Milan Tolić (Split, September 1, 1899 – November 20, 1990) was a painter, stage designer, pedagogue and caricaturist from Split, whose caricature opus has not been studied sufficiently. The paper ...analyses Tolić’s album of caricatures named Osijek in Caricature which was printed in Građanska tiskara in Osijek in 1940 and was based on painter’s original drawings. Tolić’s album is a collection of drawings categorized into groups: actors, lawyers, doctors, members of the Chamber of Commerce, professors, industrialists, merchants, craftspeople, police officers, city clerks, innkeepers and bankers. There are three hundred faces presented on 187 pages in fifteen group and two hundred twenty-eight individual caricatures. Tolić’s album of drawings presents mostly caricatures done for the most part in pen, and some were done in pencil and ink. From the technical standpoint all the caricatures were done in a similar manner – Tolić’s drawing in the album is recognizable and readable. The author is presented as a skillful artist and keen observer, expertly recording figures in motion in easy rhythm by summarizing the lines of a moving figure. The outline of the drawing runs in longer uninterrupted lines, and the structural lines are sometimes providing texture of materials in their contrasted relationships. The characters are presented full face and in profile, and the caricatural characters are often drawn performing the work typical for their profession. Tolić builds his artistic style mostly on the whole figure, but directs his personal artistic attention to the head, immensely rich and interesting in its artistic content, which he deforms, corrects and changes until he finds the traits which best fit the character of the models drawn. Thus, the irony expressed in the excessive artistic style is not restricted to the outward appearance, but also in an emotional communication, although the persons are primarily presented physically through their deformed excessiveness. The group caricatures in the album communicate to the public through the flourishing dictionary of the line, all built upon a funny and satirical basis in the comedy of line and form, but also in the humor of gestures and grimaces. The album Osijek in Caricature is in fact the presentation of Osijek of the late Thirties of the Twentieth century in its intimate spheres in the relations of time, space and people, whereby the author successfully refers to the political, social and public lives of Osijek. Tolić’s caricatures impress by their sincere light-hearted humor, which good-naturedly mock the caricatured characters. The album Osijek in Caricature is a valuable contribution of Milan Tolić to our visual arts of caricatural expression.
Unutar skupine manje poznatih stranih slikara prisutnih u međuratnom razdoblju kod nas, slikar Aleksej Hanzen ističe se svojim umjetničkim aktivnostima. Rus Aleksej Hanzen (Odesa, 2. 2. 1876. – 19. ...10. 1937., Dubrovnik) u Hrvatsku je imigrirao 1920. godine i tu ostao do kraja života. Gotovo dva desetljeća provedena u Hrvatskoj obilježio je intenzivnim radom, izlažući na brojnim izložbama organiziranim gotovo svake godine u Zagrebu, zatim u Splitu, Osijeku, Dubrovniku, Ljubljani, Beogradu, Parizu, Buenos Airesu, Pragu i dr. Hanzenove slike nalazile su se u građanskim domovima, javnim i muzejskim zbirkama te na kraljevskim dvorovima, a danas se čuvaju u različitim kolekcijama u Hrvatskoj. Početkom dvadesetog stoljeća studirao je slikarstvo u Münchenu, Berlinu i Dresdenu, a potom nastavlja svoju umjetničku edukaciju u Parizu u atelijerima Tonyja Robert-Fleuryja i Julesa Lefebvrea. Unuk je slavnog ruskog marinista Ivana Kostantinoviča Ajvazovskog, a i sam se specijalizirao za slikanje marina, kojima se predstavljao na različitim izložbama od 1901. godine. Za svoj rad nagrađivan je u Parizu i u Rusiji, a bio je službeni slikar ruske ratne mornarice od 1910. godine.
Among the numerous travelogues describing southern Dalmatia, Dubrovnik, and its surroundings, the booklet called Lacroma merits special attention. Its author was the widowed Crown Princess Stephanie ...(1864-1945) and the illustrations were provided by Anton Perko, seascape painter at the court and the former governor of Lokrum. The first edition was published in 1892 in German, followed by an Italian one five years later. This article focuses on the first, German edition. Painter Anton Perko (1833-1905) stayed on the island of Lokrum from January 1879 until the beginning of 1881, with minor absences. The following year, he spent the entire winter on the island, and when the princely couple moved to Vienna, he also moved there in 1883. After the Mayerling drama, when Rudolf and his young mistress Marie Vetsera were found dead under mysterious circumstances, Perko’s life changed as well, yet he remained in the service of the widowed princess until 1896, when he retired. Anton Perko did not write an autobiography, but his important position in the royal household is evident from the fact that Stephanie and her daughter took care of his widow after his death in 1905. In 1892, a volume on Dalmatia was published as part of the complex work Die österreichisch-ungarische Monarchie in Wort und Bild, initiated by Prince Rudolf and continued by his widow Stephanie, which must have also inspired her to write a separate book on Lokrum with its rich historical, cultural, and natural heritage. Her description of Lokrum is intended for future tourists, potential visitors from the north, and introduces the reader to this insular Arcadia with descriptions of its position in southern Dalmatia and Dubrovnik, after which she turns to the history of Lokrum and its monuments, with reference to two written sources: the Apendius chronicle and the Memorie storiche sull’isola Lacroma, published in Vienna in 1861. Illustrations by Anton Perko are completely subjected to the text, eternalizing scenes described by Princess Stephanie and faithfully presenting the details that intrigued the author. The German version of Lacroma was published shortly before the end of Perko’s active life, spent largely next to the Crown Prince and his wife. It may thus be understood as a sort of sublimation for his work as the court secretary and painter. Sketches for the nineteen illustrations in the Lokrum booklet were probably made in the previous decades, while Perko was still the governor of the island. Among his works donated to the libraries of Dubrovnik, there are three drawing folders of small dimensions titled Lacroma and dated to 1879 and 1880 respectively, as well as a number of drawings and watercolours showing Lokrum’s landscapes. As a passionate sketcher, Perko must have made a far larger number of drawings on the island, but they must have been acquired by Stephanie after his death, which is why the Dubrovnik collection possesses only a small segment of his oeuvre. With its historical overview, descriptions of architecture and vegetation, and especially the contemporary details, this travelogue offers a precious insight into the appearance and life of the island in the 19th century. Especially valuable details include those referring to the interior of the summerhouse, inscriptions on the walls of the monastery, and Maximilian’s poetry, which Stephanie recorded preserving it from oblivion and making it available for a wider audience. Perko’s illustrations carefully follow the text, completely subjecting themselves to the author’s tone and introducing us to the solitude of island vistas and their hidden beauty in the conservative artistic tradition of the late 19th century. The painter has drawn with utter precision the architecture and the vistas of the island, the imperial residence, and the coastline, including the rare inhabitants in the serene solitude of their isolation, in the spirit of AustroHungarian Orientalism that he adhered to, yet he also gave us an image of the island that is nowadays almost unrecognizable owing to the rich vegetation. This paper analysis the textual and visual segments of the travelogue and their contribution to our knowledge of the island’s recent history, including the imperial residence and the natural resources.
Dubrovački slikar Marko Rašica (1883.-1963.) mobiliziran je tijekom 1915. g. i poslan u Bosnu, u okolicu Dervente. Krajem 1915. g. organizira humanitarne izložbe u Herceg Novom u Crnoj Gori, potom ...1916. u Dubrovniku i pobjeđuje na natječaju za izvedbu spomenika na Lovćenu, a 1917. g. u Zagrebu organizira treću dobrotvornu retrospektivnu izložbu. Na izložbi je upoznao dr. Isa Kršnjavog, koji posreduje Rašičinom angažmanu na Obrtnoj školi i brojnim sakralnim narudžbama sljedećih godina, a 1918. g. je otpušten iz vojske. Uvidom u nove arhivske podatke iz različitih zbirki razjašnjava se razdoblje Rašičine mobilizacije, njegov rad za vrijeme I. svjetskog rata i utjecaj poznanstva s dr. Isom Kršnjavijem na slikarevu poslijeratnu karijeru.
Carevo rano djetinjstvo i njegovi kasniji posjeti Kraju bili su obilježeni susretima s akademskim slikarom Valentinom Lucasom (1840. – 1915.), koji je ondje živio. Osebujni umjetnik i njegov životni ...put bio je Caru nadahnuće za likove više literarnih djela, a njemu posvećuje i nekoliko redaka Autobiografije. Polazeći od Careve fikcije i autobiografskih
zapisa te zahvaljujući njihovu osvjedočenju u dostupnim povijesnim i drugim vrelima i rezultatima terenskog istraživanja, u ovome se radu nastoji rekonstruirati nedovoljno poznata biografija slikara iz Kraja.
Igor Rončević Župan, Ivica
Art bulletin,
05/2019, Letnik:
67, Številka:
67
Journal Article, Web Resource
Odprti dostop
Igor Rončević izabran je za redovnog člana Razreda za likovne umjetnosti Hrvatske akademije znanosti i umjetnosti na Izbornoj skupštini Hrvatske akademije održanoj 10. svibnja 2018. godine. Priloženi ...tekst dokumentira kvalitetu njegova opusa relevantnu za prijem u Hrvatsku akademiju.
Autor u ovom tekstu približava široj javnosti djelo nepoznatog i nepravedno zanemarenog slikara Velolučanina Uroša Bosnića, i to prikaz i analizu njegova dva veća ostvarenja u javnom prostoru Vele ...Luke: grafit na balkonu Kino dvorane Zadružnog doma i sliku na zidu direktorskog ureda
stare upravne zgrade Brodogradilišta „Greben“. Zaključuje se kako potonja slika spada u rang najboljih figurativnih dekorativno–simboličkih kompozicija hrvatskog slikarstva.
Ovaj rad razmatra sličnosti u izboru sižea i motiva u novelama Tetoviranje (1910) japanskoga književnika Tanizakija Jun'ichira i Lud slikar (1935) korejskoga književnika Kima Dong-ina te postavlja ...hipotezu o njihovoj mogućoj povezanosti. Kako bi pronašla odgovor na pitanje jesu li ta djela zaista povezana, autorica ovoga rada usporedila je zajedničke književne utjecaje na obje novele i analizirala strukture i motive u novelama. Rezultati su pokazali da su oba djela napisana pod utjecajem istih književnih djela: tema odnosa između umjetnosti i nasilja te motiv opsjednutoga željom da stvori remek-djelo umjetnika najvjerojatnije su inspirirani romanom Slika Doriana Greya Oscara Wildea i kratkom pričom Ovalni portret Edgara Allana Poea, dok su motivi seksualnoga karaktera inspirirani radom Psychopathia sexualis Richarda Freiherra von Kraffta-Ebinga. Ne samo da su književnici bili inspirirani istim djelima već je i sama novela Lud slikar intertekstualno preradila Tanizakijevo Tetoviranje prilagodivši motive korejskim realijama i učinivši strukturu kompleksnijom.
Autorica daje prikaz manje poznate oltarne pale sv. Križa u dominikanskoj crkvi sv. Nikole u Korčuli. Uz analizu pojedinih likovnih aspekata oltarne pale votivnog karaktera, autorica traga za ...paralelama, datacijom i mogućim autorom. Zaključuje da bi se autora pale, uz ogradu prethodnog restauratorskog zahvata, trebalo potražiti u širokom krugu sljedbenika venecijanskog slikara Palme Mlađeg. I to među gomilom malih umjetnika i epigona koji su s manje uspjeha slijedili njegovu slikarsku tradiciju u ranijim razdobljima 17. st. Naročito se osvrće i na elemente ikonografije zaštite od epidemije i bolesti, karakterističnih za 17. i 18. st., a u tekstu i pobliže opisuje tadašnji korčulanski društveni kontekst.
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