18 research outputs found
Historical Painting and the Figure of King Tomislav Printed on Postcards for the 1000th Anniversary of the Kingdom of Croatia in 1925
Unutar Älanka obraÄuje se historijsko slikarstvo, odnosno lik kralja Tomislava tiskan na razglednicama tijekom obilje- žavanja tisuÄite obljetnice Hrvatskoga Kraljevstva 1925. godine. Lik kralja Tomislava u izvornom je obliku bio dio pla- kata ili slike, a svoje je mjesto reproduciranjem pronaÅ”ao na ukupno Å”est razglednica tijekom 1925. godine. Svaki od ovih Å”est motiva analizira se u kontekstu specifiÄnog slikarskog opusa, opÄeg likovnog stanja u meÄuratnom razdoblju te aktualnih druÅ”tveno-politiÄkih prilika. Razglednice se pritom uzimaju iskljuÄivo kao sredstvo masovne komunikaci- je kojim se posreduje historijsko slikarstvo, odnosno lik kralja Tomislava i doba uspona Hrvatskoga Kraljevstva. Unu- tar zakljuÄka vrednuje se uloga historijskog slikarstva kao komunikatora informacija u obilježavanju tisuÄite obljetnice Hrvatskoga Kraljevstva 1925. godine. Pritom se osobito upuÄuje na ulogu grafiÄkih reprodukcija i njihovu važnost pri formiranju kolektivne povijesne memorije i nacionalnog identiteta Å”irih druÅ”tvenih 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 ÄikoÅ” Sesija: from Arrival of the Croats to The Last Bogomils
U Älanku se obraÄuje historijsko slikarstvo nacionalne tematike u
opusu Bele ÄikoÅ”a Sesije. Na temelju poznatih i nekih manje poznatih djela (poput tzv. Dolaska Hrvata ili Scene lova, Nikole Å ubiÄa Zrinskog, Trenkovih pandura, PokrÅ”tenja Hrvata te Posljednjih bogumila) istiÄu se opÄe karakteristike ÄikoÅ”eva bavljenja povijesnim temama i motivima. Interpretacije se temelje na prijaÅ”njim znanstvenim i struÄnim istraživanjima, a provode se u specifiÄnom biografskom, kulturnom, nacionalnom i politiÄkom kontekstu. ÄikoÅ”evi povijesni prizori analiziraju se, naposljetku, u svjetlu postupne negacije klasiÄne akademske slike te jaÄanja simboliÄkih tendencija u umjetnosti.The paper discusses historical painting of national subject matter in the
oeuvre of Bela ÄikoÅ” 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 Å ubiÄ Zrinski, Trenckās Pandours, Baptism of the Croats and The
Last Bogomils), the author emphasises general features of ÄikoÅ”ās 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, ÄikoÅ”ās
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 DogodovŔtine Ilirije Velike and the Beginnings of Historical Painting in Croatia
U Älanku se obraÄuju i prezentiraju ilustracije ÄeÅ”kog slikara Karela Svobode (1824.ā 1870.) nastale za nikad objavljeno djelo Ljudevita Gaja DogodovÅ”tina Ilirije Velike. Analiza Svobodinih drvoreza i crteža, saÄuvanih u Zbirci rukopisa i starih knjiga Nacionalne i sveuÄiliÅ”ne knjižnice u Zagrebu, ukljuÄuje ikonografsko odreÄivanje i tumaÄenje prizora, njihovo postavljanje u kontekst kulturnopolitiÄkih zbivanja 1840-ih godina te poÄetaka historijskog slikarstva u Hrvatskoj i na Å”irem podruÄju HabsburÅ”ke Monarhije.This paper features the first detailed analysis, evaluation and presentation of the illustrations of the Czech painter Karel Svoboda (1824ā1870) that were created for the never-published work of the Croatian politician and writer, the Illyrian Ljudevit Gaj (1809ā1872) DogodovÅ”tine 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 Gajās bequest in 1892. All of Svobodaās drawings are signed and dated, but they do not contain inscriptions that would suggest which scenes from the book they represent. However, Gajās munpublished manuscripts made it possible to conduct a content and iconographic analysis of the drawings. In addition to the cover of DogodovÅ”tine 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, Äeh, Leh and Meh, the Settlement of the Croats, Croatsā 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, MiloÅ” ObiliÄ Kills Sultan Murat, the Church of the Ravanica Monastery in Serbia, and the Baptism of the Croats or the Oath of Nikola Å ubiÄ 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 Gajās 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. Svobodaās 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 KUKULJEVIÄ SAKCINSKI
ProuÄavanje povijesno-umjetniÄke djelatnosti Ivana KukuljeviÄa Sakcinskog zapoÄinje izlaganjem povijesnih okolnosti i životopisom samoga protagonista. Potom slijedi analiza pojedinaÄnih studija koje ukljuÄuju Slovnik umjetnika jugoslavenskih, tekstove posveÄene tzv. umjetnicima Schiavonima te putna izvjeÅ”Äa i biljeÅ”ke nastale u razdoblju neoapsolutizma. U zavrÅ”nom poglavlju definiraju se temeljne znaÄajke KukuljeviÄeva stvaralaÅ”tva te obraÄuju specifiÄne aktivnosti, poput konzervatorske službe i prikupljanja spomeniÄke graÄe. Naposljetku, vrednovanjem utemeljiteljske uloge, ukazuje se na nužnost preispitivanja povijesno-umjetniÄkoga diskursa i njegove historizacije.The study of the art history of Ivan KukuljeviÄ 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 KukuljeviÄ'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 obraÄuje kao specifiÄni likovni žanr, odnosno ishodiÅ”ni fenomen tzv. dugog 19. stoljeÄa te sastavni dio europskog i, u užem smislu, srednjoeuropskog kulturnog kruga. Prikazivanje povijesti (prvenstveno na slikarskom platnu) i popularizacija najzastupljenijih tema i motiva (putem razliÄitih grafiÄkih tehnika) dovode se u bliski i uzajamni odnos s formiranjem nacionalnog identiteta, jaÄanjem graÄanskog sloja i provoÄenjem specifiÄnih kulturnih politika. PrateÄi izvrÅ”enu katalogizaciju i periodizaciju žanra, kronoloÅ”kim redom analiziraju se opusi istaknutih predstavnika: Franje Salghettija Driolija, Vjekoslava Karasa, Josipa Franje MĆ¼ckea, Ferdinanda Quiquereza, Vlahe Bukovca, Mate Celestina MedoviÄa, Bele ÄikoÅ”a Sesije, Otona IvekoviÄa, Ivana TiÅ”ova te Josipa Horvata MeÄimurca. Posebna pažnja posveÄuje se pritom slikama u tzv. Zlatnoj dvorani Odjela za bogoÅ”tovlje i nastavu hrvatske Zemaljske vlade u OpatiÄkoj 10 u Zagrebu te aktivnostima DruÅ”tva āMeduliÄā.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 MĆ¼cke, Ferdinand Quiquerez, Vlaho Bukovac, Mate Celestin MedoviÄ, Bela ÄikoÅ” Sesija, Oton IvekoviÄ, Ivan TiÅ”ov and Josip Horvat MeÄimurec. 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 OpatiÄka Street in Zagreb and the activities of the āMeduliÄā Societ