Slunj se prvi puta spominje krajem 14. st., sa svojim burgom knezova Krčkih – Frankopana, više crkava i franjevačkim samostanom. Osmanlijska ugroza tijekom 16. i 17. st. promijenila je slunjski kraj, ...a crkve su većinom stradale. Nakon oslobođenja od Osmanlija i mira u Srijemskim Karlovcima 1699. godine Slunj je postao značajna utvrda na Krajini. Krajiški su inženjeri rješavali utvrđivanje Krajine, ostavivši više veduta, situacija i tlocrta Slunja i okolice. Na ovim grafikama i planovima prikazane su i stare slunjske crkve iako se prvenstveno željelo prikazati vojne građevine. Stare su slunjske crkve bile ruševine ili pak prilagođene potrebama obrane: bile su to crkve sv. Marije Magdalene, franjevačka crkva sv. Bernardina, crkva Svih svetih, župna crkva sv. Nikole u Cvitoviću (u srednjem vijeku to je Ladihović) te vjerojatno dvorska kapela u slunjskom burgu.
U tekstu se obrađuje ikonografija grafičkih ilustracija u četvrtom, ujedno i posljednjem ilustriranom izdanju Judite Marka Marulića otisnutog 1586. godine kod Marca Bindonija u Veneciji. Odabir ...ilustracija iz djela koje tematizira sukob kršćana i muslimana s aluzijama na suvremena politička pitanja u kontekstu protuosmanskih događanja nameće pitanje tumačenja i recepcije Marulićeve Judite. Postavlja se pitanje je li možebitno viđenje (čitanje) poeme utjecalo na odabir vizualnog narativa ili je vizualni narativ oblikovao recepciju literarnog djela.
U članku se na primjeru zbirke/izložbe Komisije za kulturne veze sa inostranstvom
Sto listova jugoslovenske moderne grafike
razmatra način na koji su putujuće izložbe u prvoj polovini 1950-ih ...korištene kao poligon za uspostavljanje i jačanje međudržavničkih i kulturnih veza Federativne Narodne Republike Jugoslavije. Izložba Sto listova jugoslovenske moderne grafike u dvije je istovjetne verzije i pod različitim nazivima od 1953. do 1956. godine simultano gostovala diljem Južne Amerike i Europe (Grčka, Njemačka, Poljska). Na temelju arhivske, bibliotečne i periodičke građe analizira se djelovanje Komisije za kulturne veze sa inostranstvom, svrha, sadržaj i važnost formirane zbirke suvremene jugoslavenske grafike te propagandni karakter i recepcija izložbe u domaćem i inozemnom kontekstu.
The article discusses the collection/exhibition S
to listova jugoslovenske moderne grafike
(
One Hundred Sheets of Modern Yugoslav Graphic Art
) organized by the Commission for Cultural Relations with Foreign Countries (Komisija za kulturne veze s inostranstvom) and the way in which travelling exhibitions of the early 1950s were used as a platform for establishing and strengthening the interstate and cultural ties of the Federal People’s Republic of Yugoslavia. In two identical versions and under different titles, the exhibition Sto listova jugoslovenske moderne grafike was simultaneously hosted throughout South America and Europe (Greece, Germany, Poland) between 1953 and 1956. On the basis of archival and library holdings as well as contemporary periodicals, the paper analyses the activity of the Commission for Cultural Relations with Foreign Countries, as well as the purpose, content and importance of the established collection of contemporary Yugoslav graphic art and the promotional character and reception of the exhibition in local and international context.
The question this article asks is how exhibition histories of contemporary art shift when seen not from the perpetually insistent demands of the north, but from the viewpoints and aspirations of the ...South. What might a Southern perspective of biennials look like? These largely occluded histories do not quite fit the habitual framings of biennials as beginning with a first wave at the close of the nineteenth century and segueing neatly into the neo-imperial tidal force of the 1990s and 2000s. They instead coincide with what we consider to be a second wave of biennialization that developed from the mid-1950s into the 1980s, and which insisted upon a self-conscious, critical regionalism as the means for realigning cultural networks across geopolitical divides. Biennials of the South had grasped their place in the postwar arc of neo-colonial globalism. But, even more importantly, they then converted that place into the resistant image of cultural, art historical and international reconstruction.
Predstavljene su inovacije u kategoriji “Science” za dualne grafike u dva spektralna područja. Pristupili smo bojama za različite medije preko spektrografije apsorpcije svjetla u vizualnom i bliskom ...infracrvenom spektru. Razvili smo nove metode traženja blizanaca boja i bojila. Razvili smo jedinstven plan eksperimenata kako bismo u što manje koraka postigli IRD zahtjeve za jednakost boja. Odredili smo IRD postupak za polipropilen, kartone, tkanine, prozirne materijale. Rezultati su novi matematički modeli kolor postavki za ciljanu primjenu u IRD tehnologiji.
Provider: - Institution: - Data provided by Europeana Collections- Ivana Andrić Todić, akad. slikarka, 2004 - All metadata published by Europeana are available free of restriction under the Creative ...Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
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