Nikola Mašić i talijansko slikarstvo ottocenta

Slikarstvo Nikole Mašića se u ranijim stručnim i znanstvenim tekstovima razmatralo uglavnom u okviru njegova obrazovanja na minhenskoj Akademiji, gdje se prvi put susreće s načinom Primamalerei u klasi prof. Wilhelma von Lindenschmita i uskoro napušta tonsko slikanje, priklanjajući se šarenoj »pseudoplenerističkoj« paleti Mariana Fortunya, čije slikarstvo temeljitije upoznaje u Parizu za vrijeme školovanja u atelijeru Williama Bougureaua. Davno je zamijećeno da Mašićeve posavske i talijanske studije zauzimaju posebno mjesto unutar njegova opusa, pa se Mašićevo kratkotrajno slikarsko »oslobođenje« bez detaljnije argumentacije dovodilo u vezu s napuljskom posilipanskom školom (La scuola di Posillipo), da bi nakon 1880. uslijedio povratak na »fortunyevsku« paletu i akademske radove velikih formata. U ovome radu pojašnjava se složeni splet onodobnih srednjoeuropskih i mediteranskih likovnih odrednica te njihov utjecaj na slikarstvo Nikole Mašića kako bi se ukazalo na činjenicu da slikarstvo posilipanske škole nije izravno utjecalo na Mašićevo slikarstvo, nego tek posredno, preko radova južnotalijanskih slikara druge polovice 19. stoljeća

Verses of Faith and Devotion. Seeing, Reading, and Touching Monumental Crucifixes with Inscriptions (12th–13th century)

The paper discusses a group of monumental crucifixes from the 13th-century East Adriatic and Italy, pained or executed in low relief, that display a verse inscriptions on the transverse limb of the cross. The main scope of the paper is to examine the provenance of the text inscribed in order to yield clearer insight into their function, use and original location in the church interiors. The paper specifically aims at analyzing three monumental crucifixes from the East-Adriatic city of Zadar which, although have already been the subject of a respectable number of studies, have not attracted attention as objects of devotion. My interest, therefore, is turned towards verse inscription as their distinctive feature and, as I shall argue, a key aspect in understanding their function. Examining the nature of the text displayed, iconography and materiality of these crucifixes, my main argument is to demonstrate how these objects provoked a multi-faced response from their audience, since were experienced by seeing, hearing and touching respectively

KINESKO TRADICIONALNO SHUI MO SLIKARSTVO KAO POTICAJ ZA VLASTITA LIKOVNA OSTVARENJA

Tema ovog završnog rada je kinesko shui mo slikarstvo čiji su predstavnici bili kineski intelektualci ili literati. To su bili učeni ljudi koji nisu živjeli tradicionalan život, već su život podredili prirodi, glazbi, poeziji i kaligrafiji. Kao i njihov stil života, tako i stil slikanja nije bio tradicionalan. Oni su težili prikazu emocija svojim slikama, prikazu svoje duše, te su željeli da i promatrač kroz sliku osjeti ono što su i oni osjećali dok su je stvarali. Slikarstvo koje je bilo cijenjeno diljem Kine i dan danas uživa popularnost, kako u Kini, tako i u cijelome svijetu inspirirajući generacije novih umjetnika. Ovaj rad će vas upoznati i s kineskom haute couture dizajnericom Guo Pei koja je svjetsku slavu stekla 2015. godine na modnom događaju Met Gali čija je tema bila inspirirana Kinom. Shui mo slikarstvo je bila moja inspiracija da na svoj način likovno interpretiram rad Guo Pei.The subject of this thesis is the Chinese shui mo painting whose representatives were Chinese intellectuals or literati. These were learned people who did not live a traditional life, but their life was subordinated to nature, music, poetry and calligraphy. Like the lifestyle their style of painting was not traditional. They sought to show their emotions with their paintings, depicting their soul, and they wanted the observer through the picture to feel what they felt as painting it. The painting that has been appreciated all over China today is enjoying popularity, both in China and worldwide, inspiring generations of new artists. This work will introduce you to the Chinese haute couture designer Guo Pei, who gained worldwide glory in 2015 at the fashion event Met Gala whose theme was inspired by China. Shui mo painting was my inspiration to artically interpret the work of Guo Pei in my own way

SLIKARSTVO HENRIJA DE TOULOUSE LAUTRECA I MODNA ILUSTRACIJA

Slikarstvo jednog od najvećih francuskih postimpresionističkih slikara s prijelaza stoljeća poslužit će kao inspiracija za izradu vlastitih likovnih ostvarenja. Analizirat će se likovne metode, motivi i utjecaji koji su formirali djela H. de Toulouse-Lautreca i pronaći poveznicu takve vrste umjetničkog izražaja s modnom ilustracijom. Kao rezultat tog istraživanja nastat će skupina radova koji ujedinjuju karakterističnu tehniku i karakter spomenutog velikog umjetnika i modnu ilustraciju, predstavljajući tako, za današnje doba, pomalo nekonvencionalan način ilustriranja mode.The painting of one of the greatest French Postimpressionist painters from the turn of the century will serve as an inspiration for making own artistic achievements. The art methods, motifs and influences that have formed the works of H. de Toulouse-Lautrec will be analyzed and a link between this kind of artistic expression and fashion illustrations will be found. As a result of this research, there will be a group of works that unite the characteristic technique and character of the great artist and fashion illustrations, thus presenting, to this day, a somewhat unconventional way of illustrating fashion

The Principle of Ruffle and Wrapping in the Example Egyptian Culture of Clothing

Završni rad govori o najvažnijim elementima i razvoju Egipatske kulture odijevanja. Egipatska civilizacija koja je došla dijelom iz njegove sposobnosti da se prilagodi uvjetima doline rijeke Nil. Predvidljive poplave i kontrolirano navodnjavanje plodne doline pokretali su društveni razvoj i kulturu. Kroz poglavlja je obrađen način odijevanja i ukrašavanja tijela u tome razdoblju. Opisane su razlike, postupan napredak i razvoj u odijevanju u pojedinim razdobljima Egipta, na koje su utjecali kulturološki, vjerski i povijesni aspekti. Prikazani su najvažniji odjevni i svakodnevni predmeti koji su korišteni u to doba, njihova namjena i razvoj tokom vremena. Objašnjeni su izvori, materijali i metode od kojih se izrađivala odjeća, obuća i kozmetika, te je opisana njihova uloga.Final work talks about the most important elements and the development of the Egyptian culture of clothing. Egyptian civilization that came partly from its ability to adapt to the conditions of the Nile River Valley. Predictable flooding and controlled irrigation of fertile valleys triggered social development and culture. In that period, throughout the chapters was discussed the way of dressing and decorating the body. Differences, gradual progress and development in clothing in certain periods of Egypt have been described, influenced by cultural, religious and historical aspects. Presented are the most important garment and everyday items used at that time, their purpose and development over time. Egyptian footwear, cosmetics and their role was described as the sources, materials and methods from which they were made

The uncanny eloquence of silence

Luc Tuzmans, eden najvidnejših sodobnih slikarjev, v svojem umetniškem delovanju izpričuje izjemno oseben pristop, saj so njegove slike določene z nekontinuirano, fragmentarno naracijo. Na slikah so izolirani posamezni detajli (predmeti, interierji, obrazi), ki šele ob poglobljenem preučevanju kontekstualnih povezav teh fragmentov gledalcu prezentirajo izjemno bogato in pomensko nasičeno metaforiko. Za njegova dela je značilna izolacija fragmenta, ki je v marsičem blizu Freudovemu konceptu "das Unheimliche", pri katerem nas vsakdanji objekt ali interier ob natančnejšem posvečanju celoti, iz katere je iztrgan, sooči z nekoliko "grozljivo" pripovedjo, bodisi o nacizmu, kolonialni preteklosti ali bolezni.The art of Luc Tuymans, one of the best known contemporary painters, is marked by a highly personal approach. His paintings are mostly characterised by fragmentary, discontinued narration which isolates certain details (interiors, faces, objects .). The viewer can unravel their complex metaphorical meanings only through a close examination of their contextual connotations. This isolation of a fragment, one of the most typical proceduresin his paintings, invites comparison with Freud\u27s concept of das Unheimliche, where a mundane fragment confronts us with an ćunheimlichć background narrative, be it Nayism, the colonial past, or disease

Refunkcionalizacija forme. Modernistički obrt u opusu slikara Leonida Šejke

Works by Belgrade artist Leonid Šejka (1932–1970) are usually considered fantastic, an embodiment of aesthetic ideals of Mediala Art Group he was a member of, an opposition to everything that Modernism stood for with its harsh formalism that expelled object. However, the complexity of Šejka’s opus as artist and theorist allows a different approach. In this paper, we turn to – so far neglected – Šejka‘s positive relation to Modernism, which he saw as a foundation for new aesthetic ideals. He understood that Modernism turned paintings into objects of empty forms void of function. Nevertheless, the future of painting, for him, resided in re-introduction of objects into painting in order to re-establish the necessary form-function relation, preserving, at the same time, Modernist traits. Šejka tried to demonstrate this in his mature works. He wrote about it in a series of writings, which contribute to our understanding of his opus.Works by Belgrade artist Leonid Šejka (1932–1970) are usually considered fantastic, an embodiment of aesthetic ideals of Mediala Art Group he was a member of, an opposition to everything that Modernism stood for with its harsh formalism that expelled object. However, the complexity of Šejka’s opus as artist and theorist allows a different approach. In this paper, we turn to – so far neglected – Šejka‘s positive relation to Modernism, which he saw as a foundation for new aesthetic ideals. He understood that Modernism turned paintings into objects of empty forms void of function. Nevertheless, the future of painting, for him, resided in re-introduction of objects into painting in order to re-establish the necessary form-function relation, preserving, at the same time, Modernist traits. Šejka tried to demonstrate this in his mature works. He wrote about it in a series of writings, which contribute to our understanding of his opus