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art historian, ?ragujevac
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TNE GROTESQUES OF IVAN TABAKOVI? AND OTON POSTRUNIK : FROM "TNE GRAPHIC EXNIBITION" TO ESABLISHING TNE ARTISTIC GROUP "ZEMLJA"
Journal 6/2010 (Museum of Applied Art), pages 75-80
UDC:
75.071.1:929 ????????? ?.; 75.071.1:929 ???r?????? ?.
743.049.1(497.5)"19"
Abstract (original language):
? ????????????? ? ?????????????? ??????????, ???????? ? ??????? ????????? ???????? ??????? 1926. ??????, ?? ?? ????????? ????? ????? 1929. ??????, ???? ?? ?????????? ??????? ? ????????? ?????? ??????? ???????? ????????? ?????????? ?????????. ????????? ? ?????????? ?? ????? ??????, ????????? ???? ????? ????????? ????????? ???????? ???? ?? ??? ?? ????? XIX ???? ? ???????????? ??????? ?? ??????????? ????????? ???????????, ? ?? ?????, ??? ????????? ????? ???? ??? ???? ??????????? ?????????? ???? ?????? ?????????? ??????? ???????????, ??????? ? ??????? ???????? ?????????? ?? ?? ?????? ? ??????? ????????? ?????????? ???????? ????????? ???????? ???????. ??? ?? ? ??????? ?? ???????, ? ?? ???????; ??? ??? ?? ?????????? ?????? ???????, ? ?? ???? ? ?????? ????????? ????????; ??? ???? ??????? ??????????, ??? ??????? ???????? ? ???????? ?????????? ????????. ???????? ????????? ? ?????? ????????????? ? ?????????????? ????????, ????????? ??????????? ? ???????? ??????????? ?? ?? ??? ?? ???????? ??????? ????????????? ????? ????????? ??????? ? ??????? ???????, ????????? ?? ?????? ????????? ?????? ? ????????? ???????? ???? ?? ?? ???????? ????????? ? ????????????? ????????? ????????? ?????????? ????? ?????, ??? ?????? ???????. ?????????-???????? ???????? ?????????? ? ??????????? ???????????? ?? ????????? ? ?????? ????????????? ?????????, ????????? ??????????? ?????????? ??????????.
Key words: (original language)
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Summary:
Important encouragement in shaping socially engaged art in Croatia in the mid 1920s came from Ivan Tabakovi? and Oton Postrunik. Their art production, followed by "The Graphic Exhibition" in 1926, all the way to establishing the ideologically proliferated program based group "Zemlja" was b? no means only and directly burdened b? political dogmatism and art pragmatism. On one hand, Tabakovi? and Postrunik belonged to ? wide group of Croatian artists permanently searching for national and cultural identity at the end of 20th century. On the other hand, they belonged to the milieu of not so numerous artists, who were led by positive human values, ethic and human principles, and who were trying to get actively involved in the critique of current social problems of their own society. Tabakovi? and Postrunik promoted and / or surpassed art practice of that time b? their awareness of necessity for changing the perspective of observing and recording social factors. Regardless of their status and class, the focal point of these two artists was the "man" presented through their grotesques, and exposed to the last vice, clearly depicting society, and implicitly referring to relationships within Croatian society in the 1920's. Socially motivated and critically directed graphic sketches and drawings of Ivan Tabakovi?'s and Oton Postrunik's grotesques, confronted the taste of bourgeois audience and art critique ever since the Graphic exhibition, pointing towards possible ideological conflict and artistic controversies that would deepen and became ? current issue three years later, after establishing socially engaged group "Zemlja". One should mention that their socially criticizing grotesques came very close to the most contemporary tendencies and practices of socially engaged art of German group "Neue Sachlicheit': that established its program in 1925.
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