Korčulanski fotograf Jakov Peručić i njegove zbirke fotografija

Autor: Tonko Barčot, Maro Grbić
Jazyk: chorvatština
Rok vydání: 2017
Předmět:
Zdroj: Arhivski vjesnik
Volume 60
Issue 1
ISSN: 1848-3143
0570-9008
Popis: Početkom 21. stoljeća Tonči Baždarić spasio je s otpada oko tisuću negativa na staklu korčulanskog fotografa Jakova Peručića i većinu ih donirao Arhivskomu sabirnomu centru Korčula-Lastovo 2013. godine. Digitalizacijom doniranih negativa započelo je i arhivsko istraživanje o životnom putu tog Korčulanina i dosad malo poznatog fotografa. Kao plod dvogodišnjeg istraživanja, autori u tekstu daju prikaz dosad skupljenih podataka o njegovu životu i stvaralaštvu, koje se može podijeliti u tri faze: južnoameričku od kraja 19. stoljeća do 1911.(?), korčulansku od 1911. do 1921. te zadarsku od 1921. do 1933., o kojoj je već pisao Abdulah Seferović. Uz nepoznate biografske podatke, koje su dobrim dijelom crpili i iz samih fotonegativa, autori su opisali Zbirku fotografija Jakova Peručića u Arhivskom sabirnom centru Korčula-Lastovo, kao i dio Peručićevih negativa koji se čuva u privatnom vlasništvu Vicka Ivančevića. U tekstu je dana i kraća analiza Peručićeva fotoopusa te se zaključuje kako je Peručićeva fotografija ne samo prvorazredni dokument vremena za prijelaz 19. u 20. stoljeće u Čileu i Argentini, razdoblje Prvog svjetskog rata i Prve talijanske okupacije u gradu Korčuli (1918.–1921.), te uopće povijest svakodnevice početka 20. stoljeća, nego i važno otkriće za povijest hrvatske fotografije.
At the beginning of the 21st century Tonči Baždarić salvaged from junk circa 1000 glass negatives of the Korčula photographer Jakov Peručić and donated most of them to the archival remote storage Korčula-Lastovo in 2013. With the digitization of the donated negatives also began the archival research about the life of this Korčula native and hitherto little known photographer. The renowned photograph historian from Zadar, Abdulah Seferović, was the first to write about him. In his texts from 1987 he wrote about his Zadar life phase and indicated the possibility of earlier Chile and Korčula phase. Leaning on his notions the authors of this article, after spending two years in research, gathered numerous unknown biographical information on Peručić from records and they also digitized his glass negatives. Based on the gathered information and by analysing digital copies the authors outlined his activities through three phases: the South American from the end of the 19th century to 1911(?), the Korčula phase from 1911 to 1921 and the Zadar phase from 1921 to 1933, which was already written about by Seferović. His stay in Chile on the turn of the 19th to 20th century is important, because it acquainted him with the photograph and the latter will become his professional life choice. Besides the majority of photographs of Punta Arenas, Peručić also photographed the Argentine harbour Puerto Madryn at the beginning of the 20th century. On the eve of the First World War he opened the first photographer’s studio in the city of Korčula and shot numerous portraits of citizens and stationed soldiers. This is particularly true for the period of the Italian occupation (1918–1921), during which Peručić was not only a craftsman-photographer, but also a documentarist and the propagator of Italianism. After the Italian government left Korčula in 1921, Peručić also left this place of his birth and took refuge in the Italian Zadar. Here he opened a new photographer’s studio which will be completely taken over by his nephew Ivan Jeričević in the 1930s. Jakov Peručić died in Zadar in 1952. Besides the overview of his biographical information, the authors also described Jakov Peručić’s Collection of Photographs that is kept at the remote storage Korčula-Lastovo, as well as the part of his negatives kept in the private ownership of Vicko Ivančević. They also described the digitization process, all the misgivings that occurred during it and showed the structure of the digitized collection. The text also gives the analysis of Peručić’s photographic opus, and concludes that his photography, despite visible handiness and carelessness pertaining to more than a few negatives, is not only a first class document of time for the turn of the century in Chile and Argentina, the period of the First World War and Italian occupation in the city of Korčula, general everyday history of the beginning of the 20th century, but also an important discovery for the history of the Croatian photography, due to numerous excellent portraits.
Databáze: OpenAIRE
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