motif of the Virgin with the Child reflects intimism, its religious theme being rare in the post-war sculpture dominated by socialist realism

Prilog poznavanju moderne umjetnosti na jugu Hrvatske

Autor knjige Kolorizam dubrovačkog slikarskog kruga Antun Karaman svoje teze temelji na tri desetljeća dugom proučavanju likovnih fenomena od pojave prvih modernih umjetnika (V. Bukovca, M.C. Medovića ) do danas. Knjiga je prva monografija koja obrađuje likovne prilike i umjetničke pojave u Dubrovniku temeljena na analizi društveno–gospodarskih prilika. Analizom ekspresionističkih utjecaja kolorističkog predznaka detektira se grupa umjetnika odgojenih u ovoj maniri uz predavanja Koste Strajnića, te valorizira njihove doprinose uz određenje njihove pozicije u nacionalnoj povijesti umjetnosti

Public Sculptures of Petar Pallavicini in Dubrovnik

Pored niza poznatih skulptura, Petar Pallavicini je autor još dvaju skulptorskih djela u Dubrovniku. Godine 1935/6. izveo je reljefe za tri fasade Narodne banke u Dubrovniku. To su četiri reljefa smještena u zabate nad otvorima prizemlja Banke, alegorije tradicionalnih dubrovačkih gospodarskih grana. Nakon II. svjetskog rata, 1947/9. izrađuje reljef nadgrobnog spomenika grobnice obitelji Miljan na dubrovačkom groblju Boninovo.Born in Korčula, Petar Pallavicini (1887-1958) spent most of his life in Belgrade, where, attracted by the professional prospects of the then capital, he decided to settle in 1921 after graduating from the Art Academy in Prague. It was in Belgrade that he produced a series of decorative sculptures and works in the style he himself characterised as “spiritualised cubism”. In Dubrovnik, where he enjoyed most of his summers, Pallavicini was commissioned to execute the monument to Baltazar Bogišić, erected in Cavtat in 1913, where it still stands. Less known, however, is Pallavicini’s decorative work in Dubrovnik. The building of the National Bank was constructed in 1935/36 in one of the main thoroughfares of Dubrovnik (today Ulica hrvatskih branitelja). Pallavicini’s four reliefs, allegories of the traditional Dubrovnik crafts, adorn the pointed lunettes. The figures depicted in the relief panels are static, contemplative and lightly draped, the latter being his frequent expression. Morphological characteristics of the works and an article published in the paper “Novo doba” point to Petar Pallavicini as the author of this public relief in Dubrovnik. A reason more why these sculptures deserve our attention is the fact that in this period the sculpture of Dubrovnik was very modest. Between 1947 and 1949 Pallavicini was commissioned to decorate a headstone at Boninovo—Dubrovnik cemetry. He is the author of a bronze relief on the family grave of his friend, painter Niko Miljan. The relief with a motif of the Virgin with the Child reflects intimism, its religious theme being rare in the post-war sculpture dominated by socialist realism

A Croatian Phase in the Career of Russian Marine Painter Alexei Hanzen

Unutar skupine manje poznatih stranih slikara prisutnih u međuratnom razdoblju kod nas, slikar Aleksej Hanzen ističe se svojim umjetničkim aktivnostima. Rus Aleksej Hanzen (Odesa, 2. 2. 1876. – 19. 10. 1937., Dubrovnik) u Hrvatsku je imigrirao 1920. godine i tu ostao do kraja života. Gotovo dva desetljeća provedena u Hrvatskoj obilježio je intenzivnim radom, izlažući na brojnim izložbama organiziranim gotovo svake godine u Zagrebu, zatim u Splitu, Osijeku, Dubrovniku, Ljubljani, Beogra- du, Parizu, Buenos Airesu, Pragu i dr. Hanzenove slike nalazile su se u građanskim domovima, javnim i muzejskim zbirkama te na kraljevskim dvorovima, a danas se čuvaju u različitim kolekcijama u Hrvatskoj. Početkom dvadesetog stoljeća studirao je slikarstvo u Münchenu, Berlinu i Dresdenu, a potom nastavlja svoju umjetničku edukaciju u Parizu u atelijerima Tonyja Robert-Fleuryja i Julesa Lefebvrea. Unuk je slavnog ruskog marinista Ivana Kostantinoviča Ajvazovskog, a i sam se specijalizirao za slikanje marina, kojima se predstavljao na različitim izložbama od 1901. godine. Za svoj rad nagrađivan je u Parizu i u Rusiji, a bio je službeni slikar ruske ratne mornarice od 1910. godine.Within the group of lesser-known foreign painters who stayed in Croatia between the two world wars, Russian painter Alexei Hanzen (b. February 2, 1876 in Odessa – d. October 19, 1937 in Dubrovnik) stands out with his artistic achievements. Having immigrated to Croatia in 1920, he remained here for the rest of his life. Nearly two decades spent in Croatia have been a time of intense work, during which Hanzen participated in numerous exhibitions organized almost every year in Zagreb, as well as in Split, Osijek, Dubrovnik, Ljubljana, Belgrade, Paris, Buenos Aires, Prague and elsewhere. His paintings could be seen at private houses, in public and museum collections, and at various royal courts, and are nowadays part of various collections in Croatia. Early in the 20th century, Hanzen studied painting in Munich, Berlin, and Dresden, and then continued his artistic training in Paris, in the ateliers of Tony Robert-Fleury and Jules Lefebvre. He was the grandson of the famous Russian marine artist Ivan Kostanti- novich Ajvazovsky, and likewise specialized in painting sea scenes, presented at various exhibitions from 1901 onwards. For his work he was awarded in Paris and Russia, and in 1910 became the official painter of the Russian Navy

Marko Rašica: doktorska disertacija

Rad je obranjen 13. lipnja 2011. na Filozofskom fakultetu Sveučilišta u Zagrebu

Painter Marko Rašica in the Austro-Hungarian Army

Dubrovački slikar Marko Rašica (1883.-1963.) mobiliziran je tijekom 1915. g. i poslan u Bosnu, u okolicu Dervente. Krajem 1915. g. organizira humanitarne izložbe u Herceg Novom u Crnoj Gori, potom 1916. u Dubrovniku i pobjeđuje na natječaju za izvedbu spomenika na Lovćenu, a 1917. g. u Zagrebu organizira treću dobrotvornu retrospektivnu izložbu. Na izložbi je upoznao dr. Isa Kršnjavog, koji posreduje Rašičinom angažmanu na Obrtnoj školi i brojnim sakralnim narudžbama sljedećih godina, a 1918. g. je otpušten iz vojske. Uvidom u nove arhivske podatke iz različitih zbirki razjašnjava se razdoblje Rašičine mobilizacije, njegov rad za vrijeme I. svjetskog rata i utjecaj poznanstva s dr. Isom Kršnjavijem na slikarevu poslijeratnu karijeru.Painter Marko Rašica (1883-1963) from Dubrovnik was enlisted in 1915 and transferred to Bosnia, to the region of Derventa. Later that year, he organized a humanitarian exhibition in Herceg Novi (Montenegro) and another one in Dubrovnik in 1916, when he also won the competition for the Lovćen monument. In 1917, he organized his third humanitarian retrospective exhibition. On that occasion, he met dr. Iso Kršnjavi, who arranged for him to teach at the School of Crafts and obtain a number of sacral commissions in the following years. In 1918, Rašica was released from the army. The author of this study has used newly discovered archival data from various collections to shed light on the time Rašica spent in the Austro-Hungarian army, his activity during World War I, and the impact of his meeting with dr. Iso Kršnjavi on his postwar career

Painter Niko Miljan — A New Interpretation

Nakon školovanja na Akademiji u Pragu, Niko Miljan po uzoru na svog profesora Vlaha Bukovca slika u duhu plenerizma i postimpresionizma, a najčešće teme su mu pejzaži, vedute gradova i rjeđe, figuralne kompozicije. Izlagao je od 1924. do 1953. godine na nizu samostalnih izložbi u Beogradu, Dubrovniku, Sarajevu, Pragu, Bratislavi, Zagrebu, Beču i dr. Ostvario je niz uspjelih radova kojima je uvršten među najznačajnije hrvatske vedutiste.Niko Miljan was a Dubrovnik painter born in Cavtat in 1891. His talent was noticed by Vlaho Bukovac, while Miljan was still a boy. Having completed regular education and after two years of preparation in the atelier of Josip Lalić, Miljan enrolled at the Art Academy in Prague. His future work was influenced primarily by Vlaho Bukovac and Jan Preisler. Upon completion of studies in 1913, Miljan returned to his native country, and then moved with his family to Macedonia where he worked as a drawing master. His first exhibition was in Belgrade in 1924; it was mostly seascapes in a style based on plein-air and postimpressionist art. After his return from Macedonia, Miljan taught drawing in the Dubrovnik gymnasium until 1931, when he retired in order to devote himself to his art. His motifs come mostly from the area of Dubrovnik, from Cavtat and Montenegro, but also from his trips to Bohemia and Slovakia. In the thirties he had many well-received exhibition both at home and abroad — in Vienna, and in Bohemia and Slovakia. He spent the Second World War in Prague, and moved to Zagreb in 1950, and then to Dubrovnik. Out of his large oeuvre only some one hundred paintings are known, and seventy more through reproductions only. Miljan\u27s style was primarily influenced by Bukovac and the Prague Academy. He strictly followed the rules of perspective and anatomy, as well as an objective approach to the representation of the motif. His early adoption of the plein-air and postimpressionist techniques left a lasting imprint on his art, although it was formed at the time when modem art was coming into being. Miljan painted landscapes, vistas of coastal towns, motifs from Dubrovnik and Cavtat, and other motifs in which one can experience various forms of light, and vibrations of the air. Only on rare occasions did Miljan paint figured motifs. His derivation of postimpressionism is marked by thick layers made by fast brushstrokes, and by colored shadows without a spectral analysis of light. He was not a painter to open new roads and make history, but a member of the group of artist which observed revolutionary moves rather than participating in them. Still, thanks to the quality of his works Miljan deserves a place in any survey of Dubrovnik painting. Some individual creations, such as "The Street Among Gardens," belong among anthological works of Croatian "vedutte" painting

Josip Lalić’s Dubrovnik Period

Istraživanjem se utvrđuju karakteristike dubrovačkog stvaralaštva Josipa Lalića (1867.–1953.), splitskog slikara školovanog u Veneciji, koji se stilski vezuje uz akademizam, plenerizam i impresionizam. Na osnovi podataka iz tiska i drugih izvora, donose se nova saznanja o njegovim javnim narudžbama (»Alegorija milosrđa«) i sudjelovanju na brojnim međunarodnim izložbama. Istražuje se njegovo bavljenje etnografskom motivikom, a analizom pejzaža i veduta nastalih u tom razdoblju nastoji se pokazati slikarevo priklanjanje impresionističkim načelima.The paper discusses the characteristics of Dubrovnik-based activity of Josip Lalić (1867–1953), a painter from Split educated in Venice stylistically related to Academism, en plein air painting and Impressionism. On the basis of press reports and other sources, the authors analyse his exhibition activity during the period spent in Dubrovnik and present new findings on his public commissions, among which a prominent place is occupied by the Allegory of Charity above the side entrance to the Rector’s Palace which substituted an older Baroque painting. Special attention is given to works depicting ethnographic motifs, especially urban genre scenes which capture the former picturesque life within the city walls of Dubrovnik. They are also characterized by Orientalist tendencies, as well as reflections of the dissemination of documentary recording of folk costumes in drawings and watercolours that became increasingly present in Croatian art in early 20th century. Josip Lalić reached the height of his artistic expression during the Dubrovnik period in his intimately rendered and melancholic landscapes and vedute which brought him closest to Impressionist principles. This becomes evident in motifs boldly cut off by the margins, diagonal advances into the background of pictorial space, complementary coloured shades, light colours and revisits of the same motif in different seasons or different parts of the day. The authors also discuss the painter’s masterly rendered watercolour compositions in which he managed to evoke the atmosphere and particular features of the motif through reduced pictorial means

Ograda Otta Wagnera kao primjer urbane opreme Beča i Dubrovnika

Prostorno planiranje Dubrovnika krajem 19. i početkom 20. stoljeća uključilo je širenje grada prema zapadnoj strani i bolje prometno povezivanje Gruža sa starim gradom. Trasiranje ceste kojom je prošla i tramvajska pruga na predjelu Boninovo, uključilo je postavljanje zaštitne ograde na samom rubu ceste i strme litice prema moru. Na temelju arhivskoga gradiva sačuvanog u Državnom arhivu u Dubrovniku, članak rekonstruira projekt uvođenja tramvaja u Dubrovnik i s tim povezane urbanističke zahvate na Boninovu te dopremu i postavljanje kovane ograde izrađene u bečkoj tvornici »IG. Gridl« prema nacrtima arhitekta Otta Wagnera za bečku gradsku željeznicu. Ograda predstavlja zanimljiv primjer bečke secesijske urbane opreme vješto uklopljene u dubrovačke vizure