3 research outputs found
The Museum of Toma Rosandic i Belgrade
ΠΠΎΠΊΡΠΎΡΡΠΊΠ° Π΄ΠΈΡΠ΅ΡΡΠ°ΡΠΈΡΠ° ΠΏΠΎΠ΄ Π½Π°ΡΠ»ΠΎΠ²ΠΎΠΌ ΠΡΠ·Π΅Ρ Π’ΠΎΠΌΠ΅ Π ΠΎΡΠ°Π½Π΄ΠΈΡΠ° Ρ ΠΠ΅ΠΎΠ³ΡΠ°Π΄Ρ Π±Π°Π²ΠΈ ΡΠ΅ ΡΠ²ΠΈΠΌ
Π°ΡΠΏΠ΅ΠΊΡΠΈΠΌΠ° ΠΎΠ²ΠΎΠ³ ΠΌΡΠ·Π΅ΡΠ°, ΠΏΠΎΠ»Π°Π·Π΅ΡΠΈ ΠΎΠ΄ ΡΠ΅Π·Π΅ Π΄Π° ΡΠ΅ ΡΠ°Π΄ΠΈ ΠΎ Π²Π΅ΠΎΠΌΠ° ΡΠΏΠ΅ΡΠΈΡΠΈΡΠ½ΠΎΠΌ ΠΈ ΡΠ΅Π΄ΠΈΠ½ΡΡΠ²Π΅Π½ΠΎΠΌ
ΠΏΡΠΈΠΌΠ΅ΡΡ ΠΊΡΡΠ΅ ΡΠΌΠ΅ΡΠ½ΠΈΠΊΠ° ΠΊΠΎΡΠ° ΡΠ΅ ΠΏΡΠ΅ΡΠ²ΠΎΡΠ΅Π½Π° Ρ ΠΌΡΠ·Π΅Ρ.
Π Π°Π·ΠΌΠ°ΡΡΠ° ΡΠ΅ ΠΈΡΡΠΎΡΠΈΡΡΠΊΠΈ ΡΠ°Π·Π²ΠΎΡ ΠΊΡΡΠ° ΡΠΌΠ΅ΡΠ½ΠΈΠΊΠ°, ΡΠ²ΠΎΡΠ΅Π²ΡΡΠ½ΠΈΡ
Ρ
ΡΠ°ΠΌΠΎΠ²Π° ΡΠΎΠΏΡΡΠ²Π° ΠΈ ΡΠΎΡΠ°Π»Π½ΠΈΡ
ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠΈΡ
Π΄Π΅Π»Π°, ΠΊΠΎΡΠ΅ ΠΏΡΠ΅ΡΠ°ΡΡΠ°ΡΡ Ρ ΠΌΡΠ·Π΅ΡΠ΅. ΠΡΠΊΡΠΈΠ²Π° ΡΠ΅ ΠΌΡΠ·Π΅Π°Π»ΠΈΠ·Π°ΡΠΈΡΠ° ΠΏΡΠΈΠ²Π°ΡΠ½ΠΎΠ³ ΠΆΠΈΠ²ΠΎΡΠ°, Ρ ΠΎΠ²ΠΎΠΌ
ΡΠ»ΡΡΠ°ΡΡ ΡΠΌΠ΅ΡΠ½ΠΈΠΊΠ° ΠΊΡΠΎΠ· ΡΠ΅Π³ΠΎΠ² Π΄ΠΎΠΌ, ΠΏΡΠΈΠ²Π°ΡΠ½ΠΈ ΠΏΡΠΎΡΡΠΎΡ ΠΊΠΎΡΠΈ ΡΠ΅ ΠΎΠ½ ΠΊΠΎΡΠΈΡΡΠΈΠΎ ΠΈ ΡΠ΅ΡΡΠ°ΠΌΠ΅Π½ΡΠΎΠΌ
ΠΎΡΡΠ°Π²ΠΈΠΎ Π³ΡΠ°Π΄Ρ ΠΠ΅ΠΎΠ³ΡΠ°Π΄Ρ.
ΠΠΈΡΠ΅ΡΡΠ°ΡΠΈΡΠ° ΡΠ΅ ΠΏΠΎΠ΄Π΅ΡΠ΅Π½Π° Ρ ΡΡΠΈ ΠΎΡΠ½ΠΎΠ²Π½Π° ΠΏΠΎΠ³Π»Π°Π²ΡΠ° ΠΊΠΎΡΠ° ΠΈΠΌΠ°ΡΡ Π·Π° ΡΠΈΡ Π΄Π° ΡΡΠΌΠ°ΡΠ΅ ΠΏΡΠΎΡΡΠΎΡ,
ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠ° Π΄Π΅Π»Π° ΠΈ ΠΏΡΠ΅Π΄ΠΌΠ΅ΡΠ΅ ΠΊΠΎΡΠΈ ΡΡ ΡΠ°ΡΡΠ²Π°Π½ΠΈ, ΡΠΈΠΌΠ΅ ΠΊΠΎΠ½ΡΠ΅ΠΊΠ²Π΅Π½ΡΠ½ΠΎ ΡΡΠΌΠ°ΡΠ΅ ΡΠ°Π΄ ΠΈ ΠΆΠΈΠ²ΠΎΡ ΡΠΌΠ΅ΡΠ½ΠΈΠΊΠ°
ΠΈ Π±ΠΈΠΎΠ³ΡΠ°ΡΠΈΡΡ ΠΎΠ±Π»ΠΈΠΊΡΡΡ ΠΊΡΠΎΠ· Π±ΠΈΠΎΠ³ΡΠ°ΡΡΠΊΠΈ, ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠΈ ΠΈ ΠΌΡΠ·Π΅ΠΎΠ»ΠΎΡΠΊΠΈ Π΄Π΅ΠΎ.
Π’Π°ΠΊΠΎ, ΠΏΡΠ²ΠΎ ΠΏΠΎΠ³Π»Π°Π²ΡΠ΅ ΠΡΡΠ° ΠΏΡΠ°ΡΠΈ ΡΠ°Π·Π²ΠΎΡ ΡΠΌΠ΅ΡΠ½ΠΈΠΊΠ°, ΡΠ΅Π³ΠΎΠ²ΠΎ ΠΌΠ»Π°Π΄Π°Π»Π°ΡΠΊΠΎ ΡΡΠ°Π³Π°ΡΠ΅ Π·Π°
ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠΈΠΌ ΠΈΡΠΊΠ°Π·ΠΎΠΌ ΠΈ ΠΏΡΠΈΠ²Π°ΡΠ½ΠΈΠΌ ΠΏΡΠΎΡΡΠΎΡΠΎΠΌ, ΠΆΠ΅Π½Ρ Ρ ΡΠ΅Π³ΠΎΠ²ΠΎΠΌ Π°ΡΠ΅ΡΠ΅Ρ, Π½Π°ΡΡΠ°ΡΠ°ΡΠ΅ ΠΈΠ΄Π΅ΡΠ΅ ΠΎ ΠΊΡΡΠΈ
ΡΠ²Π΅ Π΄ΠΎ ΡΠ΅Π½Π΅ ΡΠ΅Π°Π»ΠΈΠ·Π°ΡΠΈΡΠ΅.
ΠΡΡΠ³ΠΎ ΠΏΠΎΠ³Π»Π°Π²ΡΠ΅ ΠΡΠ΅ΡΠ΅ Ρ ΠΊΡΠ°ΡΠΊΠΎΠΌ ΠΎΡΠ²ΡΡΡ ΡΠ΅ Π±Π°Π²ΠΈ ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠΎΠΌ Π΄Π΅Π»ΠΈΠΌΠ° Π’ΠΎΠΌΠ΅ Π ΠΎΡΠ°Π½Π΄ΠΈΡΠ°,
Π½Π°Π³Π»Π°ΡΠ°Π²Π°ΡΡΡΠΈ ΠΏΠΎΡΠ΅Π΄ ΠΌΠ°ΡΠ·ΠΎΠ»Π΅ΡΠ° Π·Π° ΠΏΠΎΡΠΎΠ΄ΠΈΡΡ ΠΠ΅ΡΡΠΈΠ½ΠΎΠ²ΠΈΡ, ΡΠ΅Π³ΠΎΠ²Π° Π΄Π²Π° Π·Π½Π°ΡΠ°ΡΠ½Π° Π΄Π΅Π»Π° ΠΠ³ΡΠ°Π»ΠΈ ΡΠ΅
ΠΊΠΎΡΠΈ Π²ΡΠ°Π½ΠΈ ΠΈ Ecce homo, ΠΊΠΎΡΠ° ΡΠΈΠ½Π΅ ΡΡΠ΅Π΄Π½ΠΎ ΠΈ Π·Π°ΡΠ΅Π±Π½Π° ΠΏΠΎΠ³Π»Π°Π²ΡΠ°. ΠΠ²Π°Ρ Π΄Π΅ΠΎ ΡΠ΅ ΡΠΈΠΌΠ±ΠΎΠ»ΠΈΡΠ½ΠΎ Π·Π°Π²ΡΡΠ°Π²Π°
ΡΠ° Ecce homo, ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΡΠ°ΡΡΡΠΈ ΠΊΡΠΎΠ· ΡΠΊΡΠ»ΠΏΡΡΡΡ, ΠΊΠΎΡΠ° Π·Π°ΡΠ·ΠΈΠΌΠ° ΡΠ΅Π½ΡΡΠ°Π»Π½ΠΎ ΠΌΠ΅ΡΡΠΎ Π½Π° ΡΠ»Π°ΡΠΊΡ Ρ ΠΡΠ·Π΅Ρ,
ΡΠ°ΠΌΠΎΠ³ Π²Π°ΡΠ°ΡΠ° ΠΈ ΡΠ΅Π³ΠΎΠ²Ρ Π»ΠΈΡΠ½ΠΎΡΡ, ΡΠ΅Π³ΠΎΠ² ΠΎΠ΄Π½ΠΎΡ ΠΏΡΠ΅ΠΌΠ° Π΄ΡΡΡΡΠ²Π΅Π½ΠΈΠΌ ΠΈ ΠΈΡΡΠΎΡΠΈΡΡΠΊΠΈΠΌ Π·Π±ΠΈΠ²Π°ΡΠΈΠΌΠ°,
ΡΡΠΌΠΈΡΠ°ΡΡΡΠΈ Π½Π°Π³ΡΠ°Π΄Π΅ ΠΈ ΠΏΡΠΈΠ·Π½Π°ΡΠ° ΠΊΠΎΡΠ° ΡΡ ΡΡΠ»Π΅Π΄ΠΈΠ»Π° ΠΏΠΎΡΠ»Π΅ ΠΡΡΠ³ΠΎΠ³ ΡΠ²Π΅ΡΡΠΊΠΎΠ³ ΡΠ°ΡΠ°.
Π’ΡΠ΅ΡΠ΅ ΠΏΠΎΠ³Π»Π°Π²ΡΠ΅ ΠΡΠ·Π΅Ρ Π±Π°Π²ΠΈ ΡΠ΅ ΡΠ²ΠΈΠΌ ΡΠΏΠ΅ΡΠΈΡΠΈΡΠ½ΠΎΡΡΠΈΠΌΠ° ΠΊΠΎΡΠ΅ ΠΎΠ²Π°Ρ ΠΌΡΠ·Π΅Ρ ΡΠΈΠ½Π΅ ΡΠ΅ΡΠΊΠΈΠΌ ΠΈ
ΡΠ½ΠΈΠΊΠ°ΡΠ½ΠΈΠΌ. ΠΠ΅ΠΎ ΡΠ΅ ΠΏΠΎΡΠ²Π΅ΡΠ΅Π½ Π»Π΅Π³Π°ΡΠΈΠΌΠ° Ρ Π‘ΡΠ±ΠΈΡΠΈ, ΡΠ· ΠΊΡΠ°ΡΠ°ΠΊ ΠΏΡΠ΅Π³Π»Π΅Π΄ ΡΠ΅Π³ΡΠ»Π°ΡΠΈΠ²Π΅ ΠΊΠ°ΠΊΠΎ Π±ΠΈ ΡΠ΅
ΠΎΡΠ²Π΅ΡΠ»ΠΈΠΎ ΠΎΠ²Π°Ρ Π²ΠΈΠ΄ ΠΎΡΡΠ°Π²ΡΠ°ΡΠ° ΠΊΡΠ»ΡΡΡΠ½ΠΎΠ³ Π±Π»Π°Π³Π°. ΠΡΠΎΠ· ΠΏΡΠΈΠΌΠ΅ΡΠ΅ ΡΠ»ΠΈΡΠ½ΠΈΡ
ΠΌΡΠ·Π΅ΡΠ° Ρ ΡΠ΅Π³ΠΈΠΎΠ½Ρ ΠΈ ΡΠ²Π΅ΡΡ,
ΠΏΡΡΠΆΠ΅Π½Π° ΡΠ΅ ΠΌΠΎΠ³ΡΡΠ½ΠΎΡΡ ΠΊΠΎΠΌΠΏΠ°ΡΠ°ΡΠΈΠ²Π½Π΅ Π°Π½Π°Π»ΠΈΠ·Π΅ ΡΠ° ΠΡΠ·Π΅ΡΠΎΠΌ Π’ΠΎΠΌΠ΅ Π ΠΎΡΠ°Π½Π΄ΠΈΡΠ°. ΠΠΎΠ³Π»Π°Π²ΡΠ΅ Π½Π° ΠΊΡΠ°ΡΡ
ΡΠ°Π΄ΡΠΆΠΈ ΠΎΡΠ½ΠΎΠ²Π΅ Π·Π° ΡΠ΅Π²ΠΈΡΠ°Π»ΠΈΠ·Π°ΡΠΈΡΡ ΠΎΠ²ΠΎΠ³ Π΄ΡΠ°Π³ΠΎΡΠ΅Π½ΠΎΠ³ ΠΌΡΠ·Π΅ΡΠ°.The Doctoral Dissertation entitled Toma Rosandic`s Museum in Belgrade deals with all aspects of
the museum, starting from the assumption of higly genuine and unique example of an artist`s home
that was transformed into a museum.
The thesis deals with the historical development of the artist`s home as a temple of sorts
built to celebrate the selfdom and total works of art growing into museums. The musealisation of a
private life is revelaed - the artist`s private life through his home - a private space that he used and
endowed to the City of Belgrade in his last will.
The thesis is divided into three main sections, aiming to interpret space, works of art and
objects that have been preserved, which consistently interpret the artist`s work and life, shaping his
biography through biographical, artistic and museological sections.
Thus, the first chapter named House follows the artist`s development, his youthful quest for
artistic statements and private space, the place of women in his studio, as well as bringing forth the
idea of a house until its realization.
The second chapter Atelier deals in short with the artistic work of Toma Rosandic,
highlighting, among others, the Petrinovic Family Mausoleum, his major composition Black horses play,
and Ecce Homo, included in separate chapters. This section symbolically ends with Ecce Homo
sculpture, representing the sculptor himself, his personality, his attitude towards the social and
historical events, summarizing all his awards and accolades that followed after the Second World
War; occupying a central position at the entrance of the Museum.
The third chapter Museum deals with all the details that make this Museum so rare and
unique. A part of this chapter is dedicated to bequests in Serbia, along with a brief overview of the
regulations in this filed in order to shed some light on the aspect of cultural heritage bequething.
Through examples of similar museums in the region and world as well, the comparative analysis od
those and the Rosandic`s museum has been given. This chapter concludes with principles for the
revitalization of this invaluable museum
The Museum of Toma Rosandic i Belgrade
ΠΠΎΠΊΡΠΎΡΡΠΊΠ° Π΄ΠΈΡΠ΅ΡΡΠ°ΡΠΈΡΠ° ΠΏΠΎΠ΄ Π½Π°ΡΠ»ΠΎΠ²ΠΎΠΌ ΠΡΠ·Π΅Ρ Π’ΠΎΠΌΠ΅ Π ΠΎΡΠ°Π½Π΄ΠΈΡΠ° Ρ ΠΠ΅ΠΎΠ³ΡΠ°Π΄Ρ Π±Π°Π²ΠΈ ΡΠ΅ ΡΠ²ΠΈΠΌ
Π°ΡΠΏΠ΅ΠΊΡΠΈΠΌΠ° ΠΎΠ²ΠΎΠ³ ΠΌΡΠ·Π΅ΡΠ°, ΠΏΠΎΠ»Π°Π·Π΅ΡΠΈ ΠΎΠ΄ ΡΠ΅Π·Π΅ Π΄Π° ΡΠ΅ ΡΠ°Π΄ΠΈ ΠΎ Π²Π΅ΠΎΠΌΠ° ΡΠΏΠ΅ΡΠΈΡΠΈΡΠ½ΠΎΠΌ ΠΈ ΡΠ΅Π΄ΠΈΠ½ΡΡΠ²Π΅Π½ΠΎΠΌ
ΠΏΡΠΈΠΌΠ΅ΡΡ ΠΊΡΡΠ΅ ΡΠΌΠ΅ΡΠ½ΠΈΠΊΠ° ΠΊΠΎΡΠ° ΡΠ΅ ΠΏΡΠ΅ΡΠ²ΠΎΡΠ΅Π½Π° Ρ ΠΌΡΠ·Π΅Ρ.
Π Π°Π·ΠΌΠ°ΡΡΠ° ΡΠ΅ ΠΈΡΡΠΎΡΠΈΡΡΠΊΠΈ ΡΠ°Π·Π²ΠΎΡ ΠΊΡΡΠ° ΡΠΌΠ΅ΡΠ½ΠΈΠΊΠ°, ΡΠ²ΠΎΡΠ΅Π²ΡΡΠ½ΠΈΡ
Ρ
ΡΠ°ΠΌΠΎΠ²Π° ΡΠΎΠΏΡΡΠ²Π° ΠΈ ΡΠΎΡΠ°Π»Π½ΠΈΡ
ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠΈΡ
Π΄Π΅Π»Π°, ΠΊΠΎΡΠ΅ ΠΏΡΠ΅ΡΠ°ΡΡΠ°ΡΡ Ρ ΠΌΡΠ·Π΅ΡΠ΅. ΠΡΠΊΡΠΈΠ²Π° ΡΠ΅ ΠΌΡΠ·Π΅Π°Π»ΠΈΠ·Π°ΡΠΈΡΠ° ΠΏΡΠΈΠ²Π°ΡΠ½ΠΎΠ³ ΠΆΠΈΠ²ΠΎΡΠ°, Ρ ΠΎΠ²ΠΎΠΌ
ΡΠ»ΡΡΠ°ΡΡ ΡΠΌΠ΅ΡΠ½ΠΈΠΊΠ° ΠΊΡΠΎΠ· ΡΠ΅Π³ΠΎΠ² Π΄ΠΎΠΌ, ΠΏΡΠΈΠ²Π°ΡΠ½ΠΈ ΠΏΡΠΎΡΡΠΎΡ ΠΊΠΎΡΠΈ ΡΠ΅ ΠΎΠ½ ΠΊΠΎΡΠΈΡΡΠΈΠΎ ΠΈ ΡΠ΅ΡΡΠ°ΠΌΠ΅Π½ΡΠΎΠΌ
ΠΎΡΡΠ°Π²ΠΈΠΎ Π³ΡΠ°Π΄Ρ ΠΠ΅ΠΎΠ³ΡΠ°Π΄Ρ.
ΠΠΈΡΠ΅ΡΡΠ°ΡΠΈΡΠ° ΡΠ΅ ΠΏΠΎΠ΄Π΅ΡΠ΅Π½Π° Ρ ΡΡΠΈ ΠΎΡΠ½ΠΎΠ²Π½Π° ΠΏΠΎΠ³Π»Π°Π²ΡΠ° ΠΊΠΎΡΠ° ΠΈΠΌΠ°ΡΡ Π·Π° ΡΠΈΡ Π΄Π° ΡΡΠΌΠ°ΡΠ΅ ΠΏΡΠΎΡΡΠΎΡ,
ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠ° Π΄Π΅Π»Π° ΠΈ ΠΏΡΠ΅Π΄ΠΌΠ΅ΡΠ΅ ΠΊΠΎΡΠΈ ΡΡ ΡΠ°ΡΡΠ²Π°Π½ΠΈ, ΡΠΈΠΌΠ΅ ΠΊΠΎΠ½ΡΠ΅ΠΊΠ²Π΅Π½ΡΠ½ΠΎ ΡΡΠΌΠ°ΡΠ΅ ΡΠ°Π΄ ΠΈ ΠΆΠΈΠ²ΠΎΡ ΡΠΌΠ΅ΡΠ½ΠΈΠΊΠ°
ΠΈ Π±ΠΈΠΎΠ³ΡΠ°ΡΠΈΡΡ ΠΎΠ±Π»ΠΈΠΊΡΡΡ ΠΊΡΠΎΠ· Π±ΠΈΠΎΠ³ΡΠ°ΡΡΠΊΠΈ, ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠΈ ΠΈ ΠΌΡΠ·Π΅ΠΎΠ»ΠΎΡΠΊΠΈ Π΄Π΅ΠΎ.
Π’Π°ΠΊΠΎ, ΠΏΡΠ²ΠΎ ΠΏΠΎΠ³Π»Π°Π²ΡΠ΅ ΠΡΡΠ° ΠΏΡΠ°ΡΠΈ ΡΠ°Π·Π²ΠΎΡ ΡΠΌΠ΅ΡΠ½ΠΈΠΊΠ°, ΡΠ΅Π³ΠΎΠ²ΠΎ ΠΌΠ»Π°Π΄Π°Π»Π°ΡΠΊΠΎ ΡΡΠ°Π³Π°ΡΠ΅ Π·Π°
ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠΈΠΌ ΠΈΡΠΊΠ°Π·ΠΎΠΌ ΠΈ ΠΏΡΠΈΠ²Π°ΡΠ½ΠΈΠΌ ΠΏΡΠΎΡΡΠΎΡΠΎΠΌ, ΠΆΠ΅Π½Ρ Ρ ΡΠ΅Π³ΠΎΠ²ΠΎΠΌ Π°ΡΠ΅ΡΠ΅Ρ, Π½Π°ΡΡΠ°ΡΠ°ΡΠ΅ ΠΈΠ΄Π΅ΡΠ΅ ΠΎ ΠΊΡΡΠΈ
ΡΠ²Π΅ Π΄ΠΎ ΡΠ΅Π½Π΅ ΡΠ΅Π°Π»ΠΈΠ·Π°ΡΠΈΡΠ΅.
ΠΡΡΠ³ΠΎ ΠΏΠΎΠ³Π»Π°Π²ΡΠ΅ ΠΡΠ΅ΡΠ΅ Ρ ΠΊΡΠ°ΡΠΊΠΎΠΌ ΠΎΡΠ²ΡΡΡ ΡΠ΅ Π±Π°Π²ΠΈ ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠΎΠΌ Π΄Π΅Π»ΠΈΠΌΠ° Π’ΠΎΠΌΠ΅ Π ΠΎΡΠ°Π½Π΄ΠΈΡΠ°,
Π½Π°Π³Π»Π°ΡΠ°Π²Π°ΡΡΡΠΈ ΠΏΠΎΡΠ΅Π΄ ΠΌΠ°ΡΠ·ΠΎΠ»Π΅ΡΠ° Π·Π° ΠΏΠΎΡΠΎΠ΄ΠΈΡΡ ΠΠ΅ΡΡΠΈΠ½ΠΎΠ²ΠΈΡ, ΡΠ΅Π³ΠΎΠ²Π° Π΄Π²Π° Π·Π½Π°ΡΠ°ΡΠ½Π° Π΄Π΅Π»Π° ΠΠ³ΡΠ°Π»ΠΈ ΡΠ΅
ΠΊΠΎΡΠΈ Π²ΡΠ°Π½ΠΈ ΠΈ Ecce homo, ΠΊΠΎΡΠ° ΡΠΈΠ½Π΅ ΡΡΠ΅Π΄Π½ΠΎ ΠΈ Π·Π°ΡΠ΅Π±Π½Π° ΠΏΠΎΠ³Π»Π°Π²ΡΠ°. ΠΠ²Π°Ρ Π΄Π΅ΠΎ ΡΠ΅ ΡΠΈΠΌΠ±ΠΎΠ»ΠΈΡΠ½ΠΎ Π·Π°Π²ΡΡΠ°Π²Π°
ΡΠ° Ecce homo, ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΡΠ°ΡΡΡΠΈ ΠΊΡΠΎΠ· ΡΠΊΡΠ»ΠΏΡΡΡΡ, ΠΊΠΎΡΠ° Π·Π°ΡΠ·ΠΈΠΌΠ° ΡΠ΅Π½ΡΡΠ°Π»Π½ΠΎ ΠΌΠ΅ΡΡΠΎ Π½Π° ΡΠ»Π°ΡΠΊΡ Ρ ΠΡΠ·Π΅Ρ,
ΡΠ°ΠΌΠΎΠ³ Π²Π°ΡΠ°ΡΠ° ΠΈ ΡΠ΅Π³ΠΎΠ²Ρ Π»ΠΈΡΠ½ΠΎΡΡ, ΡΠ΅Π³ΠΎΠ² ΠΎΠ΄Π½ΠΎΡ ΠΏΡΠ΅ΠΌΠ° Π΄ΡΡΡΡΠ²Π΅Π½ΠΈΠΌ ΠΈ ΠΈΡΡΠΎΡΠΈΡΡΠΊΠΈΠΌ Π·Π±ΠΈΠ²Π°ΡΠΈΠΌΠ°,
ΡΡΠΌΠΈΡΠ°ΡΡΡΠΈ Π½Π°Π³ΡΠ°Π΄Π΅ ΠΈ ΠΏΡΠΈΠ·Π½Π°ΡΠ° ΠΊΠΎΡΠ° ΡΡ ΡΡΠ»Π΅Π΄ΠΈΠ»Π° ΠΏΠΎΡΠ»Π΅ ΠΡΡΠ³ΠΎΠ³ ΡΠ²Π΅ΡΡΠΊΠΎΠ³ ΡΠ°ΡΠ°.
Π’ΡΠ΅ΡΠ΅ ΠΏΠΎΠ³Π»Π°Π²ΡΠ΅ ΠΡΠ·Π΅Ρ Π±Π°Π²ΠΈ ΡΠ΅ ΡΠ²ΠΈΠΌ ΡΠΏΠ΅ΡΠΈΡΠΈΡΠ½ΠΎΡΡΠΈΠΌΠ° ΠΊΠΎΡΠ΅ ΠΎΠ²Π°Ρ ΠΌΡΠ·Π΅Ρ ΡΠΈΠ½Π΅ ΡΠ΅ΡΠΊΠΈΠΌ ΠΈ
ΡΠ½ΠΈΠΊΠ°ΡΠ½ΠΈΠΌ. ΠΠ΅ΠΎ ΡΠ΅ ΠΏΠΎΡΠ²Π΅ΡΠ΅Π½ Π»Π΅Π³Π°ΡΠΈΠΌΠ° Ρ Π‘ΡΠ±ΠΈΡΠΈ, ΡΠ· ΠΊΡΠ°ΡΠ°ΠΊ ΠΏΡΠ΅Π³Π»Π΅Π΄ ΡΠ΅Π³ΡΠ»Π°ΡΠΈΠ²Π΅ ΠΊΠ°ΠΊΠΎ Π±ΠΈ ΡΠ΅
ΠΎΡΠ²Π΅ΡΠ»ΠΈΠΎ ΠΎΠ²Π°Ρ Π²ΠΈΠ΄ ΠΎΡΡΠ°Π²ΡΠ°ΡΠ° ΠΊΡΠ»ΡΡΡΠ½ΠΎΠ³ Π±Π»Π°Π³Π°. ΠΡΠΎΠ· ΠΏΡΠΈΠΌΠ΅ΡΠ΅ ΡΠ»ΠΈΡΠ½ΠΈΡ
ΠΌΡΠ·Π΅ΡΠ° Ρ ΡΠ΅Π³ΠΈΠΎΠ½Ρ ΠΈ ΡΠ²Π΅ΡΡ,
ΠΏΡΡΠΆΠ΅Π½Π° ΡΠ΅ ΠΌΠΎΠ³ΡΡΠ½ΠΎΡΡ ΠΊΠΎΠΌΠΏΠ°ΡΠ°ΡΠΈΠ²Π½Π΅ Π°Π½Π°Π»ΠΈΠ·Π΅ ΡΠ° ΠΡΠ·Π΅ΡΠΎΠΌ Π’ΠΎΠΌΠ΅ Π ΠΎΡΠ°Π½Π΄ΠΈΡΠ°. ΠΠΎΠ³Π»Π°Π²ΡΠ΅ Π½Π° ΠΊΡΠ°ΡΡ
ΡΠ°Π΄ΡΠΆΠΈ ΠΎΡΠ½ΠΎΠ²Π΅ Π·Π° ΡΠ΅Π²ΠΈΡΠ°Π»ΠΈΠ·Π°ΡΠΈΡΡ ΠΎΠ²ΠΎΠ³ Π΄ΡΠ°Π³ΠΎΡΠ΅Π½ΠΎΠ³ ΠΌΡΠ·Π΅ΡΠ°.The Doctoral Dissertation entitled Toma Rosandic`s Museum in Belgrade deals with all aspects of
the museum, starting from the assumption of higly genuine and unique example of an artist`s home
that was transformed into a museum.
The thesis deals with the historical development of the artist`s home as a temple of sorts
built to celebrate the selfdom and total works of art growing into museums. The musealisation of a
private life is revelaed - the artist`s private life through his home - a private space that he used and
endowed to the City of Belgrade in his last will.
The thesis is divided into three main sections, aiming to interpret space, works of art and
objects that have been preserved, which consistently interpret the artist`s work and life, shaping his
biography through biographical, artistic and museological sections.
Thus, the first chapter named House follows the artist`s development, his youthful quest for
artistic statements and private space, the place of women in his studio, as well as bringing forth the
idea of a house until its realization.
The second chapter Atelier deals in short with the artistic work of Toma Rosandic,
highlighting, among others, the Petrinovic Family Mausoleum, his major composition Black horses play,
and Ecce Homo, included in separate chapters. This section symbolically ends with Ecce Homo
sculpture, representing the sculptor himself, his personality, his attitude towards the social and
historical events, summarizing all his awards and accolades that followed after the Second World
War; occupying a central position at the entrance of the Museum.
The third chapter Museum deals with all the details that make this Museum so rare and
unique. A part of this chapter is dedicated to bequests in Serbia, along with a brief overview of the
regulations in this filed in order to shed some light on the aspect of cultural heritage bequething.
Through examples of similar museums in the region and world as well, the comparative analysis od
those and the Rosandic`s museum has been given. This chapter concludes with principles for the
revitalization of this invaluable museum
The Museum of Toma Rosandic i Belgrade
ΠΠΎΠΊΡΠΎΡΡΠΊΠ° Π΄ΠΈΡΠ΅ΡΡΠ°ΡΠΈΡΠ° ΠΏΠΎΠ΄ Π½Π°ΡΠ»ΠΎΠ²ΠΎΠΌ ΠΡΠ·Π΅Ρ Π’ΠΎΠΌΠ΅ Π ΠΎΡΠ°Π½Π΄ΠΈΡΠ° Ρ ΠΠ΅ΠΎΠ³ΡΠ°Π΄Ρ Π±Π°Π²ΠΈ ΡΠ΅ ΡΠ²ΠΈΠΌ
Π°ΡΠΏΠ΅ΠΊΡΠΈΠΌΠ° ΠΎΠ²ΠΎΠ³ ΠΌΡΠ·Π΅ΡΠ°, ΠΏΠΎΠ»Π°Π·Π΅ΡΠΈ ΠΎΠ΄ ΡΠ΅Π·Π΅ Π΄Π° ΡΠ΅ ΡΠ°Π΄ΠΈ ΠΎ Π²Π΅ΠΎΠΌΠ° ΡΠΏΠ΅ΡΠΈΡΠΈΡΠ½ΠΎΠΌ ΠΈ ΡΠ΅Π΄ΠΈΠ½ΡΡΠ²Π΅Π½ΠΎΠΌ
ΠΏΡΠΈΠΌΠ΅ΡΡ ΠΊΡΡΠ΅ ΡΠΌΠ΅ΡΠ½ΠΈΠΊΠ° ΠΊΠΎΡΠ° ΡΠ΅ ΠΏΡΠ΅ΡΠ²ΠΎΡΠ΅Π½Π° Ρ ΠΌΡΠ·Π΅Ρ.
Π Π°Π·ΠΌΠ°ΡΡΠ° ΡΠ΅ ΠΈΡΡΠΎΡΠΈΡΡΠΊΠΈ ΡΠ°Π·Π²ΠΎΡ ΠΊΡΡΠ° ΡΠΌΠ΅ΡΠ½ΠΈΠΊΠ°, ΡΠ²ΠΎΡΠ΅Π²ΡΡΠ½ΠΈΡ
Ρ
ΡΠ°ΠΌΠΎΠ²Π° ΡΠΎΠΏΡΡΠ²Π° ΠΈ ΡΠΎΡΠ°Π»Π½ΠΈΡ
ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠΈΡ
Π΄Π΅Π»Π°, ΠΊΠΎΡΠ΅ ΠΏΡΠ΅ΡΠ°ΡΡΠ°ΡΡ Ρ ΠΌΡΠ·Π΅ΡΠ΅. ΠΡΠΊΡΠΈΠ²Π° ΡΠ΅ ΠΌΡΠ·Π΅Π°Π»ΠΈΠ·Π°ΡΠΈΡΠ° ΠΏΡΠΈΠ²Π°ΡΠ½ΠΎΠ³ ΠΆΠΈΠ²ΠΎΡΠ°, Ρ ΠΎΠ²ΠΎΠΌ
ΡΠ»ΡΡΠ°ΡΡ ΡΠΌΠ΅ΡΠ½ΠΈΠΊΠ° ΠΊΡΠΎΠ· ΡΠ΅Π³ΠΎΠ² Π΄ΠΎΠΌ, ΠΏΡΠΈΠ²Π°ΡΠ½ΠΈ ΠΏΡΠΎΡΡΠΎΡ ΠΊΠΎΡΠΈ ΡΠ΅ ΠΎΠ½ ΠΊΠΎΡΠΈΡΡΠΈΠΎ ΠΈ ΡΠ΅ΡΡΠ°ΠΌΠ΅Π½ΡΠΎΠΌ
ΠΎΡΡΠ°Π²ΠΈΠΎ Π³ΡΠ°Π΄Ρ ΠΠ΅ΠΎΠ³ΡΠ°Π΄Ρ.
ΠΠΈΡΠ΅ΡΡΠ°ΡΠΈΡΠ° ΡΠ΅ ΠΏΠΎΠ΄Π΅ΡΠ΅Π½Π° Ρ ΡΡΠΈ ΠΎΡΠ½ΠΎΠ²Π½Π° ΠΏΠΎΠ³Π»Π°Π²ΡΠ° ΠΊΠΎΡΠ° ΠΈΠΌΠ°ΡΡ Π·Π° ΡΠΈΡ Π΄Π° ΡΡΠΌΠ°ΡΠ΅ ΠΏΡΠΎΡΡΠΎΡ,
ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠ° Π΄Π΅Π»Π° ΠΈ ΠΏΡΠ΅Π΄ΠΌΠ΅ΡΠ΅ ΠΊΠΎΡΠΈ ΡΡ ΡΠ°ΡΡΠ²Π°Π½ΠΈ, ΡΠΈΠΌΠ΅ ΠΊΠΎΠ½ΡΠ΅ΠΊΠ²Π΅Π½ΡΠ½ΠΎ ΡΡΠΌΠ°ΡΠ΅ ΡΠ°Π΄ ΠΈ ΠΆΠΈΠ²ΠΎΡ ΡΠΌΠ΅ΡΠ½ΠΈΠΊΠ°
ΠΈ Π±ΠΈΠΎΠ³ΡΠ°ΡΠΈΡΡ ΠΎΠ±Π»ΠΈΠΊΡΡΡ ΠΊΡΠΎΠ· Π±ΠΈΠΎΠ³ΡΠ°ΡΡΠΊΠΈ, ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠΈ ΠΈ ΠΌΡΠ·Π΅ΠΎΠ»ΠΎΡΠΊΠΈ Π΄Π΅ΠΎ.
Π’Π°ΠΊΠΎ, ΠΏΡΠ²ΠΎ ΠΏΠΎΠ³Π»Π°Π²ΡΠ΅ ΠΡΡΠ° ΠΏΡΠ°ΡΠΈ ΡΠ°Π·Π²ΠΎΡ ΡΠΌΠ΅ΡΠ½ΠΈΠΊΠ°, ΡΠ΅Π³ΠΎΠ²ΠΎ ΠΌΠ»Π°Π΄Π°Π»Π°ΡΠΊΠΎ ΡΡΠ°Π³Π°ΡΠ΅ Π·Π°
ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠΈΠΌ ΠΈΡΠΊΠ°Π·ΠΎΠΌ ΠΈ ΠΏΡΠΈΠ²Π°ΡΠ½ΠΈΠΌ ΠΏΡΠΎΡΡΠΎΡΠΎΠΌ, ΠΆΠ΅Π½Ρ Ρ ΡΠ΅Π³ΠΎΠ²ΠΎΠΌ Π°ΡΠ΅ΡΠ΅Ρ, Π½Π°ΡΡΠ°ΡΠ°ΡΠ΅ ΠΈΠ΄Π΅ΡΠ΅ ΠΎ ΠΊΡΡΠΈ
ΡΠ²Π΅ Π΄ΠΎ ΡΠ΅Π½Π΅ ΡΠ΅Π°Π»ΠΈΠ·Π°ΡΠΈΡΠ΅.
ΠΡΡΠ³ΠΎ ΠΏΠΎΠ³Π»Π°Π²ΡΠ΅ ΠΡΠ΅ΡΠ΅ Ρ ΠΊΡΠ°ΡΠΊΠΎΠΌ ΠΎΡΠ²ΡΡΡ ΡΠ΅ Π±Π°Π²ΠΈ ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠΎΠΌ Π΄Π΅Π»ΠΈΠΌΠ° Π’ΠΎΠΌΠ΅ Π ΠΎΡΠ°Π½Π΄ΠΈΡΠ°,
Π½Π°Π³Π»Π°ΡΠ°Π²Π°ΡΡΡΠΈ ΠΏΠΎΡΠ΅Π΄ ΠΌΠ°ΡΠ·ΠΎΠ»Π΅ΡΠ° Π·Π° ΠΏΠΎΡΠΎΠ΄ΠΈΡΡ ΠΠ΅ΡΡΠΈΠ½ΠΎΠ²ΠΈΡ, ΡΠ΅Π³ΠΎΠ²Π° Π΄Π²Π° Π·Π½Π°ΡΠ°ΡΠ½Π° Π΄Π΅Π»Π° ΠΠ³ΡΠ°Π»ΠΈ ΡΠ΅
ΠΊΠΎΡΠΈ Π²ΡΠ°Π½ΠΈ ΠΈ Ecce homo, ΠΊΠΎΡΠ° ΡΠΈΠ½Π΅ ΡΡΠ΅Π΄Π½ΠΎ ΠΈ Π·Π°ΡΠ΅Π±Π½Π° ΠΏΠΎΠ³Π»Π°Π²ΡΠ°. ΠΠ²Π°Ρ Π΄Π΅ΠΎ ΡΠ΅ ΡΠΈΠΌΠ±ΠΎΠ»ΠΈΡΠ½ΠΎ Π·Π°Π²ΡΡΠ°Π²Π°
ΡΠ° Ecce homo, ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΡΠ°ΡΡΡΠΈ ΠΊΡΠΎΠ· ΡΠΊΡΠ»ΠΏΡΡΡΡ, ΠΊΠΎΡΠ° Π·Π°ΡΠ·ΠΈΠΌΠ° ΡΠ΅Π½ΡΡΠ°Π»Π½ΠΎ ΠΌΠ΅ΡΡΠΎ Π½Π° ΡΠ»Π°ΡΠΊΡ Ρ ΠΡΠ·Π΅Ρ,
ΡΠ°ΠΌΠΎΠ³ Π²Π°ΡΠ°ΡΠ° ΠΈ ΡΠ΅Π³ΠΎΠ²Ρ Π»ΠΈΡΠ½ΠΎΡΡ, ΡΠ΅Π³ΠΎΠ² ΠΎΠ΄Π½ΠΎΡ ΠΏΡΠ΅ΠΌΠ° Π΄ΡΡΡΡΠ²Π΅Π½ΠΈΠΌ ΠΈ ΠΈΡΡΠΎΡΠΈΡΡΠΊΠΈΠΌ Π·Π±ΠΈΠ²Π°ΡΠΈΠΌΠ°,
ΡΡΠΌΠΈΡΠ°ΡΡΡΠΈ Π½Π°Π³ΡΠ°Π΄Π΅ ΠΈ ΠΏΡΠΈΠ·Π½Π°ΡΠ° ΠΊΠΎΡΠ° ΡΡ ΡΡΠ»Π΅Π΄ΠΈΠ»Π° ΠΏΠΎΡΠ»Π΅ ΠΡΡΠ³ΠΎΠ³ ΡΠ²Π΅ΡΡΠΊΠΎΠ³ ΡΠ°ΡΠ°.
Π’ΡΠ΅ΡΠ΅ ΠΏΠΎΠ³Π»Π°Π²ΡΠ΅ ΠΡΠ·Π΅Ρ Π±Π°Π²ΠΈ ΡΠ΅ ΡΠ²ΠΈΠΌ ΡΠΏΠ΅ΡΠΈΡΠΈΡΠ½ΠΎΡΡΠΈΠΌΠ° ΠΊΠΎΡΠ΅ ΠΎΠ²Π°Ρ ΠΌΡΠ·Π΅Ρ ΡΠΈΠ½Π΅ ΡΠ΅ΡΠΊΠΈΠΌ ΠΈ
ΡΠ½ΠΈΠΊΠ°ΡΠ½ΠΈΠΌ. ΠΠ΅ΠΎ ΡΠ΅ ΠΏΠΎΡΠ²Π΅ΡΠ΅Π½ Π»Π΅Π³Π°ΡΠΈΠΌΠ° Ρ Π‘ΡΠ±ΠΈΡΠΈ, ΡΠ· ΠΊΡΠ°ΡΠ°ΠΊ ΠΏΡΠ΅Π³Π»Π΅Π΄ ΡΠ΅Π³ΡΠ»Π°ΡΠΈΠ²Π΅ ΠΊΠ°ΠΊΠΎ Π±ΠΈ ΡΠ΅
ΠΎΡΠ²Π΅ΡΠ»ΠΈΠΎ ΠΎΠ²Π°Ρ Π²ΠΈΠ΄ ΠΎΡΡΠ°Π²ΡΠ°ΡΠ° ΠΊΡΠ»ΡΡΡΠ½ΠΎΠ³ Π±Π»Π°Π³Π°. ΠΡΠΎΠ· ΠΏΡΠΈΠΌΠ΅ΡΠ΅ ΡΠ»ΠΈΡΠ½ΠΈΡ
ΠΌΡΠ·Π΅ΡΠ° Ρ ΡΠ΅Π³ΠΈΠΎΠ½Ρ ΠΈ ΡΠ²Π΅ΡΡ,
ΠΏΡΡΠΆΠ΅Π½Π° ΡΠ΅ ΠΌΠΎΠ³ΡΡΠ½ΠΎΡΡ ΠΊΠΎΠΌΠΏΠ°ΡΠ°ΡΠΈΠ²Π½Π΅ Π°Π½Π°Π»ΠΈΠ·Π΅ ΡΠ° ΠΡΠ·Π΅ΡΠΎΠΌ Π’ΠΎΠΌΠ΅ Π ΠΎΡΠ°Π½Π΄ΠΈΡΠ°. ΠΠΎΠ³Π»Π°Π²ΡΠ΅ Π½Π° ΠΊΡΠ°ΡΡ
ΡΠ°Π΄ΡΠΆΠΈ ΠΎΡΠ½ΠΎΠ²Π΅ Π·Π° ΡΠ΅Π²ΠΈΡΠ°Π»ΠΈΠ·Π°ΡΠΈΡΡ ΠΎΠ²ΠΎΠ³ Π΄ΡΠ°Π³ΠΎΡΠ΅Π½ΠΎΠ³ ΠΌΡΠ·Π΅ΡΠ°.The Doctoral Dissertation entitled Toma Rosandic`s Museum in Belgrade deals with all aspects of
the museum, starting from the assumption of higly genuine and unique example of an artist`s home
that was transformed into a museum.
The thesis deals with the historical development of the artist`s home as a temple of sorts
built to celebrate the selfdom and total works of art growing into museums. The musealisation of a
private life is revelaed - the artist`s private life through his home - a private space that he used and
endowed to the City of Belgrade in his last will.
The thesis is divided into three main sections, aiming to interpret space, works of art and
objects that have been preserved, which consistently interpret the artist`s work and life, shaping his
biography through biographical, artistic and museological sections.
Thus, the first chapter named House follows the artist`s development, his youthful quest for
artistic statements and private space, the place of women in his studio, as well as bringing forth the
idea of a house until its realization.
The second chapter Atelier deals in short with the artistic work of Toma Rosandic,
highlighting, among others, the Petrinovic Family Mausoleum, his major composition Black horses play,
and Ecce Homo, included in separate chapters. This section symbolically ends with Ecce Homo
sculpture, representing the sculptor himself, his personality, his attitude towards the social and
historical events, summarizing all his awards and accolades that followed after the Second World
War; occupying a central position at the entrance of the Museum.
The third chapter Museum deals with all the details that make this Museum so rare and
unique. A part of this chapter is dedicated to bequests in Serbia, along with a brief overview of the
regulations in this filed in order to shed some light on the aspect of cultural heritage bequething.
Through examples of similar museums in the region and world as well, the comparative analysis od
those and the Rosandic`s museum has been given. This chapter concludes with principles for the
revitalization of this invaluable museum