Lovorka Magas Bilandzic | University of Zagreb, Faculty of Humanities and Social Sciences [Filozofski fakultet] (original) (raw)
Books by Lovorka Magas Bilandzic
Graphic artist, graphic designer, painter and stage designer Sergije Glumac (1903-1964) is one of... more Graphic artist, graphic designer, painter and stage designer Sergije Glumac (1903-1964) is one of the most important Croatian avant-garde artists, a pioneer of modern graphic design, author of innovative sets and costumes and a painter and graphic artist who made significant contribution to various trends in the interwar art scene - from cubism, expressionism and surrealism to the art deco and realism of the 1920s - as well as had important role in the popularization of the graphic medium in Croatia after the Second World War. In the book, his rich oeuvre realized in various media, is thoroughly analyzed, interpreted and contextualized. This monograph also brings new insights into numerous phenomena that marked the history of Croatian print, graphic design and stage design, as well as aspects of economic, cultural and social life in the interwar and post-war period.
Art and the State in Modern Central Europe (18th – 21st Century), 2021
Programme and Book of Abstracts of the Conference Art and the State in Modern Central Europe (18t... more Programme and Book of Abstracts of the Conference Art and the State
in Modern Central Europe (18th – 21st Century)
Faculty of Humanities and Social Sciences, University of Zagreb
30 June 2021 – 3 July 2021, Zagreb, Croatia
This volume compiles a selection of papers that were originally presented at the international co... more This volume compiles a selection of papers that were originally presented at the international conference, Art and Politics in Europe in the Modern Period, held at the Faculty of Humanities and Social Sciences at the University of Zagreb from June 29 to July 2, 2016. The main aim of the conference, and therefore of this volume as well, was to establish a comprehensive perspective on the intricate relationships between art and political regimes as seen from various vantages and based on different discourses (governmental, social, economic, religious, gender, ethnic and the like) in the period from the 15th century until the present.
by Dragan Damjanovic, Lovorka Magas Bilandzic, Sanja Cvetnic, Nadezda Cacinovic, Ljerka Dulibic, Jasna M Jovanov, Silvija Lučevnjak, Daniel Zec, Andreja Šimičić, Ana Separovic, Žarko Španiček, and Patricia Počanić
Knjiga Imago, imaginatio, imaginabile. Zbornik u čast Zvonka Makovića objavljena je u izdanju Fil... more Knjiga Imago, imaginatio, imaginabile. Zbornik u čast Zvonka Makovića
objavljena je u izdanju Filozofskog fakulteta Sveučilišta u Zagrebu, a u
njezinoj su realizaciji sudjelovali povjesničari umjetnosti, povjesničari,
filozofi, konzervatori, etnolozi i muzejski djelatnici iz Hrvatske, Srbije
i Italije. Zbornik na 448 stranica donosi 22 priloga o različitim temama s
polja povijesti umjetnosti i kulturne povijesti te životopis i bibliografiju profesora Zvonka Makovića. Autori priloga su: Sanja Cvetnić, Franko Ćorić, Nadežda Čačinovič, Dragan Damjanović, Frano Dulibić, Ljerka Dulibić, Iskra Iveljić, Jasna Jovanov, Irena Kraševac, Silvija Lučevnjak, Lovorka Magaš Bilandžić, Tonko Maroević, Dino Milinović, Jasminka Najcer Sabljak, Iva Pasini Tržec, Milan Pelc, Tihana Petrović Leš, Giovanni Rubino, Katarina Nina Simončič, Ana Šeparović, Andreja Šimičić, Žarko Španiček, Radoslav Tomić i Daniel Zec.
Urednici knjige su Lovorka Magaš Bilandžić i Dragan Damjanović.
Papers by Lovorka Magas Bilandzic
In the late 1920s and during the 1930s, Austrian painter and graphic designer Hanns Wagula (1894 ... more In the late 1920s and during the 1930s, Austrian painter and graphic designer Hanns Wagula (1894 – 1964) worked for several companies in Yugoslavia (Putnik, Dubrovačka parobrodska plovidba, Jugoslavenski Lloyd, Aeroput Jugoslavija, and others) and played an important role in the development of travel poster in the Kingdom of SHS / Yugoslavia. In the period between the two World Wars, tourism became one of the most profitable branches of economy in the Kingdom of SHS / Yugoslavia, with Zagrebački zbor (Zagreb Trade Fair) and the “society for passenger and tourist transfer” Putnik as its two promoteres. Hanns Wagula was engaged in 1928 by the Split subsidiary of Putnik, which commissioned several posters and other promotion materials (brochures, tourist guides) as well as a visual identity for the illustrated magazine Jugoslavija: jugoslovenski turizam (Yugoslavia: Yugoslav tourism). Wagula’s posters and brochures were intended for promoting various segments of Yugoslav tourism: events (carnival in Split), steamship and airplane transfer, holidays at the Adriatic, and important tourist destinations (Šibenik, Split, Dubrovnik, and so on) and may be counted among the artist’s most significant projects during the interwar period. His work was very positively reviewed in some of the leading professional journals of the time (such as Gebrauchsgraphik) and Yugoslav artists saw it as a model of successful advertising in tourism. Wagula was known for his modern design with intense colours, impressive compositions, and a minimalist visual vocabulary, and his choice of framing and scenes placed an emphasis on the experience of the potential tourist, who thus became a crucial element in the communicated message. Besides posters and brochures, Wagula designed various front and back covers for the journal Jugoslavija: jugoslovenski turizam (1929 – 1939). In the magazine Wagula also published photographs that he had made during his travels through Dalmatia and Bosnia and Herzegovina, which varied from distinguished reportage photos to shots of tourist highlights (Peristyle in Split, Dubrovnik’s city walls, etc.), in which he used similar visual formulas as in his graphic design. This article uses archival documentation, periodicals, and Wagula’s designs in order to reconstruct his activity in Croatia and to analyse various segments of his oeuvre intended to promote tourism at the Adriatic Sea. Particular attention is paid to the general development of tourist promotion in the Kingdom of SHS / Yugoslavia during the interwar period, including the contributions of graphic designers Sergije Glumac and Pavao Gavranić, members of Atelier Tri, and the Slovenian artist Janez Trpin, who designed ground-breaking travel posters for particular regions (Gavranić), luxurious Mediterranean steam-ship cruises (Atelier Tri), and accommodation facilities (Glumac, Trpin). Modern designs that Hanns Wagula and these local designers produced in the period between the late 1920s and the early 1940s communicated the message clearly and created an image of interwar Yugoslavia as an attractive tourist destination that offered leisure, relaxation, and various forms of entertainment to its bourgeois guests, and welcomed them to enjoy its natural beauties and its rich cultural heritage.
In the interwar period Split made considerable strides ahead as a centre of Dalmatia; because of ... more In the interwar period Split made considerable strides ahead as a centre of Dalmatia; because of its privileged position as the main port it developed at a faster pace than other cities in the Kingdom of Serbs, Croats and Slovenes / Yugoslavia. The city flourished in terms of infrastructure, town planning, construction, tourism and culture, which also facilitated a rich social life of its population. Based on research of the illustrated journals Jadranska straža (Split, 1923−1941) and Svijet (Zagreb, 1926−1938), and the numerous photographs published in the journals, the paper reconstructs and examines a visual chronicle of interwar Split, that is, of the events and phenomena that marked everyday life in Split, such as significant political events, construction of monuments, founding of prominent cultural institutions, popular customs and celebrations (dances, carnivals), and the role of the theatre, sporting events, tourism and other forms of entertainment that marked the life of people in Split in the “roaring” 1920s and in the 1930s. Many professional photographers in Split practiced both studio photography as well as reportage photography, but the paper focuses on reportage photography, which began to develop more intensively exactly in the 1920s. Among the professional photographers who did field work the following photography studios stand out: Mary Goldstein and Violeta Lewy Goldstein’s Slavija, Petar Ruljančić’s Olympia, Ante Borović’s Hollywood, Rembrandt of the Galić Salon, Violeta Omero’s Sonja, Noworyta, and Dragutin Karl Stühler’s studio and Stevan Sinobad’s studio. The Split professional photographers, and especially Dragutin Karlo Stühler and Ante Borović as the photographers whose work displays not only artisanal craft but also artistry of high quality, represent a valuable part of the corpus of professional (and reportage) photography in interwar Croatia, one which has not been sufficiently explored and appreciated so far. The research has identified the authors of a series of hitherto unattributed photographs, and special attention has been paid to the analysis of ways in which photography on the pages of Jadranska straža and Svijet was used for advertising purposes, that is, the role it had in launching new trends and creating an image of the times.
On the basis of archival records, correspondence and preserved sketches, posters and other materi... more On the basis of archival records, correspondence and preserved sketches, posters and other material, the paper analyses the broad and intense collaboration of graphic artist and graphic and stage designer Sergije Glumac with the First Croatian Oil Factory (est. 1916) owned by the prominent Jewish family Aleksander. During the 1930s, Glumac designed the Factory’s distinct visual identity and coordinated its entire advertising activities – from product placement by means of intense advertising to designing exhibition spaces and organizing displays at important commercial exhibitions (Zagreb Fair, Ljubljana Fair). The modernity and purity of visual expression, message structuring and construction of connotative meanings distinguished his creations from the design which accompanied other oil products (e. g. Riviera, Meinl) advertised in the Kingdom of Yugoslavia during the interwar period. Glumac was familiar with international models (Rene Clarke) and successfully reinterpreted the conventional motifs used in oil-related advertising (e. g. oil pouring). His designs varied from stylized sketches with elements of avant-garde tendencies and existing modern posters to conventional solutions focused on skilful, realistic drawing and accentuated colour. He applied different marketing techniques in the creation of a product’s image, emphasized oil quality, its health advantages and good value for money. Glumac’s graphic design and his coordination of an intense several-month-long advertising campaign entitled “Cooking with oil” realized in 1934 in various forms (from conventional advertising to cinema ads and personalized approach) bear witness to the broad range of his activities and his significant contribution to Croatian food industry advertising during the interwar period.
The paper discusses the scenographic work of the architect Vjenceslav Richter (1917–2002), who oc... more The paper discusses the scenographic work of the architect Vjenceslav Richter (1917–2002), who occasionally collaborated with theaters in Croatia and
abroad between 1959 and 1981 and realized a small but significant oeuvre in the field of stage design. Like several of his contemporaries (painters, architects, and applied artists), Richter expanded his work toward theater and thereby achieved significant national and international success with his first stage design for Prokofiev’s
opera Betrothal in a Monastery (1959, Croatian National Theatre in Zagreb). Although Richter used different approaches in shaping the stage space, key features of his scenographic language are reduction, stylization and abstraction, exploration of the optical potential of geometric forms and the transfer of forms from the field of sculpture to the domain of theatre. This paper brings forth numerous insights into Richter’s work as a stage designer and analyses his sets in the context of current
trends that marked stage design in Croatia after WWII.
The international Advertising Exhibition, held in Zagreb in 1934 as a part of the Spring Zagreb F... more The international Advertising Exhibition, held in Zagreb in 1934 as a part of the Spring Zagreb Fair, presented items from the rich collection of Theodor Lach, a marketing expert from Graz who organized a series of exhibitions throughout Austria, Czechoslovakia, and the Kingdom of Yugoslavia during the interwar period. These exhibitions were dedicated to the promotion and dissemination of various aspects of advertising activity and aimed at highlighting its importance within the contemporary society. Lach’s archives (Werbewissenschaftliches Archiv Direktor Theodor Lach) comprised examples of advertising from all parts of the world (in 1927, he owned around 100 thousand items), exhibited in thematic groups with the idea of indicating the theoretical and practical aspects of the broad field of advertising. During the 1920s and early 1930s, Zagreb Fair represented an important venue for the display of modern graphic design and played an active part in the promotion of advertising studies, especially through the organization of exhibitions that preceded Lach’s (an exhibition of posters in 1926 and exhibitions of photography and press in 1930). In 1933, the management of Zagreb Fair accepted Lach’ s proposal to organize an Advertising Exhibition with the purpose of introducing the public to “advertising as a world power.” The idea was to present the ways in which different nations
conquered the world’s market and to offer models for highquality marketing to the economic circles of the Kingdom of Yugoslavia. The Advertising Exhibition in Zagreb had educative character and paralleled other contemporary events such as the London Advertising Exhibition (1933) or the exhibition Jeder kann werben! held in Leipzig (1930–1932). The Zagreb exhibition examined different levels of advertising activity in a systematic way and through the display of numerous international examples – from the scientific and practical achievements related to successful marketing communication, to graphic design and interpretation of the communication aspects of advertising. The core of the exhibition consisted of various items from Lach’s collection, complemented by a section dedicated to “Yugoslav National Advertising”, an exhibition of national graphic designers, a commercial exhibitors’ section, and an advertising motorcade. The exhibition featured posters, advertisements, and advertising campaigns conceived by the leading graphic designers and artists, such as Sergije Glumac, Atelier Tri (Božidar Kocmut and the Mirosavljević brothers), Pavao Gavranić, and others. Their vast production in the field of commercial graphic design, tourist promotion, and cultural institutions’ advertising was crucial for the visual communications in Croatia during the interwar period. Hitherto unpublished photographs of the exhibition permit a partial reconstruction of its setup and testify to the existence of specific tendencies: from the presence of international graphic design in the advertising of imported goods and popular brands (Joseph Binder’s poster for Meinl coffee) and reinterpretation of the tradition of the so-called Kodak girl in a poster designed by Atelier Tri, to the innovative design of the Maar company exhibition area, which responded to El Lissitzky’s avant-garde aesthetics. The Advertising Exhibition directed attention to the changes which occurred in the late 1920s and the first half of the 1930s with the appearance of advertising agencies (Imago, Atelier Tri) and prominent artistic personalities whose designs introduced new models of communication and
demonstrated the achievements of Croatian graphic design, characterized by high-quality, attractive concepts based on the knowledge of stylistic tendencies, and various aspects of advertising studies, which measured up to the contemporary international production. On the basis of archival records, contemporary press, and preserved photographs, the author reconstructs the preparatory phases of the event, analyses different aspects of the exhibition itself, and discusses its role in the history of Zagreb Fair and Croatian graphic design.
The Zagreb Fair (Zagrebački zbor) had a prominent role in the history of visual communications in... more The Zagreb Fair (Zagrebački zbor) had a prominent role in the history of visual communications in the
Kingdom of Serbs, Croats and Slovenes / Yugoslavia in the period between the two World Wars, both on
practical and theoretical level. Between 1922 and 1940 the Fair commissioned over sixty posters for its spring
and autumn fairs and accompanying exhibitions, which varied from traditional, illustrative and narrative
to those based on patterns characteristic of commercial events throughout Europe, or posters designed by
artists who reinterpreted avant-garde language, aesthetics of Art Deco or Classicist paradigm. The process
of poster commission changed over the years, and the Fair gave significant attention to visual presentation
of events both in the country and abroad, assigning the decisions related to various segments of its marketing
activity to the Executive Board. Posters for the Fair were designed by distinguished graphic designers
of the period (S. Glumac, O. Antonini, E. Vičić, members of the Atelier Tri and others), but also students
of the Royal Academy of Arts and Crafts and today forgotten graphic artists such as Kornel Becić, Marcel
Fišer, Malvine Egersdorfer and Zvonimir Lenard. Becić was the author of attractive and effective designs
comparable to popular iconography and Disney aesthetics, Fišer introduced features of other media (film
and photography) to graphic design, while Egersdorfer and Lenard embodied Art Deco fascination with
speed and movement in their respective ways.
On the basis of archival records and press reports the article discusses the role of the Zagreb Fair in the
promotion of graphic design and advertising, introduces a typology of the Fair’s posters and interprets
the contribution of artistic personalities heretofore unidentified in the history of Croatian graphic design,
increasing the corpus of known posters by unpublished designs analysed as emblematic examples of visual
culture of the period.
Olga Höcker (Varaždin, 1882 − Zagreb, 1967) was one of the most prominent applied artists of the ... more Olga Höcker (Varaždin, 1882 − Zagreb, 1967) was one of the most prominent applied artists of the interwar period and the first and for many years the only female teacher at the Academy of Fine Arts in Zagreb. She studied for a high school teacher, and perfected her knowledge in decorative lettering and arts and crafts at Kgl. Kunstgewerbeschule in Munich (1912−1914) with leading German graphic artists and calligraphers Fritz H. Ehmcke and Anna Simons, whose learnings she implemented in Croatia. From the First World War until her death she was engaged in various forms of applied arts, graphic design, book design, writing out charters and degrees in decorative lettering, making objects of leather, textile and wood etc. She gained first praises for her skills in 1916 when she wrote out in uncial script honorary doctoral degrees of the Archduke Eugen and field marshal Svetozar Boroević. During the 1920s she worked with Ljubo Babić, designing school textbooks, and with Ivo Kerdić with whom she designed several representative memorials. The most important works by Olga Höcker include design of the book of kajkavian poems V suncu i senci (1927) in which she has achieved a harmonious relation between the text and the image, and by visual means evoked the atmosphere of Domjanić's poetry. During the 1930s and 1940s she worked with various publishers designing book front covers and spines. Designing official documents and memorials she reinterpreted various historic scripts whose selection corresponds with the symbolic meaning of documents and publications themselves, and in book design she often used motifs of national origin. In the interwar period she designed a new type of national, Yugoslav lettering based on characteristics of Glagolitic, Latin and Cyrillic scripts. From 1919 to 1945 she gave courses on lettering, palaeography and the art of ornamentation at Zagreb Academy, and in 1951 she published textbook Ukrasno pismo (Decorative Lettering). During the 1920s she participated in numerous important national and international exhibitions including Exposition internationale des Arts décoratifs et industriels modernes in Paris (1925) where she was awarded, the Internationale Buchkunst-Ausstellung in Leipzig (1927) and Pressa in Köln (1928).
The paper brings a series of findings on graphic culture in Croatia between the two world wars, and the work of Olga Höcker considered in the context of broader social and cultural situation characterised by aspirations for the improvement of arts and crafts, definition of national identity in art and the arousal of interest in book design and lettering.
The figure of the Roman god Mercury often appears in European graphic design of the interwar peri... more The figure of the Roman god Mercury often appears in European graphic design of the interwar period as a common image of the advertisements for major international trade exhibitions. As a protector of trade and commerce as well as messenger of the gods he symbolically reflected different aspects of these manifestations. In Croatian graphic design Mercury and its attributes (winged sandals, hat and caduceus) were systematically used since the 1920s in shaping
the visual identity of trade fairs (Zagrebački zbor/Zagreb Fair) as well as professional periodicals, advertisements and advertising campaigns for
individual products or services, stamps and other forms of stock-related
press. This paper focuses on the advertising activities of the international
Zagreb fair (ZZ) manifestation. Mercury’s figure has been a common feature of posters and different accompanying materials since 1922 when the then head of Advertising Department of Zagreb Fair Pavao Bolkovac designed its trade mark image – winged hat (petasus) and the initial letters of the fair (ZZ). During the interwar period the motif of Mercury was explored by many authors of the posters for Zagreb Fair - Atelier Fortuna, Sergije Glumac, Ljubo Babić, Atelier Tri, Emil Vičić, Peter Kocjančič and others. The range of their solutions varied from literal and narrative presentations to the modern and stylized ones where they applied style patterns of different provenance - from Art Deco and Neo-Classical to Avantgarde
visual vocabulary. Their posters reflect the visual culture of the period and their graphic design is marked by complex metalinguistic structures that successfully intertwine images and text. They are also visual documents of many important moments in the history of Zagreb Fair - from the first Christmas Fair (Ljubo Babić, 1927) to the Fair’s venue relocation (Emil Vičić, 1937).
Grafika zauzima važno mjesto u kompleksu ekspresionističkih strujanja koja su obilježila europsku... more Grafika zauzima važno mjesto u kompleksu ekspresionističkih strujanja koja su obilježila europsku i hrvatsku umjetnost u prvim desetljećima 20. stoljeća, te dovela do revitalizacije i afirmacije medija u odnosu na slikarstvo i kiparstvo. Hrvatska ekspresionistička grafika nije se formirala pod izravnim utjecajem njemačke umjetnosti i dresdenske grupe Die Brücke (Most) već je do prihvaćanja novih vizualnih obrazaca došlo posrednim putem i iz sekundarnih izvora. Predstavnici tzv. praške četvorke Marijan Trepše, Vilko Gecan Miroslav Kraljević, Tučnjava, 1912. 38 STRAST I BUNT ekspresionizam u hrvatskoj
Filozofski fakultet u Zagrebu, Odsjek za povijest umjetnosti Izložba Deutscher Werkbunda Film und... more Filozofski fakultet u Zagrebu, Odsjek za povijest umjetnosti Izložba Deutscher Werkbunda Film und Foto na zagrebačkoj Međunarodnoj fotografskoj izložbi i hrvatska fotografija početkom 1930-ih Izvorni znanstveni rad -Original scientific paper Predan 2. 8. 2010. -Prihvaćen 15. 10. 2010. UDK: 7.091.8(100):77(497.5)"193" Sažetak Glasovita putujuća izložba njemačkog Werkbunda Film und Foto prikazana je u travnju 1930. na Međunarodnoj fotografskoj izložbi koja se održala u sklopu Proljetnog Zagrebačkog zbora. FiFo je, nakon premijere u Stuttgartu 1929., diljem Europe promovirala »modernu fotografiju« i naznačila novi smjer u tumačenju i recepciji fotografskog medija. Autorica u radu, na temelju arhivske građe i onodobnog tiska, razmatra razloge koji su doveli do održavanja FiFo-a u Zagrebu, rekonstruira tijek njezine organizacije i analizira pojedine aspekte izložbe. Posebna pažnja posvećena je položaju i statusu medija u Hrvatskoj početkom 1930-ih te se u radu po prvi puta objavljuju i razmatraju djela profesionalnih fotografa koja su bila predstavljena i nagrađena na izložbi. Ključne riječi: fotografija, Internationale Ausstellung des Deutschen Werkbunds Film und Foto (FiFo), Međunarodna fotografska izložba, Zagrebački zbor, udruženje Forma, Udruženje fotografa, Fotosekcija Hrvatskog planinarskog društva, nova vizija, nova objektivnost Velika međunarodna izložba Film und Foto zauzima istaknuto mjesto u povijesti fotografije kao najvažnija od brojnih izložaba koje su u drugoj polovici 1920-ih i tijekom 1930-ih diljem Srednje Europe promovirale »novu fotografiju«. 1 Nedovoljno je poznato da je ta važna izložba, koja je gostovala u brojnim njemačkim i europskim gradovima, u travnju 1930. prikazana u Zagrebu u sklopu Međunarodne fotografske izložbe održane za vrijeme Proljetnog Zagrebačkog zbora. Iako se radi o glasovitoj svjetskoj izložbi koja se smatra prekretnicom u povijesti i recepciji fotografskog medija, o njoj i njezinu značenju u hrvatskoj se povijesti umjetnosti nije detaljnije pisalo. 2 Internationale Ausstellung des Deutschen Werkbunds Film und Foto premijerno se održala od 18. svibnja do 7. lipnja 1929. u Stuttgartu i predstavila oko 1200 djela vodećih svjetskih umjetnika. Organizirao ju je Deutscher Werkbund na čelu s ravnateljem i autorom izložbe Gustafom Stotzom, a suradnici i selektori građe iz različitih zemalja bili su Otto Baur i László Moholy-Nagy (Njemačka), Edward Steichen i Edward Weston (Amerika), Piet Zwart (Nizozemska), El Lissitzky (Rusija) te F. T. Gubler i Siegfried Giedion (Švicarska). 3 Film i fotografija su dvadesetih godina smatrani utjelovljenjem moderniteta i autentičnim vizualnim izrazima suvremenog svijeta te masovnim medijima koji, za razliku od tradici-onalnih umjetničkih disciplina, puno bolje reprezentiraju mehanički duh i dinamički karakter vremena.
Graphic artist, graphic designer, painter and stage designer Sergije Glumac (1903-1964) is one of... more Graphic artist, graphic designer, painter and stage designer Sergije Glumac (1903-1964) is one of the most important Croatian avant-garde artists, a pioneer of modern graphic design, author of innovative sets and costumes and a painter and graphic artist who made significant contribution to various trends in the interwar art scene - from cubism, expressionism and surrealism to the art deco and realism of the 1920s - as well as had important role in the popularization of the graphic medium in Croatia after the Second World War. In the book, his rich oeuvre realized in various media, is thoroughly analyzed, interpreted and contextualized. This monograph also brings new insights into numerous phenomena that marked the history of Croatian print, graphic design and stage design, as well as aspects of economic, cultural and social life in the interwar and post-war period.
Art and the State in Modern Central Europe (18th – 21st Century), 2021
Programme and Book of Abstracts of the Conference Art and the State in Modern Central Europe (18t... more Programme and Book of Abstracts of the Conference Art and the State
in Modern Central Europe (18th – 21st Century)
Faculty of Humanities and Social Sciences, University of Zagreb
30 June 2021 – 3 July 2021, Zagreb, Croatia
This volume compiles a selection of papers that were originally presented at the international co... more This volume compiles a selection of papers that were originally presented at the international conference, Art and Politics in Europe in the Modern Period, held at the Faculty of Humanities and Social Sciences at the University of Zagreb from June 29 to July 2, 2016. The main aim of the conference, and therefore of this volume as well, was to establish a comprehensive perspective on the intricate relationships between art and political regimes as seen from various vantages and based on different discourses (governmental, social, economic, religious, gender, ethnic and the like) in the period from the 15th century until the present.
by Dragan Damjanovic, Lovorka Magas Bilandzic, Sanja Cvetnic, Nadezda Cacinovic, Ljerka Dulibic, Jasna M Jovanov, Silvija Lučevnjak, Daniel Zec, Andreja Šimičić, Ana Separovic, Žarko Španiček, and Patricia Počanić
Knjiga Imago, imaginatio, imaginabile. Zbornik u čast Zvonka Makovića objavljena je u izdanju Fil... more Knjiga Imago, imaginatio, imaginabile. Zbornik u čast Zvonka Makovića
objavljena je u izdanju Filozofskog fakulteta Sveučilišta u Zagrebu, a u
njezinoj su realizaciji sudjelovali povjesničari umjetnosti, povjesničari,
filozofi, konzervatori, etnolozi i muzejski djelatnici iz Hrvatske, Srbije
i Italije. Zbornik na 448 stranica donosi 22 priloga o različitim temama s
polja povijesti umjetnosti i kulturne povijesti te životopis i bibliografiju profesora Zvonka Makovića. Autori priloga su: Sanja Cvetnić, Franko Ćorić, Nadežda Čačinovič, Dragan Damjanović, Frano Dulibić, Ljerka Dulibić, Iskra Iveljić, Jasna Jovanov, Irena Kraševac, Silvija Lučevnjak, Lovorka Magaš Bilandžić, Tonko Maroević, Dino Milinović, Jasminka Najcer Sabljak, Iva Pasini Tržec, Milan Pelc, Tihana Petrović Leš, Giovanni Rubino, Katarina Nina Simončič, Ana Šeparović, Andreja Šimičić, Žarko Španiček, Radoslav Tomić i Daniel Zec.
Urednici knjige su Lovorka Magaš Bilandžić i Dragan Damjanović.
In the late 1920s and during the 1930s, Austrian painter and graphic designer Hanns Wagula (1894 ... more In the late 1920s and during the 1930s, Austrian painter and graphic designer Hanns Wagula (1894 – 1964) worked for several companies in Yugoslavia (Putnik, Dubrovačka parobrodska plovidba, Jugoslavenski Lloyd, Aeroput Jugoslavija, and others) and played an important role in the development of travel poster in the Kingdom of SHS / Yugoslavia. In the period between the two World Wars, tourism became one of the most profitable branches of economy in the Kingdom of SHS / Yugoslavia, with Zagrebački zbor (Zagreb Trade Fair) and the “society for passenger and tourist transfer” Putnik as its two promoteres. Hanns Wagula was engaged in 1928 by the Split subsidiary of Putnik, which commissioned several posters and other promotion materials (brochures, tourist guides) as well as a visual identity for the illustrated magazine Jugoslavija: jugoslovenski turizam (Yugoslavia: Yugoslav tourism). Wagula’s posters and brochures were intended for promoting various segments of Yugoslav tourism: events (carnival in Split), steamship and airplane transfer, holidays at the Adriatic, and important tourist destinations (Šibenik, Split, Dubrovnik, and so on) and may be counted among the artist’s most significant projects during the interwar period. His work was very positively reviewed in some of the leading professional journals of the time (such as Gebrauchsgraphik) and Yugoslav artists saw it as a model of successful advertising in tourism. Wagula was known for his modern design with intense colours, impressive compositions, and a minimalist visual vocabulary, and his choice of framing and scenes placed an emphasis on the experience of the potential tourist, who thus became a crucial element in the communicated message. Besides posters and brochures, Wagula designed various front and back covers for the journal Jugoslavija: jugoslovenski turizam (1929 – 1939). In the magazine Wagula also published photographs that he had made during his travels through Dalmatia and Bosnia and Herzegovina, which varied from distinguished reportage photos to shots of tourist highlights (Peristyle in Split, Dubrovnik’s city walls, etc.), in which he used similar visual formulas as in his graphic design. This article uses archival documentation, periodicals, and Wagula’s designs in order to reconstruct his activity in Croatia and to analyse various segments of his oeuvre intended to promote tourism at the Adriatic Sea. Particular attention is paid to the general development of tourist promotion in the Kingdom of SHS / Yugoslavia during the interwar period, including the contributions of graphic designers Sergije Glumac and Pavao Gavranić, members of Atelier Tri, and the Slovenian artist Janez Trpin, who designed ground-breaking travel posters for particular regions (Gavranić), luxurious Mediterranean steam-ship cruises (Atelier Tri), and accommodation facilities (Glumac, Trpin). Modern designs that Hanns Wagula and these local designers produced in the period between the late 1920s and the early 1940s communicated the message clearly and created an image of interwar Yugoslavia as an attractive tourist destination that offered leisure, relaxation, and various forms of entertainment to its bourgeois guests, and welcomed them to enjoy its natural beauties and its rich cultural heritage.
In the interwar period Split made considerable strides ahead as a centre of Dalmatia; because of ... more In the interwar period Split made considerable strides ahead as a centre of Dalmatia; because of its privileged position as the main port it developed at a faster pace than other cities in the Kingdom of Serbs, Croats and Slovenes / Yugoslavia. The city flourished in terms of infrastructure, town planning, construction, tourism and culture, which also facilitated a rich social life of its population. Based on research of the illustrated journals Jadranska straža (Split, 1923−1941) and Svijet (Zagreb, 1926−1938), and the numerous photographs published in the journals, the paper reconstructs and examines a visual chronicle of interwar Split, that is, of the events and phenomena that marked everyday life in Split, such as significant political events, construction of monuments, founding of prominent cultural institutions, popular customs and celebrations (dances, carnivals), and the role of the theatre, sporting events, tourism and other forms of entertainment that marked the life of people in Split in the “roaring” 1920s and in the 1930s. Many professional photographers in Split practiced both studio photography as well as reportage photography, but the paper focuses on reportage photography, which began to develop more intensively exactly in the 1920s. Among the professional photographers who did field work the following photography studios stand out: Mary Goldstein and Violeta Lewy Goldstein’s Slavija, Petar Ruljančić’s Olympia, Ante Borović’s Hollywood, Rembrandt of the Galić Salon, Violeta Omero’s Sonja, Noworyta, and Dragutin Karl Stühler’s studio and Stevan Sinobad’s studio. The Split professional photographers, and especially Dragutin Karlo Stühler and Ante Borović as the photographers whose work displays not only artisanal craft but also artistry of high quality, represent a valuable part of the corpus of professional (and reportage) photography in interwar Croatia, one which has not been sufficiently explored and appreciated so far. The research has identified the authors of a series of hitherto unattributed photographs, and special attention has been paid to the analysis of ways in which photography on the pages of Jadranska straža and Svijet was used for advertising purposes, that is, the role it had in launching new trends and creating an image of the times.
On the basis of archival records, correspondence and preserved sketches, posters and other materi... more On the basis of archival records, correspondence and preserved sketches, posters and other material, the paper analyses the broad and intense collaboration of graphic artist and graphic and stage designer Sergije Glumac with the First Croatian Oil Factory (est. 1916) owned by the prominent Jewish family Aleksander. During the 1930s, Glumac designed the Factory’s distinct visual identity and coordinated its entire advertising activities – from product placement by means of intense advertising to designing exhibition spaces and organizing displays at important commercial exhibitions (Zagreb Fair, Ljubljana Fair). The modernity and purity of visual expression, message structuring and construction of connotative meanings distinguished his creations from the design which accompanied other oil products (e. g. Riviera, Meinl) advertised in the Kingdom of Yugoslavia during the interwar period. Glumac was familiar with international models (Rene Clarke) and successfully reinterpreted the conventional motifs used in oil-related advertising (e. g. oil pouring). His designs varied from stylized sketches with elements of avant-garde tendencies and existing modern posters to conventional solutions focused on skilful, realistic drawing and accentuated colour. He applied different marketing techniques in the creation of a product’s image, emphasized oil quality, its health advantages and good value for money. Glumac’s graphic design and his coordination of an intense several-month-long advertising campaign entitled “Cooking with oil” realized in 1934 in various forms (from conventional advertising to cinema ads and personalized approach) bear witness to the broad range of his activities and his significant contribution to Croatian food industry advertising during the interwar period.
The paper discusses the scenographic work of the architect Vjenceslav Richter (1917–2002), who oc... more The paper discusses the scenographic work of the architect Vjenceslav Richter (1917–2002), who occasionally collaborated with theaters in Croatia and
abroad between 1959 and 1981 and realized a small but significant oeuvre in the field of stage design. Like several of his contemporaries (painters, architects, and applied artists), Richter expanded his work toward theater and thereby achieved significant national and international success with his first stage design for Prokofiev’s
opera Betrothal in a Monastery (1959, Croatian National Theatre in Zagreb). Although Richter used different approaches in shaping the stage space, key features of his scenographic language are reduction, stylization and abstraction, exploration of the optical potential of geometric forms and the transfer of forms from the field of sculpture to the domain of theatre. This paper brings forth numerous insights into Richter’s work as a stage designer and analyses his sets in the context of current
trends that marked stage design in Croatia after WWII.
The international Advertising Exhibition, held in Zagreb in 1934 as a part of the Spring Zagreb F... more The international Advertising Exhibition, held in Zagreb in 1934 as a part of the Spring Zagreb Fair, presented items from the rich collection of Theodor Lach, a marketing expert from Graz who organized a series of exhibitions throughout Austria, Czechoslovakia, and the Kingdom of Yugoslavia during the interwar period. These exhibitions were dedicated to the promotion and dissemination of various aspects of advertising activity and aimed at highlighting its importance within the contemporary society. Lach’s archives (Werbewissenschaftliches Archiv Direktor Theodor Lach) comprised examples of advertising from all parts of the world (in 1927, he owned around 100 thousand items), exhibited in thematic groups with the idea of indicating the theoretical and practical aspects of the broad field of advertising. During the 1920s and early 1930s, Zagreb Fair represented an important venue for the display of modern graphic design and played an active part in the promotion of advertising studies, especially through the organization of exhibitions that preceded Lach’s (an exhibition of posters in 1926 and exhibitions of photography and press in 1930). In 1933, the management of Zagreb Fair accepted Lach’ s proposal to organize an Advertising Exhibition with the purpose of introducing the public to “advertising as a world power.” The idea was to present the ways in which different nations
conquered the world’s market and to offer models for highquality marketing to the economic circles of the Kingdom of Yugoslavia. The Advertising Exhibition in Zagreb had educative character and paralleled other contemporary events such as the London Advertising Exhibition (1933) or the exhibition Jeder kann werben! held in Leipzig (1930–1932). The Zagreb exhibition examined different levels of advertising activity in a systematic way and through the display of numerous international examples – from the scientific and practical achievements related to successful marketing communication, to graphic design and interpretation of the communication aspects of advertising. The core of the exhibition consisted of various items from Lach’s collection, complemented by a section dedicated to “Yugoslav National Advertising”, an exhibition of national graphic designers, a commercial exhibitors’ section, and an advertising motorcade. The exhibition featured posters, advertisements, and advertising campaigns conceived by the leading graphic designers and artists, such as Sergije Glumac, Atelier Tri (Božidar Kocmut and the Mirosavljević brothers), Pavao Gavranić, and others. Their vast production in the field of commercial graphic design, tourist promotion, and cultural institutions’ advertising was crucial for the visual communications in Croatia during the interwar period. Hitherto unpublished photographs of the exhibition permit a partial reconstruction of its setup and testify to the existence of specific tendencies: from the presence of international graphic design in the advertising of imported goods and popular brands (Joseph Binder’s poster for Meinl coffee) and reinterpretation of the tradition of the so-called Kodak girl in a poster designed by Atelier Tri, to the innovative design of the Maar company exhibition area, which responded to El Lissitzky’s avant-garde aesthetics. The Advertising Exhibition directed attention to the changes which occurred in the late 1920s and the first half of the 1930s with the appearance of advertising agencies (Imago, Atelier Tri) and prominent artistic personalities whose designs introduced new models of communication and
demonstrated the achievements of Croatian graphic design, characterized by high-quality, attractive concepts based on the knowledge of stylistic tendencies, and various aspects of advertising studies, which measured up to the contemporary international production. On the basis of archival records, contemporary press, and preserved photographs, the author reconstructs the preparatory phases of the event, analyses different aspects of the exhibition itself, and discusses its role in the history of Zagreb Fair and Croatian graphic design.
The Zagreb Fair (Zagrebački zbor) had a prominent role in the history of visual communications in... more The Zagreb Fair (Zagrebački zbor) had a prominent role in the history of visual communications in the
Kingdom of Serbs, Croats and Slovenes / Yugoslavia in the period between the two World Wars, both on
practical and theoretical level. Between 1922 and 1940 the Fair commissioned over sixty posters for its spring
and autumn fairs and accompanying exhibitions, which varied from traditional, illustrative and narrative
to those based on patterns characteristic of commercial events throughout Europe, or posters designed by
artists who reinterpreted avant-garde language, aesthetics of Art Deco or Classicist paradigm. The process
of poster commission changed over the years, and the Fair gave significant attention to visual presentation
of events both in the country and abroad, assigning the decisions related to various segments of its marketing
activity to the Executive Board. Posters for the Fair were designed by distinguished graphic designers
of the period (S. Glumac, O. Antonini, E. Vičić, members of the Atelier Tri and others), but also students
of the Royal Academy of Arts and Crafts and today forgotten graphic artists such as Kornel Becić, Marcel
Fišer, Malvine Egersdorfer and Zvonimir Lenard. Becić was the author of attractive and effective designs
comparable to popular iconography and Disney aesthetics, Fišer introduced features of other media (film
and photography) to graphic design, while Egersdorfer and Lenard embodied Art Deco fascination with
speed and movement in their respective ways.
On the basis of archival records and press reports the article discusses the role of the Zagreb Fair in the
promotion of graphic design and advertising, introduces a typology of the Fair’s posters and interprets
the contribution of artistic personalities heretofore unidentified in the history of Croatian graphic design,
increasing the corpus of known posters by unpublished designs analysed as emblematic examples of visual
culture of the period.
Olga Höcker (Varaždin, 1882 − Zagreb, 1967) was one of the most prominent applied artists of the ... more Olga Höcker (Varaždin, 1882 − Zagreb, 1967) was one of the most prominent applied artists of the interwar period and the first and for many years the only female teacher at the Academy of Fine Arts in Zagreb. She studied for a high school teacher, and perfected her knowledge in decorative lettering and arts and crafts at Kgl. Kunstgewerbeschule in Munich (1912−1914) with leading German graphic artists and calligraphers Fritz H. Ehmcke and Anna Simons, whose learnings she implemented in Croatia. From the First World War until her death she was engaged in various forms of applied arts, graphic design, book design, writing out charters and degrees in decorative lettering, making objects of leather, textile and wood etc. She gained first praises for her skills in 1916 when she wrote out in uncial script honorary doctoral degrees of the Archduke Eugen and field marshal Svetozar Boroević. During the 1920s she worked with Ljubo Babić, designing school textbooks, and with Ivo Kerdić with whom she designed several representative memorials. The most important works by Olga Höcker include design of the book of kajkavian poems V suncu i senci (1927) in which she has achieved a harmonious relation between the text and the image, and by visual means evoked the atmosphere of Domjanić's poetry. During the 1930s and 1940s she worked with various publishers designing book front covers and spines. Designing official documents and memorials she reinterpreted various historic scripts whose selection corresponds with the symbolic meaning of documents and publications themselves, and in book design she often used motifs of national origin. In the interwar period she designed a new type of national, Yugoslav lettering based on characteristics of Glagolitic, Latin and Cyrillic scripts. From 1919 to 1945 she gave courses on lettering, palaeography and the art of ornamentation at Zagreb Academy, and in 1951 she published textbook Ukrasno pismo (Decorative Lettering). During the 1920s she participated in numerous important national and international exhibitions including Exposition internationale des Arts décoratifs et industriels modernes in Paris (1925) where she was awarded, the Internationale Buchkunst-Ausstellung in Leipzig (1927) and Pressa in Köln (1928).
The paper brings a series of findings on graphic culture in Croatia between the two world wars, and the work of Olga Höcker considered in the context of broader social and cultural situation characterised by aspirations for the improvement of arts and crafts, definition of national identity in art and the arousal of interest in book design and lettering.
The figure of the Roman god Mercury often appears in European graphic design of the interwar peri... more The figure of the Roman god Mercury often appears in European graphic design of the interwar period as a common image of the advertisements for major international trade exhibitions. As a protector of trade and commerce as well as messenger of the gods he symbolically reflected different aspects of these manifestations. In Croatian graphic design Mercury and its attributes (winged sandals, hat and caduceus) were systematically used since the 1920s in shaping
the visual identity of trade fairs (Zagrebački zbor/Zagreb Fair) as well as professional periodicals, advertisements and advertising campaigns for
individual products or services, stamps and other forms of stock-related
press. This paper focuses on the advertising activities of the international
Zagreb fair (ZZ) manifestation. Mercury’s figure has been a common feature of posters and different accompanying materials since 1922 when the then head of Advertising Department of Zagreb Fair Pavao Bolkovac designed its trade mark image – winged hat (petasus) and the initial letters of the fair (ZZ). During the interwar period the motif of Mercury was explored by many authors of the posters for Zagreb Fair - Atelier Fortuna, Sergije Glumac, Ljubo Babić, Atelier Tri, Emil Vičić, Peter Kocjančič and others. The range of their solutions varied from literal and narrative presentations to the modern and stylized ones where they applied style patterns of different provenance - from Art Deco and Neo-Classical to Avantgarde
visual vocabulary. Their posters reflect the visual culture of the period and their graphic design is marked by complex metalinguistic structures that successfully intertwine images and text. They are also visual documents of many important moments in the history of Zagreb Fair - from the first Christmas Fair (Ljubo Babić, 1927) to the Fair’s venue relocation (Emil Vičić, 1937).
Grafika zauzima važno mjesto u kompleksu ekspresionističkih strujanja koja su obilježila europsku... more Grafika zauzima važno mjesto u kompleksu ekspresionističkih strujanja koja su obilježila europsku i hrvatsku umjetnost u prvim desetljećima 20. stoljeća, te dovela do revitalizacije i afirmacije medija u odnosu na slikarstvo i kiparstvo. Hrvatska ekspresionistička grafika nije se formirala pod izravnim utjecajem njemačke umjetnosti i dresdenske grupe Die Brücke (Most) već je do prihvaćanja novih vizualnih obrazaca došlo posrednim putem i iz sekundarnih izvora. Predstavnici tzv. praške četvorke Marijan Trepše, Vilko Gecan Miroslav Kraljević, Tučnjava, 1912. 38 STRAST I BUNT ekspresionizam u hrvatskoj
Filozofski fakultet u Zagrebu, Odsjek za povijest umjetnosti Izložba Deutscher Werkbunda Film und... more Filozofski fakultet u Zagrebu, Odsjek za povijest umjetnosti Izložba Deutscher Werkbunda Film und Foto na zagrebačkoj Međunarodnoj fotografskoj izložbi i hrvatska fotografija početkom 1930-ih Izvorni znanstveni rad -Original scientific paper Predan 2. 8. 2010. -Prihvaćen 15. 10. 2010. UDK: 7.091.8(100):77(497.5)"193" Sažetak Glasovita putujuća izložba njemačkog Werkbunda Film und Foto prikazana je u travnju 1930. na Međunarodnoj fotografskoj izložbi koja se održala u sklopu Proljetnog Zagrebačkog zbora. FiFo je, nakon premijere u Stuttgartu 1929., diljem Europe promovirala »modernu fotografiju« i naznačila novi smjer u tumačenju i recepciji fotografskog medija. Autorica u radu, na temelju arhivske građe i onodobnog tiska, razmatra razloge koji su doveli do održavanja FiFo-a u Zagrebu, rekonstruira tijek njezine organizacije i analizira pojedine aspekte izložbe. Posebna pažnja posvećena je položaju i statusu medija u Hrvatskoj početkom 1930-ih te se u radu po prvi puta objavljuju i razmatraju djela profesionalnih fotografa koja su bila predstavljena i nagrađena na izložbi. Ključne riječi: fotografija, Internationale Ausstellung des Deutschen Werkbunds Film und Foto (FiFo), Međunarodna fotografska izložba, Zagrebački zbor, udruženje Forma, Udruženje fotografa, Fotosekcija Hrvatskog planinarskog društva, nova vizija, nova objektivnost Velika međunarodna izložba Film und Foto zauzima istaknuto mjesto u povijesti fotografije kao najvažnija od brojnih izložaba koje su u drugoj polovici 1920-ih i tijekom 1930-ih diljem Srednje Europe promovirale »novu fotografiju«. 1 Nedovoljno je poznato da je ta važna izložba, koja je gostovala u brojnim njemačkim i europskim gradovima, u travnju 1930. prikazana u Zagrebu u sklopu Međunarodne fotografske izložbe održane za vrijeme Proljetnog Zagrebačkog zbora. Iako se radi o glasovitoj svjetskoj izložbi koja se smatra prekretnicom u povijesti i recepciji fotografskog medija, o njoj i njezinu značenju u hrvatskoj se povijesti umjetnosti nije detaljnije pisalo. 2 Internationale Ausstellung des Deutschen Werkbunds Film und Foto premijerno se održala od 18. svibnja do 7. lipnja 1929. u Stuttgartu i predstavila oko 1200 djela vodećih svjetskih umjetnika. Organizirao ju je Deutscher Werkbund na čelu s ravnateljem i autorom izložbe Gustafom Stotzom, a suradnici i selektori građe iz različitih zemalja bili su Otto Baur i László Moholy-Nagy (Njemačka), Edward Steichen i Edward Weston (Amerika), Piet Zwart (Nizozemska), El Lissitzky (Rusija) te F. T. Gubler i Siegfried Giedion (Švicarska). 3 Film i fotografija su dvadesetih godina smatrani utjelovljenjem moderniteta i autentičnim vizualnim izrazima suvremenog svijeta te masovnim medijima koji, za razliku od tradici-onalnih umjetničkih disciplina, puno bolje reprezentiraju mehanički duh i dinamički karakter vremena.
Lovorka Magaš Bilandžić U ritmu vremena-grafič ki dizajn Pavla Vamplina Umjetnik Pavao Vamplin (1... more Lovorka Magaš Bilandžić U ritmu vremena-grafič ki dizajn Pavla Vamplina Umjetnik Pavao Vamplin (1924.-2000.) aktivno je djelovao u drugoj polovini 20. stoljeća i bavio se nizom područja-od slikarstva, grafike i keramike do grafičkog dizajna i fotografije. Iako je svojim djelovanjem obilježio vizualne komunikacije u Hrvatskoj od 1950-ih do 1970-ih, a suradnjom s novinskom kućom Vjesnik, diskografskom kućom Jugoton i raznim naručiteljima oblikovao svakodnevicu u tom razdoblju, njegov je doprinos grafičkom dizajnu donedavno bio neistražen te javnosti predstavljen tek odabirom manjeg broja radova u stalnom postavu Muzeja Međimurja Čakovec.
140 godina podučavanja povijesti umjetnosti na Sveučilištu u Zagrebu/140 years of art histora at University in Zagreb, 2018
Book of abstracts, 140 years of art history at University in Zagreb
Attempts to explore and define in more detail, both diachronically and synchronically, relationsh... more Attempts to explore and define in more detail, both diachronically and synchronically, relationships and mutual influences between state bodies and art production, communication, education and reception have for decades formed an important part of numerous explorations in various academic disciplines such as art history, history, anthropology, sociology, education etc. The conference aims to provide insights into the current knowledge and interpretations of these relations from the 18th century to the present day, i.e. from the period in which Europe states went through intense centralization, leading to the growth of their influence on artistic production, public cultural and artistic institutions and education. In all these contexts, the term “state” is taken to stand for a politically organized body of people usually occupying a definite territory and the political organization of such a body of people (Merriam Webster Dictionary).
Regardless of whether they were monarchies, republics, federations or centralized states, state bodies played an extremely important role in the production of art and in the institutionalization of knowledge, culture and art in all parts of Europe and throughout the aforementioned period. By fabricating its visual identity, commissioning works from artists whom it considered close, and censoring those segments of art production that it judged potentially dangerous to its survival, the state has largely been shaping the art scene in all parts of Europe. Additionally, states’ cultural and educational policies have influenced (and still does) the shaping of knowledge about the arts and teaching content in the field of art (history) on all educational levels.
The conference therefore welcomes contributions that deal with approaches to interpretation of these phenomena and various topics in the broad field of art history (painting, sculpture, applied arts, graphic design, photography, architecture, urban planning, curricula and study programmes in art history, etc.) but also other humanities disciplines.
Attempts to explore and define in more detail, both diachronically and synchronically, relationsh... more Attempts to explore and define in more detail, both diachronically and synchronically, relationships and mutual influences between state bodies and art production, communication, education and reception have for decades formed an important part of numerous explorations in various academic disciplines such as art history, history, anthropology, sociology, education etc. The conference aims to provide insights into the current knowledge and interpretations of these relations from the 18th century to the present day, i.e. from the period in which Europe states went through intense centralization, leading to the growth of their influence on artistic production, public cultural and artistic institutions and education. In all these contexts, the term “state” is taken to stand for a politically organized body of people usually occupying a definite territory and the political organization of such a body of people (Merriam Webster Dictionary).
Regardless of whether they were monarchies, republics, federations or centralized states, state bodies played an extremely important role in the production of art and in the institutionalization of knowledge, culture and art in all parts of Europe and throughout the aforementioned period. By fabricating its visual identity, commissioning works from artists whom it considered close, and censoring those segments of art production that it judged potentially dangerous to its survival, the state has largely been shaping the art scene in all parts of Europe. Additionally, states’ cultural and educational policies have influenced (and still does) the shaping of knowledge about the arts and teaching content in the field of art (history) on all educational levels.
The conference therefore welcomes contributions that deal with approaches to interpretation of these phenomena and various topics in the broad field of art history (painting, sculpture, applied arts, graphic design, photography, architecture, urban planning, curricula and study programmes in art history, etc.) but also other humanities disciplines.
Deadline extended - Call for papers for the conference ART AND POLITICS IN EUROPE IN THE MODERN P... more Deadline extended - Call for papers for the conference ART AND POLITICS IN EUROPE IN THE MODERN PERIOD
Call for Papers for the conference ART AND POLITICS IN EUROPE IN THE MODERN PERIOD. Faculty of Hu... more Call for Papers for the conference ART AND POLITICS IN EUROPE IN THE MODERN PERIOD.
Faculty of Humanities and Social Sciences, University of Zagreb
Zagreb, Croatia, 29 June – 2 July 2016
The project Art and the State in Croatia from the Enlightenment to the Present aims to explore in... more The project Art and the State in Croatia from the Enlightenment to the Present aims to explore influences of the state regime on art production and interpretation of artworks and artistic heritage. Since the Croatian cultural and political space in the period from the late 18th century to 1991 formed part of different states (Austro-Hungarian Empire, Independent State of Croatia, Yugoslavia, Republic of Croatia), the project researchers will attempt to show the degree and nature of the impact the state-based bodies exerted on artistic production and cultural and educational policies. Croatian art will therefore be contextualised with artistic developments in the neighbouring countries or the areas of political association with Croatia, due to which the implementation of the project entails numerous field researches (urban space, museums, libraries, archives). In terms of its goals, the project is divided into two major groups of activities – research on the impact of the state on different areas of artistic production through commissions, grants and censorship, and the impacts on the process of artistic heritage production and care and on formal and informal education in the field of visual arts. In addition to the principal investigator Dragan Damjanović the project includes 14 researchers: Josipa Alviž, Marina Bregovac Pisk, Matea Brstilo Rešetar, Sandi Bulimbašić, Frano Dulibić, Ivan Kokeza, Silvija Lučevnjak, Lovorka Magaš Bilandžić, Zvonko Maković, Željka Miklošević, Jasminka Najcer Sabljak, Jasmina Nestić, Patricia Počanić and Sanja Zadro. By engaging researchers from heritage institutions (museums and conservation departments), the project contributes to the promotion of interinstitutional cooperation and ensures multidimensional views on intricate relationships between art and the state. Project results will be published in journals, books, proceedings, catalogues and the like, as well as through exhibitions and conferences. The team plans to organize two project-related scientific conferences and a workshop.
Project is financed by Croatian Science Foundation (Hrvatska zaklada za znanost/ HRZZ).