Članak donosi neobjavljene i u to vrijeme neke objavljene dokumente o Stepincu iz Meštrovićeva arhiva na Sveučilištu Notre Dame u Indiani, SAD, na kojem je Meštrović predavao od 1955. godine do svoje ...smrti 1962. godine. Uz ostale, donosi se Meštrovićevo pismo kardinalu Spellmanu iz 1954. godine označeno oznakom „povjerljivo“, pismo Alojzija Stepinca Meštroviću od 3. listopada 1956. godine, Meštrovićeva čestitka Stepincu u povodu njegova 60. rođendana, prepiska sa č. s. Reginom Mary C. S. J. nakon Meštrovićeva posjeta Stepincu 1959. godine. U članku su dokumenti dijelom transkribirani i prikazani su, tj. obrađeni najvažniji sadržaji. Dokumenti su nastali u razdoblju od 1949. do 1960. godine. Dokumentacija pokazuje da je Ivan Meštrović iznimno poštovao Stepinca te ga je smatrao nevinim u odnosu na sva nedjela koja su mu se u montiranom sudskom procesu i u javnosti stavljala na teret.
The article presents several previously unpublished and several published documents at that time about the blessed Aloysius Cardinal Stepinac from the „Ivan Mestrovic Papers (MST) “archive at the University of Notre Dame in Indiana, USA, the university where Ivan Mestrović taught from 1955 until his death in 1962. Among the researched documents there are Mestrovic's letter to Cardinal Spellman from 1954 marked "confidential" and one letter from Aloysius Stepinac to Ivan Mestrovic from 3 October 1956, Mestrovic's birthday card to Stepinac on the occasion of his 60th birthday, Mestrovic's correspondence with nun Regina Mary C.S.J. after his visit to cardinal Stepinac in 1959. In the article, the documents are transcribed and synthesized, i.e., the most important contents are studied. The documents were created in the period from 1949 to 1960. The documentation shows that Ivan Mestrovic extremely respected Aloysius Stepinac and considered him innocent in relation to all the misdeeds that were blamed on him in the staged court process and in public.
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DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
Kao dio rasprave formirane oko pokreta Black Lives Matter 2021. godine osnovana je inicijativa Chicago Monuments Project sa zadatkom propitivanja značenja umjetnosti u javnom prostoru, njezine uloge, ...poruke, forme i medija. Rasprava je zatvorena u ljeto 2022. godine, a dijelom se ticala ideološke pozadine para skulptura Indijanaca Ivana Meštrovića, oblikovanih u New Yorku i Zagrebu 1926. i 1927., a postavljenih 1928. godine u javni prostor grada Chicaga. U medijima su dominirale izjave Dalibora Prančevića i Barbare Vujanović, poznavatelja Meštrovićeva opusa i moderne skulpture u Hrvatskoj, koji su Indijance “branili” s obzirom na njihove formalne kvalitete te bivanje dijelom hrvatske nacionalne umjetnosti, vezujući ih i za širi urbanistički kontekst Chicaga te sagledavajući uvjete i okolnosti njihova postavljanja u javni prostor toga grada, a s druge su strane Nikola Vukobratović i Ivana Hanaček temi pristupali iz vizure postkolonijalnih studija, prema kojoj promicanje narativa o nadmoći i moralnoj superiornosti bijele rase podrazumijeva predstavljanje netočnih i/ili ponižavajućih karakterizacija Indijanaca. Ponajprije je rasprava vođena o tome predstavljaju li Indijanci selektivan i jednostrani pogled na američku povijest te prikazuju li karikaturalno i stereotipno američke starosjedioce, u napetosti između dva suprotstavljena mišljenja stručnjaka i javnosti. Postkolonijalna teorija u središtu svog interesa ima odnos kolonizatora i koloniziranog, kolonijalnog i postkolonijalnog u prošlosti i sadašnjosti, a u slučaju Indijanaca rasprava se ticala homogeniziranih stereotipnih predodžaba o drugima i suptilne konstrukcije subjekata iz skupine antitetično postavljene spram dominantnih pozicija, o kojoj se konstruiraju stereotipi i koje se tim stereotipima poima. Problemski fokus ovog rada je usporedna analiza recepcije skulptura od njihova nastanka do danas.
As part of the debate centering on the Black Lives Matter movement, the Chicago Monuments Project Commission was established in 2021, with the task of reviewing the meaning of public art, its role, message, form and medium. The discussion concluded in the summer of 2022, and it touched upon the ideological background of the pair of Indian sculptures by Ivan Meštrović, made in New York and Zagreb in 1926 and 1927, and erected in the public space of the city of Chicago in 1928. Statements by Dalibor Prančević and Barbara Vujanović, experts on Meštrović’s work and modern sculpture in Croatia, dominated the media coverage. Prančević and Vujanović “defended” the Indians because of their formal qualities and for being part of Croatian national art, relating them to the wider urban context of Chicago and considering the conditions and the circumstances of their placement in Chicago’s public space. In contrast, Nikola Vukobratović and Ivana Hanaček approached the issue from the point of view of postcolonial studies, according to which the promotion of narratives about white race supremacy and moral superiority means presenting inaccurate and/or humiliating characterizations of Native Americans. The discussion primarily revolved around whether the Indians present a selective and one-sided view of American history and whether they caricature and stereotype Native Americans, riding on the tension between the opposing opinions of the experts and the general public. Postcolonial theory primarily deals with the relationship between the colonizer and the colonized, the colonial and the postcolonial in the past and the present, and in the case of the Indians, the discussion concerned homogenized stereotypical images of others and the subtle construction of subjects from the point of view of a group antithetical to the dominant position, about which stereotypes are constructed and which is understood through these stereotypes. This paper presents a comparative analysis of the reception of the sculptures from their creation until the present day.
Ovim radom izlažu se novi podaci vezani uz život i djelovanje fotografa Milana M. Prodanovića. Do sada se njegov rad spominjao samo u knjizi Fotografija devetnaestog stoljeća u Hrvatskoj autorice ...Nade Grčević koja je, unatoč sveobuhvatnom i detaljnom istraživanju, ipak tek dijelom stekla uvid u život i djelovanje ovog fotografa. Poticaj za istraživanje nastao je tijekom obrade građe fototeke Atelijera Meštrović u Zagrebu, prilikom čega je evidentiran veći broj fotografija Milana M. Prodanovića i njegova sina Svetozara Prodanovića.
U umjetničkom opusu Ivana Meštrovića (1883. – 1962.), jednog od najvećih hrvatskih religioznih umjetnika, značajno mjesto zauzimaju djela s prikazima svetaca. Riječ je o ovećoj skupini studija, ...crteža, litografija i skulptura. Cilj ovog rada jest razvrstati Meštrovićeve svetce u jedan tematski okvir. Autorica poseban naglasak stavlja na djela nastala kao posljedica egzistencijalnih prilika u kojima je umjetnik živio i djelovao. U tom kontekstu u starozavjetnim likovima Mojsija i Joba prepoznaje likove s kojima se umjetnik poistovjetio te je u najtežim životnim trenutcima u njihovim životima pronašao utjehu.
In his artistic work, Meštrović created an extremely large number of works of art with saints as a theme. We have divided those saints thematically into Old Testament saints, New Testament saints and saints of the Catholic Church. Among them there are great spiritual figures that are also role models for spiritual life. In his depictions, he mainly follows Christian iconography, and when he omits or emphasizes one iconographic element more than some others, he does so in order to emphasize the uniqueness and meaning of a particular saint. Reflecting on the reasons for the creation of works from this group, we come to the conclusion that a great number of the works were created as orders by church dignitaries, while artistically more valuable sculptures within this group were created due to the existential situation in which the artist found himself. In the sculpture of Job from 1946, who cries out for God’s presence in his pain and suffering, he depicted his own sorrow and the pain he felt in prison, unjustly accused and separated from his loved ones. In his reflections on the suffering and pain of Old Testament and New Testament characters, he sought consolation and hope for getting out of slavery and living in freedom. Thus, with their perseverance and faith, Moses and Job brought comfort and awakened faith in a new life to Meštrović. And the two Old Testament characters became leaders in Meštrović’s journey to find meaning and comfort, which he would find in the figure of Christ the Sufferer and Redeemer.
Ovim radom želi se ukazati na, do sada, malo istražen segment rada fotografa Vjekoslava Cvetišića, kroz rakurs suradnje s kiparima Ivanom Meštrovićem, Antunom Augustinčićem i Franom Kršinićem ...dvadesetih i tridesetih godina prošlog stoljeća. Suradnja je otkrivena istraživanjem arhivskog gradiva, Fototeke Atelijera Meštrović i onodobne periodike dok je komparacijom fotografija ustanovljen kanon Cvetišićevog rada.
This work aims to bring attention to a previously unexplored aspect of the photographer Vjekoslav Cvetišić’s work. The focus is on his collaboration with Croatian sculptors Ivan Meštrović, Antun Augustinčić and Fran Kršinić in the 1920s and 1930s. The collaboration was discovered through research of archival material, the photo archives of the Meštrović Atelier and periodicals of the time. The canon of Cvetišić’s work was established by comparing photographs.
Based on reading and interpreting the key texts on the topic, the article explores the parallels and divergences between Matko Meštrović’s theory of the Neo-Avantgarde art practices of the New ...Tendencies and the Marxist Humanist intellectuals of the Praxis school of thought, in relation to different Marxist approaches to art in Yugoslavia. Both currents were critical, utopian, and avantgarde in nature, advocating for radical social transformation towards a new society and a new human, which they shared with the Yugoslav experimental model of self-management socialism in its initial phase. Despite these common approaches, the article argues that there was no direct connection between Yugoslav Neo-Marxists and Neo-Avantgarde artists and theoreticians. This assertion is reinforced by their different approaches to art and art history.
Za Papinski hrvatski zavod sv. Jeronima, koji se do 1971. nazivao “Ilirski zavod sv. Jeronima”, od 27. prosinca 1928., kada je Juraj Mađerec (1885. – 1957.) preuzeo službu rektora, započelo je nešto ...mirnije razdoblje, u kojem je, između ostalog, sagrađena i nova zavodska zgrada. Zgrada je otvorena 12. studenoga 1939. godine. Za umjetničko uređenje zgrade rektor J. Mađerec je na preporuku zagrebačkog svećenika Svetozara Rittiga odabrao poznate hrvatske umjetnike Ivana Meštrovića i Jozu Kljakovića. U središtu ovog rada su tri mozaika J. Kljakovića (Krist knez mira, Pokrštenje Hrvata, Krunjenje Zvonimira) i okolnosti njihova nastajanja. Mozaici su na sjeverno pročelje nove zavodske zgrade postavljeni u burnim ratnim i poratnim okolnostima. Prvi, središnji mozaik Krist knez mira otkriven je 30. listopada 1944. u vrijeme rektorâ J. Mađerca, a dva pokrajnja Pokrštenje Hrvata i Krunjenje Zvonimira u vrijeme njegova nasljednika Đure Kokše, čija je služba u Zavodu trajala od 1959. do 1979. godine. Rad na pokrajnjim mozaicima Kljaković je započeo 20. srpnja 1959. i dovršio po svemu sudeći krajem 1961. ili u proljeće 1962. godine. Ovaj rad je nastao na temelju objavljene i neobjavljene, pisane i fotografske građe, koja se čuva u arhivu Zavoda sv. Jeronima i predstavlja nadopunu prethodnih istraživanja.
When, on December 27, 1928, Juraj Mađerec (1885-1957) took over the position of rector of the Pontifical Croatian College of St. Jerome, which until 1971 was called the "Illyrian College of St. Jerome", began a somewhat calmer period in which, among other things, a new College building was built. The building was opened on November 12, 1939. Rector J. Mađerec, on the recommendation of Zagreb priest Svetozar Rittig, chose famous Croatian artists Ivan Meštrović and Jozo Kljaković for the artistic decoration of the building. Three mosaics by J. Kljaković (Christ the Prince of Peace, Baptism of Croats, Crowning of Zvonimir) are in the focus of this paper as well as the circumstances of their creation. The mosaics were placed on the north facade of the new College building in turbulent war and post-war circumstances. The first, central mosaic, Christ the Prince of Peace, was unveiled on October 30, 1944, during the time of rector J. Mađerac, and the two adjoining ones, the Baptism of Croats and the Coronation of Zvonimir, during the time of his successor Đura Kokša, whose service at the College lasted from 1959 to 1979. Kljaković started work on the adjoining mosaics on July 20, 1959 and, by all accounts, completed it at the end of 1961 or in the spring of 1962. This paper came to be on the basis of published and unpublished, written and photographic material, which is kept in the archives of the College of St. Jerome and represents a supplement to previous research.
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DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
Rad kronološki identificira promjene u političkom i identitetskom smislu koje su utjecale na arhitektonske koncepte na području povijesno važnog lokaliteta Lovćena, a koji su ostavili vrlo autentičan ...arhitektonski izraz iz razdoblja od 19. stoljeća do danas, mijenjajući svoj oblik, funkciju i simbolizam. Rad istražuje četiri povijesna i arhitektonska ciklusa, s naglaskom na umjetnički diskurs Ivana Meštrovića i Harolda Bilinića.
This article chronologically identifies changes in politics and national identity which influenced the architectural concepts for the historically important site of Lovćen. These projects have resulted in an authentic architectural expression that has been present here since the 19th century. This article focuses on four historical and architectural periods with emphasis on the artistic discourse of Ivan Meštrović and Harold Bilinić.
U članku su prikazani osnovni elementi organizovanja i delovanja hrvatske političke emigracije početkom osamdesetih godina prošlog veka. Akcenat je stavljen na formiranje i delovanje dve ...najznačajnije organizacije hrvatske emigracije u tom periodu – Hrvatskog narodnog vijeća i Hrvatskog državotvornog pokreta. Izneti su detalji o načinima njihovog delovanja, a funkcionisanje hrvatske emigracije stavljeno je u širi međunarodni kontekst. Rad je nastao analizom sekundarnih izvora i neobjavljene arhivske građe.
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