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Nadrealizam kao individualna poetika. O nadrealističkim obilježjima u hrvatskoj međuratnoj umjetnosti


Prelog, Petar
Nadrealizam kao individualna poetika. O nadrealističkim obilježjima u hrvatskoj međuratnoj umjetnosti // L'Avant-Garde: de Dada au Surrealisme/Avangarda: od dade do nadrealizma / Jović, Bojan ; Novaković, Jelena ; Todorović, Predrag (ur.).
Beograd: Institut za knjuiževnost i umetnost, Muzaj savremene umetnosti, 2015. str. 55-66 (pozvano predavanje, međunarodna recenzija, cjeloviti rad (in extenso), znanstveni)


Naslov
Nadrealizam kao individualna poetika. O nadrealističkim obilježjima u hrvatskoj međuratnoj umjetnosti
(Surrealism as Individual Poetics. About Surrealist Features of Croatian Interwar Art)

Autori
Prelog, Petar

Vrsta, podvrsta i kategorija rada
Radovi u zbornicima skupova, cjeloviti rad (in extenso), znanstveni

Izvornik
L'Avant-Garde: de Dada au Surrealisme/Avangarda: od dade do nadrealizma / Jović, Bojan ; Novaković, Jelena ; Todorović, Predrag - Beograd : Institut za knjuiževnost i umetnost, Muzaj savremene umetnosti, 2015, 55-66

ISBN
978-86-7095-221-8

Skup
L'Avant-Garde: de Dada au Surrealisme/Avangarda: od dade do nadrealizma

Mjesto i datum
Beograd, Srbija, 22-23.05.2014.

Vrsta sudjelovanja
Pozvano predavanje

Vrsta recenzije
Međunarodna recenzija

Ključne riječi
Hrvatska moderna umjetnost; nadrealizam; avangarda; Krsto Hegedušić; Miroslav Krleža; Leo Junek; Željko Hegedušić; Josip Seissel; Željko hegedušić
(Croatian modern art; surrealism; avant-garde; Krsto Hegedušić; Miroslav Krleža; Leo Junek; Željko Hegedušić; Josip Seissel)

Sažetak
During the interwar period, Croatian society was oriented towards traditional values in culture and visual arts which, in turn, hindered radical avant-garde tendencies from taking deeper root, as well as the formation of powerful and influential avant-garde movements. Therefore, certain features of a variety of avant-garde poetics were transfigured and incorporated into mainstream Croatian art thus creating the dominant climate of moderate modernism. In comparison with, for example, Serbian art – where surrealism was an important movement which, in Europe, received a substantial reception – in Croatia, surrealist art appeared as a product of individual endeavors, without a manifesto, program or collective agency. The reasons for this were manifold. First and foremost, the well-articulated Belgrade’s wave of surrealism could not effectively be relegated to Zagreb due to a lack of strong cultural ties that were strictly maintained on individual basis. Furthermore, the writer Miroslav Krleža – one of the leading opinion-makers of the interwar Croatian culture – was not generally inclined towards the avant-garde manifestations in visual arts, nor was he particularly fond of surrealist theoretical tenets. In addition, the broader cultural public of the interwar Croatia considered the Dadaist activism of Dragan Aleksić as an outburst without serious consequences. Therefore, without a strong Dadaist base, there were no real prospects of establishing a collective surrealist platform that would make a greater impact on the national cultural scene of that time. Consequently, up until the end of the nineteen sixties, Croatian art history did not recognize nor evaluate the surrealist episodes in the oeuvres of Croatian artists. It was only after the studies of the art historian Igor Zidić, and the subsequent general analysis and evaluation of avant-garde tendencies in the interwar period, that the surrealist works of several Croatian artists were granted a prominent place within the framework of Croatian modern art. In this respect, we have to primarily take into account the artists’ personal affinities towards surrealist poetics and, only secondarily, their artistic influences because the latter approach would result in an unambiguous introduction of surrealist practices into one's work. In consequence, the results were diverse and appeared simultaneously with other formative elements of individual oeuvres. The referenced works are those of Leo Junek, Željko Hegedušić, Marijan Detoni, Vanja Radauš, Antun Motika and Drago Ivanišević. A part of Josip Seissel's oeuvre is especially valuable since it represents one of the pinnacles of surrealism in Croatian art. Also, the cooperation of Krsto Hegedušić with Marko Ristić – one of the most prominent protagonists of Serbian surrealism – engendered Hegedušić's drawings with characteristic surrealist features. In this regard, it can be concluded that surrealism in its various manifestations was undoubtedly present – sometimes even explicitly prominent – in Croatian interwar art. Therefore, it is a logical antecedent of the outstanding postwar surrealist achievements in the oeuvres of many Croatian artists. Although a surrealist position in Croatian interwar art was not amongst the dominant ones – it can primarily be interpreted as a collection of episodes, and not as a complete narrative – the individual approach to the surrealist poetics stands as proof that the response of a particular cultural space to a specific avant-garde event does not always have to manifest in the same way and form and, accordingly, does not have to have the same structure of artistic and social meaning. Therefore, the diverse and often opposing reactions of Croatian artists to surrealism – that is, the lack of collective agency, manifestos or public proclamations – are important factors to take into account because without acknowledging them, it would be difficult to analyze the corpus of Croatian modern art in its entirety.

Izvorni jezik
Hrvatski

Znanstvena područja
Povijest umjetnosti



POVEZANOST RADA


Ustanove
Institut za povijest umjetnosti, Zagreb

Autor s matičnim brojem:
Petar Prelog, (226672)