| Přispěvatelé: |
Borozan, Igor, Brajović, Saša, Merenik, Lidija, Elez, Vesna, Simić, Vladimir |
| Popis: |
Francuski slikar Gistav Moro smatra se pretečom francuskog simbolističkog slikarstva u okviru čijeg opusa najveći broj dela zauzimaju slike sa antičkom tematikom. Moroovo stvaralaštvo pripada drugoj polovini 19. veka i na francuskoj umetničkoj sceni predstavlja svojevrsnu prekretnicu između tradicionalnog akademskog slikarstva i simbolističke umetnosti koja se javlja krajem veka. Kao akademski obrazovan slikar, Moro pristupa mitološkim temama na tradicionalan način oslanjajući se na literarne i istorijske izvore, ali ga njegova interpretacija mitova čini inovativnim. Polazeći od mita kao univerzalne priče o ljudskoj sudbini, Moro skreće pažnju na probleme savremenog čoveka druge polovine 19. veka, njegove strahove, fantazije i snove. Moroove antičke teme sagledavaju se kao originalna celina u okviru koje se ističe nekoliko osnovih tipologija junaka. Ikonografskom i ikonološkom analizom slike se razvrstavaju i grupišu, nakon čega se postavljaju u društveni okvir i kulturnu klimu u kojoj je umetnik stvarao. Prilikom analize i tumačenja dela korišćeni su literarni izvori, kritike pariskog Salona, komentari naručioca, kolega i prijatelja Gistava Moroa kao i lične beleške samog slikara. Sagledavajući Moroove antičke teme kao celoviti proizvod društvenih normi, kulturnih težnji epohe i umetnikovih subjektivnih ideja i vizija dolazi se do zaključka da je slikar težio da prikaže tri velike teme ljudske istorije: heroje i herojsku sudbinu, zle fatalne žene i posledice njihove lepote i surovosti i borbu dualiteta. U okviru svake veće celine uočava se nekoliko manjih, pa se tako među Moroovim predstavama heroja prepoznaju heroji buntovnici, kažnjeni heroji i heroji umetnici, fatalne heroine su boginje, čarobnice ili sirene, a borba dualiteta prikazana je kroz borbu polova, tj. duha i materije. Analizom slika dolazi se do zaključka da je najčešće interpretirana tema u okviru mitoloških kompozicija pobeda duha nad materijom. Predstavljanjem antičkih tema Moro je isticao sopstvenu veru u vrline i ideale i moć umetnosti da opomene, poduči i oplemeni društvo i pojedinca. The French painter Gustave Moreau is considered to be the herald of the French symbolism art movement, whose opus mostly contains paintings with classical themes. Moreau’s works stem from the second half of the 19th century, and represent a crossroads between the traditional academic art form and the Symbolism movement which was formed at the end of the century. As an academically educated painter, Moreau approaches the mythological themes in a traditional matter, relying on literary and historic sources, but it’s his interpretation of the myths that make him innovative. Starting from the myths as universal stories about human destiny, Moreau draws attention to the problems, fears, fantasies and dreams of the modern man of the 19th century. Moreau’s classical themed paintings are seen as a separate whole of his works, distinguishing some basic typological heroes. The paintings are divided into smaller groups via iconographic and iconological analysis, after which they are put into the social frame and cultural climate of the period of their making. During the analysis and interpretation of the paintings, literal sources, critiques of The Paris Salon, comments of the clients, colleagues and friends of Gustave Moreau have been used, as well as the painter’s notes. Looking at Moreau’s classical themes as a product of the social standards, cultural aspirations of the epoch, and the artist’s subjective ideas and visions, the conclusion has been made that the painter tended to display three grand themes of the human history: heroes and heroic destiny, evil, fatal women and the consequences of their beauty and cruelty, and battle of dualities. Amongst every bigger part, a few smaller ones can be noted - and so Moreau’s representation of heroes can be divided into rebellious ones, martyrs and artists; the fatal heroines are goddesses, sorceresses or sirens; the battle of dualities is shown through battle of the sexes, i.e. spirit and matter. Analyzing the paintings, the conclusion has been made that the most common of the themes in the mythological compositions is the victory of spirit over matter. Moreau’s own belief in virtue, ideals and the power of art to warn, teach and ennoble the society stand out in his representation of classical themes. |
