U radu se analizira simbolistički opus nedovoljno istraženog djela slikara Mihe Marinkovića. Školovan na Akademiji likovnih umjetnosti u Münchenu, poglavito je poznat kao slikar zaumnih tema, koje se ...mogu svrstati u korpus simbolističkih tema krajem devetnaestog stoljeća. Od 1904. godine nastanjen u Beogradu, bio je aktivni sudionik kulturne scene srpske prijestolnice. Marinkovićeve su slike izlagane u Paviljonu Kraljevine Srbije na Međunarodnoj izložbi u Rimu 1911. godine. Njegov simbolisitički opus obuhvaća standardne teme simbolističkog slikarstva: Meduza, Lucifer, Grešnik, koje upućuju na umjetnikovu ličnost i na kompozitno doba na razmeđu vjekova. Simbolizam u Marinkovićevu opusu odražavaju njegove pouke stečene u Münchenu, koji je krajem 19. i početkom 20. stoljeća bio europski centar somnambulnih tema i umjetničkih eksperimenata. Marinkovićev je opus promatran u skladu s općim strukturama simbolizma, s posebnim osvrtom na münchenski simbolizam. Upućeno je na pojedine likovne kritike Marinkovićevih simbolističkih slika, koje svjedoče o povijesti recepcije njegova djela u kulturi Kraljevine Srbije početkom dvadesetog stoljeća. Pozitivno prihvaćanje Marinkovićevih slika u srpskoj sredini potvrđuje skladištenje trideset i pet njegovih djela u fundusu Narodnog muzeja u Beogradu.
The work of Felix Kanitz titled Serbiens byzantinische Monumente. Gezeichnet
und beschrieben von F. Kanitz The Byzantine Monuments of Serbia. Drawn and
Described by F. Kanitz published in German and ...Serbian in 1862 has never
been subjected to more detailed analysis from the perspective of art
history. The need for the contextualization of illustrated books and their
relation to the European culture of historicism, to nature and landscape, as
well as their relationship with various artistic phenomena of the
mid-nineteenth century, demands the placement of Kanitz?s book into the
wider cultural framework of the epoch.
...the artist was renowned as a leader of modern tendencies, and his paintings were to reflect the mental and emotional moods of the composite man of the last decades of the 19th century. According ...to Hubert Locher, at the time of the Centenary Exhibition of German Art held in Berlin in 1906, Arnold Böcklin was regarded as one of the greatest artists of the second half of the 19th century. According to Nietzsche's Manichaean division between Apollonian light and Dionysian darkness, this painting was actually understood as a visual answer to the current psychoanalytic discoveries of the archaeological and rudimentary sediments of the human psyche. According to Adamović, since 1873 Böcklin finally starts shaping his recognizable world of Tritons, Satyrs, Nymphs, etc.
It was in the monastery of Saint Francis in Venice in the year 1520 when
Bozidar Vukovic purchased the icon of the Holy Mandylion. By that particular
acquisition, this prominent publisher originating ...from Zeta has visualized
his new position in the sixteenth century Venice. The multi-layered identity
of Bozidar Vukovic was manifested by the subsequent inclusion of the noble
coat of arms of the House of Vukovic on the back of the icon. By the use of
verbal and visual language the artificial initiation of Bozidar Vukovic
within the distinguished members of Venetian society has been confirmed.
The monument to Prince Miloš Obrenović unveiled in 1898 embodied the concept of national-dynastic monument in the Kingdom of Serbia at the end of the nineteenth century. The statue in the manner ...of academic art by Djordje Jovanović, a prominent Serbian sculptor, may be seen as a creative transfer of European practices in designing majestic monuments to rulers. Set up in downtown Požarevac, the monument to Prince Miloš was intended to act as a place of collective remembrance and a means of legitimation of King Alexander Obrenović. Forming part of the process of constructing the cult of Prince Miloš, the monument may be seen as a visual testimony to the attempt of the shaken dynastic regime to define its own ideological model by using the image of its charismatic founder. The unveiling ceremony, pervaded with a military spirit, confirmed the place of the Požarevac visual topos on the map of patriotic geography, pointing to the power of the visual work in the system of the representative culture of the state and the nation in the late nineteenth century.
Since ancient times the tombs of rulers were shaped as key ideological topoi to be later turned into the places of pilgrimage depending on the historical circumstances. Graves are places of private ...memory and emotional compassion (??? 2006: 952-963), but also they represent important political topoi in the service of community homogenization (Kuljic 2014: 319-332). Since ancient times the graves of prominent community leaders have represented peculiar cult places (Antonaccio 1994: 389-410). Political myths and their instrumentalisation are based on three interrelated structures that are recognised in the following form: narration, rituals (rites), and icon (image) (Rader 2003: 20). ...the visualisation of the gravesite (icon) in the form of a monument, a artefact or an mark, produces the most powerful rhetorical effect in the system of representation of the ruler' tomb. According to Michel Foucault, the institution of the ruler's body is based upon the thesis on the political economy of the body (??? 1997: 16).
Урош Предић је рођен 1857. у Орловату у Банату, тада делу Аустроугарске монархије. Школске године 1876⁄77. уписао је Академију ликовних уметности у Бечу. Године 1876, подстакнут сукобима у Црној Гори ...и Босни, насликао је прву верзију Босанских бегунаца. Након одласка из Беча Предић се обрео у Берлину, Минхену и другим центрима германског света у којима је могао да упозна савремене тенденције у сликарству, као и модерна културна и идејна струјања. Особито су декадентни песимизам, као и симболистичка струјања, могли да утичу на сазревање младог интелектуалца и његов даљи развојни пут. Крајем XIX и почетком XX века дошло је до отуђености појединаца у време рађања великих колективитета и свеопште милитаризације друштва. До 1914. године насликао је низ слика прожетих песмистичним патосом, од којих се неколицина посредно може окарактерисати као антиратне и антиегзистенцијалне представе. У време Великог рата насликао је неколицину утопијских слика које су посредно исказивале уметников хуманистички и антиратни став. Тотално разарање и деструкција изазвани Првим светским ратом погодовали су тескобној Предићевој природи да по окончању сукоба наслика Косовску девојку, иконичну слику српског народа.
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