The Spirit of Munich in the Symbolism of Marko Murat

Autor: Jasna Jovanov
Jazyk: chorvatština
Rok vydání: 2012
Předmět:
Zdroj: Peristil : zbornik radova za povijest umjetnosti
Volume 55
Issue 1
ISSN: 1849-6547
0553-6707
Popis: Jedan od manje istraživanih, a vrlo prisutnih utjecaja minhenske slikarske Akademije na slikarstvo srednje Europe, s naglaskom na slikarstvo južnoslavenskih naroda, na prijelazu iz 19. u 20. stoljeće predstavlja utjecaj simbolističke poetike. Značajan broj profesora minhenske Akademije, relevantnih za navedenu temu, na različite načine u svoje je slikarstvo uključivao simbolističku praksu. Slikari srednje Europe, a naročito stvaraoci kojima je prodrijetlo iz različitih dijelova Austro-Ugarske Monarhije kao, u to vrijeme, jedinstvenog i specifičnog multinacionalnog prostora, prihvatili su simbolistički izraz u daleko većoj mjeri nego što se to do sada smatralo. Mada se u dosadašnjim razmatranjima uglavom smatralo da slikarstvo Marka Murata pokazuje odlike plenerizma i impresionističkog izraza, opus ovog slikara treba danas čitati u duhu simbolisičke poetike. Obzirom da se Marko Murat školovao na Akademiji u Münchenu, logično je da njegov simbolizam prvenstveno proizlazi iz odgovarajućih kretanja na umjetničkoj sceni toga grada i same Akademije krajem 19. stoljeća. Ovaj prilog treba pokazati tu vezu, kao i različite aspekte simbolističkog govora, posebno u slikama koje su nastajale u Dubrovniku i okolici u vremenu prije Prvog svjetskog rata.
During the 19th century numerous painters from Central Europe, as well as from the Austro-Hungarian monarchy, pursued their education in Munich. One of them was the painter Marko Murat (Luka Šipanska, 1864 – Dubrovnik, 1944), who commenced his studies at the Royal Academy of Fine Arts in 1887 under the professor Karl Raupp, first with the financial aid of Baron Luj Vranyczany, and later Velimir Todorović. His professors also included Ludwig Herterich, Wilhelm von Lindenchhmidt and Otto Seitz. The end of Murat’s studies and sojourn in Munich was marked by the painting Palm Sunday in Dubrovnik, exhibited in Glaspalast in 1893. From 1898 to 1920 he lived in Belgrade, where he worked as an educator and participated in various exhibitions. His solo exhibitions took place in 1894, 1898 and 1904; he exhibited at Yugoslav art exhibitions (from 1904 to 1922), in Sombor (1910 and 1921), Liège (1905), Rome (1911) and Paris (1919), often as a member of the »Lado« and »Medulić« associations. He was one of the founders of the School of Arts and Crafts in Belgrade. After the First World War he was appointed head conservator of the Direction for Arts and Monuments in Dubrovnik, where he would spend the rest of his life. Having fully accepted the poetics of the Munich school of painting, in his paintings Marko Murat emphasised the symbolic elements expressed through body language, interplay of light and shadow and mysticism particularly evident in the works produced in the second half of his life. His most important paintings were painted in Dubrovnik and its surroundings before the First World War, with human figure in landscape as one of his favourite subjects.
Databáze: OpenAIRE
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