Vsebina • Contents Tina Košak, Slikarska oprema kartuzije Bistra v 18. stoletju po samostanskih inventarjih • Picture Furnishings of Bistra Charterhouse in 18th Century Inventories Polona Vidmar, Slike in slikane tapete naročnika Janeza Karla grofa Gaisrucka za dvorec Novo Celje • Die Gemälde und bemalte Wandbespannungen unter Johann Karl Graf von Gaisruck für das Schloss Neu-Cilli Franci Lazarini, Klemen grof Brandis - politik in umetnostni naročnik • Clemens Count of Brandis - Politician and Art Patron Ana Lavrič, Sv. Ciril in Metod v slovenski umetnosti. Ikonografski, verski in narodni vidik • Sts. Cyril and Methodius in Slovene Art. Iconographic, Religious and National Aspects Jasna Jovanov, Photography as an (E)Vocation of the Painter. Forgotten Hobby of Nadežda Petrović • Fotografija kot izziv. Pozabljeni konjiček Nadežde Petrović Katarina Šmid, Umetnostnozgodovinski in klasičnoarheološki pristop v raziskovalnem delu Rajka Ložarja (1904–1985) • Art-historical and Classical Archaeological Approach in the Work of Rajko Ložar (1904–1985) Primož Lampič, Mariborski krog. Dejstva, interpretacije in nekatere smeri morebitnih nadaljnjih raziskav • The Maribor Circle. Facts, Interpretations and Some Possible Lines of Further Investigation
21|1 2016
UMETNOSTNOZGODOVINSKI INŠTITUT FRANCETA STELETA ZRC SAZU
ACTA HISTORIAE ARTIS SLOVENICA
ACTA HISTORIAE ARTIS SLOVENICA 21|1 2016
Tone Kralj: Sv. Ciril in Metod, 1965, ž. c. sv. Cirila in Metoda, Brje (izrez)
ACTA HISTORIAE ARTIS SLOVENICA
25 �
21|1 2016 http://uifs1.zrc-sazu.si
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Umetnostnozgodovinski inštitut Franceta Steleta ZRC SAZU France Stele Institute of Art History ZRC SAZU
ACTA HISTORIAE ARTIS SLOVENICA 21|1 2016 •
LJUBLJANA 2016
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Acta historiae artis Slovenica Znanstvena revija za umetnostno zgodovino / Scholarly Journal for Art History ISSN 1408-0419 (tiskana izdaja / print edition) ISSN 2536-4200 (spletna izdaja / web edition)
Izdaja / Published by
Umetnostnozgodovinski inštitut Franceta Steleta ZRC SAZU / France Stele Institute of Art History ZRC SAZU Glavna urednica / Editor-in-chief
Mija Oter Gorenčič
Uredniški odbor / Editorial board
Tina Košak, Ana Lavrič, Barbara Murovec, Mija Oter Gorenčič, Blaž Resman, Helena Seražin Mednarodni svetovalni odbor / International advisory board
Günter Brucher (Salzburg), Jaromir Homolka (Praha), Iris Lauterbach (München), Hellmut Lorenz (Wien), Milan Pelc (Zagreb), Paola Rossi (Venezia), Sergio Tavano (Gorizia-Trieste) Lektoriranje / Language editing
Kirsten Hempkin, Mija Oter Gorenčič, Blaž Resman, Anke Schlecht Prevodi / Translations
Alenka Klemenc, Tina Košak, Primož Lampič, Franci Lazarini, Katarina Šmid, Polona Vidmar Oblikovna zasnova in prelom / Design and layout by
Andrej Furlan
Naslov uredništva / Editorial office address
Acta historiae artis Slovenica Novi trg 2, p. p. 306, SI-1001 Ljubljana, Slovenija E-pošta / E-mail:
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AHAS izhaja s podporo Javne agencije za raziskovalno dejavnost Republike Slovenije. AHAS is published with the support of the Slovenian Research Agency. © 2016, ZRC SAZU, Ljubljana Tisk / Printed by Cicero d. o. o., Begunje Naklada / Print run: 400
Contents Vsebina
DISSERTATIONES Tina Košak Slikarska oprema kartuzije Bistra v 18. stoletju po samostanskih inventarjih Picture Furnishings of Bistra Charterhouse in 18th Century Inventories Polona Vidmar Slike in slikane tapete naročnika Janeza Karla grofa Gaisrucka za dvorec Novo Celje Die Gemälde und bemalte Wandbespannungen unter Johann Karl Graf von Gaisruck für das Schloss Neu-Cilli Franci Lazarini Klemen grof Brandis − politik in umetnostni naročnik Clemens Count of Brandis − Politician and Art Patron
7 36
39 72
75 90
Ana Lavrič Sv. Ciril in Metod v slovenski umetnosti. Ikonografski, verski in narodni vidik Sts. Cyril and Methodius in Slovene Art. Iconographic, Religious and National Aspects
93 120
Jasna Jovanov Photography as an (E)Vocation of the Painter. Forgotten Hobby of Nadežda Petrović Fotografija kot izziv. Pozabljeni konjiček Nadežde Petrović
121 145
Katarina Šmid Umetnostnozgodovinski in klasičnoarheološki pristop v raziskovalnem delu Rajka Ložarja (1904–1985) Art-historical and Classical Archaeological Approach in the Work of Rajko Ložar (1904–1985)
149 160
Primož Lampič Mariborski krog. Dejstva, interpretacije in nekatere smeri morebitnih nadaljnjih raziskav The Maribor Circle. Facts, Interpretations and Some Possible Lines of Further Investigation
161 187
APPARATUS Izvlečki in ključne besede / Abstracts and key words Sodelavci / Contributors Viri ilustracij / Photographic credits
191 195 197
DISSERTATIONES
ACTA HISTORIAE ARTIS SLOVENICA 21|1 ∙ 2016, 121–147
Photography as an (E)Vocation of the Painter Forgotten Hobby of Nadežda Petrović
Jasna Jovanov
Nadežda Petrović was one of the most significant figures of modern Serbian art and a pioneer of contemporary visual arts criticism. She organised exhibitions and brought artists together, founding a number of art societies, while she also took part in the political activism of the early 20th century. Much light has been shed on the personality of this outstanding artist, as her artistic legacy has mostly been catalogued and made accessible for interpretation and commentary. Her visual arts criticism has been published, her activities studied and her prolific correspondence researched. However, it remains little known that the legacy of Nadežda Petrović includes also a number of photographs.1
Nadežda Petrović in Front of the Camera The Petrović family recorded the maturing of their children by having their pictures taken in Belgrade photo studios.2 The moment when young Nadežda was drawing a portrait of her aunt3 was also significant enough for the family to be photographed, as well as the occasion when everyone gathered for photographing prior to Nadežda’s departure for Munich.4 The Munich material contains another of Nadežda’s formal photographs dating from 1899, as well as photos made at the Anton Ažbe studio, with Nadežda and Ažbe easily recognizable among the students.5 The Ažbe school was attended by many Serbian art students and also by other artists from various parts of the world: Wassily Kandinsky, Alexej von Jawlensky, Antonín Hudeček, Edward Okun, Hans Hofmann, David Burliuk, Herman Lipot and Sándor Ziffer. A drawing portrait of Wassily Kandinsky by Nadežda Petrović bears witness to these days.6 Nadežda also posed with friends during the Munich carnival, at a private costume party. She was
1
Jasna JOVANOV, Nadežda Petrović. S obe strane objektiva, Spomen-zbirka Pavla Beljanskog, Novi Sad 2013, pp. 91–95.
2
On Belgrade photo studios: Miroslav ALEKSANDRIĆ, Fotografi i fotografski ateljei u Srbiji (1860–1918.), Beograd 2012.
3
Katarina AMBROZIĆ, Nadežda Petrović, Beograd 1978, p. 21.
4
AMBROZIĆ 1978 (n. 3), p. 29.
5
AMBROZIĆ 1978 (n. 3), p. 45.
6
Wege zur Moderne und die Ažbe-Schule in München/Pota k moderni in Ažbetova šola v Münchnu (ed. Katarina Ambrozić), Wiesbaden-Ljubljana 1988, p. 145. 121
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1. Nadežda Petrović, Belgrade 1895
2. Nadežda Petrović posing beside Ivan Meštrović‘s sculpture Mother on the Fourth Yougoslav Exibition, Belgrade 1912
without a mask, smiling.7 We can see her in a photograph from 1901, while working on a now lost painting.8 Photographs from the later period bear witness to the respect shown by Nadežda and her colleagues for their great teacher Đorđe Krstić (Nadežda, Borivoj Stevanović and Kosta Miličević with Đorđe Krstić, 1907), and tell the story of her participation in the Second Yugoslav Art Exhibition in Sofia (1906), her work for the Circle of Serbian Sisters and the exhibition of the First Yugoslav art colony in Sićevo. There are also photographs depicting her friendship with Branko Popović.9 The last two photographs in the group she may have taken herself, as well as the ones from the studio of Ivan Meštrović, whose lodger she was during her stay in Paris (1910–1912). Dressed all in black with her face deeply marked by sorrow for the recent loss of her parents, she posed beside Meštrović’s Mother (1912), like a personification of the archetypal symbolism of the sculpture.10
7
The Pavle Beljanski Memorial Collection, Novi Sad, Photo Archive, SZPB, fd. NP 18.
8
The Pavle Beljanski Memorial Collection, Novi Sad, Photo Archive, SZPB, fd. NP 17.
9
There are many proofs of their frendship: portrait of Branko Popović painted by Nadežda Petrović, 1907 (private collection), two postcards in National Museum, Belgrade, The Memorial Museum of Nadežda and Rastko Petrović, box 1, fd. 63, and also text: Branko POPOVIĆ, Nadežda Petrović, Umetnički pregled, 5, 1938, pp. 144–149.
10
JOVANOV 2013 (n. 1), p. 4.
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Almost a year later, in April 1913, during the First Balkan War we find her in Prizren, with a bouquet of violets at her waist.11 This is certainly the best known of all Nadežda Petrović’s photographs. It was greatly instrumental in establishing the image of the artist as a national heroine, modern and independent, who understood art as a mission and modernity as a path to both personal and national emancipation.12 In May 1913 she was photographed painting Vizier’s Bridge on the White Drim river. During wartime she posed for the last time as a nurse in Valjevo hospital (1915).13
Nadežda Petrović’s Great Passion This photographic journey from elementary school to the fateful service in Valjevo hospital does not cover the other segment of Nadežda’s photographic legacy – the photographs she took herself at different times in her life, ranging from her studies in Munich to wartime service and the end of her life. Most of them remained hidden from public view. This prevented many details of her life, sometimes crucial to the understanding of Nadežda Petrović as an artist and individual, from being revealed. Moreover, this versatile artist was denied another important title in Serbian culture, that of the pioneer of female photography and in particular the first woman to transcend gender boundaries. Apart from the clearly feminine role of a front-line nurse, she accepted a task intended for her male colleagues, to paint and photograph scenes and events of the battlefield. Unlike the factual and documentary photography of many war photographers in the Balkan Wars and World War I, she sought to take photos ‘in an artistic way’. While her pioneering role in war photography was pointed out by Milanka Todić,14 it was Katarina Ambrozić who concluded her account of Nadežda’s period in Munich with the statement that “Nadežda herself took and developed photos of her friends and nearly all the preserved ones from her travels, trips abroad and war years. Photography was her great passion.”15
Tracing Tradition The growth and development of photography accompanied the maturing and artistic development of Nadežda Petrović as a painter. Her ancestors were also among the first to be in front of the camera. There is a photograph in the Petrović family collection of Nadežda’s grandmother Draga Zorić (née Miletić), sister of Svetozar Miletić, photographed on 15 August 1868 alongside her children.16 Ten years later we see the photo of them, not children any more, in business card format. At the same time, in 1878, young Dimitrije Mita Petrović, art teacher at the Čačak Secondary School had his photo taken. In another photograph, probably from 1885, Nadežda’s brother and sister, Vladimir and Zora Petrović, dressed in their best, are posing with gravity in a photographer’s studio. Other
11
The most reproducted photo of Nadežda Petrović, AMBROZIĆ 1978 (n. 3), p. 387.
12
Jasna JOVANOV, Danica Jovanović, Beograd 2007, pp. 55–58.
13
Jasna JOVANOV, Vladimir KRIVOŠEJEV, Nadeždina Valjevska bolnica, Naučni skup posvećen Nadeždi Petrović (1873–1915). Zbornik radova (ed. Jasna Jovanov), Novi Sad 2016, pp. 116–130.
14
Milanka TODIĆ, Fotografija i slika, Beograd 2001, p. 122.
15
AMBROZIČ 1978 (n. 3), p. 71.
16
JOVANOV 2013 (n. 1), p. 10. 123
JASNA JOVANOV
family photos can be found among the many heirlooms kept in the Petrović family ‘home museum’.17 This type of display became fashionable in the 1840s as one of the most prominent characteristics of modernization in Serbian society.18 The first photographs were taken by travelling photographers but soon photo studios opened in all major centres in Serbia. As well as the growth in professional photographers, came an increase in the number of amateur photographers. Thus, the first exhibion of amateur photography was held in Belgrade in 1901.19 Similar to the rest of the world, photography in Serbia began to develop into different genres, remaining on the blurred line between an art form and a craft. For Nadežda Petrović 1884 was a milestone. After her family moved to Belgrade, she was given her first drawing lessons by her uncle Svetozar Zorić and also met the painter Đorđe Krstić, who would help her perfect her drawing skills. More importantly, he also taught her the use of photography in naturalistic painting.20
At Kutlik’s Nadežda Petrović graduated as a secondary school art teacher in 1892 and started teaching at a college for girls; in 1896 she continued to study art at Cyril Kutlik’s school, in the newly formed female class. Although there was a crafts course, photography was not among the subjects, but Svetozar Zorić had most likely used photographic reproductions in teaching art history.21 One of these reproductions has been preserved: Judas Betraying Christ by the German artist Wilhelm Clemens, which was used as a template by Dragomir Glišić for a drawing and by Kutlik for an oil painting.22 Even though photography was not part of the curriculum, Kutlik found a way to exploit its usefulness. In a letter to his father in 1898, he had enclosed a photograph of him and his students, and also sent it to Rafailo Momčilović, who was studying in Moscow, as a memento of their school days.23 In the third yearly school report Kutlik included his programme of the Art Friends Society. The programme of the society stipulated that “each member, without exception, would receive photographs of paintings that the young artist had created during their studies.”24 Vojislav Stevanović and Dragomir Glišić studied with Nadežda at Kutlik’s and later in Munich. Their artistic careers were to take different paths, but they shared the same interest in photography. Vojislav Stevanović would go on to win the second prize at the ‘works of photography amateurs’ in Belgrade in 1901.25 The very next year he published the first handbook of photography with Gvozden Kljajić.26 Although his approach to
17
The term ‘home museum’ was used in: Milanka TODIĆ, Konstrukcija identiteta u porodičnom foto-albumu, Privatni život kod Srba u devetnaestom veku. Od kraja osamnaestog veka do početka Prvog svetskog rata (ed. Nenad Makuljević, Ana Stolić), Beograd 2006, pp. 526–564.
18
Branibor DEBELJKOVIĆ, Stara srpska fotografija, Beograd 2005, p. 7.
19
Milanka TODIĆ, Istorija srpske fotografije 1839–1940, Beograd 1993, p. 23.
20
Jasna JOVANOV, Minhenska škola i srpsko slikarstvo, Novi Sad 1985, p. 51.
21
Iva PAŠTRNAKOVA, Predlošci za crtanje i nastavni programi u Srpskoj crtačkoj i slikarskoj školi Kirila Kutlika, Rad Muzeja Vojvodine, 49, 2007, pp. 113, 114. Iva PAŠTRNAKOVA, Pisma Kutlikovih učenika i družina prijatelja umetnosti, Zbornik Narodnog muzeja u Beogradu. Istorija umetnosti, 19, 2010, pp. 413–448.
22
23
Uglješa RAJČEVIĆ, Rafailo (Georgije) Momčilović. Monah, slikar i mučenik (1875–1941), Beograd 1998, p. 8.
24
PAŠTRNAKOVA 2010 (n. 22), p. 420.
25
DEBELJKOVIĆ 2005 (n. 18), p. 187
26
TODIĆ 2001 (n. 14), p. 67.
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teaching was traditional, Kutlik endeavoured to arouse curiosity in his students and encouraged their interest in new forms of expression.
In Munich In 1898, the same year Nadežda Petrović arrived in Munich, Court Studio Elvira, which was opened in 1887 by Anita Augspurg and Sophia Goudstikker, was moved to a new secession-style building with matching interior.27 Apart from being professional photographers, the owners entertained the artistic and intellectual elite of Munich in their studio. The same year, one of the youngest professors of Munich Academy of Arts, Franz von Stuck, moved into the magnificent palace near the river Isar.28 Built in 1897/98 and designed by its future resident the palace was a showpiece of secession. Both its interior and exterior were designed to be an authentic reflection of Secession art and life. During reconstruction of the building in the 1970s, a photographic laboratory was discovered in the basement along with almost a thousand prints,29 some of which were templates for paintings and others private photographs. Von Stuck’s equally famous senior colleague Franz von Lenbach30 also used photographs as templates for portraits,31 combining impressionistic technique with the precision of photography. A set of photographic portraits of von Lenbach himself was taken in Munich in 1901 by the aspiring photographer Edward Steichen.32 Other painters emulated the leading artists of Munich, even students like Nadežda Petrović. “Yesterday I saw Lenbach’s studio (the most notable German painter). His house, rooms, studio and gallery are all fit for a prince. Everything is wonderful, lavish and magnificent as only an artist can make it.”33 Nadežda’s admiration for von Lenbach’s home and work was further reinforced by his favourable opinion of her Van Dyke copies. Examples of the use of photographs as a replacement for expensive models are found in the legacy of Nadežda Petrović, in a 1902 photograph of a sculpture of a male nude, as well as a photo of a young woman dressed in national costume from 1901.34 “The spacious studio was packed with students. A nude male model stood on the platform with a rod across his shoulders. Ažbe proudly said it was the same model and the same posture Franz von Stuck used in his painting The War.” Thus Dr Ivan Prijatelj described a scene from the Ažbe studio in the spring of 1901.35 The question remains whether Nadežda kept the photograph of the male nude as a potential model or as her work from the sculpturing course. Nadežda had obtained a camera in Munich and being a passionate photographer she took pictures of her everyday life. However, few photos with her authorship
27
JOVANOV 2013 (n. 1), p. 19.
28
Jasna JOVANOV, Stevan Aleksić 1887–1923, Novi Sad 1908, p. 32.
29
Birgit JOOSS, Inszenierung und Dokumentation, Franz von Stuck und die Photographie. Inszenierung und Dokumentation (ed. Jo-Anne Birnie Danzker, Ulrich Pohlmann, Josef A. Schmoll gen. Eisenwerth), München 1996, pp. 138–185.
30
Siegfrid WICHMANN, Franz von Lenbach und seine Zeit, Köln 1973, p. 78.
31
Milena GREIF, Tini RUPRECHT, Porträtmalerei nach Fotografien Ende des 19. Jahrhunderts in München, München 2002, p. 266.
32
Anne HAMMOND, Naturalistic Vision and Symbolist Image. The Pictorial Impulse, A New History of Photography (ed. Michel Frizot), Köln 1998, p. 304.
33
Letter of Nadežda Petrović, Munich 1899, private collection.
34
National Museum, Belgrade, The Memorial Museum of Nadežda and Rastko Petrović, box 28, fd. 12.
35
AMBROZIĆ 1978 (n. 3), p. 83. 125
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confirmed remain from that period. Nadežda sent three photographs to her mother on 15 June 1899. One of them was a group photo of all the students, with Wassily Kandinsky in the first row and Nadežda in the back. “I’m sending you a few photos taken by a classmate. In the photograph with a large group the one in the middle of the first row, is our professor Ažbe. I’m on the left and on the right is a Russian girl,” wrote Nadežda to her mother.36 In the other two photographs, taken in front of Ažbe’s studio on the same sunny day in 1899, Nadežda is clearly visible: in one with her classmates and in the other with Anton Ažbe.37 “In these two photos I’m with Dora Verner (in my drawing class). The one standing next to the professor is Dora. The other two are students and the one in a painter’s apron is Sonia Nadejde, a Romanian.”38 Nadežda is in a photograph taken during the carnival at the beginning of 1900 as well as on the one from her studio in Munich (1901), painting a landscape.39 When she began to work with Julius Exter in 1901, Nadežda moved out of the studio. She sought inspiration in the vicinity of Munich, in Amper Valley, or the town of Dachau and she finally settled in Feldwiese in 1902. There she created the most significant works of her second Munich period.40 Her shift towards the colouristic organisation of paintings and strong gestures show that she never used photographs as templates for her paintings. The scientific advances that brought about the popularity of photographs and the greater mobility of photographic equipment did not reduce the cost of photography. Obtaining films and developing photos made photography an expensive hobby for Nadežda Petrović. However, her correspondence tells us that she did take some pictures, mostly of her sister Ljubica who had joined her in Munich and accompanied Nadežda on her artistic expeditions, playing violine as Nadežda painted. “As for Ljubica’s photo, don’t have it copied. I will make another one as first things are not the best, mine are better and they will get even better in the future,” she explained in the letter to her mother.41 A photograph of an art exhibition, also poorly developed, was taken by Nadežda herself in Munich in 1902.42 Even though little is known about her Munich photographic work, it must not be forgotten that Nadežda, having decided to live like ‘the entire educated West’, chose photography as one of the many ways to symbolically ‘repay her debts’.43
Professional Background: Pioneering Women Photographers Since the dawn of photography there have been notable names of female artists such as Elizabeth Fulhame, “who was involved with work on light-sensitive compounds; another was Frederike Wilhelmine von Wunsch (a German painter living in Paris) who claimed in 1839 to have come up with
36
National Museum, Belgrade, The Memorial Museum of Nadežda and Rastko Petrović, box 1, fd. 63, letter of Nadežda Petrović, June 15th 1899.
37
AMBROZIĆ 1978 (n. 3), p. 43.
38
National Museum, Belgrade, The Memorial Museum of Nadežda and Rastko Petrović, box 1, fd. 5, letter of Nadežda Petrović, June 15th 1899.
39
AMBROZIĆ 1978 (n. 3), pp. 45, 70, 85.
40
Jasna JOVANOV, Nadežda Petrović, The Pavle Beljanski Memorial Collection (ed. Jasna Jovanov), Novi Sad 2011, p. 415.
41
National Museum, Belgrade, The Memorial Museum of Nadežda and Rastko Petrović, box 1, fd. 63.
42
National Museum, Belgrade, The Memorial Museum of Nadežda and Rastko Petrović, box 28, fd. 13.
43
AMBROZIĆ 1978 (n. 3), p. 48.
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PHOTOGRAPHY AS AN (E)VOCATION OF THE PAINTER. FORGOTTEN HOBBY OF NADEŽDA PETROVIĆ
a ‘process permitting portraits to be made natural size as well as miniature’.” 44 Although the photo technology at the time was rather complex and baffling, the 19th century women showed a great deal of enthusiasm for exploring this medium, which continued to grow throughout America and Europe. As regards professional photography, portraits were the most popular theme, while female artists introduced themselves in ads as photographers, retouchers, portrait painters, and experts in all formats, from cartes de visite to large-scale re/painted works. In Europe this vocation was particularly popular with British women, but female photographers were also relatively common in Denmark and Sweden. As technology changed, retouching, as with other jobs in photo developing, were reserved for women. Since the mid 19th century, photography was regarded as an occupation of upper class females; it was also seen as a wonderful pastime. However, one photographer distinguished herself from this crowd with the volume and the distinction of her work. Her name was Julia Margaret Cameron, who “both embodied and oposed conventional ideas about feminine behavior.”45 Her career as a photographer lasted for slightly more than a decade (1864–1875), and included a collection of photography portraits of notable contemporaries (Alfred Tennyson, actress Ellen Terry), as well as staged sceneries from popular literature and various heroic themes. She approached photography both as art and science, striving to overlay the sceneries with a slight mist which would create the notion of a failed snapshot. Thanks to this kind of approach, the atmosphere in her works could be defined as a hint rather than a description, which was her way to converge with painting.46 The artist groups she belonged to and the outstanding energy which she channeled into her work were hardly acceptable in Victorian society, but this did not prevent the foundation of female photography associations. Most of them proclaimed photography as a form of entertainment. However, in the last decades of the 19th century, a growing number of women decided to take up photography professionally. It is obvious that since the early days this vocation had been trying to reconcile the amateur and the professional approach, as well as technology and art. In this process the stature of women photographers seemed similar to their position in art in general, where women in the men’s world were considered to be less valuable. The possibility of adjusting work to personal preferences, schedule, and environment made this kind of occupation inconspicuous. Purchasing a camera was a smaller investment for those who were also able to enroll in art studies in cities such as Munich, or Paris (Académie Julian), Art Students League of New York or Washington, Pensylvania Academy of Fine Arts and Mark Hopkins Institute in San Francisco. Moreover, education in art was not a precondition to study photography alone.
Cultural Background: America and Europe
The most considerable involvement of female photographers, however, was in the field of portrait photography, which actually includes all aspects of photography development, from technological, amateur and professional, to artistic. When considering portraits, the line between photography and art is often difficult to define, especially in the snapshots ordered by contractors who had special
44
Naomi ROSENBLUM, A History of Women Photographers, New York 2010, p. 39.
45
ROSENBLUM 2010 (n. 44), p. 51.
46
Mike WEAVER, Artistic Aspirations. The Lure of Fine Art, A New History of Photography 1998 (n. 32), p. 191. 127
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requests in terms of “evoking and photographic effects, individual character through pose and lightning,” location, fabrication, frames, and who were able to afford them.47 The social status of the persons portrayed required a special artistic approach that indicated their understanding and sophisticated taste. “But the amazing growth of our techniques, the adaptability and precision they have attained, the ideas and habits they are creating, make it a certainty that profound changes are impending in the ancient craft of the Beautiful. In all the arts there is a physical component which can no longer be considered or treated as it used to be, which cannot remain unaffected by our modern knowledge and power.” – these are the words of Paul Valéry quoted by Walter Benjamin in his debate Pièces sur l’art from 1931.48 In the field of artistic photographic portaiture one name stands out. An Englishwoman, Zaida Ben-Yusuf, who moved to the United States in 1896, was among the first who recognized the possibility of artistic interpretation of photography. Using a hand-held camera to create photography portraits, she acquired motifs from contemporary painting. After opening a photographic atelier on the Fifth Avenue (1897), she built up a client list of mostly the respectable and popular. Alongside Frances Benjamin Johnston, she displayed her photos in the Camera Club of New York in 1898.49 Besides these two artists, there were also Gertrude Käsebier, Mathilde Weil, Catharine Barnes Ward and many other well educated American women photographers who used figure arrangement, lighting, expressiveness, and the entire atmosphere to paraphrase popular works of art from the past, but also from the contemporary art. Despite the increasing struggle for female rights, such as the suffragette movement in Great Britain and other European countries, including the South-Slavic countries, photography did not manage to match the number of admirers it attracted in the United States. “As one exception, the London portretaist Madame Yevonde, explained to the Congress of the Professional Photographers’ Association in London, women’s rarity in the photographic field in Europe is due to lack of ‘opportunity for self-expession and development’.”50 One of the turning points was surely the photo atelier opened by Alice Garstin and Dora Antrobus, two women educated at the Polytehnic School of Photography in London; however, endeavours in female photography only escalated around 1910. The situation was the same in France; one article of the August 1902 issue of Bulletin de Photo-Club de Paris clearly states that “the professional women photographer does not exist in France.”51 This statement should be taken with a pinch of salt, since some great work was being done in France at that time by Laure Albin Guillot and Adeline Boutain, whose snapshots of French cities were published on postcards. It seems that back then Vienna was by far the most fertile ground for photographic ateliers owned by women. One of them was Minya Diez-Dührkoop, who continued the family tradition started in Hamburg. Her portraits of women in peculiar poses were particularly interesting, while from a professional perspective, she was known for her photos of artistic and literary figures and industrial leaders. Dora Kallamus’ atelier was also famous. She was educated in Germany and opened the atelier in Vienna in 1907 where she was known as Madame D’Ora. Her clients were mostly artists such as Gustav Klimt, Max Reinhardt and Richard Stauss. In her distinctive photo studios, she often reached for ideas from paintings of old masters and Gustav Klimt. The striving towards artistic interpretations of the photographic motif was equally
47
ROSENBLUM 2010 (n. 44), p. 73.
48
Walter BENJAMIN, Umetničko delo u veku svoje tehničke reprodukcije, in: Walter Benjamin, Eseji, Beograd 1974, p. 114.
49
http://www.npg.si.edu/exhibit/zaida/chronology/1898.html (retrived August 20th 2016).
50
Abbie SEWALL, Message Through Time. The Photographs of Emma D. Sewall, Albuquerque 1990, p. 11.
51
ROSENBLUM 2010 (n. 44), p. 90.
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present with the women who engaged in amateur photography. Some of their names have already been mentioned and they mostly came from the United States, where women photographers received considerable encouragement from Alfred Stieglitz. Although some influental photography associations, such as the Photo-Seccesion in the United States and Linked Ring in Great Britain, favoured professional work, while Stieglitz’s journal, Camera Work, as well as the 291 gallery, displayed works of women who were not necessarily professional photographers. Stieglitz also had some words of praise for the large format genre-pictures by the Italian aristocrat, Loredana da Porto Bonin (which he saw while she was exhibiting in Berlin, in 1899), calling them ‘exceptional’ and addressing their maker as ‘the first lady amateur of the day’.52 In an article on amateur photography he also mentioned other aristocrats: Princess (later Queen) Alexandra in Great Britain, Archduchess Maria Theresa of Austria, and Augusta Victoria, the Empress of Germany whose photos were published in numerous magazines.53 It could be assumed that the same praise would have gone to the photographic œuvre of Princess Xenia of Montenegro, if Alfred Stieglitz had had the opportunity to see it.54
Creative Context: Riding the Pictorialism Wave The name pictorialism derives from the title of the book Pictorial Effect in Photography that was published in 1869 by Henry Peach Robinson, who strived to define the characteristics that make a photograph art, as opposed to a scientific or technical discipline, as it was regarded. The book also contains propositions of appropriate themes and modes of composition in order to find individual style. Catching the wave of these ideas, a number of clubs were founded pre-20th century in which photographers gathered to promote photography as a fine art, such as the Photo Club of Paris, Linked Ring in Great Britain, Kleeblatt in Germany and Photo-Secession in the United States, founded at the very beginning of the 20th century. Apart from the selective theme approach, specific camera angle, the lack of focus, cropped frame and other interventions in composing the shot, special methods of treating the negative with chemicals or collage were also applied, so that every print was unique. Alfred Stieglitz provided extensive support to female photographers in the development of art photography; through this cooperation, Gertrude Käsebier and Eva Watson-Schütze, after studying art, devoted themselves to this medium. Their collaboration with Stieglitz in 1902 led to the formation of the Photo-Secession movement. Among the relevant patrons of pictorialism were Alice Boughton and Anne Brigman, the latter having been known for female nude shots. Mary Devens, worthy of recognition for experimenting in the process of photo developing, was an elected member of the British Linked Ring club, with Minna Keene. Activities in art photography were present in other parts of Europe, too. An example of this is the work of Amalie/Emma Claussen, which displayed undisputed artistic talent in the numerous photographs of Skagen region and its surroundings, as well as the manner and technique of the shots. In Denmark – in Copenhagen – at the end of the 19th century, Mary Dorothea Frederica Steen also specialized in indoor photography, a very difficult form of media. As a member of the feminist movement, she also played an important part in improving the conditions of female workers and in encouraging women to
52
ROSENBLUM 2010 (n. 44), p. 96.
53
Louis-Philippe CLERC, Paris Notes, British Journal of Photography, April 15th, 1921, p. 218.
54
Anđe KAPIČIĆ, Crna Gora u magičnom oku princeze Ksenije, Cetinje 2003. 129
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take up the profession of photography. Finally, mention must be made of Wanda von DebschitzKunowski whose propensity toward artistic experiments in photography resulted in prolific pedagogic work (1904–1914) – lectures on photographic art expression at the Munich Debschitz School. The introduction of an inexpensive and compact camera model with film cartridge by the Eastman Kodak company was also instrumental in bringing about the surge in popularity of photography and its artistic articulation at the end of the 19th century. More economical than previous models, it was simple to use and needed no special expertise. The well-known slogan “just press the button and we’ll do the rest” was used to boost mushrooming amateur photography. Finally, amateurs were able to take photographs without fear of failure and the need for special equipment and laboratories. Seeking to dispel women’s fears of looking eccentric with a camera, Kodak’s advertising primarily targeted women, as seen from contemporary posters and ads.55 The limitation of this model, that could only be used in the open and from a certain distance from the subject, proved to be an advantage for painters. It provided the opportunity to take photographs of landscapes in actual light and with exceptional depth. This type of camera corresponded with Nadežda Petrović’s interest in nature and her effort to catch its essence. Thus, it is even more confusing that even after Munich, when she mostly painted landscapes and exteriors, no photographs remained of her wanderings through Serbia, the art colony in Sićevo, from Resnik, Košutnjak and the banks of the Sava. This is especially surprising since it is known that returning to Belgrade Nadežda Petrović brought a Kodak camera from Munich and continued to use it in her homeland.
Regional Context: Not Just a Pastime Considering that women across Europe and America ran photographic studios – like the studio Elvira in Munich – from the mid-19th century and that women frequently took part in developing photographs, this skill was clearly instrumental in promoting women’s emancipation, especially at the turn of the century. The Viennese woman Ana Feldmann, who was born in Belgrade, opened a photography studio in Belgrade in 1865/66 after studying photographic craft in Vienna,56 where she took the aforementioned photo of Draga Zorić with her children.57 As the first professional woman photographer in Serbia, she worked in Belgrade for only two years, and then opened a studio in Zadar, where she stayed for a year. She continued her career as a travelling photographer in the towns of Slavonija and Vojvodina, with her companion Karl Goetz, but she always cited Vienna as her head office. It is important to mention that during the two years in Belgrade, she was regarded as an Austrian spy, while in Austria-Hungary, due to her Serbian passport, she had been accused of spying for Serbia.58 At the end of the 19th century, Anđa Magdalenić and Katarina Čortomić also practiced photography in Belgrade, although in a non-professional way.59 It was only with the appearance of Mara Bogdanović, who had taken a course in photography at the Munich Lehr- und Versuchs-Atelier für angewandte und freie Kunst (today known as
55
ROSENBLUM 2010 (n. 44), p. 55.
56
TODIĆ 1993 (n. 19), p. 42.
57
JOVANOV 2013 (n. 1), p. 10.
58
ALEKSANDRIĆ 2012 (n. 2), pp. 73, 74.
59
DEBELJKOVIĆ 2005 (n. 18), p. 190.
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Debschitz-School)60 that female photography in Serbia became professional. As well as opening its door to women, the significance of this school is that, besides other applied art subjects, it offered a course in photography.61 Even before Mara Bogdanović went there, Tinka Stakić from Novi Sad62 was sent to the Munich school by the Charity Society of Serbian Women from Novi Sad to study photography, but she never opened her own studio. After she enrolled in and graduated from the photography course in Munich at the beginning of the 20th century, Mara Bogdanović opened a photography studio in Zagreb in the former painting studio of artist Vlaho Bukovac. She forged her reputation creating photo portraits of many clients, including the actress Žanka Stokić, the sculptor Ivan Meštrović and the writer Ivo Vojnović.63 In the summer of 1909 Mara Bogdanović moved to Belgrade, where she advertised a course for photography amateurs. This first Belgrade period is short and in 1910 she was already back in Zagreb, shooting the showpieces for the exhibition Despite the Unheroic Times, where Nadežda Petrović was also a participant.64 This engagement, during which she also encountered her future husband, the sculptor Toma Rosandić,65 attests to the fact that her creative ability surpassed everyday studio work. It is not a reach to conclude that photographing the sculptures represented a fomidable challenge for Mara Bogdanović, and a possibility to show “how one medium has been implicated in the creative reproduction and analysis of the other.”66 In 1911, Bogdanović became one of the first contributors to Photography Review magazine. Her portrait photos are distinctive in their fluidity and softness, as well as characterization of the figures. Apart from professional photography, after marrying Toma Rosandić, Mara Bogdanović took up photographing her husband’s artworks. She participated in founding the Belgrade Photo Club, but mainly did not show much interest in the artistic photo interpretation of different themes.67 The work of Ivana Kobilca is also connected to Munich, given that her name is noted in the membership inventory of Der Künstlerinnen-Verein from 1890 to 1915;68 she is mentioned in the context of a group of Slovenian artists whose career began in Munich, and continued in Slovenia, where they also devoted themselves to painting and photography – Rihard Jakopič, Matija Jama, Ivan Grohar, Matej Sternen and others. She engaged in photography at the start of her studies, between 1881 and 1890. At that time she created some of her shots using glass plates in 13 x 18 cm format, today preserved only in paper copies. “Ivana Kobilca with her camera was a dedicated and successful foto-amateur.”69 By looking at her paintings, one can conclude that she used her
60
Yvette DESEYVE, Der Künstlerinnen-Verein München e.V. und seine Damen-Akademie. Eine Studie zur Ausbildungssituation von Künstlerinnen im späten 19. und frühen 20. Jahrhundert, München 2005, p. 31.
61
Robin LENMAN, Artists and Society in Germany 1850–1914, Manchester 1997, p. 123.
62
JOVANOV 2007 (n. 12), p. 19.
63
ALEKSANDRIĆ 2012 (n. 2), p. 73.
64
Nejunačkom vremenu uprkos. Izložba Medulića, Umjetnički paviljon, Zagreb 1910.
65
Milja M. STIJOVIĆ, Muzej Tome Rosandića u Beogradu, Novi Sad 2015, p. 94.
66
Geoffrey BATCHEN, An Almost Unlimited Variety. Photography and Sculpture in the Nineteenth Century, The Original Copy. Photography of Sculpture 1839 to Today (ed. Roxana Marcoci), Museum of Modern Art, New York 2010, p. 20.
67
ALEKSANDRIĆ 2012 (n. 2), p. 182.
68
DESEYVE 2005 (n. 62), p. 121.
69
Mirko KAMBIČ, Dinamični prepleti fotografije in slikarstva v obdobju od 1890 do 1920, Slovenski impresionisti in njihov čas 1890–1920 (ed. Barbara Jaki, Mateja Breščak, Andrej Smrekar), Narodna galerija, Ljubljana 2008, p. 171. 131
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photographic skills in preparing them, as evidenced in the canvas Summer, but her photography work engaged some more mundane themes, such as her friends and places that she occupied. By comparing her photographic and painting work, it is evident that Kobilca used photography more as a stimulus for painting than a cause for literal duplication: she would single out some of the figures from certain photographs, or combine the plates to create a composition. A photo was used for her own self-portrait as well (with a palette and a cigarette).70 In combining photo motifs for the painting Slovenija Bows to Ljubljana,71 she took on the role of film cameraman and director, a notion that elevates her photographic work above amateurism. With this overview, the panorama of female photographic activity in the region is mostly exhausted, at least in the period of Nadežda Petrović’s work, at the end of the 19th and in the beginning of the 20th century.
3. Mara Bogdanović: The Dancer, Zagreb 1907
Travelling South Nadežda was having difficulty in being accepted as a painter by the Belgrade elite. Still, thanks to her patriotic work from 1903 onwards she won the respect and admiration of her countrymen. Soon after returning from Munich, she would be caught up in the turbulent events that would leave a lasting mark on her personality. Political changes in 1903 awakened her sense of patriotism and her willingness to support the national cause and set Nadežda on the course of political activism. The first major undertaking she participated in was the founding of the Circle of Serbian Sisters.72 The movement was conceived during a conversation with Delfa Ivanić, fresh out of Skopje, while they were painting together in Topčider. They discussed the plight of the orthodox people in Turkey, about the unsuccessful uprising in Macedonia and guerrilla actions, about the torture, imprisonment, hanging and forcible relocation of people to Asia Minor. They concluded that something had to be done to aid those suffering and that Serbia was obligated to give them support, and to assist and comfort them in times of greatest hardship and suffering.73 On 3 August 1903, in the lecture hall at Kolarac, Nadežda gave a speech in front of an audience of several thousand women appealing for help for the
70
Katalog fotografij, Slovenski impresionisti 2008 (n. 71), p. 598.
71
KAMBIČ 2008 (n. 71), p. 173.
72
AMBROZIĆ 1978 (n. 3), p. 107.
73
AMBROZIĆ 1978 (n. 3), p. 107.
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burned and destroyed villages around Debar and Kičevo and the destitute. That which she could not do through persuasion and personal contact she achieved in that single address. She succeeded in mobilising the masses and winning over those “who were willing to provide assistance, and reject those who thought their husbands’ thoughts.”74 The consequences were the founding of the Circle of Serbian Sisters and the subsequent activities of the society. The Circle staged a fund raising concert at the National Theatre on 7 November. Thus, as quickly as 19 November, Nadežda, the first secretary of the society, and Milica Dobri as vice-president, were able to deliver aid to the ‘burned villages of Macedonia’. During a month of travelling the pair visited the whole region from Kičevo and Bitola, Krajina and the province of Poreč, all the way to Thessaloniki. Nadežda wrote about it in a kind of travel journal. They travelled by cart, on horseback and often on foot; across ruined bridges and run-down roads. The people welcomed them with open arms. “In half a day,” Nadežda wrote, “the whole of Kičevo and surrounding villages knew we were there and sent their priests, mayors and teachers to welcome us, to plea for our help in their plight and ask us to speak with the people.”75 Nadežda was deeply impressed by “Lazar Kujundžić, the renowned headmaster of Kičevo elementary school. He was intelligent and agreeable, with a kind heart and noble character.”76 Inspired by this teacher and guerrilla insurgent, who would be tragically killed in Velika Hoča two years later, Nadežda wrote a theatre play.77 She would also remember Lazar Kujundžić while she was afflicted by typhoid fever in 1913. Unable to go to Belgrade for the anniversary of the Circle of Serbian Sisters she sent a letter titled ‘In memory of Lazar Kujundžić’, portraying her travels through Macedonia.78 “I was composed and my companion calm, the next day at 11 we got to the border /…/. My greatest concern was my camera because everyone had told me I wouldn’t be able to carry it across the border /…/. Thanks to the ingenuity of Mr Mrvić the police commissioner and his skill in negotiating with the inflexible Turks my camera came, though. He told them that I was a bit unbalanced, a bit insane and that there would be no use arguing with me. Since the Turks, thanks to their prophet Mohamed, respected the mentally ill, I happily crossed the Rubicon without getting my feet wet and without danger to my camera. I went on hoping to take pictures and the Turks remained hoping I would bring them luck.”79 No doubt Nadežda kept a kind of photographic diary (produced with the help of the aformentioned professional camera) as well as her journal, but no photographs from that journey remain. Only one photo taken that year has survived. In it a set of local dignitaries are seated in the first row, including the orthodox bishop Polikari and some of the future champions of Serbian komiti units. Women in national costumes sit at the back. They are all formally dressed and dignified. Nadežda is among them, looking victoriously into the camera.80
74
AMBROZIĆ 1978 (n. 3), p. 108.
75
AMBROZIĆ 1978 (n. 3), pp. 118, 119.
76
AMBROZIĆ 1978 (n. 3), p. 119.
77
Nadežda PETROVIĆ, Vojvoda Micko Porečanin, Beograd 2005.
78
AMBROZIĆ 1978 (n. 3), p. 120.
79
AMBROZIĆ 1978 (n. 3), p. 18.
80
Delfa IVANIĆ, Pre dvadeset godina, Vardar kalendar, 13, 1924, p. 9. 133
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Within the Family Circle Nadežda Petrović’s return from Munich marked the beginning of her Serbian period, which lasted until 1910 when she went to Ljubljana, Zagreb and later to Paris. She spent 1904 organizing the First Yugoslav art exhibition, where she appeared as an organizer, exhibitor and art critic.81 She accepted the idea of the cultural unification of the South Slavs and would stay true to these beliefs until the end of her life. She was among the founders of artistic and patriotic societies such as Lada (1904), The First Yugoslav Art Colony (1905, 1906)82 and National Defence (1908).83 She also took part in the Serbian Art Society exhibition (1908) and did her utmost to organise the Art Colony exhibition (1907).84 Alongside exhibiting, she wrote art criticism, hailed as comprehensive treatises on modern art. She travelled to Munich and Vienna, in Prague she attended the Pan-Slavic Congress of Women in 1908, and she also visited Ljubljana and Split to lecture on art. With Branko Popović she attended the 7th Biennale in Venice in 1907 and travelled to Rome. Again she went to Munich and then Berlin.85 “To be an artist among the uncultured, to work and struggle for art and endure hardship and, above all, poverty which goes hand in hand with talent, had become the norm.”86 After the annexation of Bosnia and Herzegovina by Austria-Hungary, she organised a women’s rally and called for the boycott of Austro-Hungarian goods. She wore a grey outfit made in Leskovac or a linen dress with Kosovo embroidery and a long watch chain around her neck. She wished to transcend time.87 She was constantly working outdoors, travelling across Serbia, painting people, landscapes and folk customs. Her family home had become a place of gathering for her friends Ivan Meštrović and Ruža Klajn, Rihard Jakopič, Ivan Grohar, Branko Popović, Kosara Cvetković, Jerolim Miše, Vladimir Becić, Tomislav Krizman, Ksenija Atanasijević. Ivan Grohar even stayed for several months before the exhibition of the First Yugoslav Art Colony, from January until the end of March 1907.88 Throughout that time, her devotion towards her mother, father, brothers and sisters was as powerful as her painting. “At the time Nadežda was the only painter in Serbia who persistently and passionately worked outdoors,” said Branko Popović in Art Review, describing her earnest and exciting dialogue with nature that provided her with an inexhaustible source of inspiration.89 She approached art as a mission and understood colour as an expression of spirit. She found no inspiration in landscape photography during this period. Her camera was focussed on her personal life, and her garden in Ratarska Street was both her scenery and her studio. The few remaining photos from that period were not even attributed to Nadežda although many details point to her authorship. The photographs she took between 1905 and 1910 are a family photo journal, in contrast to conventional photographs with prearranged poses taken by professional photographers. Dating of the photographs is possible by following the aging and maturing
81
JOVANOV 2011 (n. 40), p. 415.
82
Milanka TODIĆ, Voz, novooslobođeni krajevi i umetnički projekat Nadežde Petrović, Naučni skup posvećen Nadeždi Petrović 2016 (n. 13), pp. 86–99.
83
JOVANOV 2011 (n. 40), p. 415.
84
JOVANOV 2011 (n. 40), p. 415.
85
Lidija MERENIK, Nadežda Petrović. Projekat i sudbina, Beograd 2006, pp. 134–135.
86
MERENIK 2006 (n. 87), p. 136.
87
JOVANOV 2013 (n. 1), p. 36.
88
AMBROZIĆ 1978 (n. 3), p. 189.
89
Branko POPOVIĆ, Nadežda Petrović, Umetnički pregled, 5, 1938, p. 146.
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4. Mileva and Mita Petrović, in the middle Ivan Meštrović with Ruža Klajn, Rastko Petrović and Branko Popović behind, in the back Vladimir and Nadežda’s sisters, Belgrade 1905 or 1906
5. Nadežda Petrović: The Petrović Family house garden, Nadežda with mother, sisters, brother Rastko, relatives and nieghborhood kids, Belgrade 1911
of the protagonists. She gathered her entire family in front of the camera, carefully arranging them into complex compositions that her paintings lacked. A true painter, she never neglected the aesthetic aspect. Accepting different visual means present in international pictorialist photography, Nadežda Petrović adopted new tendencies in photography, a kind of vocabulary of photographic expression that gave it an aesthetic dimension and elevated it to the level of art form.90 In framing she brought full attention to asymmetric composition in order to achieve different perspectives and turned her garden into a stage with characters and human emotions. Nadežda did not have the opportunity to experiment with lighting but she did use the possibilities provided by confronting light and dark, contrasting the shadow of trees with the brightness of faces and clothes. She used the rhythm of horizontal and vertical lines to accentuate a detail of a fence, an old house, a window, or a gnarled tree, similar to the landscapes of Serbia she was painting at the same time. Unlike her fellow photography enthusiasts in the rest of Europe and America, she lacked the opportunity to
90
ROSENBLUM 2010 (n. 44), p. 56. 135
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experiment, to retouch the negatives, or use special photo paper for different effects. However, this aspect of photography was not unknown to her. This can be seen from a photo preserved in The Pavle Beljanski Memorial Collection.91 Through the method of multiple exposure, the four sisters, Anđa, Ljubica, Draga and Nadežda, appear in the same photograph, while their contours are connected by patterns drawn directly on the negatives. She used frame cutting, changing the angles and moving the camera lens closer to or farther from the centre of the composition. She also used body language, suggested movement and cut off cadre rather than equipment or effects. Her photographs were rarely narrative but they formulated a special sign language that guided the observer in the desired direction. Most often when photographing her sisters, she distributed them in the frame so that each had an independent pose and every figure retained autonomy, similar to the way Edgar Degas introduced centrifugal structure and fragmentation in painting family scenes.92 This way of arranging group photographic portraits was sometimes adopted by professional photo studios as well, in an effort to make traditional poses more dynamic. Unlike Degas who used this type of arrangement to depict conflict both within the family and within society, her photographs shared no such meanings. Family relations in the Petrović home and a special love that Nadežda expressed at every opportunity to each member of the family – mother, father, sisters, brothers – were reasons enough to understand her photographic arrangement as a kind of theatrical movement intended to redistribute mass within the limited rectangular space of a photograph. Nadežda’s photographic legacy seldom contains sequences of photographs. In one such case, two photographs from 1905 show her models in front of different backdrops: a dark canvas for her sisters and a picket fence for her mother.93 The new arrangement presented a less compact mass and occupied more space. Pictorialist photography stressed the importance of the process of finalisation so that the object was less important than the way it was presented. However, this principle was somewhat altered in the photographs of Nadežda Petrović’s Serbian period. Although she did pay full attention to the aesthetics of photographic compositions, her personal relationship with the models meant that the object of the photo was equally important. Her models gained importance by being photographed, since every photo was “a special moment turned into a thin object that one can keep and return to.”94 This group of photographs was not, like Nadežda’s paintings, meant for public display. They had always been intended for a small audience and they were mostly circulated within the family. This makes them no less valuable for Nadežda Petrović’s art. Indeed, they portrayed not only her private life but the artist’s interest in complex figural composition and the use of the modern language of artistic photography in its creation.
Petrović Sisters and the Gusle Player Even while she was studying in Munich with Ažbe, Exter and Jank, Nadežda painted outdoors, observing the life of peasants, everyday village scenes, customs, types and costumes. She was already familiar with the innovations that were quickly being accepted into modern European art. Inspired
91
JOVANOV 2011 (n. 40), p. 43.
92
Linda NOCHLIN, Representing Woman, London 1999, p. 157.
93
JOVANOV 2013 (n. 1), pp. 46, 47.
94
Susan SONTAG, O fotografiji, Beograd 2009, p. 25.
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6. Nadežda Petrović: Petrović sisters, Belgrade 1905
by early 20th century art movements, she developed a unique individual expression, and employed a carefully chosen narrow selection of themes. Her inclination to focus her work on the study of scenes from rural life “in all Serbian lands and the types, characters, costumes, ornaments and natural features of landscapes in Old Serbia and Macedonia,” grew from the first trips to Resnik and the Colony in Sićevo in the summer of 1905 to numerous sojourns in different rural parts of Serbia and the war years.95 Đorđe Krstić, as one of the first chroniclers of Serbian landscapes and a painter of national motifs, instilled her with the idea that every painter “must use nature”96 to show artistic truth. Raised on the romantic legacy of Goethe and Ljubomir Nenadović, soon after arriving in Munich she became a member of the Srbadija patriotic society. In a letter home she asked for books: “Karić’s Serbia, Old Serbia and Macedonia by Spiridon Gopčević, Serbian folk epic and lyric poetry, and some of Ilić and Jakšić but only the poetry (and her summer hat).”97 Karić’s book Serbia, the Account of the Land, the People and the Nation from 1887 included a drawing of a gusle player sitting in the shade of an oak tree surrounded by listeners.98 The image was so symbolic of Serbian folk poetry that it was elevated to the status of a universal national symbol during the 19th century. Real life characters of gusle players and the need for patriotic symbols provided the basic elements of the concept that would be the topic of many 19th century artists. It was even used by Enrico Paci on his pedestal of the Prince Mihajlo monument in Belgrade (1882). Đoka Jovanović, the author of many archetypal images in Serbian sculpture, made two versions of a gusle player.99 The idea of a gusle player as an omnipresent manifestation of collective national genius was given a new application in Nadežda Petrović circles. At a fundraising concert in the National Theatre in Belgrade, organised by the Circle of Serbian Sisters on 7 November 1903, along with the ‘living images of Macedonia and Serbia’ and patriotic poetry, a gusle player also performed. Ivan Meštrović
95
JOVANOV 2011 (n. 40), p. 415.
96
AMBROZIĆ 1978 (n. 3), p. 30.
97
National Museum, Belgrade, The Memorial Museum of Nadežda and Rastko Petrović, box 1, fd. 5, letter of Nadežda Petrović, Munich 1899.
98
Vladimir KARIĆ, Srbija. Opis zemlje, naroda i države, Beograd 1887, pp. 137, 138.
99
Miodrag JOVANOVIĆ, Đoka Jovanović, Novi Sad 2005, p. 34. 137
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7. Nadežda Petrović: Nadežda’s sisters with anaonimous gusle player, Belgrade 1906
8. Nadežda Petrović: Anđa Petrović, Belgrade 1907–1908
created a relief composition called My People’s Artist (1905).100 A stooping old man holding the gusle in one hand and a young boy’s hand in the other created an image evoking “the idea of preserving and passing on collective national memories from the old to the young generation.”101 However, this was a step toward secession poetics. The relief was exhibited at the Second Yugoslav Art Exhibition in Sofia (1906)102 and at the Yugoslav Art Colony in Belgrade (1907). Reproduced on a promotional poster for the art colony103 it was later donated to the Museum of Vuk Karadžić by Ivan Meštrović.104 In her garden in 1906, Nadežda Petrović photographed an arrangement which was a traditional portrayal of a gusle player; the musician was surrounded by an audience in national costumes, with a young girl who would lead him towards the next group of listeners.105 The centre of the photograph is occupied by an unknown man in a suit, wearing a fez and holding the gusle, surrounded by four of Nadežda’s sisters. The youngest sister Draga, who was kneeling down and shown in profile with her hair almost hiding her face, had the role of the guide – a young beggar girl. This archetypal image of a gusle player was made the same year as her painting The
100
Ivan Meštrović (1883–1962). Povodom stogodišnjice umetnikovog rođenja (ed. Jevta Jevtović), Narodni muzej, Be-
ograd 1983, s. p.
101
Miroslav TIMOTIJEVIĆ, Guslar kao simbolička figura srpskog nacionalnog pevača, Zbornik Narodnog muzeja u Beogradu. Istorija umetnosti, 17/2, 2004, p. 270.
102
TIMOTIJEVIĆ 2004 (n. 103), p. 270.
103
AMBROZIĆ 1978 (n. 3), pp. 189, 190. TIMOTIJEVIĆ 2004 (n. 103), p. 270.
104
JOVANOV 2013 (n. 1), pp. 51–52.
105
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Gusle Player.106 Unlike the photograph, the painting had no archetypal or symbolic meaning. It was simply a portrait of a peasant with the gusle. The painter’s attention is drawn to the close-up of the player’s facial expression, dominated by dark-rimmed, oversized eyes. She painted in thick brush, with a heavy, pictorial mass that radiated light and emphasized the expressiveness of colouristic harmonies. It showed none of the painter’s future preoccupation with monumental historic scenes of the kind she painted in Paris in 1910 and 1911, nor the passion for folk epics present in some paintings and sculptures (by Meštrović, Rosandić, Rački, Babić, Krizman) exhibited in the Serbian Pavilion in Rome (1911).
A Photographic Tribute to Đorđe Krstić Not long before his death in late October 1907, Đorđe Krstić was photographed with Nadežda Petrović, Borivoj Stevanović and Kosta Miličević.107 It was the year that Nadežda won her great victory by organizing the exhibition of the Art Colony, the year Serbian impressionism was born, the year of the creation of Milan Milovanović’s The Bridge of Emperor Dušan in Skopje and Nadežda Petrović’s Barges on the Sava River. The next year Kosta Miličević and Borivoj Stevanović would paint their first impressionist paintings and Nadežda Petrović would take several photographs whose unique lighting demostrated her efforts to create an impressionistic effect even outside painting. Her photographs of her sisters, wearing national costumes, with the light shining through the delicate fabric of embroidered cloth, brought new hitherto unseen sensuality to Nadežda Petrović’s work. That the photos were taken in 1908, a year after Krstić’s death, is suggested by the imagery of one of them. Nadežda’s sister Anđa was captured in their garden, under a lush treetop, in an almost identical position as the girl in Krstić’s famous painting Under the Apple Tree (1883). On several occasions, Nadežda Petrović wrote about her respect for folk art and the ways it could be used: “The artistic ability and feeling that our people possess are confirmed by all the folk handicrafts and folk literature.”108 The elaborate and colourful costumes that both Anđa and Krstić’s girl wore, coupled with the way in which their arms reach to pick the fruit and the fact that Krstić was Nadežda’s first teacher and role model, suggest that in taking this photograph Nadežda had another motive: to show due respect to the great painter who was her teacher.
The War Years “I’ll come to Paris in the autumn or, even earlier, in the summer.” – she wrote to Ivan Meštrović on 21 May 1912.109 Unaware of the momentous happenings in the making, Nadežda was busy with the Fourth Yugoslav Art Exhibition, where she had met many old friends: Meštrović, Krizman, Vidović, Jakopič, Jama, Becić, Babić, and Miše among others. Her review of the exhibition transcended regular criticism and became a unique treatise on the understanding of modern art. In
106
Jasna JOVANOV, The Gusle Player, The Pavle Beljanski Memorial Collection 2011 (n. 40), pp. 58–59.
107
JOVANOV 2013 (n. 1), p. 58.
108
Nenad MAKULJEVIĆ, Umetnost i nacionalna ideja u XIX veku. Sistem evropske i srpske vizuelne kulture u službi nacije, Beograd 2006, p. 142.
109
Meštrović Museums Archive, N. Petrović 668 A 13, letter of Nadežda Petrović to Ruža Meštrović. 139
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the Belgrade magazine Zvezda she announced her plan to open a summer art school for ladies, gentlemen, and secondary school students. October brought war and as always Nadežda felt that “the opportunity to help her homeland was her life’s work.”110 During these two years in Paris her art became more public than ever. In 1910 she exhibited with the Russian Art Society at the Autumn Salon, in 1911 in the Serbian pavilion at the International exhibition in Rome, the Autumn Salon, and the International Union Salon.111 She sent photographs of Meštrović’s studio where she was staying to Belgrade. They testify to the great sculptor’s surroundings and some of Nadežda’s lost paintings.112 Her father’s death on 9 April 1911 forced her to leave Paris. The same month she lost another of her close friends, the painter Ivan Grohar. “This dear and amiable swallow from Kranj migrated to the eternal spring on 6 (19) April 1911” – she wrote in her review of the Fourth Yugoslav Art Exhibition.113 “Grohar’s palette is a shrine where nature is worshiped in fervent prayers. It is an altar from which, for the greater glory of God, incense and aromatic smoke arise and envelop the artist’s soul, carrying along even the viewer high into his domain, the heavenly regions of divinity. Some residents of Belgrade still remember the tall and lean guest of the Yugoslav club. He wore a long, closefitting redingote with two rows of toggles and loops. His wide, pitted face was dark and oily, covered by a sparse goatee and short dark hair that protruded from beneath his brown hat. He had a high intelligent forehead, firm flat jaws and wore a sparse moustache that covered a wide mouth set in a constantly sorrowful smile.” – remembered Nadežda, recalling Grohar’s three-month-long stay in Belgrade in 1907 while he was preparing the Sićevo colony exhibition.114 His legacy contained a photo taken in the garden of the house in Ratarska Street.115 In it he sat with Jakopič, Nadežda, her sisters and Rastko. Rastko Petrović, at the time still a boy in short pants, also wrote about those days and the celebration of their family saint St. Stephan. “At least ten of them were sure to come from Vojvodina and Mara and Milena from Zemun and Ljubica Jovanović and aunt Vida from Zemun and cousins Ljubica, Vida, and Vera and many more. Mara sang St. Stephan’s hymn our father liked so much and always asked for, saying, ‘Come Mara, again,’ and then she would cough deeply and start singing in a feigned manly voice. And Grohar, the Slovenian painter, just looked at her, blinking, and asked if she knew any of his country’s religious songs.”116 How different from those happy days in the photograph was Nadežda’s world now. After coming back from Paris (January 1912) she painted the portrait of young Ksenija Atanasijević in the garden of her house, wearing a black Parisian hat.117 She would take no more pictures of her sisters but she did take one of her mother Mileva Petrović, burdened with cares and filled with grief at the recent loss of her husband.118 It was one of the few
110
AMBROZIĆ 1978 (n. 3), p. 383.
111
JOVANOV 2011 (n. 40), p. 415.
112
JOVANOV 2013 (n. 1), p. 64.
113
Nadežda PETROVIĆ, Četvrta jugoslovenska izložba u Beogradu, Bosanska vila, 27, 1912, p. 250.
114
PETROVIĆ 1912 (n. 115), p. 250.
115
Beti ŽEROVC, Rihard Jakopič – umetnik in strateg, Ljubljana 2002, p. 94.
116
National Museum, Belgrade, The Memorial Museum of Nadežda and Rastko Petrović, box 2, fd. 8, no. 104/II, copy of Rastko Petrović’s letter, 1907.
117
Jasna JOVANOV, Ksenija Atanasijević, The Pavle Beljanski Memorial Collection 2011 (n. 40), p. 72. There is a photograph of Nadežda’s sister Ljubica and unknown women wearing the same hat, National Museum, Belgrade, The Memorial Museum of Nadežda and Rastko Petrović, box 28, photo album.
118
JOVANOV 2013 (n. 1), p. 70.
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9. Nadežda Petrović: Nadežda’s studio in Paris, Paris 1911
photographs taken indoors. Her mother’s death in August of 1912 was another blow to Nadežda. And the next one came with the declaration of war on 18 October. She would be on the front line until the end of the Second Balkan War. In rare moments of respite, following the army from battlefield to battlefield, she devoted every free moment to painting and photography. The themes of her paintings were archetypal scenes of symbolic meaning such as the monastery of Gračanica, the city of Prizren, oriental city streets, peasant women in national costume, or the robust curve of the Vizier’s Bridge. At the same time she asked to be allowed to take photographs of the old battlefield near Kumanovo ‘in the artistic way’.119 Her paintings reflected her relationship with nature as “subjective, not only a visual, aesthetic and emotional dimension but as a moral and ethical strength, as a measure of all things, as unfathomable supreme justice,” forming “a special bond with everything and in every occasion /…/”120 like a kind of personal religion. She remained faithful to this principle in photography as well. “Some shots, possibly the most successful ones, were taken from a high ground in an attempt to capture a personal impression of the magnificence of the landscape. They revealed the same passion for nature she had mentioned writing about Ljuma.”121 Her unit was stationed on the bank of the river Drim from where she was able to see the remains of the mediaeval tower on the opposite bank. “The nature is beautiful here, I have explored all of Ljuma on horseback, and the rest on foot,” – she added in a postcard to her family on 21 March 1913 that was decorated by a hasty watercolour of the riverbank.122 Although her photography did not have the same expressive flow of theme interpretation as her paintings, “her photographs were reminiscent of Cézanne’s landscapes of Mont Sainte-Victoire. Nadežda Petrović’s landscape photography emphasized gradation of tones suggesting the suppression of space towards the foreground, a device present in her painting.”123 In her modern approach to photography, she emulated impressionists
119
TODIĆ 2001 (n. 14), p. 47.
120
AMBROZIĆ 1978 (n. 3), p. 387.
121
TODIĆ 2001 (n. 14), p. 47.
122
AMBROZIĆ 1978 (n. 3), p. 384.
123
TODIĆ 2001 (n. 14), p. 48. 141
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10. Nadežda Petrović: White Drim, Lumë 1913
11. Nadežda Petrović: Landscape, Prizren 1913
more than in her painting, since their work often included the use of photographs that were able to “catch the image of an object at a set point in time, to prevent the treacherous reflections of light and capture the colour tone set in a shallow area.”124 These landscape photographs, especially the ones of snow covered Prizren or the curvy stream of the river Drim observed from high ground, should be understood as an artistic and not factual or topographic interpretation. They express clear emotions, but mostly lack the usual characteristics of pictorial photography present in her early portrait photographs, such as asymmetric composition, cut off cadre, retouching negatives, and fogging. When the position of war photographer and painter was created during World War I, a group of artists from the photography section, Vladimir Becić, Dragoljub Pavlović, Dragomir Glišić, Mališa Glišić, Ljubiša Valić and Kosta Miličević among others, chose a factual approach to photography, best illustrated by Dragomir Glišić: “I accompanied the headquarters to the positions to take pictures and did so even during combat. My task was simply to be a photographer.”125
124
TODIĆ 2001 (n. 14), p. 48.
125
TODIĆ 2001 (n. 14), p. 49.
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The beginning of World War I caught Nadežda and her brother Rastko in Venice. She had to forget about her plans to exhibit and was assigned instead to the Danube division field hospital. It was there that she witnessed the bloody battle of Serbian and Austrian armies at Mačkov kamen. After the hospital had been evacuated to Pecka, during a brief respite she feared that “these beautiful days would pass and she would not be able to get to battle positions to take photographs.”126 A limited series of several preserved war-time photos ends symbolically with Valjevo hospital – a sad parallel to the photograph with Nadežda wearing a white nurse’s uniform, accompanied by her old acquaintance Dr Žarko Ruvidić and other doctors.127 More than ever before, Nadežda’s final paintings were created in an eruption of emotion, a unity of gesture and colour. “The horrifying butchery of war amid the magnificent beauty of the landscapes the army passed through left Nadežda full of conflicting emotions. She tried, determined as she was, to visually document or set down her experiences, driven by the insatiable need of an artist for expression. Her letters are not simply a valuable piece of historical information. They are a testimony of the sheer greatness of her heroism. Her days were numbered but she still wanted to do it all.”128
Epilogue It was only with the passing away of her brother Vladimir in 1915 that the sad series of deaths in the Petrović family came to an end. In 1914 her sister Anđa had died.129 “I have lost my dear, kind and noble Anđa, my sister. The most beautiful and dearest of all my sisters (…). I was beside myself, I thought that I would die and that I could no longer endure the horror of her sudden death.”130 In February of 1915 her youngest sister Draga died, a student of medicine.131 The intermingling of Nadežda’s creative and personal emotions gives an emotional slant to her photographic work, at least to her war-time photographs. That warm family atmosphere captured by the photos of the first decade of the 20th century is suddenly rendered distant and out of reach. What those photos communicated “reality could never bring back.”132 However, they can be subject to another type of evaluation that will determine their proper place in the entire opus of Nadežda Petrović and the time they were created. After learning the basics of photography in Munich and buying a camera Nadežda was rarely without it. Over the course of the last decade a number of photographs have been discovered that were taken during a brief period of time in her artistic career. Thanks to her passionate interest in photography, Nadežda Petrović has once again earned the title of a modern, emancipated woman. “At the turn of the century, encouraged by feminists who advocated the freedom of expression many women devoted themselves to photography.”133 Furthermore, despite the fact that the names of most women photographers remain unknown, their role in the creation of art photography has from the outset been exceptional and distinguished. Indeed, in 1902, author
126
AMBROZIĆ 1978 (n. 3), p. 392.
127
JOVANOV 2013 (n. 1), p. 80. There are names of other doctors written in the photo from private collection.
128
AMBROZIĆ 1978 (n. 3), p. 392.
129
AMBROZIĆ 1978 (n. 3), p. 383.
130
Moderna galerija, Ljubljana, Rihard Jakopič Archive, no. 48, letter of Nadežda Petrović to Rihard Jakopič. JOVANOV, KRIVOŠEJEV 2016 (n. 13), p. 125.
131 132
Roland BARTHES, Svetla komora. Nota o fotografiji, Beograd 2011, p. 12.
133
ROSENBLUM 2010 (n. 44), p. 93. 143
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12. Nadežda Petrović in front of the Mility Hospital in Valjevo, on her right side Dr. Žarko Ruvidić, March 1911
Helen L. Davey remarked that it was the female population that had played the key role in photography being accepted as an art form.134 Centering her photography around contemporary pictorial tendencies, Nadežda Petrović added another element to her contribution to Serbian modernism and her work. Although photography as a craft and an art form developed parallel to its rise in the great centres of Europe and America and was made distinguished by women professionals, Nadežda Petrović still remains among the greatest originators of this art form.
134
ROSENBLUM 2010 (n. 44), p. 95.
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Fotografija kot izziv Pozabljeni konjiček Nadežde Petrović Povzetek
Nadežda Petrović (1873–1915) je bila gotovo ena najpomembnejših osebnosti v srbski moderni umetnosti. Bila je cenjena umetnica in umetnostna kritičarka, slovi pa tudi po razstavah, ki jih je pripravila, umetnostnih združenjih, ki jih je ustanovila, svojem domoljubju in prispevku k narodni prebuji. Med balkanskima vojnama in prvo svetovno vojno je delala kot prostovoljna negovalka ter fotografirala in slikala. Vzgojena v družini izobražencev, se je že zgodaj srečala s fotografijo; ohranjeni so številni družinski posnetki iz njenega otroštva. Z uporabnostjo fotografije v umetniškem ustvarjanju se je seznanila pri svojem prvem učitelju Đorđu Krstiću in kot slušateljica risarske in slikarske šole v Beogradu. Leta 1898 je študirala v Münchnu pri Antonu Ažbetu, pozneje pri Juliusu Exterju. Kot je razbrati iz pisem in fotografij, ki jih je pošiljala materi v Beograd, je kupila Kodakovo kamero in začela fotografirati. Vrnitev Nadežde Petrović iz Münchna leta 1902 pomeni v njenem slikarstvu začetek srbskega obdobja, ki je trajalo do leta 1910, ko je odšla v Ljubljano in Pariz. V tem času je postala javna osebnost in ji je za slikanje ostajalo le malo časa. Zgodovinski dogodki v letu 1903 so v njej vzbudili domoljubje in željo po podpori nacionalnim prizadevanjem ter jo privedli do političnega aktivizma. Njen prvi pomemben dosežek je bila ustanovitev Kroga srbskih sester; spodbudila ga je s sijajnim govorom, ki je predramil Beograjčane, zlasti ženske. Istega leta je obiskala makedonske vasi, porušene v ilindenski vstaji, in upornike, zaprte v Solunu. Naslednje leto je posvetila pripravi prve jugoslovanske umetnostne razstave, leta 1905 je organizirala prvo jugoslovansko likovno kolonijo in 1907 razstavo njenih del. Sodelovala je pri ustanavljanju umetnostnih in domoljubnih društev, med drugim društva Lada 1904 in Narodne obrambe 1908. Obiskovala je razstave in pisala likovne kritike, ki so bile sprejete kot celoviti umetnostni traktati o modernem slikarstvu. Potovala je v München in na Dunaj, leta 1908 je v Pragi obiskala panslavistični kongres žensk. V Ljubljani in Splitu je predavala o likovni umetnosti. Z Brankom Popovićem je leta 1907 obiskala Italijo in sedmi Beneški bienale. Spet je odpotovala v München, leta 1909 pa še v Berlin. Hkrati je poučevala na beograjski Visoki šoli za dekleta in podpirala domoljubje tako s svojo aktivnostjo kot z umetnostjo. Potem ko je Avstro-Ogrska anektirala Bosno in Hercegovino, je organizirala ženski protest in pozvala k bojkotu avstro-ogrskega blaga. Nosila je siva volnena oblačila, izdelana v Leskovcu, ali laneno obleko s kosovsko vezenino, podobno uniformam članic Sokola. Okoli vratu je imela dolgo verižico z uro. Ko je bila leta 1902 prisiljena opustiti študij v Münchnu in se vrniti v Beograd, je še naprej fotografirala, vendar se z njenih potovanj po Srbiji, iz likovnih kolonij v Sićevu, Resniku in Košutnjaku ter s pohajkovanj po bregovih Save ni ohranila nobena fotografija. Družinski vrt je spremenila v fotografski atelje. Njene fotografije prikazujejo družinske dogodke, druženje s sestrami, goste in prijatelje. Nadeždine družinske fotografije so prežete s čustvi in za razliko od njenih slik niso bile namenjene javnosti; prav to je razlog, zakaj so donedavna ostale nepoznane. Umetnica je brez dvoma odklanjala dokumentarno fotografijo in bila bolj naklonjena globljim učinkom. V Münchnu je spoznala nove tendence v umetniški govorici fotografije in sprejela ideje piktorializma. Pri fotografiranju družinskih članov je vselej posvečala veliko pozornosti razporeditvi mas, svetlobnim kontrastom in kompoziciji. Uporabljala je različne zorne kote in prirezane kadre. Negative je večkrat retuširala, uporabljala je tudi dvojno ekspozicijo. Nekatere Nadeždine fotografije izstopajo s tem, da so v insceniranih kompozicijah aktivno sodelovali člani njene družine. Tak primer je fotografija Petrovićeve sestre z goslačem, na kateri je nepoznan mož s fesom in z goslimi v rokah, ob njem pa Nadeždine sestre. Najmlajša sestra Draga, fotografirana kleče, v profilu in z obrazom, skoraj skritim za lasmi, ima vlogo vodnika – slepe beračice. Ta arhetipska podoba goslača je nastala leta 1906; istega leta je Petrovićeva naslikala Goslača. Ena od 145
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fotografij njenih sestra je nastala leta 1908 kot poklon Nadeždinemu učitelju Đorđu Krstiću: fotografija sestre Anđe pod jablano je svojevrsten hommage Krstićevi sloviti sliki Pod jablano. Nadežda Petrović je posnela več fotografij, katerih izjemna osvetlitev kaže, da si je prizadevala ustvariti impresionistične učinke tudi zunaj slikarskega medija. Njene fotografije sester Anđe in Jele v narodnih nošah, z izrazito igro svetlobe na lahnih platnenih oblačilih, predstavljajo v opusu Nadežde Petrović doslej neznan vidik čutnosti. Leta 1910 je po razstavah v Ljubljani in Zagrebu ter obisku Italije odpotovala v Pariz. V pariškem obdobju je bilo njeno delo večkrat predstavljeno javnosti kot kdajkoli prej. Kmalu po prihodu v Pariz je 1910 z ruskim umetniškim društvom razstavljala na Jesenskem salonu, razstavljala je tudi v srbskem paviljonu na mednarodni razstavi v Rimu, na Jesenskem salonu in salonu mednarodne zveze leta 1911. V Beograd je poslala fotografije Meštrovićevega ateljeja, v katerem je delala; te pričajo o okolju, v katerem je ustvarjal veliki kipar, pa tudi o nekaterih Nadeždinih izgubljenih slikah. Na eni od fotografij je viden njen model, ženska, katere portret je slikala. Zaradi očetove smrti 9. aprila 1911 je morala Nadežda Petrović zapustiti Pariz. Deset dni pozneje je izgubila še enega svojih dobrih prijateljev, slikarja Ivana Groharja, ki je preživel prve tri mesece leta 1907 v Beogradu in pripravljal razstavo likovne kolonije Sićevo. V Groharjevi zapuščini se je ohranila fotografija, posneta na družinskem vrtu Petrovićevih: Grohar sedi v nasmejani družbi Riharda Jakopiča, Nadežde, njenih sester in brata Rastka. Nadežda se je dokončno vrnila iz Pariza konec januarja 1912 in že v začetku februarja naslikala portret mlade Ksenije Atanasijević s črnim pariškim klobukom na vrtu njene hiše. Isti klobuk nosi Nadeždina mlajša sestra Zora na fotografiji, posneti v nekem ateljeju; zaradi družinske podobnosti je fotografija dolgo veljala za Nadeždin portret. Po vrnitvi v Srbijo Nadežda sestra ni več fotografirala, ohranila pa se je njena fotografija matere Mileve Petrović, otežene s skrbmi in užaloščene zaradi nedavne izgube moža. To je ena redkih fotografij Petrovićeve, posneta v interierju. Materina smrt avgusta 1912 je bila za Petrovićevo hud udarec. Naslednjega pa ji je zadala vojna napoved 18. oktobra. Do konca druge balkanske vojne je bila Nadežda Petrović na fronti. Spremljala je vojake od enega bojišča na drugo, v redkih predahih med boji pa je vsak prosti trenutek posvetila slikanju in fotografiji. Njene fotografije, posnete med balkanskima vojnama, so se ohranile. Večinoma so bile posnete na začetku leta 1913 in spomladi istega leta v okolici Prizrena na Kosovu. Tako v balkanskih vojnah kot tudi med prvo svetovno vojno je bila negovalka in hkrati edina ženska s statusom vojnega fotografa in slikarja. Njene vojne fotografije imajo več skupnega z njenim slikarskim delom kakor njene družinske fotografije, predvsem ker se osredotočajo na naravo. Posnete so z višine ali pa kažejo dvignjen prvi plan in imajo izjemno prostorsko globino. Njihova motivika kliče v spomin prvinsko moč in veličastje narave. Nadeždine fotografije vojakov prikazujejo trenutke počitka, umaknjene od grozot v vojaški bolnišnici, kjer je delala. Manjša serija olj z vojnimi motivi simbolično vključuje sliko bolnišnice v Valjevu – žalostno vzporednico fotografiji Nadežde v beli uniformi negovalke med zdravniki iz bolnišnice, v kateri je leta 1915 tudi umrla. Fotografski opus Nadežde Petrović sledi smernicam v Združenih državah Amerike in v Evropi, hkrati pa ustreza trendu intenzivnega vključevanja žensk v poklicno fotografijo. Za nekatere ženske je bilo fotografiranje tudi priložnost za umetniško izražanje. V šestdesetih letih 19. stoletja je pomembno delo Britanke Julie Margaret Cameron, veliko več fotografinj, fotografskih združenj in možnosti za razstavljanje pa je bilo v Združenih državah Amerike. Že do prvih desetletij 20. stoletja so se uveljavile fotografinje, na primer sestri Frances S. in Mary E. Allen, Chansonetta Emmons, Marie Hartig Kendall in Nancy Ford Cones, ki so svoja dela objavljale v reklamnih prilogah ameriških revij. Ženske fotografije so našle pot tudi v knjižno ilustracijo, v romane, otroške knjige, popotniško literaturo ter knjige o arhitekturi in narodopisju. Nekaj fotografinj je celo prevzelo povsem moška dela, denimo poročanje o gradnji Panamskega prekopa, ki jo je fotografirala Edith Hastings, ali pa reportažno fotografijo, ki so jo gojile Frances Benjamin Johnston, Jessie Talbox Beals in Harriet Chalmers Adams. Slednja je bila tudi edina časnikarica, ki ji je bil dovoljen dostop na bojišča prve svetovne vojne. Zaida Ben-Yusuf je bila 146
PHOTOGRAPHY AS AN (E)VOCATION OF THE PAINTER. FORGOTTEN HOBBY OF NADEŽDA PETROVIĆ
med prvimi, ki so konec 19. stoletja prepoznali možnosti umetniške interpretacije fotografije. Motive za svoje fotografske portrete je prevzemala iz sodobnega slikarstva. Skupaj s Frances Benjamin Johnston je leta 1898 razstavila fotografije v newyorškem fotografskem klubu. Tudi številne druge ameriške fotografinje, npr. Gertrude Käsebier, Mathilde Weil in Catharine Barnes Ward, so na svojih fotografijah z inscenacijo, osvetljavo, ekspresivnostjo in celotnim vzdušjem parafrazirale priljubljena dela iz starejše pa tudi iz sodobne umetnosti. V Veliki Britaniji je predstavljalo prelomnico v razvoju ženske fotografije odprtje ateljeja fotografinj Alice Garstin in Dore Antrobus, zares pa se je ženska fotografija uveljavila šele okrog 1910. V Franciji je bilo pomembno delo Laure Albin Guillot in Adeline Boutain, katerih trenutni posnetki francoskih mest so bili natisnjeni na razglednicah. Na Dunaju je Minya Diez-Dührkoop snemala portrete žensk v čudnih pozah, poklicno pa je bila priznana kot portretistka pomembnih umetnikov, literatov in industrialcev. Slovel je tudi atelje Dore Kallamus, poznane kot Madame D’Ora, odprt leta 1907; njene fotografije so pogosto replicirale slike starih mojstrov in Gustava Klimta. Tudi na Danskem je delovalo več fotografinj, med njimi Amalie/Emma Claussen in Mary Dorothea Frederica Steen. Številne fotografinje iz plemiških krogov, denimo Loredana da Porto Bonin, angleška princesa (pozneje kraljica) Aleksandra, avstrijska nadvojvodinja Marija Terezija, nemška cesarica Augusta Victoria in črnogorska princesa Ksenija, so svoje fotografije objavljale v revijah, vendar se s fotografijo niso ukvarjale poklicno. V slovanskih deželah so bile poleg Nadežde Petrović tudi druge fotografinje, med njimi slikarka Ivana Kobilca v Sloveniji in Mara Bogdanović, ki je imela fotografska ateljeja v Zagrebu in Beogradu; tem umetnicam je skupno, da so se za fotografijo začele zanimati v Münchnu. Pomembno vlogo pri izobraževanju žensk v fotografiji je v Münchnu imela Wanda von Debschitz-Kunowski, ki je s svojo naklonjenostjo umetniškim eksperimentom pomembno zaznamovala čas med letoma 1904 in 1914, ko je na Debschitzevi šoli predavala o umetniškem izrazu v fotografiji. V Združenih državah Amerike je bil fotografinjam v veliko spodbudo Alfred Stieglitz. Vplivna fotografska združenja, kot sta Photo-Seccesion v ZDA in Linked Ring v Veliki Britaniji, so favorizirala poklicno fotografijo, Stieglitzeva revija Camera Work in galerija 291 pa sta predstavljali dela fotografinj. Ne glede na različne emocionalne vidike in na raznolikost tematike kaže fotografski opus Nadežde Petrović njen izjemni pomen za zgodovino srbske fotografije, predvsem pa jo opredeljujejo kot prvo srbsko umetnico, ki se je fotografiji posvečala vztrajno in predano. Pri fotografskem delu je Petrovićeva sledila sočasnim umetnostnim tendencam, kar daje nov aspekt njenemu delu in njenemu prispevku k srbskemu modernizmu. Čeprav se je srbska fotografija kot obrt in umetnost razvijala sočasno z razcvetom v velikih središčih Evrope in ZDA, ugled pa so ji ustvarile predvsem poklicne fotografinje, ostaja Nadežda Petrović med največjimi začetnicami te umetnostne zvrsti.
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APPARATUS
ACTA HISTORIAE ARTIS SLOVENICA 21|1 ∙ 2016, 191–194
Izvlečki in ključne besede Abstracts and key words
Jasna Jovanov Fotografija kot izziv. Pozabljeni konjiček Nadežde Petrović
Jasna Jovanov Photography as an (E)Vocation of the Painter. Forgotten Hobby of Nadežda Petrović
Nadežda Petrović (1873–1915) je v srbski umetnostni zgodovini poznana kot slikarka, umetnostna kritičarka, organizatorica razstav in ustanoviteljica umetnostnih združenj. Bila je velika domoljubka, na bojiščih balkanskih vojn in prve svetovne vojne je delovala kot negovalka in fotografinja. Med študijem v Münchnu (1898– 1903) je kupila Kodakovo kamero in začela fotografirati. S fotografiranjem najrazličnejših žanrov je nadaljevala tudi po vrnitvi domov. Njena fotografska zapuščina razkriva značilen likovni koncept in slog, pravo umetniško osebnost. Ko je fotografirala, je skozi objektiv zrla z očmi umetnice in upoštevala načela piktorializma. Prispevek izpostavlja pomen njene fotografske zapuščine, njeno umetniško vrednost in pionirsko vlogo Petrovićeve v sočasni srbski in svetovni ženski fotografiji.
In Serbian art history Nadežda Petrović (1873–1915) is known as a painter, art critic, organiser of art exhibitions, founder of art associations. She was a great patriot. She participated in the Balkan Wars and WWI as a nurse, but she also took photographs of the battlefields. During her studies in Munich (1898–1903), she bought a Kodak camera and created her first photographic works, while back home she continued to photograph a variety of subjects. The photographic legacy of Nadežda Petrović reveals the presence of a distinct pictorial concept and style, in other words, her artistic personality. While taking photographs, she watched the world through the camera with the eye of an artist, accepting the principles of pictorialism. The aim of this paper is to highlight the importance of her photographic legacy, its artistic value, the pioneering role of Nadežda Petrović among women photographers in contemporary Serbian and worldwide women’s photography, and the way those photographs reveal her personality.
Ključne besede: Nadežda Petrović, fotografija, piktorializem, ženska fotografija
Key words: Nadežda Petrović, photography, pictorialism, woman photographers
Tina Košak Slikarska oprema kartuzije Bistra v 18. stoletju po samostanskih inventarjih
Tina Košak Picture Furnishings of Bistra Charterhouse in 18th Century Inventories
Prispevek analizira v inventarjih dokumentirano slikarsko opremo kartuzije Bistra v 18. stoletju v širšem kontekstu pomena, vloge in funkcije slik v rezidenčnih samostanskih prostorih, njihove vrednosti in zgodovine
The article analyses records of paintings in the inventories of Bistra Charterhouse in the 18th century and discusses the significance, role and function of paintings in the residential premises of the charterhouse with regard 191
IZVLEČKI IN KLJUČNE BESEDE / ABSTRACTS AND KEY WORDS
192
okusa. Od začetka 18. stoletja do razpusta samostana leta 1782 se je število slik v samostanu Bistra izrazito povečalo. Njihovi opisi v štirih ohranjenih inventarjih kažejo, da so na slikarsko opremo samostana in njeno umestitev v prostor pomembno vplivale tako sočasne zbirateljske prakse kot tudi osebne preference priorjev. Po prevzemu kartuzije so novoizvoljeni priorji slikarska dela, ki so v času njihovih predhodnikov krasila zasebne in rezidenčne prostore, sicer praviloma obdržali, a jih pogosto prestavili v druge prostore, obenem pa izbor na stenah po lastnem okusu obogatili z novimi slikami. Del slikarske zapuščine kartuzije Bistra je bil leta 1782 prodan na dražbah. Na podlagi podatkov o kupcih, pridobljenih v licitacijskih zapisnikih, prispevek odpira tudi vprašanje usode slik po ukinitvi kartuzije.
to their value and history of taste. Between the first decade of the 18th century and 1782, the number of paintings in the residential premises of the charterhouse increased significantly. The newly elected priors normally retained the picture furnishings of their predecessors, but changed the display and also acquired new paintings to meet their own taste. The landscapes and still lifes which in the second quarter of the 18th century joined imperial portraits, allegories and histories on the charterhouse walls, and steadily increased in number thereafter, testify to the influence of general collecting practices in furnishing the charterhouse’s residential premises. After the suppression of the charterhouse, a number of paintings from Bistra were sold at auction. Based on the names of buyers extracted from auction records, the article addresses the question of the destiny of paintings after 1782.
Ključne besede: slikarstvo, 18. stoletje, samostani, kartuzija Bistra, zbirke, zgodovina okusa, inventarji, dražbe
Key words: painting, 18th century, monasteries, Bistra Charterhouse, picture furnishings, taste, inventories, auctions
Primož Lampič Mariborski krog. Dejstva, interpretacije in nekatere smeri morebitnih nadaljnjih raziskav
Primož Lampič The Maribor Circle. Facts, Interpretations and Some Possible Lines of Further Investigation
V članku so povzeta dejstva o avantgardno-modernistični fotografski skupini Mariborski krog, ki je nastala ob koncu šestdesetih let 20. stoletja v okviru Foto-kino kluba Maribor in se prvič predstavila javnosti na odmevni razstavi februarja 1971 v Razstavnem salonu Rotovž v Mariboru. Predstavljeni so glavni avtorji in pridruženi člani, glavne tehnične in konceptualne značilnosti ter inovativni prispevek njihovih del, najpomembnejši sodobni govorci, pisci in kritiki, ki so spremljali njihovo delo. Članek se konča z nekaterimi interpretacijami iz časa po letu 1980, zlasti tistimi, ki so nastale v okviru postmodernističnega obrata v umetnosti 20. stoletja in raziskovanja umetnostnih avantgard, in s predlogi za nekatere nadaljnje možne raziskave. Treba bi bilo poglobiti védenje o pogojih delovanja, o nosilcih in dejavnostih Mariborskega kroga, s čimer bi postopoma pridobili tudi podatke za ta segment politične zgodovine slovenske umetnosti v letih 1945–1991, ki smo jo v Sloveniji šele začeli pisati.
This article presents an overview of the Slovenian avantgarde-modernistic photographic group known as the Maribor Circle, which was formed in the late 1960s in the Maribor Photo-Cinema Club. The group presented itself for the first time in February 1971 in the Exhibition Hall of Rotovž in Maribor. The author discusses the main authors and associated members of the club as well as the defining technical and conceptual characteristics of their work and the innovative contributions they made. The article also presents the names and views of key contemporary thinkers, writers and critics on the Circle as well as post-1980 interpretations of their work, i.e., those written after the postmodern twist of 20th century art, and those concerning the research of artistic avant-gardes. Some possible lines of further research are suggested, such as the need to more fully investigate the conditions in which the Circle worked, its members, their work and their other activities. It is hoped that this would provide a picture of this period to contribute to our newly-forged understanding of the political history of Slovenian art in 1945–1991, during the Communist regime.
Ključne besede: slovenska fotografija, Mariborski krog, slovenska avantgarda, slovenska umetnost, Ivan Dvoršak, Zmago Jeraj, Janko Andrej Jelnikar, Branko Jerneić, Foto-kino klub Maribor, politična zgodovina slovenske umetnosti
Key words: Slovenian photography, Maribor circle, Slovenian avantgard, Slovenian art, Ivan Dvoršak, Zmago Jeraj, Janko Andrej Jelnikar, Branko Jerneić, Maribor Photo-Cinema Club, political history of Slovenian art
IZVLEČKI IN KLJUČNE BESEDE / ABSTRACTS AND KEY WORDS
Ana Lavrič Sv. Ciril in Metod v slovenski umetnosti. Ikonografski, verski in narodni vidik
Ana Lavrič Sts. Cyril and Methodius in Slovene Art. Iconographic, Religious and National Aspects
Prispevek opozarja na širjenje in občasne kulminacije češčenja in upodobitev svetih bratov z vidika narodno konstitutivne in narodnoobrambne vloge sakralne umetnosti. Osredotoča se predvsem na izbrana dela, ki zaznamujejo pomembne postaje v napredovanju kulta in narodovi zgodovini, že znanim dodaja nekaj doslej neopaženih, posveča pa se tudi njihovim formalnim izhodiščem in ikonografskim posebnostim. Ob primerjavi s tujim gradivom ugotavlja, da je v slovenskih upodobitvah opazen zlasti vpliv čeških predlog.
The paper draws attention to the spread and periodic variations in the worship, as well as the depictions, of the two holy brothers from the perspective of their nationally constitutive and protective roles in sacred art. It focuses on selected works of art which mark important stages in both the growth of the cult and in national history and adds a number of hitherto overlooked works to those already known. It also discusses their formal origin and their specific iconographic features. The paper also points out that Slovenian works depicting the holy brothers mainly demonstrate the influence of their Bohemian counterparts.
Ključne besede: upodobitve sv. Cirila in Metoda, svetniška ikonografija, slovenska umetnost, narodni vidik umetnosti, umetnostna propaganda
Key words: depictions of Sts. Cyril and Methodius, iconography of Saints, Slovenian art, national aspect of religious art, art propaganda
Franci Lazarini Klemen grof Brandis − politik in umetnostni naročnik
Franci Lazarini Clemens Count of Brandis − Politician and Art Patron
Prispevek z vidika umetnostnega naročništva obravnava eno vidnejših avstrijskih političnih osebnosti predmarčne dobe, Klemena grofa Brandisa (1798−1863). Potomec znane tirolske plemiške rodbine, ki je imela posesti tudi na Spodnjem Štajerskem, je bil kot tirolski guverner in deželni glavar ter kasneje kot vrhovni dvorni mojster »odstopljenega« cesarja Ferdinanda I. aktiven tudi na področju umetnostnih naročil. Z njim so poleg nekaterih posegov v sklopu innsbruškega Hofburga (oprema guvernejeve pisarne in Poletna hiša, zdaj predelana v umetnostni paviljon) mdr. povezane stavbe Tirolskega deželnega muzeja Ferdinandeuma, Tirolskega deželnega gledališča in samostana karmeličank v Innsbrucku ter prenova dvorcev Zákupy in Ploskovice na Češkem za potrebe Ferdinandovih letnih rezidenc. Pečat pa je pustil tudi na sedanjem slovenskem ozemlju, kjer je njegov najpomembnejši prispevek prezidava dvorca Slivnica, v katerega se je preselil po neprostovoljnem odhodu iz javnega življenja.
The article discusses a notable Austrian politician of the Vormärz, Clemens Count of Brandis, (1798−1863) and his role as art patron. Brandis was a member of the famous Tyrolean aristocratic family, who, among others, owned several estates in Lower Styria. As a governor and Landeshauptmann of Tyrol, and later Obersthofmeister of Emperor Ferdinand I., he was active also as an art patron. As well as commissions for the Hofburg in Innsbruck (furnishing the governor’s office, Summer House, now Art Pavilion, etc.) he also commissioned the buildings of the Tyrolean Provincial Museum Ferdinandeum and the Tyrolean Provincial Theatre as well as the convent of Carmelites, all in Innsbruck, while he also led the rebuilding of the Zákupy and Ploskovice mansions in Bohemia which became Ferdinand’s summer residences. He also left his mark on present-day Slovenia, where his most important commission was the rebuilding of Slivnica mansion, Brandis’ residence after leaving public life.
Ključne besede: Klemen grof Brandis, predmarčna doba, 19. stoletje, Tirolska, Češka, Štajerska, Innsbruck, Zákupy, Ploskovice, Maribor, Celje, Slivnica pri Mariboru, dvorci, sakralna arhitektura, cerkveni redovi, javne stavbe, klasicizem, historizem, plemstvo, naročništvo
Key words: Clemens Count of Brandis, Vormärz, 19th century, Tyrol, Bohemia, Styria, Innsbruck, Zákupy, Ploskovice, Maribor, Celje, Slivnica pri Mariboru, mansions, sacral architecture, religious orders, public buildings, classicism, historicism, nobility, artistic patronage
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IZVLEČKI IN KLJUČNE BESEDE / ABSTRACTS AND KEY WORDS
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Katarina Šmid Umetnostnozgodovinski in klasičnoarheološki pristop v raziskovalnem delu Rajka Ložarja (1904–1985)
Katarina Šmid Art-historical and Classical Archaeological Approach in the Work of Rajko Ložar (1904–1985)
Slovenski umetnostni zgodovinar in arheolog Rajko Ložar v Sloveniji ni pustil veliko sledov v razvoju obeh temeljnih humanističnih strok, saj je takoj po koncu druge svetovne vojne emigriral v Združene države Amerike. V svojem znanstvenem pisanju, ki je zgoščeno na predvojno dobo, se je v primarno arheoloških besedilih naslonil predvsem na Arnolda Schoberja in preko njega na dunajsko umetnostnozgodovinsko šolo, zlasti Aloisa Riegla, v pretežno umetnostnozgodovinskih besedilih pa se na drugi strani opazi močan naslon na Ložarjevega učitelja Izidorja Cankarja.
Slovenian art historian and archaeologist Rajko Ložar had little impact on the development of either art history or archaeology in Slovenia, as by the end of World War II he had emigrated to the United States of America. In his major classical archaeological texts, the main point of reference was Arnold Schober and through him the Vienna School of Art History (especially Alois Riegl), while in his work on art history, references to Ložar’s teacher, Izidor Cankar, stand out.
Ključne besede: Rajko Ložar, Arnold Schober, Izidor Cankar, Alois Riegl, umetnostna zgodovina, arheologija, ornament, terminologija
Key words: Rajko Ložar, Arnold Schober, Izidor Cankar, Alois Riegl, art history, archaeology, ornament, terminology
Polona Vidmar Slike in slikane tapete naročnika Janeza Karla grofa Gaisrucka za dvorec Novo Celje
Polona Vidmar Paintings and Painted Wall Hangings Commissioned by Johann Karl Count of Gaisruck for the Neu-Cilli Mansion
V prispevku so obravnavane slike in slikane tapete, ki jih je naročil Janez Karel grof Gaisruck (1714–1770) za opremo svojih dvorcev Novo Celje in Turnišče. Slikarska naročila so predstavljena v kontekstu naročnikove življenjske zgodbe in njegovega finančnega položaja. Pri ponovni preučitvi arhiva fidejkomisa Gaisruck v Štajerskem deželnem arhivu se je izkazalo, da je za grofa Janeza Karla in njegovega starejšega brata Antona delovalo pet slikarjev: Johann Baptist Anton Raunacher, Franz Josef Reich, Johann Franz Petumfill, Anton Jožef Lerchinger in Josef Cassian Gasser. Prispevek prinaša novo interpretacijo Gasserjevih portretov v slavnostni dvorani in slikanih tapet iz treh sob dvorca Novo Celje. Avtorica ugotavlja, da je bilo reprezentiranje z lojalnostjo Mariji Tereziji, ki je bilo doslej poudarjeno v literaturi, pri naročilih grofa Janeza Karla manj pomembno kakor reprezentiranje z lastno življenjsko zgodbo.
The paper discusses paintings and painted wall hangings commissioned by Johann Karl Count of Gaisruck (1714–1770) for his Neu-Cilli and Turnisch mansions. The commissions of paintings and wall hangings are considered with reference to the patron’s biography and his financial situation. Research of the Gaisruck Fideikommiss archive in the Styrian Provincial Archives has revealed that Count Johann Karl and his elder brother Anton engaged a total of five painters: Johann Baptist Anton Raunacher, Franz Josef Reich, Johann Franz Petumfill, Anton Josef Lerchinger and Josef Cassian Gasser. The paper sheds light on the Gaisruck portraits by Josef Cassian Gasser in the main hall of the NeuCilli Mansion and on the canvas wall hangings in three rooms of the same mansion. The author argues that expressing loyalty to Maria Theresia, which has been emphasized in the existing literature, was less significant for Count Johann Karl’s art commissions than presenting aspects of his own biography.
Ključne besede: Novo Celje, Anton grof Gaisruck, Janez Karel grof Gaisruck, Johann Baptist Anton Raunacher, Franz Josef Reich, Johann Franz Petumfill, Anton Jožef Lerchinger, Josef Cassian Gasser, umetnostno naročništvo, baročno slikarstvo
Key words: Neu-Cilli, Anton Count Gaisruck, Johann Karl Count Gaisruck, Johann Baptist Anton Raunacher, Franz Josef Reich, Johann Franz Petumfill, Anton Josef Lerchinger, Josef Cassian Gasser, art commissioners, Baroque paintings
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Sodelavci Contributors
Dr. Jasna Jovanov Spomen-zbirka Pavla Beljanskog Trg galerija 2 RS-21000 Novi Sad
[email protected] Doc. dr. Tina Košak ZRC SAZU Umetnostnozgodovinski inštitut Franceta Steleta Novi trg 2 SI-1000 Ljubljana
[email protected] Dr. Primož Lampič Muzej za arhitekturo in oblikovanje Pot na Fužine 2 SI-1000 Ljubljana
[email protected] Dr. Ana Lavrič ZRC SAZU Umetnostnozgodovinski inštitut Franceta Steleta Novi trg 2 SI-1000 Ljubljana
[email protected]
Doc. dr. Franci Lazarini Filozofska fakulteta Univerze v Mariboru Oddelek za umetnostno zgodovino Koroška cesta 160 SI-2000 Maribor
[email protected] Doc. dr. Katarina Šmid Fakulteta za humanistične študije Univerze na Primorskem Titov trg 5 SI-6000 Koper
[email protected] Izr. prof. dr. Polona Vidmar Filozofska fakulteta Univerze v Mariboru Oddelek za umetnostno zgodovino Koroška cesta 160 SI-2000 Maribor
[email protected]
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Viri ilustracij Photographic credits
Jasna Jovanov 1, 4–8, 12: © Spomen-zbirka Pavla Beljanskog, Novi Sad. 2, 9: © Narodni muzej, Beograd. 3: © Virtuelni muzej srpske i svetske fotografije, www.fotomuzej.com. 10–11: © Vojni muzej, Beograd. Tina Košak 1, 5: © Umetnostnozgodovinski inštitut Franceta Steleta ZRC SAZU, Ljubljana (foto: Tina Košak). 2: Spominska knjiga ljubljanske plemiške družbe sv. Dizma, Ljubljana 2001. 3: © Narodna galerija, Ljubljana (foto: Bojan Salaj). 4: © Bibliotheca Metropolitana, Zagreb. Primož Lampič 1–6: © Muzej za arhitekturo in oblikovanje, Ljubljana. Ana Lavrič 1: © Umetnostnozgodovinski inštitut Franceta Steleta ZRC SAZU, Ljubljana. 2: http://www.servizio-fotografico-roma.com/demo5-ita/restauro/traslazione-relique-san-clemente. 3: https://commons.wikimedia.org/wiki/File:Emanuel_Max_-_Cyril_and_Methodius.jpg. 4, 5, 7, 9–11, 17, 21, 24, 37, 40, 42–43: © Umetnostnozgodovinski inštitut Franceta Steleta ZRC SAZU, Ljubljana (foto: Ana Lavrič). 6, 8, 14–16, 20, 22, 26, 27, 38: © Umetnostnozgodovinski inštitut Franceta Steleta ZRC SAZU, Ljubljana (foto: Andrej Furlan). 12–13, 28: © Umetnostnozgodovinski inštitut Franceta Steleta ZRC SAZU, Ljubljana (foto: Blaž Resman). 18: Ljubljanska škofija, Ljubljana 2011. 19, 39: Lojze Kozar ml. 23: V. Koršič Zorn, Tone Kralj, Gorica 2009. 25: Sakralna umetnost Toneta Kralja na Primorskem, Ljubljana 1998. 29, 30–33, 41: Damjan Prelovšek. 34: F. Grivec: Slovanska blagovestnika sv. Ciril in Metod 863–1963, Celje 1963. 35: Mater Ecclesiae – Presveta Bogorodica, 1, 1969. 36: Kregarjevo strmenje k nevidnim obalam, Ljubljana 2005. Franci Lazarini 1: Arhiv rodbine Lazarini. 2, 4−5: © Umetnostnozgodovinski inštitut Franceta Steleta ZRC SAZU (foto: Franci Lazarini). 3: Die profanen Kunstdenkmäler der Stadt Innsbruck, Wien 1972. 6: Damjan Prelovšek. 7−9: Igor Sapač. 197
VIRI ILUSTRACIJ / PHOTOGRAPHIC CREDITS
Katarina Šmid 1: Pretrgane korenine, Ljubljana 2005. 2: R. Ložar, Studien zu den römischen Sarkophagen von Noricum und Pannonien, Wien 1927 (tipkopis doktorske disertacije). 3–4: © Archiv der Universität Wien. Polona Vidmar 1, 3–4, 11, 13, 20, 22, 25, 26: © INDOK center Ministrstva za kulturo RS, Ljubljana (foto: France Stele). 2, 10: © Steiermärkisches Landesarchiv, Graz. 5–9: © Restavratorski center RS, Ljubljana (foto: Barbka Gosar Hirci). 12: © Hrvatski restauratorski zavod, Zagreb (foto: Miro Dvorščak). 14–15: © Hrvatski restauratorski zavod, Zagreb (foto: Ljubo Gamulin). 16: © Kunsthistorisches Museum (KHM-Museumverband), Wien. 17–19, 21, 23: © Pokrajinski muzej Ptuj - Ormož (foto: Boris Farič). 24: L. Baldass, Die Wiener Gobelinsammlung, Wien 1920. 27–28: © Narodni muzej Slovenije, Ljubljana (foto: Irma Langus Hribar). 29: Die Wittelsbacher und das Reich der Mitte, München 2009.
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Vsebina • Contents Tina Košak, Slikarska oprema kartuzije Bistra v 18. stoletju po samostanskih inventarjih • Picture Furnishings of Bistra Charterhouse in 18th Century Inventories Polona Vidmar, Slike in slikane tapete naročnika Janeza Karla grofa Gaisrucka za dvorec Novo Celje • Die Gemälde und bemalte Wandbespannungen unter Johann Karl Graf von Gaisruck für das Schloss Neu-Cilli Franci Lazarini, Klemen grof Brandis - politik in umetnostni naročnik • Clemens Count of Brandis - Politician and Art Patron Ana Lavrič, Sv. Ciril in Metod v slovenski umetnosti. Ikonografski, verski in narodni vidik • Sts. Cyril and Methodius in Slovene Art. Iconographic, Religious and National Aspects Jasna Jovanov, Photography as an (E)Vocation of the Painter. Forgotten Hobby of Nadežda Petrović • Fotografija kot izziv. Pozabljeni konjiček Nadežde Petrović Katarina Šmid, Umetnostnozgodovinski in klasičnoarheološki pristop v raziskovalnem delu Rajka Ložarja (1904–1985) • Art-historical and Classical Archaeological Approach in the Work of Rajko Ložar (1904–1985) Primož Lampič, Mariborski krog. Dejstva, interpretacije in nekatere smeri morebitnih nadaljnjih raziskav • The Maribor Circle. Facts, Interpretations and Some Possible Lines of Further Investigation
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UMETNOSTNOZGODOVINSKI INŠTITUT FRANCETA STELETA ZRC SAZU
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ACTA HISTORIAE ARTIS SLOVENICA 21|1 2016
Tone Kralj: Sv. Ciril in Metod, 1965, ž. c. sv. Cirila in Metoda, Brje (izrez)
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