1987 World Masters of Modern Art From Yugoslav Collections

Svetski izmoderne umetnosti
jugoslovenskih
majstori kolekcija
World of Modern Art
from Yugoslav
Masters collections
Marc Adrian
Pierre Alechinsky
Getulio Alviani
Alan d'Arcangelo
Alexander Archipenko
Ernst Barlach
Joseph Beuys
Renato Birolli
Umberto Boccioni
Pierre Bonnard
Alexander Calder
Massimo Campigli
Domenico Cantatore
Marc Chagall
Christo
Pietro Consagra
Edgar Degas
Andre Derain
Kees van Dongen
Max Ernst
Emil Filla
Paul Gauguin
Carl Gerstner
Hans Hartung
Ferdinand Hodler
Alexei Jawlensky
Vassily Kandinsky
On Kawara
Zoltan Kemeny
Wifredo Lam
Fritz Lang
Berto Lardera
Julio le Pare
Fernand Leger
Bengt Lindstrom
Lazar El Lissitzky
Richard Lohse
Heinz Mack
Aristide Maillol
Giacomo Manzu
Henri Matisse
Manolo Millares
Laszlo Moholy-Nagy
Farkas Molnar
Piet Mondrian
Claude Monet
Giorgio Morandi
Fran~ois Morellet
Francisek Muzika
Georges Papazoff
Pablo Picasso
Otto Piene
Filippo De Pisis
Camille Pissarro
August Renoir
Georges Rouault
Gino Severini
Max Slevogt
Jesus Raphael Soto
Pierre Soulages
Henryk Stazewski
Henrik Stefan
Zdenek Sykora
Jan Stur-sa
Jasse Tabuchi
Jan Toorop
Arturo Tosi
Gunther Uecker
Maurice Utrillo
Victor Vasarely
Claude Viallat
Maurice de Vlaminck
Edouard Vuillard
A
Auteri izlezbe dr Anica Cevc, direktor Narodne galerije, Ljubljana
Authors of the Exhibition fyieliha Husedzinovic, kustos Umjetnicke galerije BiH, Sarajevo
Zelimir Koscevic, kustos Galerija grada Zagreb, Zagreb
Slobodanka Parlic-Barisic, direktor Muzeja na sovremenata umetnost, Skopje
Irina Subotic, kustos Narodnog muzeja, Beograd (koncepcija i koordinaciia / concept
and coordination)
Organizateri Narodni muzej, Beograd

Organizers Narodna galerija, Ljubljana
Umjetnicka galerija Bosne i Hercegovine, Sarajevo
Muzej na sovremenata umetnost, Skopje
Galerije grada Zagreba, Zagreb
Muzejski prostor, Zagreb
U suradnji Umjetnicka galerija, Banja Luka

In Collaboration with Moderna galerija, Budva
Auteri teksteva Sonja Abadzieva Dimicrova, Skopje

Authors of texts Ljubica Damjanovska, Skopje
Meliha Husedzinovic, Sarajevo
Zelimir Koscevic, Zagreb
dr Jure Mikuz, Ljubljana
Irina Subocic, Beograd
Nacalija Sukovic, Beograd / saradnik na izlozbi
Biljana Tomic, Beograd
Restauracija i kenzervacija dela Gordana Zunjic-Kusovac

Restauration and conservation
Graficka eprema katalega Ranko Novak, Studio Znak, Ljubljana

Design and Lay out
Prevedi na engleski / Ann Vasic

Translations na srpsko-hrvacski / Viktorija Vasev Dimeska
Glavni urednik Jevca Jevcovic, direkcor Narodnog muzeja, Beograd

Editor in Chief
~tampa Nasa djeca, Zagreb

Printed by
Tirat
No. of Copies 2.500
2
Svetski
Narodni muzej, Beograd
modetne Narodna galerija, Ljubljana
Umjetnicka galerija
umetnost1 12 Bosne i Hercegovine, Sarajevo
majstori
Muzej na sovremenata umetnost,
jugoslovenskih Skopje
Galerije grada Zagreba
kolekcija Muzejski prostor, Zagreb
National Museum, Belgrade
World of Modern Art

from
National Gallery, Ljubljana
Art Gallery of Bosnia and
Herzegovina, Sarajevo
Museum of Contemporary Art,
Masters Yugoslav
collections
Skopje
City Galleries of Zagreb
Muse um Space, Zagreb
decembar 1987.
December 1987
6 Predgovor
Sadrzaj 8 Preface
Content
10 Skracenice
Abbreviations
Katalog
Catalogue
14 Claude Monet
16 Jan H. Toorop
18 Camille Pissarro
20 Paul Gauguin
22 Pierre Auguste Renoir
24 Edgar Degas
26 Pierre Bonnard
28 Vassily Kandinsky
30 Henri Matisse
32 Aristide Maillol
34 Jan Stursa
36 Maurice de Vlaminck
38 Max Slevogt
40 Umberto Boccioni
42 Ernst Barlach
44 Edouard Vuillard
46 Alexej Jawlensky
48 Pablo Picasso
so Ferdinand Hadler
52 Fritz Lang
54 Kees van Dongen
56 Henrik Stefan
58 Alexander Archipenko
60 Laszlo Moholy-Nagy
62 Lazar El Lissitzky
64 Farkas Molnar
66 Maurice Utrillo
68 Emil Filla
70 Marc Chagall
72 Piet Mondrian
74 Frantisek Muzika
76 Andre Derain
78 Georges Rouault
80 Fernand Leger
82 Georges Papazoff
84 Giorgio Morandi
86 Massimo Campigli
88 Renato Birolli
90 Filippo de Pisis
92 Max Ernst
94 Arturo Tosi
96 Domenico Cantatore
98 Gino Severini
100 Giacomo Manzu
102 Richard P.Lohse
104 Pietro Consagra
106 Carl Gerstner
108 Frarn;:ois Morellet
4
110 Alexander Calder
112 Julio Le Par e
114 Marc Adrian
116 Berto Lardera
118 Hans Hartung
120 Zoltan Kemeny
122 Pierre Alechinsky
124 Pierre Soulages
126 Henryk Stazewski
128 Getulio Alviani
130 Manolo Millares
132 Alan d'Arcangelo
134 Wifredo Lam
136 Zdenek Sykora
138 Victor Vasarely
140 Christo
142 JasseTabuchi
144 Jesus Rafael Soto
146 Heinz Mack- Grupa ZERO
148 Otto Piene
150 Gunter Uecker
152 Bengt Lindstrom
154 Claude Viallat
156 On Kawara
158 Joseph Beuys
ajznacajnije kolekcije svetske moderne umetnosti u Jugoslaviji
The most significant collections of world modern art in Yugoslavia
161 Arandelovac
161 Banja Luka
161 Beograd
162 Budva
162 Kostanjevica
162 Kraljevo
162 Ljubljana
162 Maribor
162 Novi Sad
163 Pocitelj
163 Pristina
163 Ravne na Koroskem
163 Rijeka
163 Sarajevo
163 Seca pri Portorozu
163 Skopje
164 Titograd
164 Tuzla
164 Vela Luka
164 Zagreb
166 lndeks umetnika
Index of Artists
Predgovor Ovom izlozbom pn·i put su okupljena i obradena na jednom mestu
dela znacajnih i velikih majstora moderne umetnosti iz zbirki
jugoslovenskih muzeja i galerija. Srecna je okolnost sto se taj izbor
iz zbirki podudara sa nasim namerama i mogucnostima - da sacinimo
neku vrstu istorije moderne umetnosti: pocev od dela klasicnog
impresionizma i simbolizma, preko ekspresionizma, i kubizma,
nadrealizma i intimizma, konstruktivizma i raznih varijanti
ap strakcije, do pop arta i gotovo najnovijih konceptualnih i
postkonceptualnih pojava.
l ako postojece kolekcije cuvaju veliko istorijsko, kulturno i

umetnicko blago, treba konstatovati da nijedna jugoslovneska galerija
i muzej nisu sistematski sakupljali dela inostrane umetnosti, sa
cvrstim koncepcijama i ostvarenjima tih koncepcija. Naprotiv,
gotovo celokupna bastina, kako stare, tako i moderne i savremene
inostrane umetnosti u Jugoslaviji, pociva na instituciji darodavstva i
zaostavstinama. Samo se u retkim periodima, kao sto je bilo razdoblje
izmedu dva svetska rata, inostrana umetnost osmisljeno i
sistematicnije sakupljala: imala se jasna vizija i kupovala su se
najznacajnija dela velikih umetnika po ateljeima i po galerijama sirom
Evrope. Narodnom muzeju u Beogradu, pored kolekcije iz bivseg
Muzej_?- kneza Pavla, darovana je i zbirka beogradskog kolekcionara
Eriha Slomovica, nakon tragicne sudbine njenog vlasnika i okoncanih
ratnih strahota, kao celina naprocenjive vrednosti. U znacajne
datume jugoslovenskog kolekcionarstva spadaju sezdesete godine:
Gradska galerija suvremene umjetnosti bila je pokretac velike
medunarodne manifestacije Novih tendencija, koja je u Zagrebu
okupljala najznamenitija imena neo-konstruktivisticke, opticke i
kineticke umetnosti. Bila je to odlicna prilika da se na jednom mestu
vide vrhunska dostignuca tada najaktuelnijeg umetnickog pravca, i
sto je vaznije, da se kolekcioniraju dela znamenitih stvaralaca.
Pomenimo jos samo da su sezdesetih godina dva katastrofe -
zemljotresi u Skoplju 1963. i u Banja Luci 1969. godine - podstakle
solidarnost umetnika sirom sveta. Njihovim darovima formirani su
Muzej na sovremenata umetnost u Skopju i Umjetnicka galerija u
Banja Luci. I dalje jedinu mogucnost za popunjavanje zbirki
inostrane umetnosti predstavljaju pokloni. N epostojanje
sistematskog otkupa - uglavnom zbog nedostatka deviznih sredstava
- znacilo je ogromnu prepreku u nasem povezivanju sa svetom i
svetskom kulturom i jos jedan razlog za nekompletnost postojecih
z birki.
Ipak, u zelji da istaknemo postojanje i znacaj ovih kolekcija inostrane
moderne umetnosti, a da pri tome sacuvamo celovitost koncepcije,
nacinili smo vrlo strog izbor radova. Da bi se stekle potpunije
predstave o vremenu, prostoru i vrednostima, u vise slucajeva su
zrtvovana pojedina znacajna dela ili nisu zastupljeni nek( poznati
umetnici kojima bi svakako bilo mesto na ovoj izlozbi. Zeleli smo
da ostvarimo ideju razvoja umetnickog stvaranja i sto siru
zastupljenost razlicitih umetnickih pravaca i tendencija. To je razlog
sto je svaki umetnik predstavljen samo jednim delom, cak i kada su
u pitanju najznamenitiji stvaraoci i njihova reprezentativna ostvarenja
u jugoslovenskim zbirkama, kao sto je slucaj sa Degasom, Renoirom
ili Hodlerom.
6
Izlozba obuhvata slike, skulpture i nekoliko crteza za koje su autori
izbora smatrali da svojim kvalitetom i punocom izraza predstavljaju
posebno znacajna ostvarenja. I pored cinjenice da se u
jugoslovenskim zbirkama nalazi i mnogo znacajnih grafika, odlucili
smo da u izlozbu ne ukljucujemo ovaj medij, jer njegova
reproduktivna svojstva imaju druge ciljeve i razliciti smisao.
Iako bi se moglo podrazumevati da je rad na obradi izlozenih dela
tekuci strucan posao, zeleli bismo da ukazemo na dileme koje smo
imali u radu, kao i na teskoce koje ne opravdavaju, ali objasnjavaju
moguce nepotpunosti, a mozda i nepreciznosti. Katalog ima
dvostruku namenu koju je bilo tesko ravnopravno ispuniti. S jedne
strane, u katalogu se obraduju dela veoma poznatih svetskih
umetnika cije biografske podatke i stilska obelezja ne bi trebalo na
ovom mestu traziti. Ali, s druge strane, katalog mora da odigra
posrednicku ulogu izmedu eksponata i, pre svega, jugoslovenske
publike. Zbog toga smo nastojali da ave dileme pomirimo, da se
strucno sto vise priblizimo svakom obradenom delu, ali i da unesemo
one pojedinosti o umemiku koje se odnose na period njegovog
stvaranja iz kojeg potice izlozeno delo.
Teskocu je predstavljalo odsustvo sistematskog rada na pojedinim
zbirkama : do sada za mnoga vazna dela nisu istrazeni znacajni podaci
o datovanju, poreklu, izlaganju, publikovanju, reprodukovanjima i
sl. Poseban problem predstavljao je nedostatak strucne inostrane
literature: stari fondovi se ne dopunjuju, a zbog poznatih
ekonomskih teskoca, narocito od 1980. godine, u bibliotekama
gotovo da ne postoji najnovija svetska literatura.
Nadamo se, ipak, da ave prepreke nece umanjiti rezultat uspesne
medumuzejske i medurepublicke saradnje. Nije potrebno naglasavati
koliko su zajednicki poduhvati dragoceni, kako radi ostvarenja
velikih manifestacija koje ne bi bilo moguce realizovati pojedinacnim
snagama, tako i radi afirmacije strucnog muzejskog rada na
jugoslovenskom planu. To istovremeno znaci otvaranje novih
mogucnosti za dalju saradnju i nova otvaranje muzeja prema publici
u zemlji i svetu.
Organizatori i autori izloibe
Preface At this exhibition, for the first time, the works of significant and
great masters of modern art from Yugoslav museums and gallery
collections, are gathered and studied. It is fortunate that the choice
made from these collections accorded with our aspiration to present,
within our possibilities, a history of modern art: beginning with w_orks
of classical Impressionism and Symbolism, through Expressionism,
Cubism, Surrealism, Intimism, Constructivism and different
variations of abstraction, to pop art and conceptual and post-
conceptual phenomena.
Although the existing collections preserve great historical, cultural

and art treasures, it should be stated that none of the Yugoslav
galleries or museums have systematically collected works of foreign
art, with strong conceptions and realisations of these conceptions. On
the contrary, almost the entire inheritance of.old as well as modern
and contemporary foreign art in Yugoslavia is based on donations and
legacies. Only during rare periods such as the time between the two
world wars, foreign works of art were collected more systematically
and with thought: there was a clear vision and the most significant
works by great artists were bought from studios and galleries all
around Europe. Apart from the collection from the former museum
of Prince Paul, the National Museum in Belgrade inherited the
Belgrade collection of priceless value, belonging to Erich Slomovit,
after his tragic fate and the end of the horrors of war. The 1960's
. were among the significant years for Yugoslav collections: the City
Gallery of Contemporary Art in Zagreb was the initiator of a big
international manifestation of New Tendencies, which gathered the
greatest names of neoconstructivist, optic and kinetic art. This was an
excellent occasion to see the greatest achievements of the most up to
date art tendencies of that time in one place, and what was even more
important, for acquiring works by significant authors. Let us only add
that in the 1960's two catastrophes - the earthquakes in Skopje 1963
and in Banja Luka 1969 - inspired the solidarity of artists from all
around the world. With their donations, the Museum of
Contemporary Art in Skopje and the Art Gallery in Banja Luka were
formed. Gifts are sill the only possible way of enlarging the foreign
art collections. The absence of systematic purchases, mainly because
of the lack of foreign currency resources, is a great obstacle in our
relations with the world and its culture and the reason for the
incompleteness of the existing collections.
However, wishing to underline the existence and significance of these
and similar collections offoreign modern art, and to preserve the
integrity of the conception at the same time, we made a very strict
choice of works. Aiming to attain a complete idea of time, space and
values, we sacrified in several cases some significant works or did not
represent some famous artists who certainly should have found a place
at such an exhibition. We wished to realise the idea of the
development of artistic creation and to give, as wide as possible a
representation of different art movements and tendencies. This is why
only one work is exhibited for each author even when a very
significant artist or his greatest works are in the possession of Yugoslav
collections, as is the case with Degas, Renoir or Hadler.
The exhibition includes paintings, sculptures and a few drawings
which the selection committee conspired specially significant because
8
of their quality and the fullness of their expression. In spite of the fact
that there are many important graphics in Yugoslav collections, we
decided not to include this medium in the exhibition as its
reproductive character has other aims and a different meaning.
Although it should go without saying that the study of the exhibited
works is a routine specialist job, we would like to point out some
dilammas which we came across during the work, as well as the
difficulties which do not justify but explain possible incompleteness,
or even lack of precision. The catalogue has two purposes which are
hard to fullfill at the same time. On one hand the catalogue includes
works by famous world artists whose biographic data and style
characteristics should not be looked for here, but on the other hand,
it must play the role of an intermediary between the exhibits and,
primarily, the Yugoslav public. That is why we tried to reconcile these
dilemmas by approaching each of the works expertly and at the same
time noting the details about the artist, which relate to the period of
his creation in which the exhibited work was done.
One of the difficulties was the absence of systematic work on some of
the collections: up to now, facts about many significant works such as
the dating, origin, exhibitions, publications, reproductions etc. have
not been investigated. A special problem was the lack of foreign
literature: because of economic difficulties libraries have not acquired
the latest world literature, especially since 1980.
However, we hope that these obstacles will not diminish the results
of a success[ull cooperation between our museums and republics. There
is no need to stress how valuable common projects are, for realising
big manifestations which could not be organized by individual
institutions, and for the affirmation of specialist museum work on a
Yugoslav level. It means at the same time opening up new possibilities
for further cooperation and a new introduction of museums to our
public and the world.
The Organizers and Authors of the Exhibition
Skracenice
Abbreviations
lnicijali autora tekstova
Texts authors' initials
B.T. Biljana Tomic
I.S. Irina Subotic
J.M. dr Jure Mikuz
LJ.D. Ljubica Damjanovska
M.H. Meliha Husedzinovic
N .S. Natalija Sukovic
S.A.D. ~onja Abadzieva Dimirrova
Z.K. Zelimir Koscevic
Skracenice za mesto
signiranja i vlasnika
Abbreviations for Place of
Signature and the Owner
gd gore desno
upper right
gl gore levo
upper left
dd dole desno
lower right
di dole levo
lower left
sred. sredina
middle
vi. vlasnik
the owner
Skracenice za ustanove -
vlasnike izlozenih dela
Abbreviations for Institutions -
Owners of Exhibited Works
GSU Galerija suvremene umjetnosti, Zagreb
Gallery of Contemporary Art, Zagreb
MeG Metropolitanska galerija, Zagreb
Metropolitan Gallery, Zagreb
MG Moderna galerija, Budva
Modern Gallery, Budva
MGrZ Muzej grada Zagreba, Zagreb
City Muse um, Zagreb
MGZ Moderna Galerija, Zagreb
Modern Gallery, Zagreb
MSU Muzej na sovremenata umetnost, Skopje
Museum of Contemporary Art, Skopje
NG Narodna galerija, Ljubljana
National Gallery, Ljubljana
NM Narodni muzej, Beograd
National Museum, Beograd
SKC Studentski kulturni centar, Beograd
Student Cultural Centre, Beograd
UG Umjetnicka galerija, Banja Luka
Art Gallery, Banja Luka
UGBiH Umjetnicka galerija Bosne i Hercegovine, Sarajevo
Art Gallery of Bosnia and Herzegovina, Sarajevo
Skracenice za cesce
navodenu bibliografiju
Abbreviations for Frequently
Quoted Bibliography
Abadzieva Dimitrova 1985. Sonja Abadzieva Dimitrova, Od Picassoa do Caldera. Muzej na sovremenata umetnost,
Skopje 1985/86. (predgovor kataloga)
Ambrozic 1968. Francuzskaya zivopis XIX-XX vekov iz sobraniya Narodnogo muzeya v Belgrade.
Gosudarstveniyi ordena Lenjina Erimtaz, Lenjingrad 1968. (katalog izlozbe)
Ambrozic 1969. Zbirka svetske umemosri, in: Metropole urnetnosti - Beograd, izd. Prosveta, Beograd
1969.
10
Ambrozic 1971. Od Corota k Bonnardo,;. Francouzske malirm·i 19. a 20. stol. ze sbirek Narodniho
muzea v Belegrade, · aroclru galerie ,. Praze 1971 (katalog izlozbe)
:\mbrozic 1972. Impresionizam iz zbirki :--arodnog muzeja u Beogradu, Narodni muzej, Beograd 1972
(katalog izlozbe) ·
:\mbrozic 1978. Od Corota do Bonnarda. Francoski slikarji iz zbirk Narodnega muzeja v Beogradu,
Narodna galerija, Ljubljana 1978 katalog izlozbe)
..\mbrozic 1983. Katarina Ambrozic, Galerija srrane umetnosti, in: Muzeji sveta, Beograd, Narodni
muzej, izd. Yuk Karadzic, Beograd 1983.
Damjanovska 1981/82 Ljubica Damjanovska, Slikarsrvo, crtez, grafika in: Muzej na sovremenata umetnost,
Skopje - postojana postavka, Muzej na sovremeoata umetoost, Skopje 1981/ 82
(predgovor kataloga)
Kasani.n 1938. Milan Kasanin, Muzej kneza Pavla. Moderna umetnost, Beograd 1938.
~[usovic 1981/82. Bogdan Vidoe Musovic, Skulptura, objekt in: Muzej na sovremenata umetnost, Skopje
- postojana postavka, Muzej oa sovremenata umetnost, Skopje 1981/ 82. (predgovor
kataloga)
:'\arodni muzej 1952. Narodni muzej (vodic) Beograd 1952.
Xarodni muzej 1970. Narodni muzej (vodic), Beograd, MCMLXX
:'etkovski 1970. Boris Petkovski, Izlozeni sliki i skulpturi od kolekcijata oa Muzej na sovremenata
umetnost, Skopje 1970 (predgovor kataloga)
-iomovic 1940. Francuska umjetnost iz kolekcije Erih Slomovic, Zagreb MCMXL (katalog izlozbe)
Zeri 1983. Federico Zeri, Tuji slikarji od 14. do 20. stoletja, Ljubljana 1983.
Skracenice za cesce navodene

izlozbe
Abbreviations for Frequently
Quoted Exhibitions
Beograd 1924. Prva medunarodna Zenitova izlozba nove umetnosti, Beograd, sala Muzicke skole
»Stankovic«, april 1924.
Beograd 1931. Tableaux Hollandais offert au Musee d' Art Contemporain a Belgrade, Amsterdam 1931.
Beograd 1936. Izlozba modernog francuskog slikarsrva, Muzej kneza Pavla, Beograd maj-juni 1936.
Beograd 1950. Novija francuska umemost iz zbirke Umetnickog muzeja, Beograd 1950.
Beograd 1972. Impresionizam iz zbirki Narodnog muzeja u Beogradu, Narodni muzej, Beograd,
oktobar 1972.
lkograd-Zagreb 1983. Zen it i avangarda dvadesetib godina, Narodni rnuzej Beograd, februar-mart 1983;
Galerija suvremene umjetnosti, Zagreb, april-rnaj 1983.
Beograd 1985. Evropski slikari od XIV-XX veka iz Narodne galerije u Ljubljani, Narodni muzej,
Beograd, mart-maj 1985_
E.udapest 1986-1987. Az avamgard Jugoslavianan. A Zenit-kor 1921-1926, Magyar Nemzeci Galeria,
Budapest, decembar 1986-januar 1987.
Co\'emry 1960. Exhibition of paintings from public collections of Friends of Coventry overseas, Herbert
Art Gallery and Museum, Coventry, USA, mart 1960.
f rancuski radovi 1940. Izlozba francuskih umemickib radova koji se nalaze u Jugoslaviji - priredena u okviru
izlozbe Suvremene francuske grafike i tapiserije, Hrvatsko drustvo umjemosti, Zagreb,
apriJ-maj 1940.
lenjingrad 1968. Francuzskaya zivopis XIX-XX vekov iz sobraniya Narodnogo muzeya v Belgrade,
Gosudarsrveniyi ordena Lenjina Ermitaz, Lenjingrad 1968.
Lodz-Krakow 1986. Konstrukrywizm w Jugoslawii, Zenit i jego krag 1921-1926, Lodz, Muzeum Sztuki -
Krakow, Muzeum Narodowe, pazdziernik - listopad 1986.
L rubljana 1978. '
Od Corota do Bonnarda. Francoski slikarj i iz zbirk Narodnega muzeja v Beogradu.
Narodna galerija, Ljubljana, oktobar-decembar 1978.
Od Picassoa do Caldera 1985. Od Picasso I do Caldera - iz kolekcije Muzeja savremene umetnosti, Skopje, Umetnicka
galerija, Sa ·ajevo; Umetnicki paviljon, Zagreb; Narodni muzej, Beograd; Moderna
galerija, Ljubljana; Galeria a Aneve, Prishtine 1985/ 86.
:__ ubljana 1983-1984. Tuji slikarji od 14. do 20. stoletja, Narodna galerija, Ljubljana, novembar 1983-mart
1984.
Prag 1971 . Od Corota k Bonnardovi. Francouzske malirstvi 19.a 20. stol. ze sbirek Narodoiho
muzea v Belegrade, Sternbersky palac, Narodni galerie v Praze, cerven-cervenec 1971.
Tilla Durieux 1986. Tilla Durieux i njezina zbirka umjemina u Zagrebu, Muzej grada Zagreba, Zagreb 1986.
Zagreb 1940. Francuska umjetnost iz kolekcije Erih Slomovic, Dom liko;nih umjetnosti Kralja Petra
I. Velikog Oslobodioca, Zagreb ~1C\lXL.
Zagreb 1961. Nove tendencije, GaJerija suvremene umjemosci. Zagreb 1961.
Zagreb 1965. Nove tendencije 3, Galerija su,Temeoe umjernosri, Zagreb 1965.
Zag reb 1986. U susret muzeju suvremeoe um1emo,ti -
30 godina GaJerije suvremene umjemosri. Muzej:ki pro,tor, Zagreb 1986.
11
Organizatori i autori izlozbe najtoplije zahvaljuju ustanovama i
pojedincima koji su ustupili svoja dela na izlaganje i publikovanje:
Muzeju grada Zagreba, Metropolitanskoj galeriji, Zagreb, Studenskom
kulturnom centru, Beograd, Porodici Grosman, Ljubljana,
Marie-Louise Betlheim, Zagreb.
Posebnu zahvalnost dugujemo prof. Momcilu Stevanovicu sto je
ljubazno ustupio svoj nestampani Katalog francuske zbirke (Majstori
francuske skole. Zbirka Narodnog muzeja u Beogradu, 1958) iz kojeg
su korisceni dragoceni podaci o Derainu, van Dongenu, Vtamincku i
Vuillardu, zatim dr Duri Koksi, Zagreb,, kolegama Slavku Sterku,
kustosu Muzeja grada Zagreba i Berislavu Valuseku, kustosu Moderne
galerije, Rijeka, Milanu Ivanisevicu, direktoru Galerije umjetnina,
Split, kao i drugim kolegama koji su dostavili podatke o zbirkama,
umetnicima i delima.
3
The Impressionist concept is most closely
Claude Monet Za Claudea Monera najcvrsce se vezuje
pojam impresionizma: ne samo sto je jedna connected to the name of Claude Monet:
Paris 1840 - Giverny 1926. njegova slika darovala ime celom pravcu, not only was the entire movement named
vec je ovaj umetnik na svojim delima doveo after one of his pictures, but the artist
Ruanska katedrala / do krajnjih konsekvenci istrazivanje brought the exploration of light to its utmost
svetlosti, razlazuci pod njegovim ucicajem consequences, solid forms disintegrating
Ruzicasta katedrala, cvrste forme gorovo do dematerijalizacije. under its influence almost to
1892-1894. Ova istrazivanja su najvisi domet postigla dematerialisation. These investigations
na serijama slika iste teme - lokvanja, reached their culmination in a series of
Rouen Cathedral I stogova sena, a zatim i ruanske katedrale pictures on the same theme such as a series
Pink Cathedral koju je slikao u dva navrata - od kraja of water lilies, of haystacks, and then of
ulje na platnu / Oil on canvas februara do aprila 1892, a zatim u isto doba Rouen cathedral which he painted on two
100X65 cm sledece, 1893. godine. U Givernyju, gde je different occasions - between the end of
sign.cl.cl.: Claude Monet ziveo, slike je dovrsavao UZ pomoc February and April 1892 and during the
vi. NM, Beograd, Inv. Istr. 393 fotografija Roger Violeta, radenih sa istih same period the following year. In Giverny,
pozicija sa kojih je i Monet slikao : fasadu where Monet lived, he completed his
sa rozetom, izmedu dve kule (La Tour de picutres with the aid of photographs by
Beurre i La tour St. Romain). Vee 1895. Roger Violet, taken from the same positions
Monet je kod Durand-Ruela izlozio oko 40 from which he painted: the farade with a
slika ruanske katedrale, koje su imale veliki rose-window between two towers (La Tour
uspeh kod publike i kricike. de Beurre and La Tour St. Romain).
Already in 1895 Monet had exhibited about
Ruanska katedrala - Portal u jutarnjem
forty paintings of Rouen cathedral at
suncu iz Narodnog muzeja naziva se i
Durand-Ruel's which were very successful
Ruiicastom zbog ljubicasto-ruzicascih
senki koje prekrivaju gorovo celu povrsinu with the public and the critics.
slike. Pod kosim suncevim zracima konture The Rouen Cathedral in the National
se razvijaju u svim pravcima, tako da izmice Muse um is called Pink because of its violet-
cvrst izgled slikanog objekta. Tom rose shades which cover almost the entire
vizuelnom efektu u velikoj meri doprinosi surface of the picture. The outline develops
i tekstura slike do koje je umemik dosao in all directions, under the slanted
koristeci izuzetno fino placno na koje je sunbeams, so that the solid look of the
postepeno nanosio niz slojeva pigmenta sa painted object slips away. The texture of the
malom dozom ulja, tako da slika deluje picture contributes greatly to this visual
posno i istovremeno prozracno i treperavo. effect which the artist attained by using
Iz ove serije dela se nalaze u pariskom exceptionally fine canvas. He gradually
covered the canvas with a number of layers
Musee d'Orsay, u Musee d 'Art u Ruanu,
Museum of Fine Ans u Bostonu, National of pigment with little oil, so that the picture
Gallery u Vasingtonu, Puskinovom muzeju simultaneously gives a transparent,
u Moskvi, Museum Folkwang u Essenu, flickering and matt effect.
Clark Art Institute u Williamstownu, The other works from this series are found
Mass. i drugim velikim kolekcijama. in the Musee d'Orsay in Paris, the Musee
Katedrala iz Narodnog muzeja u Beogradu d'Art in Rouen, in the Museum ofFine Arts
nalazila se do maja 1920. ~- u Monetovom in Boston, the National Gallery in
ateljeu, kada su je preuzeli Durand-Ruel i Washington, the Pushkin Museum in
Bernheim-Jeune. Pariski kolekcionar Henri Moskow, the Museum Folkwang in Essen,
Canonne ju je kupio 1930, a zacim je preko the Clark Art Institute in Williamstown,
galerije Charpancier prodata 18. februara Mass. and in other large collections.
1939. Muzeju kneza Pavla u Beogradu. The Cathedral in the National Museum in
I.S. Belgrade was in Monets's studio until May
1920, when it was taken over by Durand-
R uel and Bernheim Jeune. The Parisian art
collector Henri Canonne bought it in 1930,
and it was sold on 18 February 1939 to the
Museum of Prince Paul in Belgrade by the
Charpantier Gallery.
I.S.
Izlozbe / Exhibitions French Impressionist paintings, The Maryland Institute, Baltimore 1922; Monet,
Durand-Ruel, New York 1922; Rosenberg, Paris 1936; Beograd 1950, kat. 67; Beograd ·
1972, kat. 39 ; Stalna postavka Muzeja kneza Pavla i Narodnog muzeja, Beograd.
Bibliografija / Bibliography A. Alexandre : La Collection Canonne, Paris, 1930, 19, 20, repr.; L. Venturi, Archives,
1939, tom I, 456; Francuski radovi 1940, 254; 0. Reutersward, Monet, 1948, 223, repr.;
Narodni muzej 1952, 68; Ambrozic, 1969, 25, repr. 77; Narodni muzej, 1970, 109,
repr.; Ambrozic, 1972, 6, sqq. repr.; D. Wildenstein, C laude Monet. Biographie et
catalogue raisonne, Bibliorheque des Arts, Lausanne-Paris 1979, tom III, 1887-1898,
158, repr. 1329; Ambrozic, 1983, 146 repr.
14
.
Cit
Foto Miodrag florc:tevic

Jan Hendrik Toorop
Poerworedjo, Java 1858 - S'Gravenhage 1928.
More, 1889.
The Sea
ulje na platnu / Oil on canvas
67X76 cm
sign.d.d.: J.H. Toorop 1889
vi. NM, Beograd, Inv. Iser. 873
Delo More holandskog slikara Jana The Sea by the Dutch artist Jan Hendrik
Hendrika Tooropa vrlo je karakteristicno Toorop is typical of his artistic work towards
za njegov umetnicki rad krajem the end of the 1880's. At that time he
osamdesetih godina proslog veka. Tada je included elements of the Impressionist
on u simbolicki izraz i znacenje dela unosio artistic language in his symbolistic
elemente impresionistickog likovnog jezika expression and in the meaninz of his work.
koji se zasmvao na sveclosnim refleksima This was based on the light reflections from
boje i oa atmosferi preuzetoj iz prirode. colour and on the atmosphere taken from
Time je Toorop, kao i John Whistler, sa nature. In this Toorop, as well as John
kojim se druzio, predstavljao most izmedu Whistler who was a friend of his,
impresionizma i simbolizma, pri cemu nije represented a bridge between Impressionism
hronoloski prerastao iz jednog umemickog and sy_mbolism. However he did not grow
shvatanja u drugo, vec je sledio sopstveni out of one artistic conception into another
put razvoja. Tako su se u njegovom delu chronologically, but followed his own path
prelamali, a cesto istovremeno susretali of development in art, even to Pointillism
uticaji raznih likovoih opredeljenja, sve do and moderate Expressionism, were reflected
poencilizma i umerenog ekspresionizma. and often appeared simultaneously. Jan
Na formiraoje, kao i na kompletao opus Toorop's formation and his complete opus
J.H. Tooropa uticalo je najpre detinjstvo were influenced primarily by his childhood
provedeno u dalekoj i tajanstvenoj spent in faraway and mysterious Indonesia,
Indoneziji, gde SU se suceljavali dozivljaji where experiences of wild nature, exotic
divlje prirode, egzotifoih zivotinja i obicaja animals, customs and people were met face
ljudi, zatim ocito prisustvo Haske skole - to face. Then, there was the evident
holandskih Barbizonaca i jak uticaj Grupe influence of the Hague school - Dutch
XX - belgijske dvadesetorice, medu kojima Barbizons and the strong influence of the
je Toorop bio jedini Holandanin. U toj Group XX - the twenty Belgian artists
grupi veoma snazne licnosti bili SU James among whom T oorop was the only
Ensor, Constantin Meunier, Fernand Dutchman. James Ensor, Constantin
Khnopff, Felicien Rops, H enry van der Meunier, Fernand Khnopff, Felicien Raps,
Velde, Octave Maus I dr. Toorop je u Henry van der Velde, Octave Maus were
Belgiji, gde se skolovao, podlegao i uticaju very strong personalities in this group. In
literature, posebno Emila Verbaerena, kao Belgium, where he was educated, Toorop
i drustva Rose + Croix koja je negovala also fell under the influence of literature,
rituale sredojeg veka, cistotu mish, religije especially Emil Verhaeren, and the society
i ezoterije. Svi ti elemeoti doprineli su of Rose+ Croix which cherished medieval
ocevidnom spiritualistickom I rituals, clarity of thought, religion and all
simbolistickom izrazu J.H. Tooropa, that was esoteric. All these elements
prisurnom i oa slici More iz Narodnog evidently contributed to Jan Toorop's
muzeja u Beogradu. D eset godina nakoo spiritualist and symbolist expression which
ove slike, Toorop se vratio ovoj temi, are also present in the picture The Sea in the
slicnih koloristickih odnosa, ali sa manje National Museum of Belgrade. Ten years
sim~olistickib nazoaka i u poencistickom after he painted this picture, Toorop
mamru. returned to this theme with similar colourist
Pored slike More, Narodni muzej cuva i relations but with less symbolist signs and in
zoacajou zbirku njegovih gravira: a pointillist manner.
celokupna kolekcija dospela je u tadasnji Apart from The Sea, the National Muse um
Muzej savremene umetnosti 1931. godine owns a significant collection of T oorop's
kao poklon grada Amsterdama. engravings. The entire collection came to
the M1-1se1-1m of Modern Art (of that time)
I.S.
in 1931 as a present from the City of
Amsterdam.
I.S.
Izlozbe / Exhibitions Beograd 1931, kat. 34; Beograd 1972, kat. 66; Stalna postavka Muzeja kneza Pavla i
Narodnog muzeja.
Bibliografija / Bibliography C. W.H. Baard: Tableaux Hollandais offert au Musee d'Art Contemporain a Belgrade,
Amsterdam 1931, 8, 14; Kasanin, 1938, XI; Narodni muzej, 1952, 74;Ambrozic, 1972,
repr.
16
Foto Vladimir VukadinoviC
Camille Pissarro
St. Thomas, Antilli, 1830 - Paris 1903.
Trg Francuskog pozorista, 1898.

French Theatre Square
75X94 cm
sign.d.d.: C. Pissarro 98
vl. NM, Beograd, Inv. Istr. 403
Jedini od impresionista, medu kojima je Pissarro, who was the oldest of the
bio i najstariji, Pissarro je dospeo do Impressionists, was the only one who
divizionizma kojim se jedno kratko vreme reached divisionism, which he used as a
sluzio kao metodom rada. Cezanne je zbog method of work for a short time. Because of
toga pisao da se on, od svih umetnika, this, Cezanne wrote that of all artists
najvise priblizio prirodi. Poceo je da slika Pissarro came closest to nature. He started
Pariz 1893. godine, a od 1897. zanimaju ga painting Paris in 1893, and from 1897 he
njegovi veliki bulevari. U zimu 1898, kada became interested in its Grands Boulevards.
je nastala i slika iz Narodnog muzeja u During the winter of 1898, when the
Beogradu, slikao je sa prozora sobe na picture, now in the National Museum, was
spraru Grand Hotel du Louvre prizore done, he painted scenes between Palais
izmedu Palais Royal, Francuskog pozorista Royal, The French Theatre and Avenue de
i Avenije Opere u vise varijanti: dok l'Opera from an upper window of the
beogradska slika □ osi podnaslov Efekat Grand Hotel du Louvre. He did different
sunca, u Institute of Art u Mineapolisu, variations of these: while the Belgrade
Minnesota nalazi se Efekat kise. Bliske picutre has the subtitle The Effect of Sun,
varijante su u lenjingradskom Ermitazu i u the one in the Institute of Art in
Los Angeles County Museum of Art. Samo Minneapolis, Minnesota is The Effect of
malo pomerena vizura dala je seriju slika sa Rain. Similar variations are found in the
perspektivom ka Operi. Na svim ovim Leningrad Hermitage and in the Los
delima uocava se uticaj japanskih estampi Angeles County Museum of Art. just a
po isecku prizora, po neposrednosti slightly different angle ofv ision produced a
dozivljaja, skicuoznosti kompozicionog series of pictures with a v iew towards the
rasporeda, po pokretu koji se zaustavlja i era. All these works betray the influence
koji se uocava kao ritam cele slike, sa Japanese prints as we see from the
ljudskim figurama kao sastavnim delom ~ gmented scene, the directness of
prostora. Serija ovih Pissarroovih slika, experience, the sketchiness of compositional
kao i Monetove ruanske kacedrale, spada u arrangement, the movement which is
sam vrh impresionizma. arrested and perceived as the rhythm of the
Trg Francuskog pozorista (vodi se i kao Trg entire picture and the human figures as
pred Operom - Place de la Comedie- integral parts of space. This series of
Franraise ), je poklon gde Chester-Beatty iz paintings by Pissarro, as well as Monet's
Londona Muzeju kneza Pavla 1930. Rauen Cathedrals, are numbered among
godine, a poreklo vodi od Galerije Durand- the greatest works of Impressionism.
Ruel. Pored jos tri slike, Narodni muzej The French Theatre Square is a present
ima i nekoliko crcefa i grafika ovog velikog from Mrs. Chester-Beatty from London to
umetnika. the Museum of Prince Paul in 1930. Apart
l.S. from three other paintings, the National
Muse um has some drawings and graphics
by this great artist.
I.S.
Izlozbe / Exhibitions Durant-Ruel, Paris 1924, Beograd 1950, kat. 72, repr.; Coventry 1960, kat. 30;
Lenjingrad 1968, kat. 25; Prag 1971, kat. 35; Begorad 1972, kat. 47; Ljubljana 1978,
kat. 33; Stalna postavka Muzeja kneza Pavla i Narodnog muzeja, Beograd.
Bibliografija / Bibliography A. Tabarant, Pissarro, Paris, 1924; Ch. Saunier, Anthologie d' Art fran~ais, XIXe sc.,
J?aris, Laurens, s.d. 160; Boris Lossky, L'Art Fran~ais en Yougoslavie, Annales de
l'Institut Fran~ais de Zagreb, an. 2, no. 7, decembre 1938 (Gap 1939), 8.; Umetnicki
pregled 1, Beograd 1938, 224; Kasanin, 1938, X, repr. 66; Ludovic Rado Pissarro-
Venturi, Camille Pissarro. Son Art, son oeuvre, Paris 1939, vol. 2, 1023; Francuski
radovi 1940, 256; Narodni muzej 1952, 68; Dictionnaire de la peinture moderne,
ed. F. Hazan, Paris 1954, repr. 234; Ambrozic, 1968, 4.; Narodni muzej, 1970, 109,
repr.;Ambrozic, 1971, s.p. repr.;Ambrozic, 1972, 62, repr. 47;Ambrozic, 1978, 9. 24,
50, repr. 97.; Christopher Lloyd, Camille Pissarro, ed Skira, Geneve 1981, 122-123, 19,
repr. 125.;Ambrozic, 1983, 148-149, repr.
18
Foto Vladimir Vukadinovic
Paul Gauguin
Paris 1848 - Atuana, Hiva-Oa/ Markiska ostva 1903.
Mrtva priroda sa vocem i bocom, 1893.

Still Life with Fruit and Bottle
46X38 cm
sign.d.d.: P.Go.
vi. NM, Beograd, Inv. Istr. 241
Po analizi dr K. Ambrozit, ova Mrtva According to the analysis of Katarina
priroda Paula Gauguina, koju srecemo i Ambrozic, this Still Life by Paul Gauguin,
pod nazivima Mrtva priroda sa bocom, which we also meet under the titles Still
Mrtva priroda sa bocom likera, Mrtva Life with a Bottle, Still Life with a Bottle
priroda i Pieta, nastala je 1893. godine. Te of Liquor, Still Life and Pieta, was done in
godine umetnik se vratio sa Tahitija avgusta 1893. In August of that year, the artist
meseca, novembra je kod Paula Durand- returned from Tahiti and in November
Ruela pripremio izlozbu slika i skulptura prepared an exhibition of picutres and
sa svog dalekog putovanja i iz Bretanje, a sculptures from Tahiti and Brittany at Paul
decembra pisao svojo} zeni da je dao Durand-Ruel's. In December he wrote to
slikama vrlo visoke cene (od dve do tri his wife that he had put high prices on the
hiljade franaka), da je izlozba imala vrlo pictures (2,000-3,000 Francs), that the
veliki umetnicki uspeh, da je »cak pobudila exhibition was a great art success, that »it
bes i ljubomoru ... Sada vaiim kod mnogo even awoke anger and jealousy«... »Now I
ljudi za najveceg modernog slikara«. Dela am considered the greatest modem painter
iz tog perioda postepeno gube dekorativno by many people«. His works from this
uokviravanje oblika jakom konturom, sto period lost the decorative framing ofshapes
je bila odlika pont-avenske skole. Klasican in firm and force[ul contoures which was
aranzman mrtve prirode Gauguin je the characteristic of the Pont-Aven school.
ponovio i na slici iz Musee des Beaux Arts Gau~uin repeated the classical arrangement
u Strasbourgu. Na obe se nalazi i detalj of this still life in the picture from the M usee
skice E. D elacroix sa prikazom Isterivanja de Beaux Arts in Strasbourg. On both there
Adama i Eve iz raja, pripremljene za is a detail from the sketch in grisaille by E.
pandantif kupole u biblioteci Burbonske Delacroix The Expulsion of Adam and Eve
palate u Parizu. Autor se mozda koristio from Eden, prepared for the pendentive of
fotografijom prilikom rada na ovom the cupola in the library of the Bourbon
detalju. Slomovic u svom katalogu (str. 17) palace in Paris. Gauguin may have used a
navodi da je taj fragment slikao Van Gogh photograph while working on this detail.
u vreme Gaug_uinovog boravka u Arlesu. Slomovic states in his catalogue that Van
Bliska analog1ja slikama iz Strasbourga i Gogh painted this fragment at the time of
Beograda je Mrtva priroda iz Museum of Gauguin's sejoum in Aries. The Still Life
Fine Arts u Bostonu. from the Museum of Fine Arts in Boston is
Ova kompozicija je deo ~lomoviceve a close analogy to the pictures from
zbirke, koja je dodeljenja Narodnom
Strasbourg and Belgrade.
muzeju 1949. godine, a poreklo vodi iz This composition belonged to the Slomovic
kolekcije Ambroisea Vollarda. collection which was given to the National
Narodni muzej ima pet dela P. Gauguina. Museum in 1949, but came originally from
the collection of Ambroise Vollard.
l.S.
There are five works by Gauguin in the
National Museum.
I. S.
Izlozbe I Exhibitions Zagreb 1940, kat. 85; Beograd 1950, kat. 18; Coventry 1960, kat. 16, repr. 14; Gauguin,
Belvedere, W ien 1960; Lenjingrad 1968, kat. 10; Prag 1971, kat. 24; Ljubljana 1978,
kat. 24; Stalna postavka Narodnog muzeja, Beograd
Bibliografija / Bibliography Slomovic, 1940, 17; Katarina Ambrozic: Gogenova dela u Narodnom muzeju, Zbornik
Narodnog muzeja, Beograd 1964, 433-442, repr. 6; Ambrozic, 1968, 4, repr.; Ambrozic,
1969, 25, repr. 78; Narodni muzej 1970, 111; Ambrozic, 1971, s. p. repr.; Ambrozit,
1978, 45, repr. 88.
20
Foto Vladimir Popovic
Pierre Auguste Renoir
Limage 1841 - Cagnes 1919.
Devojcica sa sesirom I Umjetnikov sin, oko 1898.

Girl with a Hat I Artist's Son
pastel na papiru / Pastel on paper
61 X43 cm
sign.d.d.: Renoir
Go.
Slika Devojcica sa sesirom - pastel, radena The picture Girl with a Hat was done about
je oko 1898. i pripada periodu izmedu tzv. 1898 and belongs to the period between
faze »nacree« (sedefaste) i faze »Cagnesa«. Renoir's so-called macree.- phase and his
Inkarnat likova harmonizira prema Cagnes phase. He harmonizes the
crvenilu, zadrzavajuci ranije opaliziranje incarnation of the characters towards red,
boja (1895). Zaokupljen bojom i zaljubljen maintaining his previous »opalizing« of
u tvari Renoir se priklonio svetu culnosti. colours (1895). In contrast with Cezanne's
Cesto je uzimao zene za temu svojim slika. preoccupation with shape, Renoir was
Portrete i figure dovodio je do totala, dok interested in colour, in love with substance.
ne zauzmu celo plamo. Potez mu je manje He turned to the world of the senses.
precizan i kaligrafski (posle ingrovskog Women were often the theme of his work.
perioda), tako da figure sugerisu zenskost He painted portraits and figures in close-up.
vise nego zenstvenost. H is stroke was less precise and callis_raphic
Rasporedivanje svedosti i tamnib partija - after his Ingres period, so that the figures
te osnovne Renoirove karakteristike - suggest the female rather than the
mozemo naci na pastelu Devojcica sa femininity .
sesirom; po bujnosti fakture i po zivom The arrangement of light and dark -
vatrometu toplih boja, on nagovestava fazu Renoir's basic characteristics - can also be
»Cagnesa« kao i zbog same materije found in the pastel Girl with a Hat. The
pastela, u biti razlicite od slikanja uljem iz abundance of texture and the real fireworks
»sedefaste« faze. Dok faza »Cagnesa« of warm colours indicate the Cagnes phase,
obiluje hromatskom i plasticnom as well as the substance of pastel itself,
egzaltacijom »sedefastu« fazu odlikuju basically different from his oil paintings of
nezni i ljupki maniri. Devojcica sa sesirom, the »nacree.- phase. While the Cagnes phase
data u raskosnoj koloristickoj gami, is rich in chromatic and plastic exaltation,
pokazuje kako Renoir stvara magistralna the »nacree« phase is characterized by
dela u kojima je sve znacajno: i crte i forme delicate and charming manners. Girl with a
i svedost, a narocito boja, koja svojim Hat, done in a rich colourist scale, shows
zarom predstavlja metaforu radosti that Renoir did masterpieces in which
zivljenja. Impresionizam, kome je pripadao everything was significant: the lines, forms,
Renoir, nije stvorio novi svet, i nije otvorio light, and especially the colour which with
nove predele maste; jednostavno, on je na its ardour represents a metaphor of the joy
nov nacin sagledao svakodnevni zivot. of living. Impressionism, to which Renoir
Akvizicija Narodnog muzeja iz 1949. belonged, did not create a new world and
godine, iz zbirke Eriha Slomovica, ranije did not open new horizons of fantasy;
kod Ambroisea Vollarda. simply saw every day life in a new way.
U zbirci strane umetnosti i Kabinetu This work came to the Na1ional Museum in
grafike nalaze se 46 Renoirova dela: ulja, 1949 from the Collection of Erih Slomovic
pasteli i crtezi. and previously belonged to Ambroise
Vollard.
N.S. There are 46 works by Renoir in the
collections fo the National Museum - oil
paintings, pastels and drawings.
N.S.
Izlozbe / Exhibitions Zagreb 1940, kat. 153; Beograd 1950, kat. 96; Izlozba u cast Jeana Cassoua, Narodni
muzej, Beograd 1962; Renoir, ulja, pasteli i crtezi iz zbirke Narodnog muzeja u
Beogradu, Kulturni centar Beograda i Narodni muzej u Beogradu, Beograd 1963, kat.
21, repr. na korici; U stalnoj postavci Muzeja od 1969; Beograd 1972, kat. 56, repr. 56.
Bibliografija / Bibliography Ambroise Vollard : Tableaux, Pastels et Dess ins de Pierre Renoir, ed. Vollard, Paris 1918,
11, 520; Denis Rouart - Momcilo Stevanovic: Nepoznati Renoir i Degas, Jugoslavija,
Beograd 1964, 42, repr. 43 i na omotu knjige; Narodni muzej, 1979, 107, repr. ;
Ambrozic, 1983, 150, repr. 151.
22
23
Edgar Degas
Paris 1834 - Paris 1917.
Balerine u plavom / Tri plave balerine, oko 1900.

Ballerinas in blue I Three blue Ballerinas
pastel i ugalj na papiru / Pastel and charcoal on paper
43X61 cm
sign.cl.cl.: Degas
Delo Balerine u plavom spada u kasnije The work Ballerinas in Blue is one ofDegas'
stvaralastvo Degasa (oko 1900), kada later works (about 1900) when he turns to
prelazi na pastel, jedan od znacajnijih pastel, a significant field of exploration for
vidova istrazivanja gde ostvaruje pravu him. Here he created a real alchemy of
alhemiju boja i pokreta stvarajuci mastovitu colours, producing effects full offantasy and
igru efekta, rastacuci oblike. Degas, iako dissolv ing shapes. Although he was an
pripada impresionistima i zauzima znacajno Impressionist and took a significant place
mesto medu njima, ipak ostaje nezavistan. among them, Degas remained independent.
U kasnijim godinama balerine poscaju In his late years ballerinas became an
vazne teme njegovog opusa, a od 1885. ne important theme in his opus, and from 1885
prestaje da ih slika. Zaokupljali su ga he nev er ceased to paint them. He was
problemi vezani za cisto slikarstvo: oblik, occupied by problems connected with pure
kompozicija, a u kasnijim godinama boja i painting: form , composition and in his later
posebno pokret. years, colour.
Dosavsi do saznanja da mu faktura uljanih As he became aware that the texture of oil
boja ne odgovara za ostvarenje suptilnih colours did not suit for creating the subtlety
svet!a lampe i reflektora, Degas se prihvata offoot lights and reflectors, Degas began to
pastelne krede nastavljajuci francusku use pastels continuing the French 18th
tradiciju 18. veka i oplodujuci je century tradition and impregnating it w ith
impresionistickom metodom primene the Impressionist method of using diffused
difuzne svetlosti u rafiniranim bojama i light in refined colours and contrasts. In his
kontrastima. U delima ovog zanra De~as je works of this genre Degas caught a moment
uhvatio trenutak istine pozorisnog blJeska of truth in the glow of the theatre, in a way
na nacin koji je neponovljiv u istoriji unrepeatable in the history of art. In the
urnetnosti. U pokretima plesacica znao je movements of the dancers he could even
da zabelezi i kratkotrajne odlomke catch short glimpses of reality which
istinitosti koji su docaravali impresiju conjured up the impression of the light of
svet!osnog trenutka - barsunastim the moment, using vevlety layers ofpastels.
prelazima pastela, sto je vidljivo i na All this is apparent in the Ballerinas in Blue.
Balerinama u plavom. Nanos pastela zive The use of v ivid pastel colours is one of
boje jedna je od dominantnih karakteristika Degas's dominant characterstics from his
Degasovih dela iz poslednjeg post- last post-Ingres period, when he equaled
en$rovskog perioda, izjednacivsi boju sa colour with lines and slightly modelled
lirujorn i volumenom, jedva tek nesto v olume. Degas's main subject is the human
modeliranirn. Degasov primarni objekt je figure, fixed in a moment of time, with
ljudska figura, mehanicki fiksirana u complete simplicity. The surfaces are given
trenutku krajnjom jednostavnoscu, tako da a structure similar to w eav ing, where the
povrsina dobija strukcuru slicnu tkanju: strokes of pastel cross the forms and thus
potez pastela prelazi preko formi i ostvaruje create the real texture. This wealth of
posebnu fakturu. To bogatstvo izrazavanja expression appears with special originality
dato je s osobenom izvornoscu, i sve vise and increasingly affirms the daring and
afirmise smelost i slobodu, nagovestavajuci freedom which announce the new modern
novo, rnoderno doba u umetnosci 20. veka. art of the 20th century.
Akvizicija Narodnog muzeja iz 1949. Acquired by the National Museum in 1949
godine iz zbirke Eriha Slomovica, ranije from the collection of Erih Slomovif:,
kod Ambroisea Vollarda. previously with Ambroise Vollard.
U kolekciji strane zbirke i Kabinetu grafike There are 29 pastels and drawings by Degas
nalazi se 29 Degasovih pastela i crteza. in the collections of the National Museum.
N.S. N.S.
Izlozbe / Exhibitions Zagreb 1940, kat. 44; Beograd 1950, kat. 20, repr. na korici; U stalnoj postavci muzeja
od 1949-1962. i od 1969; Degas- Redon-Renoir, Narodni rnuzej, Beograd 1957; Izlozba
u cast Jeana Cassoua, Narodni muzej, Beograd 1962; Degas, crtezi i pasteli iz zbirke
Narodnog rnuzeja u Beogradu, Ku!turni centar Beograda i Narodni muzej u Beogradu,
Beograd 1965, kat. 25, repr. 25; Prag 1971, kat. 14, repr. na naslovnoj strani; Beograd
1972, kat. 15 ; Ljubljana 1978, kat. 15, repr. 79.
Bibliografija / Bibliography Ambroise Vollard: Album Degas, tbl. 93 - P.A. Lemoine: Degas et son oeuvre, Paris
1949, kac. 1373; Denis Rouart- Momcilo Stevanovif:: Nepoznaci Degas i Renoir, Beograd
1964, 20, repr. 18- 19; N arodni muzej 1979, 109, repr. 108.
24
Pierre Bonnard
Fontenay-aux-Roses 1876 - Le Cannet 1947.
Dete za stolom I Dorucak, 1900.

Child at Table I Breakfast
48X50 cm
sign.d.g.: Bennard 1900
Stike Dete za stolom, (koja se naziva i The picture Child at Table, by the French
Dorucak i Dete za doruckom), delo painter, illustrator and poet, belongs to his
francuskog slikara, ilustratora knjiga i opus from 1900, his early period when he
pesnika, spada u opus umentika iz 1900, belongs to his opus from 1900, his early
ranom periodu kada je on pripadao grupi period when he belonged to the Nabis.
Nabis. U zaokretu prema dekorativnom, Changing in favour of decorative art,
Bonnard se usrnerava ka intimizmu, s tim Bonnard moved towards the manner of
sco i kasnije ostaje dosledan svom lirizmu. expression, known as intimism, but later
Delikatan kolorit gradi meduodnose plave devoted himself to his original lyricism. He
i crne boje, koje se medusobno odbijaju i was a delicate colourist who built on the
uskladuju. Pored ucicaja Gauguina, Redona relations between blue and black, which
i Cezannea, Bonnard se odusevljavao i are at the same time in contrast and in
japanskim drvorezom u boji, sto se harmony. Apart from being influenced by
odrazilo u njegovim delima izmedu Gauguin, Redon and Cezanne, he was
1881-1889, zbog cega su ga nazvali greatly fascinated by Japanese woodcuts in
»japonard«. Zajedno s Vuillardom igra colour, which left a mark on his work
imermedijalnu ulogu izmedu between 1881 and 1889. On account of this
impresionizma i fovizma. Kasnije Bennard he was called »Nabis japonard<r. Together
poscaje izvrscan imimista u delikatnim with Vuillard he played the role of an
emerijerima, pronalazeci sveclosne efekce intermediary between Impressionism and
velikih kontrasta. Od svih Nabista oscaje Fauvism. Th us Bonnard excelled in delicate
najindividualniji otkrivsi u sebi cudesni dar interiors, later turning towards strong
koloriste i pesnika, nagovestavajuci nove contrasts of light effects. Of all the Nabis,
tendencije u umetnosti 20. veka. Bonnard retained the greatest individuality,
Zahvaljujuci svojoj senzibilnosti u slici discovering in himself the magic gift of a
Dete za stolom daje organizovanu realnost colourist and a poet, predicting new
kroz harmonicne odnose. I pored tendencies in the art of the 20th century.
beznacajne teme, vidljiva je jednostavnost i Thanks to the sensibility and the harmony
imimnost u igri formi i kolorita, jos uvek of relations, he presents an organized reality
prigusenog, kao i stvaralacki odnos in the picture Child at Table. The theme is
umetnika prema realnosti. Ova slika je na insignificant but the simplicity and intimacy
granici pripadnosti grupi Nabis, sto in the play of form and colour, here still
pokazuje i datiranje dela. Prikazana je muted, is apparent, as well as the artist's
slikareva necakinja Renee Terrasse koja je creative approach towards reality. The
bila cest model njegovih enterijera, (npr. na picture represents the artist's niece Renee
poznacoj slici Dorucak za stolom). Terrasse, who was often a model in his
Akvizicija Narodno~ muzeja iz 1949. interiors, as in the well known picture
godine, iz zbirke Enha Slomovica, ranije Breakfast at Table.
kod Ambroisea Vollarda. It came to the National Museum in 1949
U stranoj zbirci i Kabinetu grafike from the collection of Erih Slomovif:, but
Narodnog muzeja nalaze se cetiri belonged previously to Ambroise Vollard.
Bonnardova ulja, crteza i grafika. In the collections of the National Museum
N.S. there are four other works by Pierre
Bonnard.
N.S.
Izlozbe / Exhibitions Zagreb 1940, kat. 2, repr. 67; Beograd 1950, kat. 4; U stalnoj postavci muzeja od 1949;
Lenjingrad 1968, kat. 2; Prag 1971, kac. 2; Ljubljana 1978, kat. 2; Narodni muzej,
Beograd 1979, 111, repr. 109.
Bibliografija / Bibliography Ambrozif:, 1978, 27, repr. 66; Ambrozif:, 1983, 153- 154, repr. 153.
26
Fote Vladimir VukadinoviC
'fl
Vassily Kandinsky
Moskva 1866 - Neuilly-sur-Seine 1944.
Binc na Rigenu, 1901.

Binz auf Riigen
ulje na kartonu / Oil on cardboard
24X33 cm
sign.cl. d.: Kandinsky 1901; na poledini: Kandinsky, Binz auf Ri.igen 1901.
vi. NM, Beograd, Inv. lstr. 962
Po dolasku u Minhen 1896. godine i studija On his arrival in Munich in 1896, at the
u skoli Slovenca Antona Aibea, Kandinsky school of the Slovenian Anton Aibe,
se priblizio koloristickom slikarstvu i Kandinsky approached coloristic painting
neposrednijoj transpoziciji prirode, pod and direct transp_osition of nature, under
ocevidnim uticajem impresionizma, the apparent influence of Impressionism,
posebno na malim »studijama« medu koje especially in his small »studies«. The/icture
spada i slika Binc na Rigenu. Slicne motive Bmz auf Ri.igen, from the Nationa
i likovnu realizaciju srecemo na slikama iz Museum, is one of these. We meet similar
iste godine, u kolekciji Kurta Falka i u motifs and artistic realisation in the pictures
Nacionalnom muzeja moderne umetnosti from the same year, in the collection
u Parizu (poklon Nine Kandinsky). Kao belonging to Kurt Falk and in the National
jedan od osnivaca umetnickog udruzenja Museum of Modern Art in Paris (a present
Phalanx, Kandinsky je 1901. godine pravio from Nina Kandinsky). As one of the
emancipovane, smele eksperimente: na founders of the artistic association Phalanx,
slikama malih dimeozija, on je koristio Kandinsky made emancipated, daring
guste oamaze cesto sasvirn ciste boje, experiments in 1901. In pictures of small
sirokib poteza, bogate fakture, odlucne dimensions he used thick layers, often of
stilizacije, cvrste organizacione sheme completely pure paint, with broad lines,
kompozicije. Uravnotezeni odnosi rich structure, determined stylization and a
vertikala, horizontala i dijagonala sa cistom strongly organized scheme of composition.
paletom nagovestavaju apstraktni dozivljaj The balanced relationships between the
prirode. Deceniju kasnije Kandinsky ce vertical, horizontal and diagonal lines and
postati rodonacelnik apstrakcije. a clear pallete indicate an abstract
Binc na Rigenu je usao u kolekciju experience of nature. A decade later
Narodnog muzeja u Beogradu zahvaljujuci Kandinsky was to become the founder of
razmeni sa Narodnim muzejem iz Vrsca
abstract art.
1953. godine. Nepouzdanim izvorima, Binz auf Ri.igen entered the collection of the
catalogue raisonne H . Roechela i J. K. National Museum in Belgrade thanks to an
Benjamina navodi da je slika rani,·e bila u exchange with the National Museum of
zbirci jugoslovenskog princa Pav a. Vrsac in 1953. The catalogue raisonne ofH.
Pogresno je navedena i dimenzija slike. Roethel and]. K. Benjamin quotes that the
Pored ovog ulja, Narodni muzej cuva i dve picture was in a collection belonging to
grafike V. Kandinskog iz vremena njegovog prince Paul of Yugoslavia although this is
rad a na Bauhausu 1923. godine ( Orange i not reliable. The dimensions of the painting
Violet). quoted were incorrect.
I.S. Apart from this oil painting the National
Muse um possesses two graphics by V.
Kandinsky (Orange and V10let) from 1923,
done during his period in Bauhaus.
I.S.
Izlozbe / Exhibitions Stalna postavka Narodnog muzeja, Beograd.
Bibliografija / Bibliography Ambrozic, 1969, 25, repr. 80; Hans Roethel-Jean K. Benjamin: Kandinsky. Catalogue
raisonne de !'oeuvre pemt. Premier volume 1900-1905, ed. Karl Plinker, Paris 1982,
repr. 26; Ambrozic, 1983, 154- 155, repr.
28
Foto Vladimir Vukadlnovlc
Henri Matisse
Le Cateau Cambresis 1869 - Cimiez, Nice, 1954.
Purpurne bukve / Drvece kod Meuluna, 1901.

Purple Beeches I Trees beside Meu/un
46X38 cm
sign.cl.I.: Henri Matisse
Godina 1901, kada je nastala slika Purpume The year 1901, when the picture Purple
bukve znacila je za velikog umetnika Beeches was fainted, signified a short liv ed
kraktotrajno sazimanje dotadasnjih resume of al the great artist's former
iskustava, pa cak, moglo bi se reci i neku experiences and, we could even say , a
vrstu negiranja prethodne avanture sa negation of his previous adventure with
poentilizmom. Taj »camni period« ce trajati pointillism. This »dark period« lasted until
do 1903. godine. Figure slika samo po 1903: Matisse rarely paints figures, he is
izuzetku; najvise ga interesuju pejzazi oko mostly interested in landscapes around Paris
Pariza i u Pikardiji. U to vreme se druzi za and in Picardy. At that time he was
Marquetom i Derainom, na Van Go~hovoj associated with Marquet and D erain, he
retorspekcivi upoznaje Vlamincka, 1 met Vlaminck at Van Gogh's retrospective
priprema, u nekoj vrsti proto-fovizma, exhibition, and was preparing his large
svoj veliki koloristicki opus. colourist opus in a kma of Proto-Fauvism.
Drvece kod Meuluna, kako se jos srece u Trees beside Meulan (an alternative title in
literacuri naziv ove slike, nema one zivotne literature) does not possess the »joie de vie«
radosti koja je Matisseu bila tako svojstvena which was so characteristic of Matisse in the
u prethodnom, a i u kasnijem periodu preceding and in the following period of his
stvaranja. Alfred Barr Jr. poredi ovo delo creation. Alfred Barr Jr. compared this work
sa Chemin de Chesieres iz iste godine: na w ith Chemin de Chesieres from the same
obema slikama malog formata umetnik je year: in both pictures of small format the
sazeo dozivljaj prirode, pojednostavio artist condensed an experience of nature,
oblike i intenzifikovao lokalni kolorit. simplified the shapes and intensified the
Povrsine su snazne, ali smirene, bez local colour. The surfaces are force[ul but
impresionistickog poigravanja svetla, sa calm without an Impressionist play with
vise dramatike i unutrasnje napetosti. light, with more drama and inner tension.
Retka u celokupnom Matisseovom opusu, Rare in Matisse's opus as a whole, this
ova slika je dospela u Beograd kao poklon picture came to Belgrade in 1938, as a gift
poznatog istoricara umetnosti Bernarda from the famous historian of art Bernard
Berensona knezu Pavlu Karadordevicu u Berenson to Prince Paul Karadordevic in
Londonu 1938. godine za njegov Muzej. London, for his museum. Berenson bought
Berenson je sliku kupio od umetnika. the picture from the artist himself
Pored Purpurnih bukvi, Narodni muzej Apart from Purple Beeches the National
ima i Matisseovu sliku Kraj prozora, kao i Museum owns Matisse's painting By the
njegove crteze. Window as well as some drawings.
I.S. LS.
Izlozbe I Exhibitions Grafton Gallery, London 1910-1911; Beograd 1950, kat. 63; Lenjingrad 1968, kat. 21;
Prag 1971, kat. 30; Ljubljana 1978, kat. 28; Stalna postavka Muzeja kneza Pavla i
Narodnog muzeja, Beograd.
Bibliografija / Bibliography Umemicki pregled 4, Beograd 1941, 2. Alfred H. Barr,Jr., Matisse, His art and public,
The Museum of Modern art, New York, 1951, 308, repr.; Burlington Magazine 1951,
10, 13; Narodni muzej, 1952, 70;Ambrozic, 1968, 4; Narodni muzej, 1970, 111 , repr. ;
Ambrozic, 1971, s.p.repr.; Ambrozic, 1978, 13, 32, repr. 92.
30
Aristide Maillol Cabanelov ucenik, i sam sa obala
Sredozemlja, Aristide Maillol je olicenje
A pupil of Cabanel and from the
Mediterranean coast himself, Aristide
Banyul-sur-Mer 1861 - Marly-Le-Roy 1944. jui.njackog temperamenta koji je sai.eo Maillol is a personification of the southern
iskustva i senzibilitet egipatske i grcke, temperament which combines the
La Mediterrannee, etrurske i iberijske umemosti. Govorio je experiences and the sensibility of the
1902-1905-1923. da je na suprotnom polu od nordijsko- Egyptian and Greek, Etruscan and Iberian
srednjevekovnog tipa umemika kakav je art. He himself said that he was on the
gips / Plaster bio Auguste Rodin. Sustinske osobenosti opposite pole to the nordic, medieval type of
110X77,5Xl13 cm svoje umernosti - vezanost za do, artist such as Auguste Rodin. All the
sign.: nema inkarnaciju snage i punoce klasicnog oblika essential characteristics of his art - the tie
vi. NM, Beograd, Inv. Sk. 18 i senzualnosti i.enskog tela ciju je stamenu with his native land, the sensuality of a
lepotu katalonsko-rusijonskog tipa slavio u woman's body whose firm Mediterranean
svom delu - Maillol je simbolizovao u beauty of the Catalonian-Roussillon type
svojoj najcuvenijoj skulpturi - La he praised in his works - are summarised in
Mediterrannee. his most famous sculpture La
La Mediterrannee je najpre slikao oko Mediterrannee.
1898. godine; prve skulptorske srudije
Initially he painted La Mediterrannee about
nastale su oko 1900. g. Medutim, na
monumentalnim formama poceo je da radi 1898 and did the first sculpture studies
around 1900. However, he turned to
1902. godine. Odmah posle prvog izlaganja
monumental forms in 1902. Shortly after its
na Jesenjem salonu u Parizu 1905, na first exhibition at the Autumn Salon in
nagovor Augusta Rodina, grof Kessler je
kupio La Mediterrannee ali je Maillol ipak Paris in 1905, Count Kessler bought La
Mediterrannee, having been persuaded by
nastavio da radi na njoj sve do 1923, kada Auguste Rodin. However, Maillol
je jedan mermerni primerak kupila continued working on it until 1923, when a
francuska vlada. Zbog toga u literaturi marble example was bought by the French
srecemo sva tri datuma (1902, 1905, 1923). government. Because of this we meet three
Vodeci racuna o skulpturi kao arhitekturi i aifferent dates (1902, 1905, 1923) in the
ravnotei.i masa, Maillol je uvek polazio od literature.
geometrijskih oblika: tako je La Considering sculpture as architecture and
Mediterrannee ukloJ?ljena u savrseni taking into account the balance of masses,
kvadrat, sto delu daie snagu, cvrstinu, Maillol always started from geometrical
arhaicnu rnirnocu, savrsenstvo proporcija i forms. La Mediterrannee fits into a perfect
harmonicnost pokreta. Prvi naz1v joj je bio square and this gives the work force,
Razmisljanje, a kod nas se srece kao firmness, and archaic serenity, perfect
Zamisljenost, lena i lena koja sedi.
proportions and a harmony of movement.
La Mediterranne postoji u bronzi Its first name was Reflexion and in our
(Rotterdam, Perpignan), u mermeru (Les country is met under the title Meditation, A
Tuileries u Parizu), u kamenu Woman and A Sitting Woman.
(Winterthur), razume se u gipsu, u mnogim
La Mediterrannee exists in bronze
muzejima i zbirkama u svetu. Beogradski (Rotterdam, Perpignan), in marble
primerak je kupio iz umernikovog ateljea (Tuileries in Paris), in stone (Winterthur)
knez Pavle Karadordevic 1930. godine i u
Spomen muzeju »Josip Broz Tito« nalazi and in plaster in many museums and
collections thoughout the world. The
se rad u kamenu, klesan/o skulpturi iz
Narodnog muzeja. Pore jos dve manje Belgrade copy was bought from the artist's
studio by Prince Paul Karadordevif:, in
skulpture u bronzi, u Narodnom muzeju 1930. In the »]osip Broz Tito «
se nalaze i crtei.i Aristidea Maillola. Commemoration Museum there is a work
I.S. in stone, a chiseled copy of the sculpture in
the National Museum. Apart from two
other smaller bronze sculptures the National
Museum possesses drawings by Aristide
Maillol.
LS.
Izloi.be / Exhibitions I izlaganje: Jesenji salon, Paris 1905; Beograd 1950, kat. 61, repr.; Stalna postavka
Muzeja kneza Pavla i Narodnog muzeja, Beograd.
Bibliografija / Bibliography Kasanin, 1938, rep. 110; Andre Malraux: Le musee imaginaire de la culture moderne,
Paris 1952, 772, repr. 703; Bertold Hackelsberger: Aristide Maillol Mediterrannee,
Stuttgart 1960.; Hoetink: Aristide Maillol - Mediterrannee Meditaties, Bulletin Museum
Boymans-van B., Rotterdam, XIV, no. 2, 1963.
32
Jan Stursa
Novo Mesto na Morave 1880 - Praha 1925.
Pubertet, 1905.
Puberty
bronza / Bronze
84X23X10 cm
sign. na postamencu: J. Scursa
vi. MSU, Skopje, Inv. 1975
Skulpcuru Pubertet Scursa realizuje Stursa did the sculpture Puberty shortly
neposredno po zavrsecku Akademije za after finishing the Academ1 of Art in
likovnu umemosc u Pragu kod profesora Prague, in the class of professor J.B.
J.B. Myslbeka. U delu se oseca uticaj Myslbek. The work betrays the influence of
savremene literature, sto je posebno contemporary literature which is
relevanmo za taj period umemikovog particularly relevant to this period of his
stvaralastva. Pored toga sco je cema koju creation. The theme he chose is very classical
odabire veoma klasicna, ona je isco tako i and likewise specific for this part of his opus.
specificna za ovaj deo njegovog opusa. However, apart from the academic-
Ipak, i pored akademsko-realistickog -realistic aproach, this sculpture anticipates
priscupa, ova skulpcura anticipira i neka some more contemporary perceptions of
savremenija videnja oblika, kao i shape as well as a »psychologisation« of the
psihologiziranje licnosti, sco ce doci do personality, which was to be developed and
izraza i razvici se u dvadesetim godinama. expressed in the 1920's. The slightly stylized
Figura, postavljena u kontrapost sa blagom figure, posed in contrapposto, captures the
stilizacijom, hvata momente cransformacije moments of the body's transformation from
tela iz decijeg u devojacko. Autor insiscira child to girl. The author insists on a slim,
na krhkom, fragilnom devojackom stasu, fragile girl's figure with aspects of chastity
sa aspektima nevinosti i stidljivosci. and shyness.
Poklon Nacionalne galerije u Pragu, 24. 8. This work is a present from the National
I971. godine. Gallery in Prague to the Museum of
S.A.D . Contemporary Art in Skopje, on August 24,
1971.
S.A.D.
Izlozbe / Exhibitions Poklonjena dela iz Nacionalne galerije u Pragu, MSU, Skopje 1971; Stalna postavka,
MSU, Skopje 1973; Poklonjena dela 1971/ 1980, MSU, Skopje 1980; Od Picassoa do
Caldera, 1985.
Bibliografija / Bibliography Hans Volmer: Algemeines Lexicon der Bildenden Kiinster des XX Jahrhundercs, Leipzig,
VEB E.A. Seemann, 1958/ IV, str. 384; V. V. Stech: Vzpominky na Jana Stursu, Praga
1926; A. Matvcek: Jan Stursa, Praha 1950; P. Wittlich: Kresby Jana Stursy, Praha 1959;
j. Sebek : Jan Stursa- Svedeccvi soucaniki a dopisy, Praha, 1962; Musovic 1981/82, repr.
34
Foto Marin Dimes
Maurice de Vlaminck
Paris 1876 - La Touriliere/ Rueil la Gadeliere 1958.
Polja / Brezuljci u Carriere-sur-Seine, 1904.

Fields I The Hills in Carriere-sur-Seine
54X65 cm
sign.d.d. : Vlaminck
Bez mnogo obrazovanja niti interesovanja With little education or interest in the art of
za umetnosc starih majstora, anarhistickog the old masters, an anarchist at heart and
duha i ponasanja, Maurice de Vlaminck je in his behaviour, Maurice de Vlaminck
novim nacinom izrazavanja ispoljavao svoj revealed his stormy temperament and his
burni temperament i svoj »nacin zivoca, »way of living, order, thinking, breathing«
rada misljenja, disanja«, kako je pisao. Od (as he wrote), with a new manner of
1903. do 1907. godine trajao je njegov expression. His Fauvist period lasted from
foviscicki period, u vreme intenzivnog 1903 until 1907, during his intensive
druzenja sa Andre Derainom, i uz podrsku association with Andre Derain and with the
Matissea i Berthe Weill koja je jedina imala support of Matisse and Berthe Weill. She
hrabrosti da okuplja mlade umetnike i was the only one courageous enough to
pokusava da prodaje njihove slike. Fovizarn assemble youn~ artists and try to sell their
Vlamincka, podstaknut Van Go~hovim pictures. Vlammck's Fauvism, stimulated
uzorima, bio je podignut na jos v1si stepen by the example of Van Gogh, was raised to
orkestracije boja, vibrantnih poteza an even higher level of colour orchestration,
ceckom, gustih namaza pigmenta, cesto na vibrant brush strokes, thick layers of
ciscom placnu ; lokalni kolorit je napusten pigment, often on raw canvas; local colour
sledom umetnikovog instinkta, bez sumnji was abandoned bravely and selfconfidently
i intelektualnih dilema, smelo i in accordance with his artistic instinct and
samopouzdano. no doubt deep thought as well.
Pored ovo~ hrabrog i beskompromisnog After this courageous and uncompromised
perioda koJi je govorio o umetnickoj ali i o period, which spoke of artistic as well as
ljudskoj istini, Vlaminck se okrenuo human truth, Vlaminck turned to a more
dramaticnijoj i tamnijoj paleci koja meducim dramatic and darker palette which did not
nije nosila toliko izvorne snage i »izvornog however contain as much original force or
osecanja prirode«, kako je pisao Maurice »original feeling for nature«, as Maurice
Denis. Denis wrote.
Najradikalnijern, virulentnom periodu The painting Fields in the National
fovizma pripada slika iz Narodnog muzeja Museum of Belgrade, belongs to the most
u Beo$radu, bez sumnje jedno od radical and virulent period of Fauvism and
umetmkovih vrhunskih ostvarenja. Na is, without doubt, one of the artist's greatest
poledini slike nalazi se zap is rukom : Les achievements. On the 'back of the picture
Champs (Polja), kako je slika do sada i Les Champs (Fields) is written by hand
izlaganja. Medutim, umetnik je u prepisci and the picture has been exhibited under
sa prof. Momcilom Stevanovicem this title up to now. However, in his
precizirao naziv (Breiuljci u Carriere-sur- correspondence with Prof Momcilo
Seine) i delo datovao u 1904. godinu. Po Stevanovic, the artist gave this work the
svoj prilici vec 1906. Ambroise Vollard je title (The Hills in Carriere-sur-Seine) and
sliku kupio, kada je preuzeo celokupnu dated it in 1904. It seems that Ambroise
dotadasnju foviscicku fazu umetnika i Vollard bought the painting in 1906, when
izlozio je na prvoj samostalnoj he took over all the artist's Fauvist works
Vlaminckovoj izlozbi 1907. Put je vodio produced up to then, and exhibited it at the
dalje do kolekcije Eriha Slomovica, koja je first one man exhibition of Vlaminck's
igrom nesrecne sudbine i srecnih okolnosti paintings in 1907. Then it moved on to the
dodeljena Narodnom muzeju 1949. godine collection of Erich Slomovic, which, by a
gde se nalaz jos cetiri Vlaminckove slike. stroke of ill fate and under happy
I.S. circumstances, was allotted to the National
Museum in 1945.
L S.
Izlozbe / Exhibitions A. Vollard, Paris 1907 (?); Zagreb 1940, kat. 173; Lenjingrad 1968, kat. 6; Prag 1971,
kat. 52; Ljubljana 1978, kat. 52; Stalna postavka Narodnog muzeja, Beograd.
Bibliografija / Bibliography Narodni muzej 1970, 111, repr. ;John Rewald; Vlaminck. His Fauve Period (1903-1907),
Pearls Galleries, New York 1968; Narodni muzej 1970, 111, repr.; Ambrozi{:, 1968, 4;
Ambrozic, 1971, s. p. repr. 78, 13, repr. 116.
36
Max Slevogt
Landshur 1868 - Neukastel 1932.
Portret Tille Durieux, 1907.

Portrait of Ti/la Durieux
39,8X49,9 cm
sign .d. d. : »frau Durieux im Wurafr... (,) ... Max Slevogt/ 1907
vi. MGZ, Zagreb, Inv. 4743
Portret Tille Durieux u poluprofilu slikan The portrait of Tilla Durieux in »three-
je u smede-sivim tonovima i pastoznim quarter« is painted in brown-grey shades
namazima boje. Modelacija lica vrlo je and thick layers of colour. The modulation
naglasena, a posebno se isticu jagodicne of the {ace is very emphasized, and the
kosti. Preko cela glumica ima prebacen cheekbones are particularly pronounced.
dijadem u obliku lanca s bisemim The actress has a diadem, in the shape of a
kuglicama. Rijec je o portretu glumice Tille chain with pearls, over her forehead. It is a
Durieux u kostimu Salome u istoimenoj portrait of the actress in the costume of
drami 0. Wildea. Salome for Oscar Wilde's play.
Portret jasno ukazuje na bliskost The portrait clearly indicates proximity to
Liebermannovom krugu, ali i priklon Liebermann's circle but also a tendency
ekspresionistickoj poetici. Premda se uz towards Expressionist poetics. Although
M. Liebermanna i L. Corintha Slevogt Slevogt may be considered the main
moie smatrati glavnim predstavnikom representative of German Impressionism
njemackog impresionizma, ovaj portret apart from Max Liebermann and Lavis
ispunjen je produhovljenoscu Corinth, this portrait is full ofa spirituality
karakteristicnom vec za ekspresionizam, a characteristic of Expressionism, and the
snaino izraiena usta i oci te karakteristike forcefully emphasized mouth and eyes assert
potvrduju. these characteristics.
Sve do smrti Tille Durieux 1971. u Berlinu Until the death of Tilla Durieux in Berlin
ovaj portret se nalazio u njenom vlasnistvu, in 1971 this portrait was in her possession at
u njenom zagrebackom stanu u Jurjevskoj her Zagreb appartement in Jurjevska street.
ulici. Nakon njene smrti, sporazumnom After her death, her possessions were
podjelorn imovine, portret je pripao divided by agreement and the portrait was
Muzeju grada Zagreba u Zagrebu. giv en to the Museum of the City of Zagreb.
t.K. Z.K.
Izlozbe / Exhibitions Tilla Durieux, 1986.
Bibliografija / Bibliography Slavko Sterk: Tilla Durieux i njezina zbirka urnjetnina u Zagrebu - katalog izloibe,
Muzej grada Zagreba, Zagreb, 1986.
38
Foto Boris Cvjetanovic
39
Umberto Boccioni
Reggio di Calabria 1882 - Verona 1916.
Pejzaz, 1908 (?)

Landscape
pastel na smedem papiru / Pastel on brown paper
19,6X28, 1 cm
sign.l.d.: UB
vi. MeG, Zagreb
U ciklusu pejzaza koje stvara izmedu 1903. In the series of landscapes which he did
i 1908. godine, Boccioni intenz.ivno razvija between 1903 and 1908 Boccioni intensively
tehniku diviz.ionistickog slikanja. Izlozeni developed the technique of divisionist
pejzaz pripada kraju ovog ciklusa, i nastao painting. The exhibited landscape belongs
je najvjerovamije u Milanu pocetkom 1908. to the end of this series and was probably
godine. Boccioni je u tom razdoblju slikao painted in Milan, at the beginning of 1908.
vise pejzaza u tehnici ulja, kao i brojne u Boccioni did several landscapes in oil
tehnici crteza ili pastela. Sva ta njegova technique as well as numerous drawings
djela (vidi: R. de Grada: Boccioni ... t. 48 i and pastels in this period. All his works
49) iz tog razdoblja pripadaju post- from that period are numbered among the
impresionistickim varijantama umjetnickog Post-Impressionist variations of artistic
interesa za materiju svijetla. Talijanski interest in the matter of light. The Italian
»divizionizam« predstavlja ogranak tog »divisionism« represents a branch of this
post-impresionisticko& interesa. Ovu Post-Impressionist interest. Boccioni
tehniku Boccioni razv1ja pod utjecajem developed this technique under the
simbolisca Gaetana Previatia, ali je influence of the S)'mbolist Gaetano Previati,
usavrsuje do perfekcije, njegujuci posebno but reached perfection, cherishing a specific
specifican duktus kojim nagovjescuje lead, with which he pointed to Futuristic
futuristicki dinamizam . »Zelim dati zivot dynamism. »I want to give life to matter
materiji ~ njenom kretanju« - pisao je tada and its movement« - wrote Boccioni at that
Boccioni; scablo u prvom planu ovog time; the tree in the foreground of this
pejzaza uzdize se poput spirale iz tla, landscape rises as a spiral from the ground,
anticipirajuci dinamicne kovidace anticipating dynamic whirls of pictorial
pikturalne materije koji ce dominiraci matter, which were to dominate his futurist
njegovim fucuristickirn slikama. Ovaj painting.
pejzaz nabavio je dr Duro Koksa u Rimu
This landscape was acquired by Dr. Dura
oko 1970. godine. Koksa in Rome about 1970.
t..K. Z. K.
Iz.lozbe / Exhibitions Zagreb, 1986.
Bibliografija / Bibliography Raffaele de Grada : Boccioni - il mito de! moderno; G. Barbera Ed., Firenze 1962.
40
Ernst Barlach
Wedel 1870 - Rostock 1938.
Zena u hodu / Ruska opatica - monahinja, 1906-1913.

Woman walking I Russian Nun
porculan / Porcelain
vis. 25 cm
sign. pri dnu stanista: SCHWARZERBURGER WERKASTATTEN FUR PORZELLANKUNST
U / 10 i prikaz lisice u trku
vi. MGZ, Zagreb Inv. 4748
Ernst Barlach javlja se s keramickim i Ernst Barlach appears in 1906 with his
porculanskim plastikama 1906. godine, ceramic and porcelain figures of which the
medu kojima se posebno istice porculanski porcelain portrait of the actress Tilla
portret glumice Tille Durieux. Zena u Durieux is particularly outstanding.
hodu, il1 - ispravnije - Ruska opatica Woman Walking or, more correctly,
(monahinja) nastala je na bazi Barlachovih Russian Nun was done on the basis of
skica i biljezaka koje je donio sa svojega Barlach's sketches and notes brought back
puta po Rusiji 1906. godine. Ova mala from his journey through Russia in 1906.
porculanska figura vrlo dobro ilustrira This small porcelain figure is a good
Barlachovo stvaralastvo u to vrijeme, kada illustration of Barlach's creative work at
se on jos uvijek krece u okviru elegantnih that time, when he still worked within the
stilskih odrednica berlinske secesije, ali vec elegant style norms of the Berlin Secession,
daje naznake svoje kasnije »goticnosti« . although revealing signs of his later
Barlach je ucinio vise takvih porculanskih »Gothicism«. Barlach did several similar
figura u vise primjeraka (Slijepi prosjak, porcelain figures, for example Blind Beggar
Prosjakinja s posudom obe datirane s 1912- and Beggar Woman with a Dish,j,oth dated
1913. Vidi German expressionist sculpture, 1912-1913. (Cf. German expressionist
Los Angeles County Museum, 1983, kat. 4 sculpture, Los Angeles County Museum,
i 5). 1983, cat. 4 and 5).
Nakon sporazurnne podjele ostavstine Tille After the division by agreement of the
Durieux izmedu njenih nasljednika i grada inheritance of Tilla Durieux among her
Zagreba, ova je figura zajedno s djelima heirs and the city of Zagreb, the figure
Chagalla, Slevogta i drugima, predana na Woman Walking, together with works of
cuvanje Muzeju grada Zagreba u Zagrebu Chagall, Slevogt and others, were entrusted
1982. godine. to the Museum of the City of Zagreb in
t.K. 1982.
Z.K.
Izlozbe / Exhibitions Tilla Durieux, 1986.
Bibliografija / Bibliography F. Schult: Ernst Barlach, Das plastische Werk, Hamburg 1960; C.D. Carls: Ernst
Barlach, Berlin 1968; Slavko Sterk : Tilla Durieux i njezina zbirka umjetnina u Zagrebu,
Muzej grada Zagreba, Zagreb, 1986.
42
Edouard Vuillard
Cuiseaux, Saone-et-Loire 1868 - La Baule 1940.
Enterijer / Zuti pokrivac, 1908.

Interior I Yellow Cover
tempera na hartiji / Tempera on paper
76X58 cm
sign.cl.cl.: E. Vuillard
Za Edouarda Vuillarda najblize se vezuje The idea of intimist art is closely connected
pojam intimiscickog slikarscva, slicno to Edouard Vuillard and similarly to his
nacinu na koji se to odnosi i na njegovog friend Pierre Bonnard. After all, like
prijatelja Pierrea Bonnarda. Uostalom, Bonnard and Ker Xavier Roussel, Vuillard
zajedno sa Bonnardom i Ker-Xavier came from intellectual bourgeois circles;
Rousselom, Vuillard je potekao iz they studied together, shared the same
intelektualnih francuskih burfoaskih studio, belonged to the Nabis, exhibited,
krugova; zajedno su ucili i studirali, travelled, worked on the decoration ofParis
zajedno delili atelje, pripadali grupi Nabis, theatres and private houses, cooperated
izlagali, putovali, radili dekoraciju za with La Revue Blanche .. . So, it is not
pariska pozorista i privarne domove, strange that the same spirit pervades their
saradivali sa La Rev11e Blanche... Nije painting as well: in contrast to the Fauvist
neobicno scoga sto isri duh prozima i explosion of colour and feeling, Vuillard's
njihovo slikarstvo: za razliku od tada art is dominated by a Gau_guin like
akruelne fovisticke eksplozije boja i simplicity with elements of symbolism and
osecanja, u VuiUardovom slikarstvu decoration, in a meditative, intimist spirit,
dominira gogenovska pojednostavljenost in peace and quiet.
sa elementima simbolizma i dekorativnosti Interior, which is also met under the title
u meditativnom, intimistickom duhu, u Yellow Cover (and it was exhibited in 1910
miru i tisini. like Dog), reveals a significant influence of
Enterijer, koji srecemo i pod nazivom Zuti Japanese woodcuts because of its wide, dry
pokrivac (a l 910. je izla~an pod nazivom schematic strokes with a lot of light, and its
Pas, kako je J. Salomon IJubazno obavestio framing from above which cuts a segment
prof. M. Scevanovica), odaje znatan uticaj out of the whole. On the other hand the
japanskih drvoreza po sirokim, posnim, typical intimist atmosphere is attained not
shematicnim potezima, sa mnogo svetlosti, only in art language and in the realisation
po kadriranju odozgo koje iseca jedan of every detail into which a personal,
segment celine. S druge strane, tipicno peaceful experience of the whole is
intimisticka atmosfera poscignuta je ne introduced, but also through the choice of
samo likovnim jezikom i realizacijom theme: as in almost all Vuillard's work
svakog detalja u koji se unosi smireni there is a human dimension present, a warm
dozivljaj celine, vec i izborom ceme: kao i ambience of home and everyday life. The
u gotovo svakom Vuillardovom delu, ovde objects and people (Vuillard probably
vlada ljudska dimenzij a, topli ambijent painted his family here also) reveal the
doma i svakodnevna situacija. I predmeti i same human meaning, the same warmth
ljudi - a Vuillard i ovde, verovatno, slika and devotion.
svoju porodicu - odisu iscim humanirn
znacenjem, iscom coplinom, posvecenoscu.
The picture Interior was given as a present
by G. Escher from Zurich to the Museum
Ovu sliku darovao je 1933. godine Muzeju of Prince Paul in 1933.
kneza Pavla G. Escher iz Ziiricha. Narodni
LS.
muzej ima tri Vuillardova dela.
I.S.
Izlozbe / Exhibitions Bernheim Jeune, Paris 1910, kat. 59 i 1911. kat. 3; Beograd 1950, kat. 10; Prag 1971,
kat. 55; Ljubljana 1978, kat. 55; Stalna postavka Muzeja kneza Pavla i Narodnog muzeja
Beograd.
Bibliografija / Bibliography Kasanin, 1938, X, repr. 68; Francuski radovi 1940, 265; Narodni muzej 1952, 69;
Narodni muzej 1970, 111 , repr.; Ambrozii:, 1971, s.p. repr. ; Ambrozii:, 1978, 12, 27,
repr. 119 .
44
Fala Vladimir VukadinoviC
Alexej Jawlensky
Kuslowo 1864 - Wiesbaden 1941.
Mrtva priroda, 1909.

Still life
67X90,5 cm
sign.d.g.: A. Jawlensky 09
vi. NG, Ljubljana, Inv. 1363
Slika je jedna iz serija mrtvih priroda The picture belongs to a series of still-fifes
nastalih oko 1910. godine, kada je umetnik painted around 1910 which the author
radio pod uticajem savremenog francuskog made under the influence of contemporary
slikarstva, od nabijevaca do fovista, a pre French painting, from the Nabis group to
svega Matissea. Na tim slikama je ocevidna the Fauvists, particularly Matisse. In these
diJema izmedu konzistentnih bojenih pictures the dilemma is obvious between
povrsina i pojednostavljenog imimistickog consistent coloured surfaces and the
nacina izrazavanja. Njihov prostor je simplified intimist way of approach. Their
graden u rasponu od sezanovski cvrstih space is formed, between Cezanne's firm
konstrukcija do matisovskih constructions and Matisse's two-
dvodimenzionaJnih arabeski. Elderfield dimensional arabesques. Elderfield notices
primecuje da izmedu Matissea iJawlenskog that Vlaminck is a stylistic intermediary
stilski stoji Vlaminck. Pisci su u rim slikama between Matisse andjawlensky. Historians
videli zelju autora da u njih udahne of art see Jawlensky's effort to breath into
specificnu rusku duhovnost koja potice od these pictures a specific Russian spirituality,
cipicnog folkJora i mistike. Formalne originating from typical folklore and
novine I varijacije na slikama toga perioda mystique. Formal innovations and
ukazuju na autorovo okJevanje da prisrupi variations in the pictures of this period
apstrakmom slikarsrvu. Na dosada najvefoj indicate the author's hesitation to approach
recrospektivnoj izlozbi Jawlenskog u Abstract painting. This painting was
Minhenu 1983. godine, slika je bila exhibited at the biggest exhibition, to date,
predstavljena kao pandan Mrtvoj prirodi ofJawlensky's works, held in Munich in
srodnog motiva, nastaloj dve godme 1983 and was a pendant to the still life with
kasnije. a similar theme, painted two years later.
Sliku je Narodnoj galeriji pokJonio dr. ing. Dr.Ing. Alfred Perl from Zagreb presented
Alfred Perl iz Zagreba 1941. g. this picture to the National Gallery in 1941.
J.M. J.M.
Izlozbe / Exhibitions AJexej Jawlensky 1864-1941, Stiidtische Galerie in Lenbachhaus, Miichen 1983;
Staatliche Kunsthalle, Baden-Baden 1983; Ljubljana 1983-1984, kat. 99; Beograd 1985,
kat. 54.
Bibliografija / Bibliography Alexej Jawlensky 1864-1941, Miichen, kat. 81a; Zeri, 1983, kat. 99, repr. 99; Anica
Cevc, Evropski slikari od XIV-XX veka iz Narodne galerije u Ljubljani, Narodni muzej,
Beograd 1985 (predg. kat. ), 6.
46
Foto Arhiv Narodne galerije, Ljubljana
Pablo Picasso
Malaga 1881 - Mougins 1973.
Glava zene / Mlada zena, 1909.

Woman's Head I A Young Woman
59X51 cm
sign.g.d.: Picasso
U slozenoj hronologiji Picassovog The year 1909 is cited in the complex
stvaranja, 1909. godina oznacava pocetak chronology of Picasso's work as the
perioda analicickog kubizma koji ce trajati beginning of a period of analytical Cubism
do 1912. To je u istoriji umetnosti jedna od which w ould last until 1912. In the history
onih godina koje su predstavljale of art, this year marks a turning point at
prekretnicu. Picasso je tada slikao seriju which the essence of modern art was
mrtvih priroda i pejzaza, a posebno studije established. Picasso accomplished this in a
i crceze portreta u kojima je nastavio series ofstill-fifes, landscapes, and especially
prethodna istrazivanja i sopstvena in studies, drawin~s and portraits. In these,
tumacenja simakse crnacke plastike i he continued his Jormer research and his
sezanovskih pouka o geometrijskim own interpretations of the negro plastic
osnovama slikanih predmeta. syntax and Cezanne's teaching on the
Niz portreta svoje prijateljice i modela
geometrical basis of painted objects. The
Fernande Olivier umetni.k je zapoceo u artist started a series ofportraits of his friend
prolece 1909. godine u Parizu i nastavio u
and model Fernande Olivier in the spring
leto u spanskom letovalistu Horta de Ebro.
of 1909 in Paris, and continued it during
Septembra se vratio u Pariz sa velikom
the summer in Horta de Ebro, a Spanish
serijom i moogim novinama koje je uneo u
summer resort. He went back to Paris in
svoje delo. Slika iz Narodnog muzeja,
September, with a large series and many
Glava iene, verovatno radena u leto 1909, new elements added to his work. He
reprezentativan je primer prve faze
probably did the Woman's Head, the
aoalicickog kubizma po nacinu razbijanja
painting from the National Museum, in the
volumena u karaktensticne »facetirane« summer of 1909. It is a representative
geometrijske povrsine. Karakteristican je i
example of analytical Cubism in its first
srnireni registar boje (siva u nekoliko phase because of the way in which the
nijansi, mrka, zuto-oker na osvet!jenim volume is broken up into characteristic
partijama), za koju je umetnik rekao da
»faceted« geometrical surfaces. The calm
sluzi jedino da bi se naznacile perspektivoe
colour register (in the lighted parts yellow-
razlike postavljenih plaoova. Blago nagnuta ochre, several nuances of grey, brown) is
glava i 1zraz modela ukazuju - kao i na also characteristic. Of this, the artist himself
srodnoj slici iz Nacionalgalerie u Berlinu -
said that its only function was to mark the
oa neraspolozenje koje oagovestava raskid perspective difference among set planes.
izmedu Picassoa i Fernande. Iz ove serije The slightly lowered head and the
najpoznacija su jos dela iz Pariza, expression of the model indicate - as in the
Diisseldorfa i Njujorka.
related picture from the Nationalgalerie in
Berlin - an indisposition which announces
U zbirke Narodnog muzeja u Beogradu Fernande's approaching separation from
Glava iene je usla 1949. godine iz kolekcije Picasso. Of other paintings from this series
Eriha Slomovica (koji ju je vodio kao the most famous are in Paris, Dusseldorf
Mlada iena i nazoacio u katalogu 1940. and New York. Woman's Head came to
godine da je izlagana u Pariz u i Americi). the National Museum in 1949, from the
Do Slomovica je stigla preko Ambroisea collection of Erich Slomovit (who named it
Vollarda. A Young Woman and in the catalogue in
Zervos navodi visinu od 61 cm. 1940 mentioned that it was exhibited in
Paris and America). The painting came to
Kabinet grafike Narodnog muzeja cuva Slomovit from Ambroise Vollard.
crteze i grafike P. Picassoa.
Zervos quotes a height of 61 cm.
l .S.
There are also drawings and graphics by
Picasso in the National Museum.
I.S.
Izlozbe / Exhibitions Zagreb 1940, kat. 99; Beograd 1950, kat. 68; Pablo Picasso, Wien 1968, kat. 19, 46; Prag
1971, kat. 34; Ljubljana 1978, kat. 32; Savremeoo slikarstvo Spanije, Beograd 1984, kat.
58; Staloa postavka arodoog muzeja, Beograd.
Bibliografija / Bibliography Slomovit. 1940, kat. 99, repr. 83; Christian Zervos: Pablo Picasso, ed. Cahier d'Art,
Paris I 942, ,·ol. 2, 83, repr. 168; Narodni muzej 1950, 71; Ambroz it, 1969, 25, repr.
81; 'arodni muzej 1970, 112, repr.; Ambrozit, 1971, s.p., repr.; Franco Russoli:
L'Opera completa di Picasso cubista, ed. Rizzoli, Milano 1972, repr. 282; Ambrozit,
19-8, 1-1. 3:. repr. 96; Ambrozit, 1983, repr. 157.
48
Foto Vladimir Vukadinovil:
Ferdinand Hodler
Giirzelen 1853 - Geneve 1918.
Autoportret, 1912.
Selfportrait
37X28,5 cm
sign.: nema
vi. UGBiH, Sarajevo, Inv. 4505
Ovaj Hodlerov Autoportet, koji je citavih This Selfportrait by Hadler, which was
sezdeset godina poslije njegove smrti bio unknown even 60 years after his death, was
nepoznat, nalazio se sve do 1955. godine u until 1955 in the possession ofJeanne
posjedu Jeanne Cerani-Cisic, jednog od Cerani-Cisic, one of Hodler's models. On
Hodlerovih modela koja je, udajom za her marriage to M ehmed Cisic from M ostar,
Mostarca Mehmeda Cisica, prenijela u she brought her collection of 218 works by
Jugoslaviju svoju zbirku od 218 Hodlerovih Hadler to Yugoslavia. The collection
djela (uglavnom crtei.a, skica i akvarela) consisted mainly of drawings, sketches and
medu kojima je i deset ulja na plamu. watercolours but included also ten oil
Zbirku je, poslije smrti Mehmeda Cisica paintings on canvas. After the death of
1956. godine, naslijedila sarajevska Mehmed Cisic, the coflection was inherited
porodica Korkut od koje ju je 1966. godine by the family Korkut in Sarajevo, from
otkupio Gradski zavod za zastitu w hom it was bought by the City Institution
spomenika kulture da bi je, 1983. godine for the protection of cultural monuments in
predao u vlasnistvo Umjetnicke galerije 1966. In 1983 the collection was presented
Bosne i Hercegovine u Sarajevu. to the Art Gallery of Bosnia and
Na osnovu skice, nadene u jednoj od Herzegovina, Sarajevo.
Hodlerovih biljeznica, Jura Briischweiler According to a sketch Joung in one of
je ovaj Autoportret datirao u 1912. godinu Hodler's notebooks, Jura Bruschweifer
i kao najbolji pozanavalac Hodlerovog dated this Selfportrait to 1912. This expert
djela, smatra ga »jedinstvenim« u ciklusu in the study of Hodler's art considers it
Hodlerovih autoportreta zbog autorovog »unique« in the series of selfportraits by
»energicnog« i »skoro razjareno- Hodler because of the author's »energetic«
nepovjerlj ivog pogleda«. Istovremeno, and »almost furiously unconfident gaze«.
Autoportret je slikan tako da ovom At the same time the Selfportrait was
psihickom energizmu odgovara jednako painted so that this psychological energy
energican potez kojim su nanesene bojene corresponds to the equally energetic stroke
fleke iii iscrtane konture glave, obrva, nosa by which the colour stains or outlines of the
i brkova. head, eyebrows, nose and moustache were
M.H. applied.
M.H.
Izlozbe / Exhibitions Eine unbekannte Hodler-Sammlung aus Sarajevo, Kunstmuseum, Bern, mart-juni, 1978.
Bibliografija / Bibliography Jura Bruschweiler: Eine unbekannte Hodler-Sammlung aus Sarajevo, Kunstmuseum,
Bero 1978.
50
\
if
~
::;
r.:..
Fritz Lang
Bee (Wien) 1890 - Beverly Hills 1976.
Skulptura (Bastenske vaze 1-11, Bacchus 1-11), 1915.

Sculpture (Garden Vases I-II, Bacchus I-II)
terakota / terracotta
27X21 Xl 1,5; 51 X34X25; 59X56X56; 48X33X33 cm
sign.: nema
vi. Familija Grosman, Ljubljana
Kao austro-ugarski vojnik tokom prvog As an Austro-Hungarian soldier, Fritz Lang
svetskog rata, F ritz Lang je drugu polovinu spent the second half of 1915 in Ljutomer
1915. godine proveo u Ljutomeru (sada u (now in Slovenia, formerly in Austro-
Sloveniji, tada u Austro-Ugarskoj), u kuci H ungary), in the house of the well known
poznatog advokata dr Karola Grossmanna. layer Dr Karol Grossmann. Dr Grossmann
Dr Grossmann je bio tipican incelektualac was a typical intellectual of his time,
svoga vremena koji se interesovao za interested in different innovations and new
razlicite novine i nova otkrica. Bavio se discoveries. He worked on modelling,
oblikovanjem, pisanjem, prevodenjem, writting, translating, theatre, photography
pozoristem, fotografijom i filmom. and film with interest. His photographs
Njegove focografije imaju veliku umecnicku have a high artistic value and in 1905 and
vrednost, a izmedu 1905-6. godine, on je 1906 he made the first three Slovenian films.
snimio prva tri slovenacka filma. At a local pottery in Ljutomer Lang
Lang je, kao skolovan umecnik, radio u organized a studio and made many_
Ljucomeru. Kod lokalnog grncara napravio sculptures of terracotta. When he left for the
je svoj atelje i od pecene ~line radio je front, he ~ave four of these to Grossmann
skulpcure, od kojih je ceuri poklonio as souvenirs. These were two busts of
Grossmannu za uspomenu, kada je odlazio Bacchus and two vases decorated with
na front. To su dva poprsja Bahusa i dve fantastic animal-human figures. In creating
vaze, ukrasene fantasticnim zivotinjsko- them, Lang was inspired by eastern exotic
covecjim figurama. U njihovom stvaranju, forms, Gothic fantasy and Baroque
Lang se inspirirao istocnjackim egzoticnim frivolities, and for some of them he may
oblicima, gorickom fantastikom i have found models in the art monuments of
baroknom frivolnoscu, dok je za neke bilo Ljutomer and its surroundings. Lang's
moguce da je pronasao konkretne sculptures show all the elements of his
predloske u umetnickim spomenicima characteristic creative expression: strictly
Ljutomera i okoline symmetrical arrangement of surfaces and
Langove skulpture pokazuju sve elemente masses, the hierarchy of elements,
njegovog karakterisricnog stvaralackog decorativeness and interest in the fantastic.
izraza: strogo simetricni raspored povrsina All these characteristics were to be found
i masa, hijerarhiju elemenata, dekorativnost later in his films. Among the fittings for his
i interes za fantastiku. Sve re odlike naci scenes we often come across busts and
cemo kasnije u njegovom filmskom izrazu; masks, which suggest that Lang probably
u dekoraciji njegovih scena cesto cemo preserved photographs of the Ljutomer
sresti poprsja ili maske, sto govori da je sculptures and, using them as models,
Lang verovatno sacuvao fotografije introduced sculptural decoration in the
ljutomerskih skulptura i da je po njihovom scenes of his films.
uzoru pravio skulptorsku dekoraciju svojih J.M.
filmova.
J.M.
Izlozbe / Exhibitions Fritz Lang, Moderna galerija, Ljubljana 1985; Goethe Institut, Trieste 1986; Galerija
suvremene umjetnosti, Zagreb 1986; Galerija »Anton Trstenjak«, Ljutomer 1986.
Bibliografija / Bibliography Jure Mikui-Zdenko Vrdlovec: Fritz Lang, ed. Imago, Ljubljana 1985. repr.
52
Kees van Dongen
Delfshaven, Rotterdam 1877 - Monaco 1968.
Portret gospodice Minie Monet, oko 1920.

Portrait of Miss Minie Monet
77,SXSl,5 cm
sign.cl.cl. : Van Dongen
Iako je Van Dongen bio medu najcuvenijim Although Van Dongen is one of the most
slikarima svoje generacije, citiramo iskaz famous artists of his generation, we quote
Germaine Bazina povodom njegovog dela: what Germain Bazin said about his work:
»Hronologij u ovoga umetnika tesko je » ft is difficult to fix the chronology of thzs
uhvatiti, kao da je u pitanju neki flamanski artist, just as if it were some Flemish
primitivac« ... Imao je mnogo izlozbi, ali primitive painter in question «... He had
malo studijskih i retrospektivnih, nema many exhibition but few study or
p unu bibliografiju niti catalogue raisonne; retrospective ones, he does not have a
sam nije datovao svoje slike ... « Medu complete bibliography or a catalogue
brojnim delirna koja je ostavio ima mnogo raisonne, he did not date his pictures
dopadJjivih, mondenskih portreta, posebno himself Among the numerous works which
zena, i to nakon 1920. godine, kada je, he left, there are many_ pleasing, mundaine
zahvaljujuci Jasmy Jacob, usao u visoko portraits, especially oj ladies, done after
drustvo. Ali, isto cako, ostavio je i brojne 1920 when he entered high society, thanks
enigmatske ponrete, dubokih psiholoskih to Jasmy Jacob. He also Left numerous
odlika i ironije, gotovo sarkazma kada enigmatic portraits with deep psychological
predstavlja zene koje simboliziraju himnu characteristics and irony, almost sarcasm
erotskog zivota. Njegov egzaltirani i snaz.ni when representing women who symbolize
fovizam, u vreme kada je ziveo u Bateau- the hymn of erotic Life. His exhalted,
Lavoiru i kada su mu prijate!ji bili Picasso, forceful Fauvism, from the period when he
Manolo, Derain, Vlaminck, Gris, Braque, Lived in Bateau-Lavoir and when his friends
Apollinaire, Max Jacobi Fernande Olivier, were Picasso, Manolo, Derain, Vlaminck,
prepoznadjiv je po nacinu na koji je Gris, Braque, Apollinaire, Max Jacob and
koristio liniju i ton; nije se oslanjao na Fernande Olivier, is easily recognisable
predstavljanje i cumacenje prirode, vec thanks to the way in which he used Line and
samo ljudskih likova cime je, kao i Matisse, colour; he never relied on painting and
uneo posebnu humaniscicku noru. Toga je interpreting nature, but only human figures,
priblizilo ekspresionistima sa kojima Je i and so, as Matisse, introduced in a particular
izlagao u grupi Der Brucke (Most). Slika iz humanist note. This brought him close to
Narodnog muzeja izvanredne je hromatske the Expressionists with whom he exhibited
harmonije, sa snaznim akcentima zelene i in the group Der Bri.icke (The Bridge).
tamno-plave boje, prefinjene fakture i
The Portrait of Miss Minie Monet, of
cistote kompozicije, veoma ekspresivna
outstanding chromatic harmony, with
upravo svojom jednostavnoscu, mirom i
forceful accents of green and dark blue
unutrasnjom tenzijom, daleko od lake colour, of a fine texture and purity of
dopadljivosti i povrsne lepote, uobicajenih composition, very expressive in its simplicity,
konvencija i gradanskog ukusa. U pismu
upucenom 11. januara 1957. godine prof. peace, inner tension, is far from an easy
attractivness and superficial beauty, usual
Momcilu Stevanovicu, umetnik pise: »Ovo
je portret g-dice Minie Monet, rodake
conventions and middle class taste. In his
letter of 11 January, 1957 to Prof Momcilo
francuskog slikara Claudea Monera, a
Stevanovif:, the artists writes: » This is a
naslikao sam ga oko 1920. g. « Vod i se i kao
portrait of Miss Minie Monet, a relative of
Portret iene. Kupljena je u umetnikovom the French painter Claude Monet, and I
ateljeu 1930. godme za Muzej kneza Pavla.
painted it about 1920«. ft is also known as
I.S. Portrait of a Woman. It was bought at the
artist's studio in 1930 for the Museum of
Prince Paul.
LS.
Izlozbe / Exhibitions Prag 1971, kat. 18; Ljubljana 1978, kat. 50, repr. 114; Stalna postavka Muzeja kneza
Pavla i Narodnog muzeja, Beograd
Bibliografija / Bibliography Narodni muzej 1952, 70; Narodni m uzej 1970, 112; Ambrozif:, 1971, s.p.repr.;
Ambrozif:, 1978, 16, 32, repr. 114.
54
Henrik Stefan
Pees 1896 - Budapest 1971.
Pejsaz iz Pecuha, 1920.

Landscape from Pees
59,SX79 cm
sign. : nema
Pejsai iz Pecuha nosi sve odlike srednjo- Landscape from Pees has all the
evropskog ekspresionizma, koji je smiren s characteristics of mid-European
racionalizmom kubisticke forme. Pejsaze Expressionism which is calmed by the
slicnib osobina Stefan je radio i kasnije, rationalism of Cubist form . Stefan did
kada je vec bio na Bauhausu u Weimaru, landscapes with similar characteristics again
medu kojima se posebno isticu njegovi later, when he was already at Bauhaus in
pejsazi iz Ita!ije (1921. g.) Weimar. Among these, the most
outstanding are the landscapes from Italy
Ekspresionisticki naboj Stefanove slike
(1921).
pejsaza iz okoline Pecuha sadrzan je u
monumentalno oblikovanim formama, kao Th e Expressionist tension in Stefan's picwre
i u kompozicionom ritmu brezuljaka. of the landscape around Pesc is contained in
Slika je bila izlozena na Medunarodnoj monumentally shaped forms, as well as in
izlozbi moderne umjetnosti u Genevi pred the compositional rhythm of the hills.
kraj 1920. godine, zajedno s nizom slika The painting was exhibited at the
jugoslavenskih umjetnika. Nakon zavrsetka International Exhibition of Modern Art in
izlozbe, dio je umjetnina bio zagub ljen i Genev a at the end of 1920, together with a
nikada se nije vratio u Jugoslaviju. Nakon number of pictures by Yugoslav artists.
vise od pedeset godina kuscos Moderne After the exhibition some of the works were
galerije u Zagrebu, Jelena Uskokovic lost and never returned to Yugoslavia. More
pronalazi te slike kod privatnih vlasnika u than fifty years later, jelena Uskokovic,
Genevi, medu ostalim i sliku Pejsai iz cu.rator of the Modern Gallery in Zagreb,
Pecuha. Te SU slike, kao i Stefanova, 1977. found these pictures in private collections in
godine kupljene, i sada se nalaze u Geneva, and among others the Landscape
vlasniscvu Moderne galerije u Zagrebu. from Pees. These pictures, including
Z.K. Stefan's were bought in 1977 and are now
in the possession of the Modern Gallery in
Zagreb.
Z.K.
Izlozbe I Exhibitions Medunarodna izlozba moderne umjetnosti, Geneve 1921; Akvizicije iz Svicarske,
Moderna galerija, Zagreb 1977.
Bibliografija / Bibliography Akvizicije iz Svicarske - katalog izlozbe, Moderna galerija, Zagreb 1977; Eva Hars -
Ferenc Romvary: Modern Ungarian Gallery, Pees; Corvina, Budapest 1981; Wechsel
Wirkungen - Ungariscbe Avangarde in der Weimarer Republik; Kassel - Bocbum
1986/ 1987.
56
Foto B. Cvjetanovic
::,
Kiev 1887 - New York 1964.
Dve zene, 1920.

Two Women
skulpto-slika: drvo, metal, boja / Wood, metal, paint
177X97 cm
sign.cl.I.: A . Archipenko. Zurich, I. 1920
Skulpto-slika Dve iene spada u remek-dela The sculpto-painting Two Women is one of
ukrajinskog umetnika: radena je u njegovoj the greatest works of the Ukrainian artist:
zreloj fazi, nakon ranih iskustava sa it was done in his mature period, after his
unosenjem novih materijala i boje i early experiences in the use of new materials
kubisticke stilizacije. Bogatim ritmovima, and colo1trs and with Cubist stylization.
naglasenim istrazivanjem problema mase u This work recapitulates the ideas of Cubism
prostoru, prelamanjem svetlosri i with its rich rhythms, the emphasised
ukrstanjem senki, kombinacijom materijala exploration of the problem of mass in space,
(drvo, metal i uljana boja) i hromatskim refraction of light and intersecting shadows,
efekrima, ovo delo rekapitulira ideje the combination of materials (wood, metal
kubizma. Po odlikama najbliza mu je tena and oil paint) as well as the chromatic
takode iz 1920. godine, iz Muzeja u Tel effects. A Woman, also from 1920, in the
Avivu. Kako je delo iz Narodnog muzeja Tel Aviv Museum is closest to it in its
datovano (Zurich I. 1920) moguce je characteristics. According to its dating
pretpostaviti da je izlaganje otpo_celo na (Zurich I. 1920) we can suppose that the
purujufoj izlozbi koja je obisla Zenevu, w ork in the National Museum was first
Cirih, Pariz, London, Brisel, Acinu, exhibited in a travelling exhibition which
Berlin, Minhen u periodu izmedu 1919. i visited Geneva, Zurich, Paris, London,
1921. a da je u meduvremenu izlagano i na Brussels, Athens, Berlin, Munich during the
Venecijnskom bijenalu 1920. Na poledini period between 1919 and 1921 and was also
postoje nalepnice: Bernheim Jeune, pecati exhibited at the Biennale in Venice in 1920.
carine i drugi indikatori menjanja vlasnika, On the back there are labels: Bernheim
putovanja i izlaganja. Jeune, customs stamps and other indications
U Narodni muzej D ve iene su dospele that it changed owners, travelled and was
1980. godine iz zaostavstine Ljubomira exhibited.
Micica (1895-1971 ), pisca, kriticara i The Two Women came to the National
direktora casopisa Zenit, u cijoj su se Museum in 1980 from the inheritance of
kolekciji nalazila i mnoga druga vredna Ljubomir Micic (1895-1911), the writer,
dela. Do Archipenkove skulpto-slike Micic critic and director of the review Zenit,
je verovatno dosao u Parizu gde je ziveo whose collection contained many other
izmedu 1927. i 1936. godine, u vreme kada works of value. Micic probably came upon
je umetnik vec bio u SAD. Medutim, this sculpto-painting in Paris, where he
komakti casopisa Zenit sa Archipenkorn lived between 1927 and 1936, at the time
bili su vrlo imenzivni pocetkom dvadesetih when the artist was already in the USA.
godina, tako da nije iskljucena mogucnost However, the review Zenit was in close
da je do ovog dela Micic dosao i u contact with Archipenko at the beginning
neposrednom komaktu sa umetnikom. U of the 1920's, so that it is not impossible that
Kabinetu grafike Narodnog muzeja postoje Micic got the work directly from him.
jos dve umetnikove litografije.
I.S.
I.S.
Izlozbe / Exhibitions Venecijanski bijenale 1920, 142; Izlozba saradnika Centra za konzervaciju Narodnog
muzeja, Beograd 1980; Beograd-Zagreb 1983, kat. 2; Qu'est ce que la sculpture
moderne? Paris 1986, kat. 36; A. Archipenko: A Centennial Tribute, Washington-Tel
Aviv 1986/ 1987, kat. 32; Stalna postavka Narodnog muzeja, Beograd.
Bibliografija / Bibliography Archipenko: Fifty Creative Years, Techne, New York 1960, repr. 71; DonaldKarshan:
Archipenko, Ernst Wasmuth, Tubingen 1974, repr. 95. Jldik5 Nagy: Archipenko,
Corvina, Budapest 1980, repr. 39; Irina Subotic: Nova akvizicija Narodnog muzeja:
»Dve zene« A. Arhipenka. Arhipenko u nasoj sredini, Zbornik Narodnog muzeja, XI-2,
Beograd 1982, 209-234, repr. 231; Ambrozic, 1983, 159, repr.; Margit Rowell: Qu'est
ce que la sculpture moderne? MNAM - Centre Georges Pompidou, Paris 1986, repr.
39; Katherina j. Mikaelsen: A. Archipenko, National Gallery, Washington - The Tel-
Aviv Museum, 1986/1987, repr. 32.
58
Laszlo Moholy-Nagy
Bascbarsod 1895 - Chicago 1946.
Arhitektura u staklu, 1921.

Architecture in Glass
tempera na kartonu / Tempera on cardboard
46,5X39 cm
sign.cl.cl.: Moholy-Nagy
vi. NM, Beograd, Inv. Istr. gr. 1313
U traganju za temama i predmetima koji In the search for themes and objects which
obelezavaju dvadeseci vek, Laszlo mark the twentieth century Laszlo
Moholy-Nagy, jedan od najznacajnijih Moholy-Nagy, one of the most significant
konstruktivistickih umetnika u sveru, Constructivist artists, wrote: »Bored by the
belezio je: »Zamoren ranijim sadrzajima, old subject-matter, I looked for new subjects
rrazio sam nove predmete i teme: stakJo i and themes. Glass and crystal, salt shaker,
krisral, slanik, lenjir-glavas, radijator, T-square, radiator, alcohol burner,
spirirusna lampa, semafor iii gvozdena semaphore, or iron construction appeared in
konstrukcija javljaju se na mojim slikama my paintings - instead of apples, lobsters
umesto jabuka, jastoga i krusaka«. and pears. " Developing simultaneously the
Razvijajuci istovremeno ideju prostora i idea of space and the idea of light, not as a
ideju svedosti ne kao odslikavanje po reflection on the surface of canvas but as a
povrsini placna, vec kao deo samog part of the space itself, Moholy-Nagy was
prostora, Moholy-Nagy je nasao podstreka stimulated by the research of the Taut
u istrazivanjima brace Taut koja SU u brothers in Berlin who dreamt of
Berlinu mastala da ilustruju naucno- illustrating a science-fiction novel by Paul
fantastican roman Paula Scheerbarta Scheerbart Glasarchicectur (Glass
Glasarchitektur (Staklena arhitektura), Architecture) already published in 1914.
objavljenog jos 1914. godine. Tako je Thus, the series of drawings and paintings
nascala serija crteza i slika Arhitektura u Architecture in Glass by Laszlo
staklu Laszla Moholy-Nagya i to je bio Moholy-Nagy came into being. This was
samo jedan korak pred njegovim just a step before his experiments with
eksperimentima sa materijalom u prostoru, material in space, light and mobile effects,
svedosnim i mobilnim efektima koji ga thanks to which he is considered a pioneer
svrstavaju medu pionire novih medija. of the new media.
Arhitektura u staklu nalazi se zajedno sa Architecture in Glass and three other
jos cri crteza istog umetnika u zbirkama drawings by the same artist are in the
Narodnog muzeja od 1980. godine. collection of the National Museum since
Poreklo vodi iz oscavscine Ljubomira 1980. It came from the inheritance of
Micica koji je kao direktor casopisa Zenit
Ljubomir Micif: who, as the director of the
od 1922. godine imao galeriju i organizovao
1924. g. medunarodnu izlozbu avangardne
review Zenit, had a gallery from 1922 and
in 1924 organized an international
umetnosti u Beogradu na kojoj je po svoj exhibition of avant-garde art in Belgrade,
prilici delo i izlagano. Iako u Beogradu
at which the drawing was probably
nisu sacuvani dokumenti, moze se
exhibited. Although the documents are not
pretpostaviti da je sva cetiri dela umecnik
preserved in Belgrade, it can be supposed
poslao Micicu neposredno iz Weimara gde that the artist sent all four works to Micif:
je bio profesor na Bauhausu. directly from Weimar where he was a
I.S. professor at the Bauhaus.
I.S.
Izlozbe / Exhibitions Beograd 1924, kat.; Beograd-Zagreb 1983, kat. 72; Lodz-Krakow 1986, kat. 74;
Budapest 1986-1987, kat. 74.
Bibliografija / Bibliography Irina Subotif:: Zenit i avangarda 20-tih godina, Narodni muzej - Institut za knjizevnost
i umecnost, Beograd 1983, 140, repr. 72; Krisztina Passuth: Moholy-Nagy Laszlo, ed.
Corvina, Budapest 1982; ibidem, ed. Flammarion, Paris 1984.
60
1111mm 111111 111111111
Fata Miadrag Jeremie

Lazar El Lissitzky
Polsinok, Smolensk 1890 - Moskva 1941.
Konstrukcija, 1922.
Construction
mesana tehnika / Combined technique
37X27,5 cm
sign.cl.cl. : El Lissitzky
vi. NM, Beograd, Inv. Iser. gr. 1300
Crtez Konstrukcija po svoj prilici je jedan The drawing Construction seems to be one
od projekata za Likovno oblikovanje of the projects for An artistic shaping of the
elektro-mehanicke predstave »Pobeda nad electro-mechanic presentation » Victory
suncem.- o cemu je El Lissitzky 1923. over the Sun«, of which El Lissitzky wrote
godine pisao: »Skela predstavlp scenski in 1923: • The scaffolding represents the
mehanizam predstave, nacinjen tako da stage machinery of the show designed to
omoguci predmetima predstave da izvedu provide the objects of the show with
mnogobrojne pokrete. Svi predmeti multitudinous possibilities of movement...
predstave pokrecu se pomocu elektro- All show objects are brought into motion by
mehanicke snage i naprava, cija se means of elecrto-mechanical forces and
celokupna kontrola nalazi u rukama jedne devices, with central control in the hands of
osobe koja rukovodi celom predstavom. a single individual who ads as the director
Njeno mesto je na sredini skele za of the whole show. His place is in the centre
kontrolnim tablama. Ona koncrolise svaki of the scaffolding at the energy control
pokret, zvuk i svet!ost. Ta osoba daje glas panels. He controls all movement, sound,
predmetima predstave, govoreci u and light. The director gives the show
mikrofon povezan lucnjacom iii kakvom objects a voice by speaking into a
drugom napravom koja, s druge strane, microphone connected to an arc-lamp or
moze biti nacinjena tako da modifikuje glas some other device which, in tum, may be
u skladu sa odgovarajucim karakterom designed to modify his voice in accordance
svake pojedine figurine«. with the respective character of each of the
Ovaj vizionarski projekat dopunjen je individual figurines.«
serijom nacrta za kostime figurina, od kojih This visionary project was completed with a
je jedan takode u zbirkama Narodnog series ofsketches for the figurines' costumes
muzeja. Zanimljiva je transpozicija and one of these is to be found in the
ljudskog lika ka mehanickim formama, na National Museum. The transposition of the
drugi nacin ali u duhu sintetizovanja kojim human image to mechanical forms is
su se u to vreme bavili i Archipenko, interesting, done in a different way, but in
Depero, Schlemmer, Pannaggi, Hannah the spirit of synthesis, which at that time
Hoch, Georg Grosz, De Chirico i dr. also occupied Archipenko, Depero,
Radovi El Lissitzkog (uz ova dva Schlemmer, Pannaggi, Hannah Hoch,
pomenuta, jos i dve grafike iz serije
Georg Grosz, De Chirico and others.
PROUN-a) dospeli su u Narodni muzej u The works of El Lissitzky (the two above
Beograd 1980. godine sa ostavstinom mentioned as well as two graphics from the
Ljubomira Micica koji je blisko saradivao PRO UN series) came to the National
sa umetnikom: El Lissitzky je, zajedno sa Museum in Belgrade in 1980, in the heritage
Iljom Erenburgom, pripremio poseban of Ljubomir M ici{: who collaborated closely
broj casopisa Zenit (17/ 18, 1922), posvecen with the artist: together with Ilya
novoj ruskoj umetnosti i izradio naslovnu Ehrenburg, El Lissitzky prepared a special
stranicu za njega; vodio je sa Micicem issue of the review Zenit (17-18, 1922)
prepisku iz koje se vidi da je direkmo dedicated to new Russian art and he did the
Zenitu slao svoje radove; ucestvovao je na title page for it. El Lissitzky and Mici{:
prvoj medunarodnoj izlozbi nove carried on a correspondence from which it
umetnosti u Beogradu 1924; posvetio je is seen that El Lissitzky sent his works
Micicu izvanredno izdanje knjige directly to Micic. He took _part in the first
Majakovskog »Dlja golossa« i dr. international exhibition of new art in
l .S. Belgrade in 1924. He also dedicated an
outstanding edition of Mayakovsky's book
»Dlja golossa« to Micic.
I.S.
Izlozbe / Exhibitions Beograd 1924, kat.; Beograd-Zagreb 1983, kat. 66; Lodz-Krakow 1986, kat. 66;
Budapest 1986-1987, kat. 66.
Bibliografija / Bibliography Horst Richter: El Lissitky, Sieg iiber die Sonne, Zur Kunst des Konstruktivismus, Koln
1958; Irina Subotic: Zenit i avangarda 20tih godina, Narodni muzej - Institut za
knjizevnost i umetnost, Beograd 1983, 131-133, repr. 66.
62
..
Farkas Molnar
Pees 1897 - Budapest 1945.
Portret Marcela Breuera, 1922.

Portrait of Marcel Breuer
50X36 cm
sign.: nema
vl. Marie Louise Betlheim, Zagreb
Isprva identificiran kao portret studenta First identified as a portrait of a Bauhaus
Bauhausa s mazdazdan frizurom, ovaj student with a mazdazdan hairstyle, this
Molnarov rad je kasnije, 1986. prepoznat work by Molnar was later, in 1986,
kao portret Marcela Breuera, i pod tim je recognized as a portrait of Marcel Breuer
nazivom prezentiran na izlozbi madarske and under this title was presented at the
avangarde na Bauhausu koja je krajem exhibition of Hungarian Avant-garde at
1986. godine otvorena u Kasselu. Bauhaus which was opened at the end of
Portret po svemu sudeci nije dovrsen. 1986 in Kassel.
Ispod portreta naziru se kubiscicki slikane To all appearances the portrait is not
kuce, vjerovatno pejzaz, koji je Molnar finished. Under the portrait, houses painted
slikao tokom svoga putovanja po Italiji in a Cubist manner can be discerned,
1921. godine. Boje su vrlo probably a landscape which Molnar painted
ekspresionisticke, vrlo slobodno i pastozno during his journey through Italy in 1921.
nanijete na karton. The colours are very Expressionist, very
Farkas Molnar, arhitekt, slikar i graficar,
freely and thickly applied to the cardboard.
pripadao je brojnoj madarskoj koloniji na Farkas Molnar, architect, painter and
Bauhausu u Weimaru. Ovaj portret Molnar graphic artist, belonged to the numerous
je darovao Marie Louise Betlheim Hungarian colony at Bauhaus in Weimar.
(r. Morgenroth) koja je u to vrijeme zivjela He gave this portrait as a present to Marie
u Weimaru, gdje je prijateljevala s Louise Betlheim (born Morgenroth) who at
Molnarom. Sa svojim Weimarskim that time lived in Weimar and was a friend
uspomenama Marie Louise Betlheim je of his. Marie Louise Betlheim came to
dosla u Zagreb 1928. godine gdje se za Zagreb with her belongings in 1928 and
stalno nastanila. U kolekciji Marie Louise took up permanent residence there. Her
Betlheim nalaze se jos djela S. Bortnika, collection also contains works by S. Bortnik,
K.P. Rhola, H. Stefana, L. Schepper. K.P. Rho!, H. Stefan and L. Schepper.
t.K. Z.K.
Izlozbe / Exhibitions Zbirka Marie Louise Betlheim - Bauhaus, Weimar; Studio Galerije suvremene
umjetnosti, Zagreb 1985; Wechsel Wirkungen - U ngarische A vantgarde in der Weimarer
Republik; Kassel-Boch um 1986/ 1987.
Bibliografija / Bibliography telimir Koscevif:: Zbirka Marie Louise Betlheim, Bauhaus, Weimar; Zivot umjetnosti,
Zagreb, br. 30-40/ 1985, 88-93; Eva Hars - Ferenc Romvary: Modern Hungarian
Gallery - Pees, Corvina, Budapest 1981.
64
Maurice Utrillo
Paris 1883 - Dax, Landes 1955.
Ludnica u Sannois, 1925.

Madhouse I La Clinique d'Alienes a Sannois
53 X65 cm
sign.d.d.: Maurice, Utrillo, V. Juillet, 1925.
Tragican zivot Mauricea Utrilla ispresecan Throughout the tragic life of Maurice
je pokusajima lecenja - dobrovoljnim iii Utrillo there were several attempts to cure
pnnudnim - na klinici Sv. Ane, u Villejuifu him, either with his consent r:rr under
iii Sannois. Svojoj majci Suzanne Valadon, pressure, at the clinic ofSt. Ann, in Villejuif
on se javlja 30. aprila 1912. godine iz or Sannois. In a letter to his mother Suzanne
Sannois: »Zurim da ti napisem, jer za tebe Valadon, he writes on the 30th April 1912,
imam samo dobre vesci. Dosavsi ovde, from Sannois: »I am in a hurry to write to
a]koholicar kakav jesam, nasao Sam you, as I have only good news. Coming
pocreban mir. To nimalo ne lici na Sv. Anu here, an alcoholic as I am, I have found the
gde sam bio cako nesrecan. Dr. peace which I needed. It does not at all
Reverciguat, koji rukovodi ovom resemble St. Ann where I was so unhappy.
ustanovom, vrlo je dobar covek: ne samo Dr. Revertiguat, who runs this institution,
sto nas ne cretira kao opasne spodobe, vec is a very good man: not only does he not
nam dopusca da se slobodno krecemo i po treat us as dangerous individuals but allows
zgradi i po parku koji nas okruzuje. us to move freely around the building and
Njegovo poverenje u mene tako je veliko, the park which surrounds it. H e trusts me
da ne smem da ga razocaram. Iako vise ne so much that I must not disappoint him.
pijem vino, naslikao sam nekoliko platana Even though I don't drink wine any more,
sa kojima sam zadovoljan. Trazio sam I have painted a few canvases with which I
dozvolu da slikam u prirodi ... Molim te da am satisfied. I am interested in the garden,
u moje ime zahvalis Elie Faureu koji je in nature - I follow your advice. I asked
nasao ovo dobro mesto ... « permission to paint out of doors ... Please
Smireni i zadovoljni ton pisma odudara od thank Elie Faure in my name for finding
nacina na koji je umetnik u vise navrata this good place for me... «
(1915, 1917, 1918, 1923, 1925, 1931. The calm and contented tone of this letter
godine) slikao ovo mestasce u blizini differs from the way in which the artist
Pariza. U katalogu zbirke Eriha Slornovica painted scenes from this little town near
iz 1940. g. (str. 30) navedeno je: »Utrillo, Paris in 1915, 1917, 1918, 1923, 1925 and
koji se cesto ponavlja u svojim motivima, 1931. In the catalogue of Slomovic's
izjavio je da slika Ludnica spada rnedu ona collection from 1940 we read: » Utrillo who
retka djela ciji motiv nece nikada vise often repeats his motifs stated that the
ponoviti«. Tematika je bila drasticna, sto je picture Madhouse is one of those rare works
na slici ocevidno: otkriva se surovi whose motif he will never repeat.« The
neulepsani svet nesrecnika izrazajnim i theme was drastic which is apparent from
spontanim sredstvima. Robustni namazi, the picture: the cruel unbeautiful world of
nedokoncani potezi, surove bojene naslage wretches is revealed in the spontaneous way
i groteskni ljudski likovi - daleko su od of expression. Robust layers, unfinished
ljupkih veduta Monmartra sa kojima je strokes, crude colours, grotesque human
Utrillo cesto poistovecivan. lstog naziva i images - far from the pretty Montmartre
iz iste godine, datovana u juni i nesto vedute with which Utrillo is often
manjih dimenzija, postoji jos jedna identified. There is another picture of
Utrillova slika, nekada u Galeriji Utrillo by the same name, dated June the
Benrheim-Jeune. Slika iz Beograda potice same year, and somewhat smaller in
iz kolekcije Ambroisea Vollarda a zatim dimension which was one in the Gallery
Eriha Slomovica: akvizicija Narodnog Bernheim-Jeune.
muzeja je iz 1949. godine. Muzej ima jos The picture in Belgrade was in the collection
pet Utrillovih ulja. of Ambroise Vollard and later that of Erich
I.S. Slomovif:. The National Museum acquired
it in 1949. The Museum has five other
works by Utrillo.
LS.
Izlozbe / Exhibitions Zagreb 1940, kat. 186; Maurice Utrillo, Central Museum, Tokyo - Municipal Art
Gallery, Kyoto 1967, Lenjingrad 1968, kat. 48; Prag 1971, kat. 51; Ljubljana 1978,
kat. 49; Stalna postavka Narodnog muzeja, Beograd.
Bibliografija / Bibliography Slomovic 1940, 30; Paul Petrides: L'Oeuvre Complete de Maurice Utrillo, Paris 1959,
tom II, repr. 1112; Paul Petrides : Maurice Utrillo, Tokyo-Kyoto 1967, repr. 80;
Ambrozic, 1968, 4, Narodni muzej 1970, 113; Ambrozic, 1971, s.p.repr.; Ambrozic,
1978, 16, 31, repr. 113.
66
Fote Vladimir VukadinoviC
Emil Filla
Hropine, Moravska 1882 - Praha 1953.
Mrtva priroda, 1926.

Still life
45X53 cm
sign. d. sred . : Emil Filla 26
vi. MSU Skopje, Inv. 1965
Emil Filla, jedan od najznacajnijih Emil Filla, one of the most significant
utemeljivaca kubizma u Ceskoj, u ovom founders of Cubism in Czechoslovakia,
svom delu se i stilski i ikonografski choses as his artistic expression in this work
opredeljuje za kubisticki rukopis u domenu a Cubist »handwriting~ in style and
svog likovng izraza. Sa vec izgradenom inconography. With an already developed
likovnom ku!turom i sigurnoscu u izvod art culture and with confidence in creation,
enju, Filla u Mrtvoj prirodi iz 1926. inicira Filla indicates in the Still life from 1926 the
karakteriscicne odlike ovog stilskog characteristic features of his stylistic
opredeljenja: dvodimenzionalnu determination: the two-dimensional
postavljenosr elemenata u kruzno arrangement of elements in a circularly
ogranicenom prostoru i siroku liniju koja limitea area, a wide line which surrounds
ih ogranicava, unosenje lerristickih oznaka them, the use of lettering etc. The shapes of
i dr. Forme plodova su u kompoziciji blago fruit in the composition are slightly
geometrizirane i prepoznatljive po geometrized but recognizable thanks to
odredenim karakteristicnim indikacijama. certain characteristics. The chromatic scale
Hromatska skala je smirena, sa is calm, with dominating white, dark green
dominantnirn belim, tamno zelenim i and violet accents.
ljubicastim akcentima. This work is a present from the National
Poklon Nacionalne galerije u Pragu, Gallery in Prague to the Museum of
24. VIII. 1971. godine. Contemporary Art in Skopje, on 24 August,
Lj.D. 1971.
LJ.D.
Izlozbe / Exhibitions L'Art moderne tcheque, Bruxelles, 1948; Poklonjena dela iz Nacionalne galerije u Pragu,
MSU, Skopje 1971 ; Stalna postavka MSU, Skopje od 1973; Poklonjena dela 1971-1980,
MSU, Skopje, 1980; Od Picassoa do Caldera, 1985.
Bibliografija / Bibliography A. Matejcek; Emil Filla, Prameny, Praha 1938; Hans Vollmer: Allgemeines Lexikon der
Bildenden Kiinstler des XX. Jahrhunderrs, Leipzig, VEB.E.A. Seemann 1955/ II,
s. 104-105;]. Zemina: Emili Fila, Obelisk, Praha 1970; Abadiieva Dimitrova, 1985,
repr.
68
Foto Blaio Micevski
Marc Chagall
Vitebsk 1887 - Vence 1984
Zaljubljeni /Damas pticom, oko 1927.

Lovers I Lady with a Bird
gvas na papiru I Gouache on paper
66X51 cm
sign.cl.cl.: Chagall
(Sa straznje strane, u desnom gornjem uglu nalazi se svjetloplava naljepnica: No 20630: po sredini bijela
naljepnica: No. 25288 Chagall Jes amoureux p. l.n. / vjerojatno oznaka Galerije Flechtheim/ povrh ove
nesto veca naljepnica s tekstom: Chagall, Uomo, donna uccello, acquaerello, cm 95 x 76, ii R.ispettore
onorario /R . Gigante/ Fiume).
Prema periodizaciji Chagallovih djela According to the periodization of Chagall's
nastalih na papiru, koja je objavljena u works done on paper, which was printed in
katalogu izloz.be Marc Chagall, Oeuvres the catalogue of the exhibition »Marc
sur papier, u Centru Georges Pompidou u Chagall, Oeuvres sur papier", in the Centre
Pariz 1984. g., gvas Zaljubljeni pripada Georges Pompidou Paris in 1984, the
grupi Chasallovih djela nastalib u gouache Lovers belongs to the group of
FrancuskoJ izmnedu 1923. i 1941. godine. Chagall's works done in France between
Preciznije, on je najvjerojacnije raden u 1923 and 1941. The gouache was most
okviru narudz.be A. Vollarda na temu probably done as part of a commission by
cirkusa (1927. g. ). Gvas u cijelosti odaje Ambroise Vollard on a circus theme in 1927.
cipicno Chagallovsku poeciku profinjenih On the whole, it reveals the poetics of
ljudskib odnosa. Slikan je u finim nijansama refined human relations typical of Chagall.
plavo-tirkiz-zeleno, naglasene dijagonalne It is painted in fine blue-turquoise-green
kompozicije. Na slici su dvije ljudske figure nuances with accentuated diagonal
prilicno neobradena spola: visa figura u composition There are two human figures
ruci drz.i golubicu. Prostor slike je of quite undetermined sex in the picture;
neodreden, ali indicira na cirkus, buduci da the taller figure holds a dove. The space in
su obe figure odjevene u harlekinske the picture is not defined but suggests a
kostime, a u gornjem desnom dijelu slike circus, as both figures are dressed in
pojavljuje se plavo obojena zavjesa. harlequin's costumes, and in the upper
Ovaj gvas nabavila je glumica Tilla Durieux right-hand part of the picture a blue curtain
oko 1930. u Galeriji Flechtheim u appears.
Diisseldorfu. Godine 1938. Tilla Durieux, The actress Tilla Durieux acquired the
nakon emigracije iz Njemacke, uspjeva gouache about 1930 in the Gallery
dopremiti u Zagreb cijelu svoju zbirku Flechtheim in Dusseldorf In 1938, after her
umjetnina. Nakon njene smrti 1971. emigration from Germany, Tilla Durieux
godine, sporazumnom podjelom izmedu succeeded in transporting her entire art
nasljednika Tille Durieux i grada Zagreba, collection to Zagreb. After her death, in
ovaj gvas i jos neka djela iz njene zbirke 1971, by agreement between Tilla
pripadaju Muzeju grada Zagreba i ulaze u Durieux's heirs and the city of Zagreb, this
njegov inventar. gouache and some other works from her
Z.K. collection came into the possession of the
Museum of the City of Zagreb.
Z.K.
Izloz.be / Exhibitions Marc Chagall, J. Bazain, G. Braque, A. Calder, E. Chilida, F. Fiedler, A. Giacometti,
J.Miro. P. Palazuelo, R. Ubac, Galerija suvremene umjemosci, Zagreb, 1967; Tilla
Durieux, 1986.
Bibliografija / Bibliography Marc Chagall - Oeuvres sur papier; Centre Georges Pompidou, Paris 1984; Slavko
Sterk: Tilla Durieux i njezina zbirka umjetnina u Zagrebu. Muzej grada Zagreba, Zagreb,
1986.
70
Piet Mondrian
Arnersfoort 1872 - New York 1944.
Kompozicija II, 1929.

Composition II
45X45 cm.
sign.cl.I.: P.M. 29
U razvoju Mondrianovog stvaralastva In the periodisation of Mondrians work,
vreme od 1928. do 1932. godine smatra se the time between 1928 and 1932 is
klasicnim periodom neoplasticizrna. Tada considered as classical period of
nastaju njegova najcistija dela, koja se Neoplasticism. At that time he did his purest
odlikuju asketsk.im rasporedom square shaped works, with an ascetic
horizontalnih i vertikalnih linija, zatim arrangement of horizontal and vertical
cvrstom, strogom i jasnom podelom na lines, strong, strict and clear divisions into
dobro proporcionisana i uravnotezena polja well proportioned and balanced areas, and
kao i svedenom upotrebom boje: uz emu i with an equally ascetic use of colours: apart
belu, Mondrian koristi samo primarne from black and white, Mondrian uses only
crvenu, plavu i fotu. Kompoziciji II, primary colours - red, blue and yellow.
datovanoj u 1929. godinu, najsrodnije su Two pictures of the same name
slike istog naziva (Kompozicija sa crvenim, (Composition with red, yellow and blue)
iutim i plavim) iz Stedelijk muzeja u from the Stedelijk museum in Amsterdam
Arnsterdamu i iz kolekcije Bartos. and the Bartos collection are closest to
Kompoziciono, ali ne i koloristicki srodna Composition II, dated 1929. The painting
je i slika iz zbirke Arp-Hagenbach iz from the Arp-Hagenbach, Basle, is similar
Bazela. to it in composition, though not in colour.
Nesirnetricnost kornpozicije obezbeduje As the composition is asymmetrical, every
posebnu funkciju svakom segmentu, kako segment is given a particular function in
po boji tako i po rasporedu. Prerna recima colour as well as in arrangement. According
Michela Butora, crveni kvadrat na desnoj to Michel Butor, the red square on the right-
strani slike evocira istok, prirodni fenomen hand side of the picture evokes the east, the
zore, dolazak, rast. Crvena svojom snagom natural phenomenon of dawn, arrival and
zracenja raskida linije koje je okruzuju, growth. The red, with its power of
dok mali plavi kvadrat sa !eve strane priziva radiation, breaks the lines which surround
pojavu noci, tj. zarvorenog prostora koji it, while the small blue square on the left
upija tminu. side invites nightfall, a closed space which
Dodatnu vrednost slici iz Narodno~
absorbes the darkness. The picture from the
muzeja u Beogradu daje i ram koji ie National Museum has an additional value
umetnik sarn projektovao i radio sa because of its specially designed frame. It
namerom da neutralise osecaj was made by the artist himself with the aim
trodimenzionalnosti, sto je osnovna svrha of neutralizing the feeling of three-
rarna. Ta umetnikova stalna briga da dimensionality given by the frame. This
neutralizuje iluziju volumena pornocu
constant care to neutralize the illusion of
planova koje seku linije, vukla ga je i ka volume with planes crossed by lines, drew
odbacivanju svetlosti i dubine prostora. the artist into abandoning light and depth
Tako je Mondrian ostvario paradigmu of space. Thus, Mondrian realized a
nemimecicke, vec cisto likovne, subjektivne paradigm not of a mimetical, but a purely
realnosci, vezanu za njegova teozofska artistic, subjective reality, connected with
ubedenja. Kompoziciju I I poklonio je grad
his theoretical convictions. Composition II
Amsterdam 1931. godine tadasnjem was a present to the Belgrade Muse um of
beogradskom Muzeju savremene
Contemporary Art (of that time) in 1931,
umetnosti, zajedno sa velikom kolekcijom
by the city of Amsterdam, together with a
large collecton of other paintings and
drugih holandskih slika i grafika.
graphics.
I.S.
LS.
Izlozbe / Exhibitions Exposicion de Arte Moderno, Barcelona, Galeria Delmau 1929, repr.; Mondrian.
Production Paris 1930; Zurich, Galerie Wolfsberg 1930, repr.; Beograd 1931, kat. 28;
Capolavori della pittura de! XX secolo {1900-1945), XXXVI. Biennale Venezia 1972.;
Stalna postavka Muzeja kneza Pavla i Narodnog muzeja, Beograd.
Bibliografija / Bibliography Narodni muzej 1952, 74; H.j.C. Jaffe, Le tableau de Mondrian au Musee National de
Beograd, Zbornik Narodnog muzeja, IV, Beograd 1964, 453-456, repr.; Ambrozic,
1969, 25, repr. 82; Narodni muzej 1970, 113, repr.; Ambrozic, 1983, 159-160, repr.
72
Frantisek Muzika
Praha 1900 - Praha 1974.
Mrtva priroda sa zdelom, 1930.

Still Life with a Dish
33X55 cm
sign.cl.I. : F. Muzika 30
Francisek M uzika je u svom stvaralastvu Frantisek M uzika in his creative evolution
evoluirao kroz nekoliko faza : od magicnog passed through several phases: from magic
realizma, preko jedne varijante lirskog realism, through a variation of lyric Cubism
kubizma kojoj pripada i delo Mrtva priroda (to which the work Still Life with a Dish
sa zdelom, do postnadrealizma. Jedan je od belongs), to Post-Surrealism. He is one of
najznacajnijih predstavnika modernog the most significant representatives of
ceskog slikarstva, ciji je izraz obojen modern Czech painting whose expression
karakteristicnirn elemencima imaginacije. bears characteristic elements of imagination.
Orijencisan u ovom delu ka kubistickom Orientated in this work towards a Cubist
tretrnanu likovnih elemenata, on tretira treatment of the art elements, his motif is
veoma cest i karakteristican motiv za one, frequent with and characteristic of
kubiste - mrtvu prirodu. Iako potice iz Cubists -still life. Although it derives from
stvarnosti, kompozicija ne predstavlja reality, the composition does not represent a
njenu neposrednu percepciju, vec pre grupu direct perception of it but rather a group of
vizuelnih elemenata, slobodno povezanih, visual elements, freely related, with a slir,_ht
uz blagu stilizaciju formi i bez poscovanja stylization offorms and without respect for
zakona perspekcive. the laws of perspective. The colours
Kolorit se krece u gami smirenih tonova: represent a scale of calm shades: grey,
sivih, smedih, svetlozelenih, kao i crvenih brown, light-green as well as red accents.
akcenata. Linearnim intervencijama unosi i
He brings decorative elements into the
dekorativne elemente. picture with linear interventions.
Poklon Nacionalne galerije u Pragu, 24. 8.

This work is a present of the National
1971. Gallery in Prague to the Museum of
Contemporary Art in Skopje, on August 24,
Lj.D. 1971.
LJ.D.
Izlozbe / Exhibitions Pok.lonjena dela iz Nacionalne galerije u Pragu, MSU, Skopje, 1971; Stalna postavka
MSU, Skopje od 1973; Poklonjena dela 1971- 1980, MSU, Skopje 1980; Od Picassoa do
Caldera, 1985.
Bibliografija / Bibliography V.M. Nebesky: L' Art moderne cchechoslovaque 1905-1933, Librairie Felix A lean, Paris
1937;]. Pecirka: Frantisek Muzika, Praha 1948; F. Smejkal: Frantisek Muzika, Praha
1966; Hans Vollmer: Allgemeines Lexikon der Bildenden Kiinstler des XX.
Jahrhunderts, Leipzig, VEB, E.A., Seemann 1955/ III, 453;Abadiieva Dimitrova, 1985,
repr.
74
Fata Marin Dimes
Andre Derain
Chatou 1880 - Charnbourcy 1954.
Predeo sa maslinama, oko 1930.

Landscape with Olive Trees
ulje na platnu Oil on canvas
46X55 cm
sign.d.d.: Derain
Andr~ Derain je u zbirkama Narodnog In the collection of the National Museum
mu~eJ.~ u Beog_radu veorna dobro zastupljen Andre Derain is well represented by_ the
fov1st1ckom slikom Jedrilice u Collioureu Fauvist picture Sailing Boats in Collioure,
oko 1905, sardenovskom Mrtvom ' about ?905, a Still-Life, in the style of
prirodom, oko 1926 i klasicnom, gotovo Chardm, about 1926, and the classical
renesansnom slikom Predeo sa maslinama almost Renaissance picture Landscape 'with
!z <?ko 1?30. g~dine. Pored toga, cuvaju se ' Olive Trees, about 1930. Apart from that
1 n Jegov1 crtez.1. the _Mu_seum ha~ some of his drawings. By
Predstavljanjem slike Predeo sa maslinama exhibiting the picture Landscape with Olive
zeleli smo da izdvojirno umetnikovo Trees we w!shed to single out the artist's
posebno poetsko raspolozenje, speaal poetic mood, characteristic not only
kara.½t~risti~no ne samo za njegov zreli, of hi~ mature classical period but of the
klas1cm penod, vec uopste za tridesete 1930 s m European art in general, when
g~dine_ u evropskoj umetnosti, kada se thoughts as well as the hand return to peace
m1sao 1 ruka vracaju rniru i redu, and order, meditation and quiet emotion.
m:~~ta~ivnoj i s_mirenoj osecajnosti. Mnogi Many cri~ics think, and correctly so, that
knt1can smatraJu s pravom da je Derain u during his adventure with the Fauvists
vreme avanture s fovizmom bio Derain was an irreplaceable colourist, ~
nezamenljiv kolorista i snafoi i smeoni force[ul and courageous pioneer in the
tragalac za novim likovnim izrazima. search for new expressions in art. Others,
Drugi? pak_,_ isric_u_ njegovu muzejsku fazu,
however, place emphasise on his classical
tzv. ':'1z~t1Jsku iii gotsku ... Jednom recju, museum phase, so-called Byzantine or
Deram }e u svakom od svojih perioda Gothic. In short, Derain had exceptional
stvaranJa, ne uzdizuci vrednost re~ults in each of his creative periods,
~ontinuiteta, postojanosti i vere u samo without praising continuity, development,
Jedan credo, donosio izuzetne rezultate u or stability and faith in one credo, thanks
~elikoj meri ~a~valjuju_~i svojoj jakoj
largely to his strong intellectual disposition.
mtelekrualnoJ d1spoz1c1J1. U tom srnislu In_ this s_ense, it seems to us that Landscape
nam _se cini da je njegov Predeo sa with Olive Trees is a happy union of visual
maslinama srecan spoj vizuelnog i and cerebral, brought into brilliant
cerebralnog, doveden u sjajnu harmoniju i harmony and balance. The inner mood
ravnotezu. Unurarnje raspolozenje, vedrina serenity and breadth of vision found a~
i sirin~ v\zije, nasli _su _odgovora u lirskom
answer in the lyric lighting, the noble plastic
osvetlJenJu, plememtoJ plasticnoj materiji i
form, the almost scenic arrangement of the
gotovo s_c~!lsko~ aranzmanu pastoralne pastoral composition which indicates remote
kompoz1c1Je kop nagovestava daleka climates, a distant perspective, as in
podneblja? daleku perspektivu, kao na
Renaissance vedute. Similar to this picture
rene~ansmm vedutama. Varijanta slike rad
is an aquarello and The Forest of
Fontainebleau from the same year 1930
ena Je_ u akvarel1;1, ~ bliska joj je Suma u
Fontamebleauu 1z 1ste, 1930. godine, kada when Derain painted a series of landscapes
je _Derain ~li~ao seriju pejzaza u Bandolu i
in Bandol and Saint-Maximin in Var. On
Samt-Max1mm u Varu. Na svima se oseca all of.them we feel a confident overcoming
~igurno sa':'la1avanje vizionarskih lutanja, i
of vmonary wanderings and an ideal of
ideal u smtraJU j klasicnoj tisini. peacefulness and classical silence.
Pre<!,eo sa maslinama koji srecemo i pod Landscape with Olive Trees (known also as
naz1vom Predeo u Provansi i Sivo drvei:e Landscape in Provance or Grey Trees) was
poklonio je Muzeju 1934. godine knez ' a gift to the Muse um in 1934 by Prince Paul
Pavle Karadordevic. Karadordevii:.
I.S.
I.S.
Izlozbe / Exhibitions Beograd 1950, kat. 44; Lenjingrad 19~8, kat. 15, rep~. 11; Prag 1971, kat. 17; Ljubljana
1978, kat. 18; Stalna postavka Muzep kneza Pavla 1 Narodnog muzeja, Beograd.
Bibliografija / Bibliography Kasanin,_,1938, X, repr. 73; Francuski radovi 1940, 242; Narodni muzej 1952, 70;
Ambrozic, 1971, s.p.repr.; Ambrozii:, 1978, 16, repr. 82.
76
77
Georges Rouault
Paris 1871 - Paris 1958.
Pere Ubu, 1931.

gvas i tempera na papiru / Gouache and tempera on paper
38X31,5 cm
sign.d.d. : G. Rouault 1931
U Rouaultovim delima, koja zapocinju sa Rouault's works, which start with Fauvism
fovizmom i nastavljaju se na and continue in an Expressionist manner,
ekspresionizam, postoji bliskost sa are similar to vitrage in their clear and pure
vitrazom po cistoti i sjaju boje i uvek colours and the heavy black outlines which
zadrzanoj teskoj, crnoj konturi, koja ne are always maintained and not only
samo sto omectuje oblike, nego i podstice delineate the shapes but also emphasise the
taj sjaj boje. Tim klasicnim delima radiance of colour. Pere Ubu from the
Georgesa Rouaulta pripada i Pere Ubu iz National Museum in Belgrade is one of
Narodnog muzeja u Beogradu. Zanimljivo these classical works. It is interesting that
je da je umetnika niz godina okupirala tema for years Rouault was preoccupied with the
J arryevog satiricnog lika, pretocenog u theme of Alfred Jarry's satirical image,
ogromnu drustvenu karikaturu. Rouault je turned into a large social caricature.
vec 1917. radio Projet pour Ubu colon, a Rouault did Projet pour Ubu colon already
1928. Brkonju koji se smeje i Brkonju sa in 1917, A laughing Man with Moustache
naocarima, oba dela morfoloski i stilski and Man with Moustache and Glasses in
veoma bliska gvasu iz Narodnog muzeja. 1928. these last two works closely resemble
Seriju o Ubuu dopunjuje niz crteza kao the gouache from the National Museum
pripreme za graficku ilustraciju knjige morphologically as well as in style. There
Arnbroisea Vollarda Reincarnations du are a number of drawings done as
Pere Ubu, objavljenu 1932. godine. preparations for the graphic illustration of
Zanimljivo je da u svojim Secanjima jednog Ambroise Vo/lard's book the Reincarnation
trgovca slikama (str. 313), Vollard pise da du Pere Ubu, published in 1932 which can
je za razliku od Jarryevog Ubua, kao be included in the series on Ubu.
simbola individualnog paroksizma Pere Ubu is from Erich Slomovic's
egoisticnosti, njegov - Vollardov, kojeg je collection, which was given to the National
likovno predstavio Georges Rouault, Museum in Belgrade in 1949. Although
simbol kolektivne tiranije iz sveta Slomovic got a great number ofworks from
politicara. Ambroise Vollard, it is possible that he
Pere Ubu potice iz kolekcije Eriha received Pere Ubu directly from the artist,
Slomovica koja je dodeljena Narodnom because it is known that Slomovic and
muzeju 1949. godine. Iako je veliki broj Rouault knew each other well. Apart from
dela do Slomovica dosao preko Ambroisea the numerous graphics by this artist,
Vollarda, moguce je da je Pere Ubu dospeo preserved in the National Museum, there is
nee.osredno od umetnika, jer se zna da su a copy of A. Vollard's lavishly designed
se Slomovic i Rouault poznavali. Pored book the Reincarnation du Pere Ubu with
vise grafika i crteza ovog umetnika, a dedication: »to the Museum of Prince
sacuvanih u Narodnom muzeju, nalazi se i Paul, in memory of my friend Ambroise
jedan primerak izvanredno opremljene Vo/lard. Erich Chlomovitch. 12. X. 1939.
knjige A. Vollarda Reincarnations du Pere Paris".
Ubu sa posvetom »Muzeju Princa Pavla, za
I.S.
secanje na prijatelja Ambroisa Vollarda,
Erich C hlornovitch, 12. X 1939, Paris«.
I.S.
Izlozbe / Exhibitions Zagreb 1940, kat. 168; Beograd 1950, kat. 109; Prag 1971, kat. 46, Ljubljana 1978, kat.
44; Stalna postavka Narodnog muzeja, Beograd.
Bibliografija I Bibliography Slomovic, 1940, repr. 73; Narodni muzej 1952, 70; Narodni muzej 1970, 111, repr.;
Ambrozic, 1971, s.p., repr.; Ambrozic, 1978, 13, 28, 55, repr. 108.
78
Fernand Leger
Argentan, Normandie 1881 - Gif-sur-Yvette 1955.
Koren kruske, 1933.

Root of Pear Tree
cus na papiru / Indian ink on paper
45,5X40 cm
sign.d.d. : FL 33 racine de poirier
Crtez je nastao u periodu gotovo pune The drawing was done at a time when the
kreativne zrelosti autora, jednog od author had almost reached complete
najznacajnijih umetnika savremenog creative maturity. He is one of the most
francuskog slikarstva, koji u svom significant artists of contemporary French
stvaralastvu trajno zadrzava elemente painting, who constantly maintained
kubistickog P.rosedea. Crtez je jedan iz elements of Cubist proceeding in his w ork.
serije umetn1kovih slicnih ostvarenja This drawing is one of a series of similar
nastalih pocetkom tridesetih godina, u works by the artist, done at the beginning
kojima se koncentrise na jedan detalj iz of the 1930's, in which he concentrates on a
sveta vegetacije - koren kruske. Kao sto detail from the w orld of vegetation - the
mu je u slikarstvu boja sluzila za definisanje root of a pear tree. In painting he used
forme, tako u crtezu cu ulogu ima siguran colour to define the form, whereas in
potez. Plasticnost predmeta i njegova draw ing, the firm touch has this function.
vizuelna prepoznatljivost, u kojoj se He realises the plasticity of the object and
delimicno nazire i kubisticka logika, its visual recognizability, in which Cubist
docarava iskljucivo crno-belirn efektima i logic is slight/;,! discernible, solely w ith black
zgusnutim, paralelno postavljenim and white effects and parallel lines placed
linijama. close together.
Poklonila autorova supruga Nadia Leger, This work is a present from the author's
24. 7. 1965. wife, Nadia Leger, to the Museum of
LJ.D. Contemporary Art in Skopje, on December
24., 1965.
LJ.D.
Izlozbe / Exhibitions Poklonjena dela iz Francuske, Umetnicka galerija, Skopje 1966; Poklonjena dela
1965-1966, Skupstina SRM, Skopje 1966; Francuska umemost iz kolekcije MSU, Skopje,
Galerija savremene likovne umemosti, Novi Sad 1967; Stalna postavka MSU, Skopje od
1970; Medunarodna izlozba cneza poklonjenih MSU Skopje, 1973; Od Picassoa do
Caldera, 1985.
Bibliografija / Bibliography P. Descargues: Femand Leger, Paris, 1955; R.J. Delevoy: Leger, Lausanne, 1962;
Petkovski, 1970, repr.; Abadiieva Dimitrova, 1985. repr.
80
Georges Papazoff
Jambol 1894 - Vence 1972.
Svjetlonose, 1934.
Light Bearers
162,2 X129,8 cm
sign.I.cl. : papazov
vi. MG, Zagreb
Bugarski slikar Georg Papazov (potpisivao The Bulgarian painter Georg Papazov
se kao: Georges Papazoff) nalazi se od resided in Paris from 1924 and there, close
1924. godine u Parizu. Blizak je krugovima to the circles of the Paris school, associated
Pariske skole, prijareljuje sa Pascinom. with Pascin. He created under the influence
Srvara pod utjecajem kubizma i of Cubism and Surrealism (Picasso, Klee).
nadrealizma (Picasso, Klee). Slika The picture Light-bearers, which was
Svjetlonose, koja je bila izloz.ena na displayed at his exhibition in Belgrade and
njegovoj samostalnoj izloz.bi u Beogradu i Zagreb, contains very recognisable elements
Zagrebu, sadrz.i vrlo prepoznatljive of Cubism and Surrealism. Although it is in
elemente kubizma i nadrealizma. Iako je na a way decorative, the picture has the effect
izvjestan nacin dekorativna, slika snaz.nim of a somnabulant drama thanks to its
kontrastiranjem boja postiz.e efekt force/ul colour contrasts.
somnabulne dramaticnosti.
No document has been found, on the basis
Nije pronaden dokument na osnovu kojega of which it could be positively established
bi se moglo pozitivno urvrditi kako je ovo how this work came into the possession of
djelo doslo u posjed Moderne galerije u the Modern Gallery in Zagreb, but it was
Zagrebu, ali je najvjerojatnije kupljeno sa most probably bought at the exhibition
izloz.be koju je ovaj umjetnik imao u which this author had in Zagreb in 1934.
Zagrebu 1934. godine.
Z.K.
t.K.
lzloz.be / Exhibitions Beograd 1934; Zagreb, Moderna galerija 1934.
Bibliografija / Bibliography Philippe Soupault: Papazoff, Galerie de Seine, Paris s.d.; Andrei B. Nakov: Papazoff.
Franc-tireur du surrealisme, La Connaissance, Bruxelles 1973 .
82
Giorgio Morandi
Bologna 1890 - Bologna 1964.
Predgrade, 1941.
Suburb
32,5 X40 cm
sign.d.d.: Morandi 1941
Nalazeci ishodisce u doscignucirna Deriving from Cezanne's achievements
Cezannea i italijanskog rnecafizickog and Italian metaphisic painting, Morandi
slikarscva, Morandi reducira upotrebljene reduces the objects which he represents in
predrnece svojih rnrcvih priroda i predela na still-lifes and landscapes to the archetypical
arhecipske oblike kocke i valjka. Proscor shapes of square and cylinder. Space in his
njegovih slika je naglaseno picture is pronouncedly two-dimensional
dvodimenzionalan, a svi deskriptivni iii while all aescriptive or plastic elements are
plasticni elernenci su napusceni. Za vrerne avoided. During the second world war,
drugog svecskog rata, kada je radena ova when this landscape was painted, the artist
slika, urnemik se povukao u Grizzano gde retired to Grizzano w here he made a series
je nastala serija pejzaza koje neki porede sa of landscape paintings which are paralleled
Corocovirn icalijanskirn predelirna. Posebni by some critics with Corot's Italian
kvaliceti Morandijevog slikarscva leze u landscapes. The particular qualities of
rnirnoj koncernplaciji predrneca koju Morandi's opus lie in the peaceful
prepoznajerno na platnu kroz bicne poteze contemplation of the object, w hich we
i osnovne koloristicke vrednosci: cako je i u recognise on the canvas through the
najburnijirn trenucirna svojirn nacinorn essential strokes and basic colour values.
izrazavanja cisine sacuvana aucorova svesna Thus in the most stormy moments, by the
usredsredenost na duhovno. way he expressed silence, he maintained his
Narodna galerija je sliku dobila 1943. conscious concentration on the spiritual.
godine od Pokrajinske vlade. The picture was acquired by the National
J.M. Gallery from the Regional Government in
1943.
J.M.
Izlozbe / Exhibitions Ljubljana 1983-1984, kat. 100; Beograd 1985, kat. 55.
Bibliografija / Bibliography L. Vitali, Giorgio Morandi, Cacalogo generale, 2. vol., Milano 1977; Zeri, 1983, kac.
100, repr. 100.
84
Massimo Campigli
Firenze 1895 - Saint Tropez 1971.
Zena koja dize veo, 1941-1942.

Woman raising a Veil
63X41 cm
sign.cl.cl.: Campigli 41-42
Slika je nastala u tipicnom stilu koji The picture is made in the typical style
ocllikuje sva autorova clela posle 1928. which distinguishes all the author's works
godine. Carnpigli je trazio sti!ske izvore u after 1928. Campigli looked for the sources
egipatskoj, kritskoj, helenistickoj i of his style in the Egyptian, Cretan,
etrurskoj umetnosti i kao autocliclakt ih je Hellenistic and Etruscan art which he, as an
sintetizovao u smislu neoprimitivizma. autodidact, synthesised in the sense of
Oclatle poticu hijerarhijska tektonika neoprimitivism. From this derive the
kompozicije, plosnost i frontalnost, hieratic tectonic composition, flatness and
prototip ljuclske grade koji navocli pomisao frontality, prototypes inspired by the
na anticke izvore; kanonizovani antique sources, canonical conventional
konvencionalni gestovi, boja i fakrura, koji gests, colour and texture which are
poclsecaju na freske itcl. Campiglijev reminiscent of frescoes etc. Campigli's
posebni svet motiva je sam, usko shvaceni personal wor!Jof motives is just a relatively
i.ivot, tako cla su toliko puta ponavljani narrow understanding of life, so that shapes
oblici i figure posta!i tip1zirani slikarski and figures repeated many times became
znaci, sto je imalo izuzetan znacaj za typified painting signs. These were of great
savremeno italijansko, i sire, evropsko importance for contemporary Italian and
slikarstvo apstraktnog znaka. European abstract painting sign in general.
Naroclna galerija je clobila sliku ocl The National Gallery received the picture
Pokrajinske vlacle 1943. godine. from the Regional Government in 1943.
J.M. J.M.
Izlozbe / Exhibitions Soclobna italijanska umetnost, Moclerna galerija, Ljubljana 1956; Ljubljana 1983-1984,
kat. 101 ; Beogracl 1985, kat. 56.
Bibliografija / Bibliography M. Campigli, R . Carrieri, A. Chaste/ et all, Omaggio a Carnpigli, Roma 1972; Zeri,
1983, kat. 101, repr. 101
86
\
Renato Sirolli
Verona 1907 - Milano 1959.
Pesnik Salvatore Quasimodo, 1942.

Poet Salvatore Quasimodo
160X60 cm ·
sign.cl.I.: Birolli 42
vl. NG, Ljubljana, Inv. 1992
Celog zivota Birolli je p ripadao onim All his life Birolli was one of those painters
slikarima koji su nastojali da modernizuju who tried to give modern expression to
izraz savremene italijanske umetnosti. Pred Italian contemporary art. Before the second
dru~i svetski rat pripadao je snaznoj, world war, he belonged to the power/ul
klas1cisticki orijenrisanoj grupi Novecento classicistically orientated group Novecento
(Dvadeseti vek), koja se temeljila na (20th Century), who based their work on
tradiciji bogate bastine italijanske the tradition of the rich Italian art heritage.
umetnosti. Posle rata je medu prvima After the war he was among the firsts to
prihvacio apstraktnu umetnost. Portret accept Abstract art. The portrait of the poet
pesnika Quasimoda pokazuje nacin Quasimodo shows an important retreat
umetnikovog odstupanja od tradicionalnog from traditional realism: flat representation
realizma: plosno prikazivanje mizanscena, of mise-en-scenes, schematic generalisation
shemacicno uopstavanje glavnih vizuelnih of the main visual data and deformations of
podataka i karakterne deformacije u smislu character, in the sense of Expressionist
nasledstva ekspresionistickih uzora. tradition.
Slika je dospela u Narodnu gaJeriju kao The picture was a gift to the National
poklon Pokrajinske vlade 1943. godine. Gallery from the Regional Government in
1943.
J.M.
J.M.
Izlozbe / Exhibitions XXIII biennaJe, Venezia 1942; XXX biennaJe, Venezia 1960; Ljubljana 1983-1984, kat.
102; Beograd 1985, kat. 57.
Bibliografija / Bibliography M. Valsecchi, Renato Birolli, Milano 1966; Zeri, 1983, kat. 102, repr. 102.
88
"'
C
.!!!.
:0
:,
::r
:coi
a,
.;
Cl
:!!
~
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i0
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Filippo de Pisis
Ferrara 1896 - Milano 1956.
Blazeni Labre, 1942.

Blessed Labre
80X65 cm
sign.d.d.: Pisis/ 42
De Pisisov poseban slikarski rukopis potice De Pisis's typical handwriting originates
iz studija skicuoznog, from the studies of the sketchy
»predimpresionistickog« nacina rada »preimpressionist« way of working of the
venecijanskih vedutista 18. stoleca i Venetian landscapists of the 18th century,
francuskog impresionizma i intimizma. and French Impressionism and lntimism.
Usprkos naizgled lakom likovnom In spite of what seems to be on first sight,
tretmanu, kompozicije su gradene cvrsto i the light artistic treatment, the compositions
promisljeno. are firmly and deliberately built. Nervous
Nervozni ritam i slobodno naneti potezi rhythm and freely painted strokes appear to
ostvaruju prividno treperenje fakture kao give a flickering of the texture and elegant
elegantne arabeske. Ali, to nisu obicne arabesques. However, these are not simple
opticke studije vec filozofski zasnovana optic studies but in fact the philosophically
dela svestrano obrazovanog humanistickog based works of a universally educated
mislioca. Slika Blaieni Labre je jedno od humanist thinker. The painting Blessed
Labre is one of his best and was published
najboljih i posle objavljivanja u poznatom
Haftmannovom pregledu slikarstva 20. in Haftmann's review of the 20th century
veka i jedno od najpoznatijih umetnikovih painting. It shows the real existential
dela koje pokazuje pravi egzistencijalisticki relationship between the artist and his
odnos umetnika prema svom motivu. Terna motif The motifof the saint's ascetic figure
asketske svetacke figure je naslikana na is painted in the traditional iconographic
tradicionalan ikonografski nacin, sto ce pose, which will be developed later by
kasnije razviti Alberto Giacometti i Zoran Alberto Giacometti and Zoran Music.
Music. The Regional Government presented the
Narodna galerija je sliku dobila od picture to the National Gallery in 1943.
Pokrajinske vlade 1943. godine. J.M.
J.M.
Izlozbe / Exhibitions XXIII biennale, Venezia 1942; Mostra di Filippo de Pisis, Comune di Verona 1969;
Omaggio a de Pisis, Studio del Pittore, Brugherio 1980; Ljubljana 1983-1984, kat. 103;
Beograd 1985, kat. 58.
Bibliografija / Bibliography M. Valsecchi, Filippo de Pisis, Milano, 1956; Zeri, 1983, kat. 103, repr. 103.
90
Max Ernst
Briihl 1891 - Paris 1976.
Prvi vazan razgovor sa Himerom, 1942.

First Memorable Conversation with the Chimera
tus oa papriru / Indian ink on paper
63X48,5 cm
sign.cl.cl.: Max Ernst - Bret (kolazirano)
vi. NM, Beogracl
Prvi vaian razgovor sa Himerom Koliko smo uspeli cla ustanovimo do sada, The drawing was probably done shortly
ikonografski spacla u krug fantasmagoricnih crtez je ponovo reprodukovan u zborniku before its publication in the first issue of the
preclstava svojsrveoih Maxu Ernstu na koje tekstova Maxa Ernsta Ecritures, 1970, a1i u American Surrealist magazine VVV in June
se umetnik vracao tokom celokupnog svog strucnoj literaruri nije posebno obradivan, 1942, for which Max Ernst made the title
opusa. Osam izclvojenih likovoih preclstava verovatno zbog toga sto ga je umemik rano page. This was an exceptionally fruitful and
prikazuje himere cija se ocllicja i stavovi poklonio Rastku Petrovicu sa kojim se significant year for the artist: his famous
menjaju, pri cemu je uvek zaclrzana clruzio u Vasingtonu i Njujorku sredinom pictures The Bewildered Planet, Surrealism
asocijacija oa simbiozu kooja i clevojke. cetrdesetih godma. lz zaostavstine Rastka and Painting, Day and Night, were done
Tekst rukom ispisan na engleskom jeziku Petrovica, kao legat njegove sestre Ljubice then; _d~rin~ this year he exhibited at big
(kojim se Ernst cesto sluzio) prati sloboclne Lukovic, cnez je dospeo u Spomen-muzej exhtbttwns in the USA where he was in
prostore medu crtezima i cita se kao beleska Nadezde i Rastka Petrovica u sascavu exile (Artists in Exile, First Papers of
o snovidenjima i erotskim vizijama sto Naroclnog muzeja u Beogradu 1967. Surrealism, Exposition Internationale du
evociraju susret umetnika sa himerama. Surrealisme); he exhibited the
I.S. decalcomanias at a one-man exhibition in
Karakteristican je siokopiran odnos
razumnog toka svesti sa nepovezanim, New York and instead of having a
The First Memorable Conversation with
sloboclnim asocijacijama, cija alogicnost the Chimera falls iconographically into a
catalogue, a special April issue of the View
upucuje na automatski nacin belezenja sphere of phantasmagoric notions, typical of magazine was dedicated to him. That year
misli. Prelamanje reci i izclvajanje slova Andre Breton put him at the top of a list of
Max Ernst, to which he was turnin,8 during Surrealist painters.
racli brizljivog pracenja oblika cneza his entire opus. Eight individual figures
pokazuju cla je ispisani tekst usleclio posle represent chimeras whose shapes and poses The draw ing The First Memorable
crteza. To otezava citanje, ali ne sprecava change but the association with the Conversation with the Chimera was stuck
razumevanje opsteg smisla. symbiosis of a horse and a girl is maintained. onto a larger piece of paper because of the
Cnez je nastao najverovatnije precl The text in English written by hand (which deterioration of the material. At the same
objavljivanje u prvom broju americkog Ernst often used) fills the empty spaces time, it seems, a segment with the signature
oad~ealistickog ~asopisa VVV? jun~ 1942. between the drawings and is to be read as (Max Ernst-Bret- the rest is torn of) was
godme, za koi1 Je Max Ernst 1zracl10 i a note on the dreams and erotic visions added. Although this suggests the possible
naslovnu srranu. Bila je to izuzetno plodna which evoke the artist's encounter with the double authorship of Max Ernst and Andre
i z nacajna godina za umetnika: tacla su chimera. There is a characteristic syncopated Breton, the fact that on the occasion of its
nastale njegove poznate slike Poludela relationship between a sensible flow of f~rst publication in VVV only Ernst was
planeta, Nadrealizam i slikarstvo, Dan i conciousness and incoherent free signed and that the text was written in his
not . Te gocline je izlagao oa velikim associations. This relationship, being handwriting releases 11s from doubt.
izlozbama u SAD, gde je bio u izgoan stvu alogical, indicates an automatic way of As far as we were able to establish up to
(Artists in Exile, First Papers of Surrealism, noting thoughts. The words are broken and now, the drawing was reproduced in a
Exposition Internationa.le du SurreaJisme; the letters are separated, following carefully collection of Max Ernst's texts Ecritures but
samostalno je izlagao clekalkomanije u the shape of the drawings. This shows that has not been separately studied in
Njujorku, a umesto kata.loga bio mu je the text was written after the drawing was specialized literature, probably because the
posvec~n pose~an aprilski broj casopisa done. It makes the reading difficult but artist himself soon gave it as a present to
View); 1ste goclme A. Breton ga je u jeclnom does not prevent us understanding the Rastko Petrovic with whom he was friendly
incervjuu stavio na celo liste nadrealistickih general meaning. in Washington and New York in the middle
slikara. of the 1940's. From the inheritance of
Crtez Prvi vaian raz~ovor sa Himerom je Rastko Petrovic the drawing came to the
zbog rrosnosti materiiala oaknadoo bio National Museum in Belgrade as a legacy
prilepljen za veci komad papira, kacla je po from his sister Ljubica Lukovic in 1967. It
svoj prilici kolaziran i segment sa potpisom is among the exhibits of the
(Max Ernst-Bret - ostatak je pocepan). Commemorative Museum of Nadeida and
Iako ovaj poclatak postavlja puanje o Rastko Petrovic.
mogucem dvojnom autorstvu Ernsta i I.S.
Andre Bretona, cinjenica da je prilikom
prvog objavljivanja u VVV potpisan samo
Ernst i da je tekst ispisan njegovom rukom
- uklaoja ovu nedoumicu.
Izlozbe / Exhibitions Stalna postavka spomen muzeja Nadezde i Rastka Petrovica, Beograd od 1975.
Bibliografija / Bibliography yvv, N~wYork, june 1942. no. 1. repr. 17; Max Ernst, Ecrirures, NRF, Le point du
iour, Pans 970, repr. 67.
92
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1 -
Arturo Tosi
Busto Arsizio 1871 - Milano 1956.
Predeo u Albanu
Landscape in Albano
69,5X90 cm
sign.d.d.: A. Tosi
Tosijevo slikarstvo vodi poreklo od Tosi's opus originates in the tradition of
tradicije lombardijskih pejzazista 19. Lombard landscape painters, which he
stoljeca koja je bila aktualizovana sa actualised with the innovations of
novinama impresionizma, Cezannea i Impressionism, Cezanne and Bonnard. His
Bonnarda. Svoj osobeni likovni jezik autor personal expression, in spite of some
je kasnije stilski osavremenio ali nije contemporary style changes, was not
radikalno razvijao. Slika predstavlja jedan radically developed. This picture is one of
od njegovih znacajnih pejzaza i rnogla bi se his outstanding landscapes and can be dated
datovati u kasne tridesete godine. in the late 1930's. He shows an expressly
Predstavlja izrazito lirski odnos prema lyrical relationship with his favourite motif,
omiljenorn motovu u kojem se svesno i bez in which he consciously and w ithout man)
suvisnih detalja traze odgovarajuce details looks for suitably interesting subjects.
zanimljivosti. Potezi su laki, struktura The strokes are light and the structure Jirm.
cvrsta. Tosi je nekada bio omiljeni Tosi was once a very popular Italian painter
italijanski slikar koji je dobio, na primer, who, e.g. revceived first prize at the
prvu nagradu na rimskom Kvadrijenalu Quadriennale in Rome in 1931, and in
1931. godine, a 1956. je imao veliku 1956 had a big retrospective exhibition at
retrospektivu na venecijanskom Bijenalu. the Biennale in Venice.
Narodna galerija je dobila sliku 1943. The picture was acquired from the Regional
godine od Pokrajinske vlade. Government in 1943.
J.M. J.M.
Bibliografija / Bibliography Arturo Tosi, Milano 1972.
94
Foto Arhiv Narodne ga/erije, Ljubljana
Domenico Cantatore
Ruvo di Puglia 1906 - Milano 1980.
Zena koja sedi, 1942.

Sitting Woman
ulje oa platnu / Oil on canvas
60X49,5 cm
sign.d.d.: Cantatore
Cantatore je bio autodidakt, uceoik Carla Cantatore was an autodidact, Carlo Carra's
Carra. Po ugledu na uciteljev i Morandijev pupil. Under the influence of his teacher as
stil, liricoost je post~la osobenost ojegovog well as Morandi, lyricism became for him
nacina izrazavanja. Zenski portret je tipicna an important way of expression. Female
tema njegovog slikarstva. Delo je slikano portrait is a typical theme in his painting.
veoma korektno - umetnik je hladnim This work is painted very correctly, the
bojama i poseboo modeliraoom i na osoben author tries to give the impression of
nacin ioterpretiranom svetloscu nastojao melancholy, with cold colours and
da poscigne osecaj melanholije. Tragao je particularly modelled and specially
za arhaicnom monumeotalnoscu u interpreted light. He looks for archaic
plemenitoj jednostavnosti velikih majstora grandeur in the noble simplicity of great
savremenog italijanskog slikarstva koji su masters of contemporary Italian painting,
tezili neangazovanoj estetici »ciste who aimed towards the non-engaged
vizuelnosti«. aesthetics of pure visuality.
Narodna galerija je sliku dobila od The National Gallery acquired the picture
Pokrajioske vlade 1943. godioe. from the Regional Government in 1943.
J.M. J.M.
Bibliografija / Bibliography S. Solmi, Domenico Cantatore, Roma 1942.
96
i7
Gino Severini
Cortona 1883 - Paris 1966.
Mrtva priroda
Still life
tempera i ulje na kartonu / Tempera and oil on cardboard
35,5X59 cm
sign.d.d.: G. Severini
Severini je najpoznatiji po svojoj Severini is best konwn for his association
pripadnosti futuristickom pokretu, mada je with the Futurist movement. Yet, the style
stil njegove likovne problematike bio of his art themes was orientated towards
okrenut u pravcu dekorativnog kubizma i decorative Cubism and Picasso's
pikasovskog neoklasicizma. NJegove Neoclassicism. His later pictures were done
kasnije slike radene su uglavnom u smilsu mainly in the way ofparticular manneristic
posebnog manirizovanog klasicnog classical painting in which only the details
slikarstva u kojem jos samo detalji motiva of the motif remind us of Cubist elements.
podsecaju na kubisticke elemente. Severini Sev erini did not consider himself as an artist
nije sebe smatrao za umetnika u in the traditional way but called himself
tradicionalnom smislu reci, vec se nazivao »onesto fabbricatore « (honest fabricator),
»onesto fabbricatore« ( »postenim and in this sense the picture in the National
radnikom«) i u tom pogledu je ova slika Gallery is unpretentious.
nepretenciozna. Ona je u zbirke Narodne It was acquired from the Regional
galerije dosla iz Pokrajinske vlade 1943. Government in 1943.
godine.
J.M. J.M.
Izlozbe / Exhibitions XXII biennale, Venezia 1940; Mostra d'arte italiana, Ziirich 1940; Ljubljana 1983-1984,
kat. 105; Beograd 1985, kat. 60.
Bibliografija / Bibliography Zeri 1983, kat. 105, repr. 105.
98
Giacomo Manzu
Bergamo 1908, zivi u Milanu
Kardinal, oko 1950.

Cardinal
bronza / Bronze
vis: 37,5 cm; baza: 28,SX26,8 cm
sign.: otraga na bazi u ovalu : MANZU
vi. MeG, Zagreb
Ambivalenmost opusa kipa ra Giacoma The ambivalence ofthe opus of the sculptor
Manzua proizlazi iz njegove specificne Giacomo Manzu is a consequence of his
remarike, koja po svojoj duboko specific subject matter which with its deeplJ
humanisrickoj viziji resko da je mogla humanist vision could hardly have satisfied
zadovoljiti normativnu estetiku bilo the aesthetic norms of the state or the
drzave, bilo crkve. Pa ir.ak, njegova church. However, in the context of modern
karakterisricna tema - lik kardinala - European sculpture his characteristic theme
predstavlja u komeksru moderne evropske - the image of a cardinal - represents an
skulpture izvanredan primjer prozivljene exceptional example of the synthesis of
sinteze tradicije i inovacije, i pravi putokaz tradition and innovation experienced, and
stvaranju utemeljenom na samim osnovama a real indicator for creation founded on the
humanosti . Ovaj ma1 lik Kardinala, kojega basis of humanity itself This small figure of
prikazujemo na ovoj izlozbi, vjerna je a Cardinal, which is exhibited here, is a
ilustracija onih vrhunskih dosega koje je faith[ul illustration of the highest
Manzu dao u monumentalnim verzijama achievements which Manzu realised in the
iste teme oko 1954. godine. monumental versions of the same theme
Z.K. about 1954.
Z.K.
Bibliografija / Bibliography Dictionnaire de la sculpture moderne, Paris 1960; M. De Micheli: Giacomo Manzu,
Milano 1971.
100
Fote Boris Cvjetanovic
1
Richard P.Lohse
Zurich 1902, zivi u Ziirichu
Dva kretanja i jedna osovina, 1952/1969.

Two Movements and one Axis
sitotisak, PVC / Silkscreen, PVC
49,9X50X2,2 cm
sign.: nema
vi. GSU, Zagreb, Inv. 1334
Pored Maxa Billa, Richard P.Lohse, drugi Togehter with Max Bill, Richard P.Lohse is
je veliki predstavnik svicarske »konkretne an important representative of the Swiss
umjetnosti« koja predstavlja za izvjesni »concrete art« which in a way is a
nacin kamen-medas izmedu borderline between the Constuctivist
konstruktivistickih tendencija prve tendencies of the first generation (de Stijl,
generacije (de Stijl, ruska avangarda, Russian avant-garde, Bauhaus,
Bauhaus, Abstraction-Creation) i »Abstraction-Creation«) and the geometric
geometrijske apostrakcije posljeratnog abstraction of the post-war period. The
razdoblja. Konkretisti iz Ziiricha (Max concretists from Zurich (Max Bill, Richard
Bill, Richard P.Lohse, Camille Graeser, P.Lohse, Camille Graeser, Verena
Verena Lowensburg) primijenjuju krajnje Lowensburg) apply an extremely rational
racioaaliziranu metodu organiziranja method of organizing the surface. Richard
plohe. Richar P.Lohse je u svojim radovima P.Lohse is somewhat less indoctrinated in
nesto manje. doktrinaran u primjeni »Reda applying the »Order of the Big Number« in
Velikog Broja«, ali izvan ~vake sumnje je his works, but without a doubt he brings
da apstraktnu misao dovodi do krajnjih abstract thought to its final consequence.
konzekvenci. Lohse standardizes the form and colour
Lohse numericki scandardizira formu i numerically. The relations on his pictures
boju. Odnosi na ajegovim slikama su are »logical«, which means that the result,
»logicki «, sto znaci da je rezulcat, odnosno that is the work, is known in advance. Two
djelo, poznat gotovo unaprijed. Dva movements and one axis from 1952/ 1969
kretanja i jedna osov ina iz 1952/1969. represents an example of the multiple which
predstavlja primjer mulcipla kojega Lohse Lohse creates from his art. The multiple has
scvara iz svoje umjemosti. Mulcipl ima sva the characteristics of the original, but is a
svojscva origiaala, ali reprezencira obrazac form which can be multiplied to a certain
koji je umnoziv u odredenom broju number of copies. The idea of multiplying
primjeraka. !deja o mulcipliciranju djela works agrees with the ideological position
sukladna je idejnoj poziciji koja se zalaze which supports the democratization of art.
za demokratizaciju umjetnosti.
This work by Richard P.Lohse was bought
Ovo djelo Richarda P.Lohsea kupljeno je for the Gallery of Contemporary Art in
za Galeriju suvremene umjetnosci 1970. Zagreb in 1970.
godine.
Z.K.
t.K.
Izlozbe / Exhibitions Zagreb, 1986.
Bibliografija / Biblwgraphy Katalog svicarskog paviljona na XXXVI Biennalu u Veneciji - samoscalna izlozba
Richard P. Lohse, 1972.
102
Foto Boris Cvjetanovil:
Pietro Consagra
Mazera de] Valo 1920, zivi u Rimu
Zanosni zbor, 1958.

Fascinating Gathering
bronca / Bronze
74X75X6 cm
sign.: nema
Pietro Consagra pripada posljeratnoj Pietro Consagra belongs to the post-war
generaciji talijanskih kipara koji su svoj generation of Italian sculptors, who formed
likovni jezik formirali na osnovama their artistic language based on the tradition
cradicije apscrakcne skulpcure meduracnog ofAbstract sculpture between the two world
razdoblja. Svoju afirmaciju dozivljavaju u wars. They received their affirmation at the
okviru Salona Novih realnosci u Parizu od Salon of New Realities in Paris from 1948.
1948. godine.
From 1952 Consagra developed a unique
Od 1952. g. Consagra razvija jedinstvenu sculptural theme with the title
skulpcorsku cemu pod nazivom Razgovori Conversations (Collogues) . Within this
(Colloques). U okviru ove ceme, Consagra theme Consagra consistently realised the
konzekventno provodi koncepc czv. concept of so-called »frontal sculpture«, in
»froncalne skulpcure«, uscvari reljefa fact a relief consisted of superimposed flat
sascavljenog od superponiranih plosnih elements. These elements, either in wood,
elemenaca. Ti elemenci bilo u drvu, zeljezu iron or bronze, form an organic play of
iii bronzi, formiraju na povrsini reljefa light and darkness on the surface.
organsku igru svjecla i came. Zanosni zbor Fascinating ~athering from 1958 belongs to
iz 1958. godine pripada com Consagrinom that series of Consagra's works which is
ciklusu, koji se po svojim opcim similar to the poetics of informel painting in
karakceriscikama priblifoje poecici its general characteristics. The sculpture was
slikarskog enformela. Ova skulpcura je bought for the Gallery of Contempor'!-ry
kupljena za Galeriju suvremene umjetnosci Art in Zagreb at the exhibztzon Prem10
u Zagrebu s izlozbe Premio Morgans Paint Morgans paint which was held in the
koja je 1961. godine bila odrzana u Modern Gallery in Zagreb in 1961.
Modernoj galeriji u Zagrebu.
Z.K.
Z.K.
Izlozbe / Exhibitions Premio Morgans Paine, Moderna Galerija, Zagreb 1961; Zagreb 1965; Zagreb 1986.
Bibliografija / Bibliography G.C Argan: Pietro Consagra; ed. du Griffon- Neuchatel-Suisse, 1962; Giorgio de
Marchis: Come si fauna scultura, Metro, Milano, No. 7/ 1962 28-31.
104
Fata Nenad Gatlin
•os
Carl Gerstner
Basel 1930, zivi u Baselu
Prije svega boja, 1959/1970.

Colour before all
sitotisak, plastika, papir, staklo, metal / Silkscreen, plastic, paper, glass, metal
50X50X20,9 cm
sign.: nema
Pripadnik druge generacije svicarskih Belonging to the second generation of Swiss
konkretista, Carl Gerstner predstavlja concretists, Carl Gerstner is an artist who
umjemika koji nacela svoje umjemosti bases his artistic principles on exact
temelji na egzaktnom, matematickom mathematical experience. Gerstner
iskustvu. Gerstner dosljedno provodi tu consistently puts into effect this »Gestalt«
»gestaltisticku« liniju koja mu omogucuje line which gives him an unlimited variety
neogranicenu kolicinu varijanti kako of basic forms, as well as basic colours. His
osnovnih formi, tako i osnovnih boja. permutable pictures also require a dynamic
Njegove permutacione slike pretpostavljaju perception, which means that the
takocter dinamicku percepciju, sto znaci da appearance of the picutre changes,
se izgled slike mijenja zavisno od tocke depending on the angle from which it is
gledanja. Linija »logickog« kreiranja slike, observed. The line of »logical« creation of
teznja za njenom socijanom konotacijom, the picture, the constant attempt to achieve
egzakmost izvedbe, vodi Gersmera prema its social connotation, the exact realisation,
eksperirnentu s multiplima. Prije svega lead Gerstner towards experimentation
boja, multipl iz fundusa Galerije suvremene with multiples. Colour before All, the
umjetnosti u Zagreb, primjer je takovog multiple from the collection of the Gallery
djela, koje premda umnozeno, nimalo ne of Contemporary Art in Zagreb, is an
gubi svojstva originala. Ovo djelo example of a work of this kind which,
otkupljeno je za Galeriju suvremene although multiplied, does not in the least
umjetnosti u Zagrebu 1970. g. loose the characteristics of an original.
t.K. This work was bought for the Gallery of
Contemporary Art in Zagreb in 1970.
:Z..K.
Izlozbe / Exhibitions Zagreb 1986.
Bibliografija / Bibliography Art of our time, paintings and sculpture throughout the world, edited by Will
Grohmann: London 1966; George Rickey: Constructivism, origins and evolution, New
York 1967.
106
107
Tri dvostruke mreze, 1960/1961 .
Three Double Nets
ulje, drvo / Oil on wood
80X80 cm
sign.: nema
Korak dalje od osnovnih premisa Morellet's early »nets« represent a step
geometrijske apstrakcije i konkretne further from the basic premises ofgeometric
umjemosci predstavljaju rane »mreze« abstraction and concrete art. His pictures,
F. Morelleta. Njegove slike, poput Tri such as Three Double Nets from
dvostruke mreie iz 1960/61. g., indiciraju 1960/ 1961 already indicate the minimalist
vec rninimalisticku siruaciju, koja ce gotovo situation which is to be, almost at the same
iscodobno bici glavna preokupacija time, the main preoccupation of American
americkih umjetnika. Organizacija artists. The organization of Morellet's
Morelletove »mreze« krajnje je logicna i »nets« is extremely logical and abstract in
apstraktna u ideji. Teoretski, Morellet bi idea. Theoretically Morellet could be the
mogao biti anticipator odredenih anticipator of certain conceptual ideas;
konceptualnih ideja; prakticki Morellet practically he dev elops the principles which
evoluira do krajnjih konzekvenci principe are rooted in Neoplasticism and
koji su utemeljeni u neoplasticizmu i Constructivism, to their ultimate
konstruktivizmu. Redukcija njegove forme consequences. The reduction of his form
reflektira stanje askeze i strogo reflects an ascetic state and a strictly
kontroliranu kreativnu energiju, kako bi controlled creative energy, aiming to give
slici dao univerzalno znacenje. the picture a universal meaning.
Slika Tri dvostruke mreie iz 1960/ 1961. The picture Three Double Nets from
otkupljena je za Galeriju suvremene 1960/1961 was bou~ht for the Gallery of
umjemosci 1963. godine. Contemporary Art m Zagreb in 1963.
t.K. Z.K.
lzlozbe / Exhibitions Zagreb 1961; Zagreb 1986.
Bibliografija / Bibliography Franc,:ois Morellet, Nationalgalerie Berlin, 1977; Katalog izlozbe Nove tendencije,
Galerija suvremene umjetnosti, Zagreb 1961.
1()8
Alexander Calder
Philadelphia 1898 - New York 1976.
Crveni poligon, 1961.

Red Polygon
mobil objekat, obojeni metal i zica / Coloured metal and wire
240X80 cm, 14 elemenata / 14 pieces
sign.: C.A.61
Americki skulptor Calder javlja se kao The American sculptor Alexander Calder
jedan od inicijatora kineticke umetnosti. appears as one of the initiators of kinetic
Napravio je veci broj apstraktnih skulptura art. He made a large number of abstract
kod kojih je bitan momenat kretanja, kao sculptures in which movement is important,
ludicki i zabavan elemenat. Od prvih dela, as a ludicrous and entertaining element.
nazvanih Stabili, Calder evoluira ka From his first works called stabiles, Calder
konstruisanju skulptura koje animira developed to towards constructin?,
pokretan motor a potom prelazi na svoje sculptures which were animated by a motor,
poznate Mobile (tako defrnisane od M. and later turned to his famous mobiles (as
Duchamp-a), koji se krecu uz pomoc defined by M. Duchamp) which move with
strujanja vazduha, a kojima pripada i the aid of air currents. One of these is Red
Crueni poligon. Dosavsi u dodir sa Polygon. In contact with Surrealism,
nadrealizmom, Calder stvara jednu poersku Calder created a poetic interpretation of
interpretaciju skulpture u kreranju. Za sculpture in motion. For his mobiles he
svoje mobile »pozajmljuje« biomorfne »borrows« Joan Mir6's biomorphic shapes.
oblike Miroa. Pravi konstrukcije od He makes constructions of (red) coloured
obojenih (crvenih) metalnih struktura metal structures (of different irregular
(raznovrsne forme) spojene metalnom shapes) put together with metal wire and
zicom, koje slobodno vise u prostoru. One hanging freely in the air. They vibrate and
vibriraju i uvek izazivaju raznovrsne always evoke various associations, in which
asocijacije, pri cemu ideja nije konkretna. the idea is not concrete.
Poklon autora 26. IV 1966. The mobile was a present from the author
L].D. to the Museum of Contemporary Art in
Skopje on April 26., 1966.
LJ.D.
Izlozbe I Exhibitions Poklonjena dela 1963-1965, Skupstina SRM, Skopje, 1965; 65 dela iz kolekcije MSU,
Skopje, Radnicki dom, Skopje, 1967; Savremeni likovni umetnici - Pogled na savremenu
skulpturu, Salon MSU, Skopje 1968 ; Stalna postavka MSU, Skopje od 1970; Od Picassoa
do Caldera, 1985.
Bibliografija / Bibliography H.H. Amason: Calder, Princeton, N. Y. 1966; Sonja Abadiieva Dimitrova : Aleksandar
Kalder Crueni poligon, Mala likovna galerija, Nova Makedonija, Skopje, 14. VU 1968,
repr.; Petkovski: 1970, repr.; Musovic: 1981/ 82, repr.; Abadiieva Dimitrova 1985.
110
Fote Mam llmes
Julio Le Pare
Mendoza 1928, zivi ~ Parizu
Vjerovatnost crnog jednaka bijelom, No. 4, 1961.

Probability of Black Equals White, No. 4
drvo, plastika / Wood, plastic
44,8 X89,8X 14,5 cm
sign. : nema
Jedno od osnovnih programskih nacela »Action -instead of representation~, as one
pokreta Novih tendencija - »umjesto of the basic programming principles of the
reprezencacije - akcija« - s kojim je ocvoren movement New Tendencies, opens wide
siroki prostor aktivne participacije gledaoca area for the active participation of the
u definiranju umjetnickog djela, argentinski spectator in defining a work of art. j ulio Le
umjetnik Julio Le Pare pretvara u Pare turns this into a peculiar poetic of
svojevrsnu poetiku simultanog prostora i simultaneous space and time. As a central
vremena. Kao sredisnja licnost grupe figure of the group GRAV (founded 1960)
GRAV (osnovana 1960) u Parizu, Le Pare in Paris, Le Pare in this first period creater
u tom pocemom razdoblju scvara kineticki kinetically conceived reliefs composed of
koncip1rane reljefe sastavljene od slobodno freely hanging plates, which vibrate on the
visecih lamela koje vibriraju na najmanji slightest physical stimulation. The relief
fizicki podrazaj. Reljef Vjerojatnost crnog Probability of Black Equals White, No. 4
jednaka bijelom, No. 4 bio je izlozen na was exhibited at the first exhibition ofNew
prvoj izlozbi Novih tendeneija u Zagrebu Tendencies in Zagreb in 1961 and in a way
1961. ~- i na neki nacin predstavlja model represents a model of the vast wall surfaces,
njegov1h velikih zidnih povrsina koje ce which he was to realise later (the wall at the
realizirati kasnije (zid na ulazu III Biennala entrance to the Third Biennale of Youth in
mladih u Parizu 1963). Paris 1963).
t.K. Z.K.
Izlozbe / Exhibitions »Nove Tendencije«, Zagreb, Galerija suvremene umjemosti, Zagreb, 1961.
Akvizieije 3 - Galerija suvremene umjemosti, Zagreb, 1965. U susret muzeju suvremene
umjemosti - 30 godina Galerije suvremene umjemosti, Zagreb; Muzejski proscor,
Zagreb, 1986.
Bibliografija / Bibliography Nove tendeneije- katalog, Galerija suvremene umjemosti, Zagreb 1961; Frank Popper:
Art - action and participation; Studio Vista, London 1975.
112
Fote Nenad Gatlin
Marc Adrian
Bee (Wien) 1930, zivi u Becu
Serija Delta No. 4., 1961.

Delta Series No. 4
aluminij, staklo / Aluminium, glass
65,3X87,4XS cm
sign.: nema
U promjenama tokom kojih se sezdesetih In the 1960's during the period of changes,
godina uspostavlja pozitivni odnos prema a positive relationship was established with
naucnim spoznajama, i kojima se u scientific knowledge, through which the
umjetnosti reaktiviraju nacela principles of Constructivism, Bauhaus and
konstruktivizma, Bauhausa i Neoplasticism were reativated. The artist
neoplasticizma, umjetnik vrlo cesto koristi very often uses industrial materials in
industrijske materijale u stvaranju creations, subjectivity and expressiveness
umjetnickih objekata. Subjektivnost i are reduced to a minimum and the picture
ekspresivnost svodi se na minimum, a is dominated by an exactly realised plastic
slikom dominira egzaktno izvedena idea. The aesthetic object thus becomes a
plasticka misao. Estetski objekt tako purely visual phenomenon, usually
postaje cisto vizualni fenomen, koncipiran conceived in such a way as to activate
najcesce tako da dinamicki aktivira ljudski dynamically the human sensory system.
senzorni aparat. Objekt austrijskog The work of the Austrian artist Marc
umjetnika Marca Adriana predstavlja vrlo Adrian represents an early model of this
rani takav model, i na izvjestan nacin kind, and in a way anticipates the
amicipira pojavu multipla u umjetnosti. appearance of multiples in art. This object
Ovaj objekt bio je izlozen na izlozbi Nove was exhibited at the exhibition »New
tendencije 1961. u Galeriji suvremene Tendenciw, in 1961 in the Gallery of
umjemosti u Zagrebu, a kupljen je 1962. Contemporary Art in Zagreb and was
godine. bought by this gallery in 1962.
t.K. Z.K.
Izlozbe / Exhibitions Zagreb 1961; Zagreb 1986.
Bibliografija / Bibliography Katalog izlozbe Nove tendencije, Galerija suvremene umjetnosti, Zagreb 1961.
114
-
Foto Pelar D2oac
Berto Lardera
La Spezia 1911, zivi u Parizu
Prikaza IV, 1961.

Apparition IV
celik / Steel
44X26X27 cm
sign.: nema
Berto Lardera pripada prvoj posljeratnoj Berto Lardera belongs to the first post-war
generaciji kipara koji su se okupili oko generation of sculptors who gathered
Salona Novih realnosti u Parizu, u okviru around the Salon of New Realities in Paris.
koje~a se pedesetih godina formira nova Here a new·aesthetic ofplastic shaping was
estenka plasticnog oblikovanja. Skulptura formed in the 1950's. The sculpture
Prikaza IV, iz 1961. g. (kupljeno za Apparition IV from 1961 (bought for the
Galeriju suvremene umjetnosti u Zagrebu Gallery of Contemporary Art in Zagreb on
sa samostalne izlozbe B. Lardere u istoj July, 15. 1962, at Lardera's one man
Galeriji, 15.7.1962.) predstavlja gotovo exhibition in the same gallery) represents a
reprezentativni uzorak Larderinih characteristic example of his sculptural
skulptorskih preokupacija iz vremena oko preoccupations around 1960. It is a sculpture
1960. godine. To je skulptura koja vrlo which corresronds very well to the
dobro korespondira s tehnoloskom technologica civilisation which requires
civilizacijom koja pretpostavlja sirovost i crudeness and authenticity of the materials
autenticnost upotrebljenog materijala used (concrete, iron, glass etc.).
(beton, zeljezo, staklo itd.). The compositional structure of his
Kompozicioaa struktura ove skulpture sculputure is subordinated to the dynamical
podredena je dinarnicnom ritmu rhythm of horizontal and vertical, roughly
horizoncalnih i vertikalnih grubo rezanih cut iron plates. There is an evident tendency
zeljeznih ploca. Evidentna je teznja prema towards monumentality; Michel Seuphor
monumentalnosti (vidi: Ione! : Lardera ... was right in 1960 when he wrote that
str. 45-46 i sl. 39); Michel Seuphor je s Lardera's sculpture tends towards
pravom 1960. godine pisao da Larderina integration with architecture and is suitable
skulptura trazi integraciji s arhitekturom i for exhibition in open areas. The rough
smjestajem u javnim prostorima. Gruba finish of the edges, as well as traces of the
obrada rubova, kao i tragovi tehnoloskog technological process on the surfaces of the
procesa na povrsinama ploha, daju plates, give to the balanced compositional
uravnotezenom kompozicionom ritmu rhythm a vibrant linear dynamism which
vibrantni linearni dinamizam, na izvjestan is, in a way, in contrast with the cold
nacin kontrastan hladnoci metalnog sjaja metallid shine of the basic elements of the
bazickih elemenata skulpture. sculpture.
t.K. Z.K.
Izlozbe I Exhibitions Berto Lardera, Galerija suvremene umjemosti, Zagreb, 1962; XXX biennale u Veneciji.
Izlozba »Umjetnost danas u muzejima« u okviru prezentacije Galerije suvremene
umjetnosti, Venecija 1964; Zagreb 1965 ; Zagreb 1986.
Bibliografija / Bibliography Jianou Janel: Lardera; ed Arted, Paris, 1968; Petar Selem : Otvoreni oblici - razgovor s
Bertom Larderom, Telegram, Zagreb, br. 118/27, VII, 1962, 4.
116
:..
•7
Hans Hartung
Leipzig 1904, zivi u Parizu
T-1962-P I, 1962.
58X250 cm
sign.d.d.: Hartung
Delo ovog pripadnika Pariske skole potice This work from the 1960's, whose author
iz njegove veoma karakteristicne faze belongs to the Ecole de Paris, comes from
sezdesetih godina, u kojoj je kaligrafija his very characteristic phase, in which the
poteza dovedena do savrsenstva. calli_graphy of strokes was brought to
Kompozicija je gradena kroz spier slozenih perfection. The composition is built through
relacija izmedu venikalnih, borizontalnih i a net of complex relations betwen the
dijagonalnib kretanja snopova finih v ertical, horizontal and diagonal
linearizama, svetlo-tamnih efekata i movements of bundles of lines, light - dark
delikatnog tkanja fakture. Likovni rukopis effects and a delicate weavini of the texture.
je iz porodice lirske, sa primesama The artistic handwriting is from the lyric
ekspresionisticke apstrakcije. Otuda se family with an addition of Expressionist
moze govoriti o lirici gesta iii o gestu abstraction. So we can speak of the lyrics of
lirskog raspolozenja. Jedna od osnovnih gest or the gest of a lyrical mood. One of
atraktivnosti slike je prefinjena koloristicka the basic attractions of the picture is a fine
struktura gradena na bazi tonskib colourist structure built on the basis of tonal
kontrastiranja boje i svetlosti. Efekti svet!o- contrasting of colour and light. The light -
tamnog kako zapaza Amason, mogu se . dark effects, as Amason noticed, may be
dovesti u korelaciju sa stimungom brought into correlation with the spirit,
karakteristicnim za Rembrandtova ulja. characteristic of Rembrandt's oils.
Poklon aurora, juna 1965. godine. The painting is a gift from the author, in
S.A.D. June 1965, to the Museum of Contemporary
Art in Skopje.
S.A.D.
Izlozbe / Exhibitions Galerie de France, Paris 1962; Putujuca izlozba, Cirih, Bee, Diseldorf, Brisel,
Amsterdam, 1963/ 64; Poklonjena dela, MSU, Skopje 1965/ 66; Francuska umetnost iz
kolekcije MSU, Skopje, Galerija savremene likovne umetnosti, Novi Sad 1967; Od
Picassoa do Caldera, 1985.
Bibliografija / Bibliography j. Tardieu: Hans Hartung, Paris 1962; Petkovski: Hans Hartung i Ana Eva Bergman,
MSU, Skopje 1966; Sonja Abadiieva Dimitrova: Hans Hartung T-1962-PI, 1962, Nova
Makedonija, Skopje, 13. X. 1968, repr.; Damjanovska, 1981/ 82, repr.
118
Foto !Jar. Dr.es
Zoltan Kemeny
Banica, Madarska 1907 - Zurich 1965.
Presek vizije, 1962.

Cross-Section of a Vision
gvozde / Iron
100X74X4 cm
sign.: nema
Rec je o slici-reljefu, autorovom izumu This work is a picture-relief, the author's
poznatom jos od 1954. godine. Kemeny invention known from 1954. Kemeny builds
gradi kornpoziciju umnozavanjem the composition by multiplying sharpened
zaostrenih metalnih sipki smestenih u metal bars -~athered in bundles. Parallel
snopove. Paralelno postavljene sipke sa bars, in different positions and with
diferentnirn pozicijama i profilacijarna, different profiles are fixed on several
fiksirane su na razlicitirn nivoima iz cega different levels all this resulting in a rich
proizlaze bogate opticke igre svetlo- optic play of bright-dark, deep-shalow,
tarnnog, dubokog 1 plitkog, glatkog i smooth-rough and an emphasized rhythm
rapavog, kao i naglaseni ritam kompozicije. of the composition. We encounter Kemeny's
ldeje Kemenya za ovakvo oblikovanje ideas for shaping the reliefs in this way in
reljefa nalazimo u svetu minerala, the world of minerals, vegetation, crystals
vegetacije, kristala isl. - u prostoru koji je etc., in a domain which is much more
u mnogo blizoj korelaciji sa naukom nego related to science than to art. The languaie
sa umemoscu. Otuda je i jezik kojim SU in which he states his preoccupations is of a
saopstene ove njegove preokupacije geometric order. In fact, it is a question of
geometrijskog reda. U stvari, rec je o an op-artistic discourse. On the other hand,
op-artistickom diskursu. S druge strane, by working on a work of art with the
radeci na likovnorn produktu sa connotations of painting, sculpture and
konotacijarna slike, skulpture, reljefa, relief, Kemeny treats the object on a higher
~emeny tretman objekta postavlja na visi level.
ruvo.
The work is a present from the author to
Poklon autora, januara 1965. godine the Museum of Contemporary Art in
S.A.D. Skopje, in January, 1965.
S.A.D.
Izlozbe I Exhibitions Poklonjena dela, Skupstioa SRM, Skopje 1965; 65 dela iz kolekcije MSU, Skopje,
Skupstioa SRM, Skopje 1967; Pogled na savrernenu skulpturu, Muzej na sovremenata
umetnost, Skopje 1968; Stalna postavka MSU, Skopje od 1970; Od Picassoa do Caldera,
1985.
Bibliografija / Bibliography Gasser Manuel: Zoltan Kemeny, XXXII Biennale, Venezia 1964; Boris Petkovski, Zoltan
Kerneny - Presek na vizijama, Nova Makedonija, Skopje 21. VII 1968, repr.; Petkovski
1970, repr. ; Damjanovska, 1981/82, repr.; Abadzieva Dimitrova, 1985, repr.
120
1 21
Pierre Alechinsky
Bruxelles 1927, zivi u Parizu
Poslednji gutljaj, 1963.

Last Gulp
ulje na papiru / Oil on paper
150X148 cm
sign.cl.I.: Alechinsky
Poceckom sezdesetih godina Pierre At the beginning of the 1960's Pierre
Alechinsky napusta svoju p rvobitnu Alechinsky abandoned his original
orijencaciju ka kubistickom stilu, da bi se orientation towards the Cubist style and
priblizio nordijskom ekspresionizmu. Kao nordic Expressionism. As one of the
Jedan od osnivaca poznate grupe Cobra, founders of the famous group Cobra, in
ciji clan oscaje do njenog raspadanja, which he remained a member until it broke
Alechinsky se opredeljuJe za evokativno- up, Alechinsky chose an evocative-
asocijacivan izraz ekspresionistickog associative means of expression with a touch
prizvuka i za ikonografiju savremenog of Expressionism, and the iconography of
nacina zivota. Na svojim platnima stvara contemporary way of life. On his canvases
groteskne predstave licnosti danasnje he creates grotesque images of people from
tehnicizovane svakodnevice. today's »technologized~ everyday life.
Stika Poslednji gutljaj radena je naglasenom The picture Last Gulp was done with an
i spontanom sinteticnoscu poteza i emphasized and spontaneous synthesis of
dinamicnom isprepletenom sirom linijom strokes and a dynamical entangled wide
uz redukciju likovnih elemenata. Delo je line where artistic elements are reduced.
karakteristicno za njegovu prepoznatljivu This work is characteristic of his
likovnu poetiku. Veoma smirena recognisable art poetics. The very calm
hromatska skala, svedena je na crno-bele chromatic scale consists only of black and
odnose i na vise nijansi »akvarelski« white relations and a number of nuances of
razlivene sive boje. grey, spread like water colours.
Poklon aurora, 26. 11. 1966. The picture was presented by the author to
Lj.D. the Muse um of Contemporary Art in Skopje
on November 26., 1966.
LJ.D.
Izlozbe I Exhibitions 65 slika sa Majskog salona u Parizu, MSU, Skopje i MSU, Beograd 1966; 65 dela iz
kolekcije MSU, Radnicki dom Skopje 1967; Stalna poscavka MSU, Skopje od 1970; Od
Picassoa do Caldera, 1985.
Bibliografija / Bibliography Jacques Putman: Pierre Alechinsky, Paris 1967; Sonja Abadiieva Dimitrova: Pjer
Alesinski - Poslednja goltka, Mala likovna galerija, Nova Makedonija, Skopje 19. I.
1969; Petkovski 1970, repr.; Damjanovska, 1981/ 82, repr.; Abadiieva Dimitrova, 1985,
repr.
122
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Foto Marin Dimes
123
Pierre Soulages
Rodez, Averion 1919, zivi u Parizu
Slika, 1964 (21. april)

Picture
73X100 cm
sign.cl.I.: Soulages
Jedan od najznacajnijih predstavnika One of the most significant representatives
evropskog apstraktnog pejzazizma i Pariske of European abstract landscape painting
skole - Soulages je zastupljen u Muzeju u and of the Paris school - Soulages is
Skopju delom koje sadrzi najznacajnije represented in the Museum in Skopje by
karakteristke njegove prepoznatljive this work which contaings the main
likovne leksike. Izrazava se sirokim characteristics of his recognizable art
znakovnim potezima, medusobno language. He expresses himself with wide
povezanim u J?lasticnu strukturu velike meaningful strokes put together in a plastic
1zrazajne mofa i dramaticnosti. Da bi structure of great expression, force and
definisao predmet iii pejzaz u kontekstu drama. To define an object or landscape in
gradenja Kompozicije, autor ne polazi od the context of arranging the composition,
njih samih. Iduci u susret prostora sa the author does not start from the object or
vremenom, vise se oslanja na ritam i na landscape themselves. Heading towards the
sudaranje forrni u prostoru . Masivnim i meetin~ of space with time, he relies
virtuoznim potezima sugerise primarily on the rhythm and the contact of
monumentalnost kompozicije, dok forms in space. With massive and virtuos
nijansirani kontrasti s1vog i sverli planovi stroke he suggests monumentality of
doprinose istovremenom postizanju composition while the nuanced contrasts of
senzibiliteta i dramaticnosti. grey and bright planes contribute to the
Poklon aurora, jun 1965.
achievement ofsensibility and drama at the
same time.
lj.D.
The picture was presented by the author in
June 1965.
LJ.D.
Izloz.be / Exhibitions Poklonjena dela 1963-1965, Skupstina SRM, Skopje 1965 ; Poklonjena dela iz Francuske,
Umetnicka galerija, Skopje, 1966; Francuska umetnost iz kolekcije MSU, Skopje,
Umetnicka galerija, Kumanovo, 1967; Galerija savremene likovne umentosti, Novi Sad,
1967; 65 dela iz kolekcije MSU, Skopje, Radnicki dom, Skopje 1967; Stalna postavka
MSU, Skopje od 1970; Od Picassoa do Caldera, 1985.
Bibliografija / Bibliography Bernard Dorival: Pierre Soulages, Mu see d' Art Moderne, Paris 1967; Petkovski, 1970,
repr.; Damjanovska, 1981/82, repr.
124
Foto Mam Dues
125
Henryk Stazewski
Warszawa, 1894, zivi u Varsavi
Kompozicija, 1964.
Composition
ulje na sperploci I Oil on plywood
66X40X6 cm
sign. na pozadini: H. Stazewski N r-1964
Henryk Stazewski se javlja kao jedan od Henryk Stdiewski is one of the most
najznacajnijih predstavnika poljske significant representatives of Polish avant-
avangardne umemosti u domenu garde art in the domain of geometric
geometrijske apstrakcije. Delo je nastalo abstraction. This work was done in the
sredinom sezdesetih godina kada autor, middle of the 1960's when the author,
potpuno osloboden deskrpicije, gradi completely free of narration, built a
univerzalan plasticni izraz, koristeci universal plastic expression using from time
povremeno i iskustva Mondriana. lz ovog to time Piet Mondrian's experience. A series
perioda datira serija slika - objekata u vidu of pictures - objects in the form of
monohromnih reljefnih struktura. Na beloj monochromatic relief structures, dates from
osnovi autor komponuje apstraktnu this period. On a white ground the author
kompoziciju sa geometrizovanim creates an abstract composition with
(pravougaonim) unificiranim elementima. geometrized (rectangu[ar) uniformed
On.i su ritmicki rasporedeni u prostoru, elements. They are rhythmically arranged
dok je koloristicka gama svedena samo na in space, while the colour scale consists only
belu i tamno-sivu. of white and dark-grey.
Poklon aurora, februara 1965. godine. The picture was presented by the author to
lj.D. the Muse um of Contemporary Art in Skopje
in February, 1965.
LJ.D.
lzlozbe / Exhibitions Poklonjena dela 1963-1965, Skupstina SRM, Skopje 1965; Poklonjena dela iz Poljske,
Umetnicka galerija, Skopje, 1966; Stalna postavka MSU, Skopje od 1970; Od Picassoa
do Caldera, 1985.
Bibliografija / Bibliography Hanna Ptaszkowska - Wies law Borowski: Stazewski, Museum Sztuki w Lodzi, 1969; I.
Witz: Henryk Stazewski, pionier abstrakcjon.izmu polskiego ... , Warszawa 1969;
Petkovski, 1970, repr. ; Damjanovska 1981 /82, repr.; Abadiieva Dimitrova, 1985, repr.
126
ill
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127
Getulio Alviani
Udine 1939, z.ivi u Udinama
PM 4039, 1964.
aluminij I Aluminium
56X56 cm
sign. : nema
Poceci ralijanske konkretne umjetnosti The beginnings of Italian concrete art are
sez.u u 1948. godinu, kada su Gilio Dorfles, traced to 1948, when Gilio Dorf/es, Gianni
Gianni Monnet, Bruno Munari i Atanasio Monnet, Bruno Munari and Atanasio
Soldati osnovali grupu MAC (Movimento Soldati formed the group MAC
Arte Concreta). Korjeni su dakako dublji, (Movimento Arte Concreta). Of course, it
i jasno se mogu razabrati u dinamizmu starts even earlier and its roots may be
futuristicke rekonstrukcije univerzuma. recognised in the dynamism of the Futurist
Alviani pripada onoj generaciji talijanskih reconstruction of the universe.
umjetnika koja je svoj rad temeljila na Alviani belongs to the generation of Italian
konzekventno provedenom programiranju artists, who based their work on the
vizualnog polja u cilju stvaranja posve consistent programming of the visual field,
odredenih oprickih efekara. Djelo PM 4039 aiming to produce fully defined optical
iz 1964. g. (kupljeno za Galeriju suvremene effects. The work PM 4039 from 1964
umj_etn.?st\, Zagr~~ ~964) pril?ada (bought for the Gallery of Contemporary
Alv1aniiev1m klas1cmm radov1ma s Art in Zagreb in 1964) belongs to Alivani's
monokromatskim aluminijskim mehanicki classical works with monochromatic
brusenim povrsinama. Sesnaesr zasebnih aluminium surfaces, mechanically ground.
naizmjenicno brusenih i slaganih Sixteen separate, alternately ground and
aluminijskih kvadrata sacinjavaju lumino- arranged aluminium squares form a
kineticku dinamicku strukturu koja zavisi lumino-kinetic dynamic structure whose
od kuta upada svijetla na povrsinu i radiusa effect depends on the angle of light falling
kretanja promatraca. U okviru pokreta onto the surface and the position of the
Nove tendencije, Alviani je pruz.io observer. Within the movement »New
zanimljivu alternativu sinteze umjernosci i Tendencies .- Alviani offers an interesting
rehnike, unoseci u programiranost alternative in the synthesis of art and
»gestalta« - suptilnu igru slucaja. technique, enriching the programming of
Z.K. the »Gestalt« with the subtle play of chance.
Z.K.
Izloz.be / Exhibitions Zagreb, 1986.
Bibliografija / Bibliography Vera Horvat Pintaric: Crtac svjetla - izlozba talijanskog slikara u Galeriji suvremene
umjernosti u Zagrebu, Telegram, Zagreb, br. 111/8. VI 1962, 5; Umbro Appolonio:
Nova tendencija u Iraliji, Umernost, Beograd, br. 11, 1967, 27-32; Lea Vergine: L'arte
cinetica in Italia, Galleria Nazionale d' Arte Moderna, Roma 1973.
128
29
Manolo Millares
Las Palmas, Kanarska ostrva (Islas Canarias) 1926 - Madrid 1972
Ranjenik mira, 1965.

The Wounded of Peace
Kombinovana tehnika na platnu / Combined technique on canvas
101X82X 12 cm
sign.d.sred.: 1965
vl. MSU, Skopje, Inv. 1664
Veoma karakteristicno delo ovog spanskog This is a characteristic work by this Spanish
umetnika, koji je zajedno sa Saurom, artist who together with Saura, Feito and
Feitom i Canogarom pripadnik spanske Canogar was a member of the famous
grupe El Paso (formirane 1957. ~odine). I Spanish group El Paso (formed in 1957). In
u ovom Millaresovom delu osecaJu se e(ekti this work by Millares we can feel the effects
enformelskog kretanja u Spaniji koje je of the informel movement in Spain which
inicirao El Paso. Morfoloska struktura je was intiated by El Paso. The morphologic
gradena sa naglasenim reljefom (kao structure was built with emphasized relief
svojevrstan assamblage) iz koga se cita (as a special assemblage) which indicates
dekonstrukcija kao izgovor iii ishodiste za deconstruction as a pretext or a starting
nove projekte. Naglaseni chiaro-scuro point for new projects. The emphasized
kontrasti, sa diskretnim crvenim chiaroscuro contrasts, with discreet red
akcentima, uvelicavaju dramaticnu accents make the dramatic consistency of
konzistenciju dela, zraceci, pre svega, onim the work even greater, radiating first ofall
poznatim spanskim duhorn stalne the famous Spanish spirit of constant
napetosti, borbenosti i tradicionalnog tension, militancy and traditional
nezadovoljstva. discontent.
Poklon aurora, 12. 3. 1968. The painting was a gift of the author, on
S.A.D. March 12., 1968, to the Museum of
Contemporary Art in Skopje.
S.A.D.
Izlozbe / Exhibitions Samostalna izlozba, Galeria Juana Mordo, Madrid 1967; Izbor poklonjenih dela iz
kolekcije MSU, Skopje 1969; Stalna postavka MSU, Skopje od 1970; Od Picassoa do
Caldera, 1985.
Bibliografija / Bibliography Manolo Millares, Galeria Juana Mordo, Madrid 1967, repr.; Petkovski 1970, repr.;
Damjanovska, 1981/82 repr.; Abadiieva Dimitrova 1985, repr.
130
•
I
',
•
t
Foto Marin Dimes

Alan d' Arcangelo
Buffalo 1930, zivi u Los Angelesu
Dupla traka, 1965.

Double Band
ulje i kolai na platnu / Oil and collage on canvas
150X177 cm
sign.: nema
Sredinom sezdesetih godina, od kada i In the middle of the 1960's,from which this
datira ovo platno, Alan d'Arcangelo se canvas dates, Alan d'Arcangelo abandons
odrice iluz10nistickog aspekta svog the illusionist aspect of creation, choosing a
stvaralastva, odabiruci ravnu perspektivu. fiat perspective. He belongs to American
On je pripadnik americkog pop area u pop art in a specific variation (like Robert
njegovoj specificnoj varijanti (kao i Robert Indiana). With an accent on the hard edge
Indiana). Sa akcentom na hard edge pravcu, trend, the author chooses the iconography
autor se opredeljuje za ikonografiju of highways with their system of signs,
autoputeva sa njihovim sistemom znakova, indications, information. The magic of the
indikacija, informacija ... Ta carolija traffic syndrome indicates speed,
saobracajnog sindroma upucuje na brzinu, intersections, perspectives, changes etc.
preseke, perspektive, promene itd., koji se which are seen in his geometrically
ciraju sa njegove geometrijski osmisljene organized picture. His relatively clear and
slike. Njegov relarivno cist i jednostavan simple drawing concept contains
crtacki koncept isrovremeno sadrii simultaneously elements of mini1'1'1al art, the
elemente minirnalne umetnosti, umetnosti art of sharp_ edges, pop_a~t, conceptual art.
ostrih rubova, pop-arta, konceptualne In the ambivalent stylistic organization
umetnosti. Ambivalentna srilska (without negative connotations)
organizacija (bez negativnih konotacija) interference of mediums and techniques
poznaje interferenciju medijurna i tehnika appears (painting, drawing, photography,
(slikarstvo, crtei, fotografija, arhitektura, architecture, collage). The chromatic
kolai). Hromatska organizacija, koja je u organization in the second plane is reduced
drugom planu, svedena je na boje u funkciji to colours in the function of the basic concept
osnovnog koncepta analiticki seciranog of the analytically dissected landscape.
pejzaia. This work was a gift from the author, on
Poklon aurora, 23. 10. 1967. October 23., 1967, to the Museum of
S.A.D. Contemporary Art in Skopje.
S.A.D.
Izloibe / Exhibitions Izbor poklonjenih dela iz kolekcije MSU, Skopje, Salon MSU, Skopje 1969; Stalna
postavka MSU, Skopje od 1970; Od Picassoa do Caldera, 1985.
Bibliografija / Bibliography Lucy Lippard: Pop Art, Jugoslavija, Beograd 1967; Petkovski, 1970 (repr.;
Damjanovska, 1981, repr. Abadiieva Dimitrova, 1985, repr.
132
•
Folo Mann Dwres

Wifredo Lam
Sagua La Grande, Cuba 1902 - Paris 1982
Cetiri ruke za jedno bice, 1965.

Four Arms for one Being
93X63 cm
sign.: nema
Delo predstavlja autora u specificnoj This work represents its author and his
likovnoj dikciji koja u velikoj meri nosi specific art diction, greatly influenced by his
pecat njegovih slozenih odnosa sa complex relations with the Surrealists (A.
nadrealistima (A. Breton, A. Masson, V. Breton, A. Masson, V. Brauner, M. Ernst,
Brauner, M. Ernst, T. Tzara) na koje je i T. Tzara) who were in turn influened by
Lam izvrsio odred:eni uticaj pocetkom Lam at the beginning of the 1940's.
cecrdesecih godina. Nadrealizam, kao Surrealism, as the basic characteristic of his
osnovno obelezje ovog platna, koristi i canvas, uses the experiences of fantasy, but
iskuscva fancascike, no i znacajan deo also a significant part from the register of
kubanske svakodnevice koju je Lam, jos Cuban everyday life, in which Lam from
kao dece, zadrzao u secanju kroz stare childood, memorized the ancient
mitoloske kultove svog rodnog tla. mythological cults of his native land.
Religiozne asocijacije na ostrvska bozanstva Religious association with the island gods
i aspekti pejzaza dzun~le, eksplicicno su and aspects of the jungle landscape are
vizuelno aemonstrirani na ovom njegovom explicitly and visually demonstrated in this
platnu. Simboli, maske, rastinje itd., painting. Symbols, masks, plants, etc. create
scvaraju ucisak demonskih bica koja se an impression of demoniac beings which
krecu u jednoj monohromnoj tamno- move in a monochromatic dark-brown
-smed:oj gami, uz delimicne svetlo-oker scale, with partial light ochre reflexions.
reflekse . The picture was a gift from the author,
Poklon autora, 25. 9. 1969. September 25., 1969, to the Museum of
S.A.D. Contemporary Art in Skopje.
S.A.D.
Izloibe / Exhibitions Stalna postavka MSU, Skopje od 1970; Od Picassoa do Caldera, 1985.
Bibliografija / Bibliography Petkovski, 1970. repr.; Damjanovska, 1981/ 82, repr.; Abadiieva Dimitrova, 185, repr.
134
Fote Marin Dimes
135
Zdenek Sykora
Louny 1920, zivi u Pragu
Structure Noire/Blanche (Cercles), 1967.

ulje na plamu / Oil on canvas
22ox110 cm
sign.: nema
vl. GSU, Zagreb, Inv. 1290
U okviru pokreta Novih tendencija od A great number of artists gathered in the
1961. godine, okuplja se citav niz new tendencies movement from 1961. They
umjetnika, koji u tradiciji konstruktivizma formed a new optic of the visual field in the
i neoplasticizma stvaraju novu optiku tradition of Constructivism and
vizualnog polja. U organizaciji slike, Neoplasticism. In organising his picture,
Sykora operira standardnim geometrijskirn Sykora operates with standard geometric
elementima, koji u crno-bijeloj varijanti elements, which in black and white
rezultiraju dinamickom optickom igrom. variation result in dynamic optical play.
Izlozeno djelo kupljeno je za Galeriju The exhibited work was bought for the
suvremene umjetnosci u Zagrebu 1970. Gallery of Contemporary Art in Zagreb, in
godine. 1970.
t.K. Z.K.
Izlozbe / Exhibitions Zagreb, 1965; Zagreb 1986.
Bibliografija / Bibliography An of our time - painting and sculpture throughout the world - ed. by W. Grohman,
Thames and Hudson, London 1966, 272.
136
37
Victor Vasarely
Pees 1908, zivi u Parizu
Barson, 1967.
kolaz / Collage
250X250 cm
sign.: nema
Pocetkom sezdesetih godina Vasarely At the beginning of the 1960 s Vasarely
zapocinje ucestalije eksperimente s bojom. began frequent experiments with colour.
S krajnje jednostavnim formama na mikro Using extremely simple forms such as
planu, kao sto su kvadrat, trokut, krug, squares, triangles and circles in the
Vasarely stvara raskosnu mikro strukturu microplane, Vasarely created a rich
»planetarnog folklora«. Njegova opticka microstructure of »planetary folklore«. His
imaginacija utemeljena je na precizno optic imagination is founded on a concept
unaprijed odabranom konceptu koji se precisely chosen in advance, which he
tokom stvaralackog procesa elaborira u elaborates during the creation process in
skladu s empirijom »gestalta«. Predvidanje accord with the empiricism of the Gestalt.
smrti neponovljivog originala, kao i Foreseeing the death of the unrepeatable
stvaranje optickih struktura ciji je original, as well as forming optic structures
koloristicki i kompozicioni efekt strogo whose colouristic and compositional effect is
proracunat,priblizuje Vasarelyja strictly calculated, brings Vasarely closer to
mformacionim teorijama A. Molesa. Moles the information theories of A. Moles. Moles
tvrdi da se Vasarelyjevo djelo moze smatrati insists that Vasarely's work can be
primjerom permutacione umjetnosti koja considered an example of permutable art
svojom sistematicnoscu i pravilima which being systematic and regulated makes
omogucuje istinsku socijalizaciju real socialization of art possible. Although
umjetnosti. Iako su ove teorije dozivjele these theories were criticised in time, the
vremenom kritiku, ostaje ipak cinjeruca da fact remains that Vasarely's work cannot be
je Vasarelyjevo djelo nezaobilazno u omitted in the history of modern art,
povijesti suvremene umjetnosti, posebno particularly in the part which is based on
onog njenog segmenta koji se temelji na the relationship between art and science.
povezivanju umjetnosti s naukom. The work Barson from 1967 is almost a
Djelo Barson iz 1967. g. gotovo je klasicni classical example of Vasarely's
primjer Vasarelyjevih preokupacija preoccupations already noted in the Yellow
zacrtanih jos u Zutom manifestu iz 1955. Manifest from 1955, where one speaks of a
g., gdje se govori o novoj, pokredjivoj i new, mobile and exciting beauty. This is the
uzbudljivoj ljepoti. To je ljepota tehnoloske beauty of technological civilazation, of
civilizacije, o kojoj doduse svatko moze which, indeed, every one may have his own
imati svoje misljenje, ali je neosporno da je opinion, but which is undeniably a part of
ona dio stvarnosti u kojoj zivimo. the reality we live in.
Djelo Barson poklon je autora Galeriji Barson was a gift from the author inl 969 to
suvremene umjetnosti u Zagrebu 29.11969. the Gallery of Contemporary Art in Zagreb.
t .K. Z.K.
Izlozbe / Exhibitions Zagreb, 1986.
Bibliografija / Bibliography Vasarely: editions du Griffon Neuchatel, 1965; Marceljoray: Vasarely: editions du
Griffon, Neuchatel, 1971.
138
Foto Netxi,sa ~
139
Christo (Javasef)
Gabrovo, Bugarska 1935, zivi u New Yorku
Spakovana Umetnicka Galerija u Bernu, 1968.

Kunsthalle Bern, Packed
a) crtez, projekat na papiru, olovka u boji, kolaz / Collage, colour pencil on paper
56X71 cm
b) fotografija, foto-papir / Photograph, photo-paper
56 X71 cm
sign.d.l. : Christo 1968; d.l. i sred.: Kunsthalle Bern packed
(project for the 50th Anniversary) 20 July 1968
(realizovano 20. 7. 1968)
vl. MSU Skopje, Inv. 1765
Pokusaji Christa, jednog od najpoznatijih The attempts of Christo, one of the most
arnerickih »novih realista«, da misticno famous American »new-realists« to pack,
pakuje predmete iz fovekove svakodnevice, mystically, objects from man's everyday
cime je aludirao na sve vecu anonimnost life, date from the end of the 1950's. These
kojoj vodi potrosacko drustvo, datiraju s attempts alluded to the growing anonymity
kraja pedesetih godina. Na ovom crtefo to which the consumer society leads. In this
Christo predstavlja jednu od svojih ideja za drawing Christo represents one of his ideas
seriju »pakovanja« javnih zgrada i objekata for the series »packing« public buildings in
u Evropi i Americi. Umetnicka galerija u Europe and America. The Kunsthalle in
Bernu jedna je od prvih javnih zgrada koja Bem is one of the first public buildings
je po njegovom projektu bila »pakovana« which was »packed« according to his project
(20. 7. 1968), povodom pedesetogodisnjice on the occasion of the 50th anniversary of
postojanja Galerije. Ova Christova zamisao the Gallery (20 July, 1968). Christa's idea
bila je inicirana u prvim pripremnim was initiated in the first preparatory
crtezima-projektima, koji datiraju jos od drawings - projects w hich date from 1961.
1961. godine. Crtez je izveden u tehnici The drawing was done in collage technique
kolafa i dopunjen crtackim intervencijarna and completed with linear drawings and
kojima, linearno i sencenjem, oznacava shadings with which he marked the natural
prirodni prostor oko Galerije. Sastavni deo surrounding of the Gallery. A black and
ovog eksponata je crno-bela fotografija white photograph of the same dimensions,
istih dimenzija na kojoj je fiksirano on which Christa's finished »packing« was
realizovano »pakovanje« Christa. Poklon fixed, is also part of this exhibit.
autora 17. 9. 1969. The project was presented by the author to
Lj.D. the Muse um of Contemporary Art in Skopje
on September, 17. 1969.
LJ.D.
Izlozbe / Exhibitions Izbor poklonjenih dela iz kolekcije MSU, Skopje, Salon MSU, Skopje 1969;
Medunarodna izlozba crtefa poklonjenih MSU, Skopje, MSU, MSU, Skopje 1973;
Stalna postavka MSU, Skopje od 1970; Od Picassoa do Caldera, 1985.
Bibliografija / Bibliography Petkovski, 1970. repr.; Damjanovska, 1981/ 82, repr.; Abadiieva Dimitrova, 1985, repr.
140
---- ....
F=Ma-r..lr:es
Jasse Tabuchi
Tokyo 1921 , zivi u Parizu
Planina zmajeva, 1968.

Mountain of Dragons
115X89 cm
sign.d.d.: Tabuchi 68
vi. MG, Budva, Inv. 15
Tabuchi, koji u Parizu zivi od 1951. godine Tabuchi who lives in Paris since 1951 and
i koji takode pripada poslijeratnom talasu who belongs to the post-war wave of the
Pariske skole, zadrzava u svom slikarstvu »Paris school", retains in his art something
nesto od kaligrafskog rukopisa istocnjackib of the calligraphic handwriting of the
majstora. Pasta, znak i vibracija boje na oriental masters. The paste, sign and
ovoj Tabuchijevoj slici, nabijenoj v ibration of colour on this picture, full of
ekspresivnim ali i geometriziranim expressive but also geometric shapes, suggest
oblicima, sugerisu morfologiju nekog the morphology ofsome dramatic landscape.
dramaticnog pejzaza. Dramatiku pojacava i The drama is reinforced by the artist's
silovit slikarev manir nanosenja znakova i forceful manner of painting signs and spots
rnrlja datih u jarkoj paleti. with a bright palette.
Kao i Lindstromova i Tabuchieva slika je u Tabuchi's picture came together with
Modernu galeriju u Budvi dospela Lindstrom's to the Modem Gallery in
posredstvom Ljubinke i Bate Mihajlovic, Budva through Ljubinka and Bata
1972. godine. Mihajlovi{: in 1972.
M.H. M.H.
Izlozbe / Exhibitions Stalna postavka Moderne galerije, Budva
Bibliografija / Bibliography Georges Boudaille, Savremeni ekspresionisti (predgovor stranoj selekciji), Centar za
kulturu - Moderna galerija, Budva 1984.
142
Jesus Rafael Soto
Ciudad Bolivar 1923, zivi u Parizu
Narandzasta ekstenzija, 1969/1970.

Orange Extension
drvena konstrukcija, obojene metalne sipke, plan-papir / Wooden construction, painted metal bars,
plan-paper
660X240X100 cm
sign.: nema
Problem nove plasticke realnosti sto ga The generation of pos-war geometricians
impostira generacija posljeratnih and kineticians, who derived from the best
geometricara i kineticara koji proizlazi iz Constructivist and Neoplasticist tradition,
najbolje tradicije konstruktivizma i poses the problem of new plastic reality
neoplasticizma, u srediste svoga interesa which centers its interest on complete
postavlja cjelovitu artikulaciju fizickog i articulation of man's physical and mental
mentalnog prostora covjeka. Ovakav space. This approach inevitably changes the
prisrup nuzno mijenja klasicne odnose classical relationship between space and
prostora i vremena aktiviranjem citavog time by activating the entire human sensory
ljudskog senzomog aearata i system and by making physical facts
relativiziranjem fiz1ckih datosti. Gaston relative. Gaston Bachelard spoke of
Bachelard je govorio o »imaginativnom »imaginative radiation" emitted by these
zracenju« sto ga emitiraju takva djela works of modern art wh£ch are established
modeme umjemosti koja su utemeljena na on the trinity of space, time and matter.
trojstvu prostora-vremena i materije. The vibrating Penetrables and Extensions
Vibrirajuci Penetrabli i Ekstenzije koje which Soto elaborates since 1968, offer a
Soto elaborira od 1968. godine nadalje, unique experience of space, and represent a
pruzaju jedinstveno iskustvo prostora i successful model of the surpassing of the
predstavljaju uspesni model nadilazenja traditional subject- object relationship. The
tradicionalnog odnosa subjek-objekt. poetics of Soto's space means his direct
Poetika Sotovog prostora podrazumijeva visual, tactile and sonorous experience
njegovo neposredno vizualno, taktilno, pa (Penetrable sonore, 1970, Environment,
i sonorno iskustvo. (Penetrable sonore, 1970 in the French pavilion in Osaka).
1970, Environnement, 1970. u Francuskom The Orange Extension was presented by
paviljonu u Osaki). Narandiasta ekstenzija the author to the Gallery of Contemporary
poklon je aurora Galeriji suvremene Art in Zagreb, in 1970.
umjemosti Zagrebu 1970. godine.
Z.K.
t.K.
Izlozbe / Exhibitions Soto - Galerija suvremene umjemosti, Zagreb 1970; Zagreb 1986.
Bibliografija / Bibliography Zvonko Makovic: Soto- misao o novoj plasticnoj stvarnosti; Polja, Novi Sad, br.143/ 15.
avgust 1970,18-19; Marcel foray: Jesus R. Soto, ed. du Griffon, Neuchatel, 1984.
144
I
Heinz Mack
Lollar, Hessen 1931, zivi u Diisseldorfu
Pet malih rotora, oko 1970.

Five Small Rotors
metal i elektromotori / Metal and electro motors
40X40X11 cm
sign.: nema
vi. UG, Banja Luka, Inv. 724/ 728
Kompozicija od pet Mackovih metalnih Mack's composition of five small metal
kocki koje su radene u istom duhu kao i cubes, which was done in the same spirit as
Mackov ciklus Svjetlosnih dinama, his series dynamos of light, was given in
Umjemickoj galeriji u Banjaluci je 1973 as a present to the Art Gallery in Banja
pok.lonila vlada SR Njemacke 1973. godine Luka by the West German government as
kao svoj doprinos Akciji solidarnosti a contribution to the »Action of Solidarity
likovnih umjemika Jugoslavije i svijeta between artists from Yugoslavia and the
vodenoj poslije zemljotresa 1969. godine. World" organized after the earthquake in
Ovi mali rotori napravljeni od sjajnog 1969.
metala sa jakim refleksima imaju blago The small rotors, made ofshiny metal with
ustalasanu reljefnu povrsinu na kojoJ se, strong reflexes, have a slightly wavy relief
pustanjem rotora u pogon, svjetlost pocinje surface on which, by making the rotor
da prelama, nabira i siri izazivajuci work, light begins refracting, contracting
svojevrsnu i fascinantnu opticku iluziju and expanding thus pn,voking a special and
prostora i vremena. fascinating optic illusion of space and time.
M.H. M.H.
Izlozbe / Exhibitions Lumino-kineticki objekti grupe ZERO, Salon Narodnog pozorista Bosanske Krajine,
Banja Luka, maj 1973; Stalna postavka, Umjemicka galerija, Banja Luka, od 1981.
Grupa Zero
Grupu Zero osnivali su Heinz Macki Otto Piene 1958. godine u Diisseldorfu. Od 1961. godine grupi se prik.ljucio i Gunter Uecker
koji je sa njima izlagao do 1966. godine kada se i grupa raspala. Karakteristika njihovog grupnog rada sastojala se uglavnom u ispitivanju
svjecla i pokreta kao konstituivnog elementa umetnickog djela (zajednicki su tokom 1964/ 65. projektovali tzv. »mlinove svjetlosti«).
Medutim, svaki od aurora iz grupe ima i svoj pojedinacni prethodni i kasniji opus (Mack-slike u kojima se ritmicno struktuiraju bijela
i crna boja iii Projekt Sahara napr., a Piene-tzv. »dimne slike« itd.). Grupa je priredila niz izlozbi svoj ih i dijela drugih srodnih aurora
a izdavala je i casopis ZERO od koga su izasla tri broja kasnije objedinjena u knjigu koja je sa predgovorima Lawrencea Allowaya i
Otta Pienea izasla u izdanju M. Dumont Schauberg, Koln i Massachusetts Institute of Technology 1973. godine.
M.H.
Group Zero
The group Zero was founded by Heinz Mack and Otto Piene in 1958 in Dusseldorf In 1961 Gunter Uecker joined the group and exhibited
with them until 1966, when the group split up. The main characteristics of their group work was the investigation of light and motion as
a constituent element of an artistic work. During 1964 and 1965 they projected together the so-called Mills of Light. However, each
author has his own opus from the periods preceding and following their work in the group: Mack made pictures with a rhythnic structure
of black and white colour or Project Sahara for example, and Piene painted so-called Smoky Pictures, etc. The group organized several
exhibitions of its own and of other related authors. It also published the review ZERO which appeared in three issues and was later
collected in one book. The book was published with forewords by Lawrence Alloway and Otto Piene in the edition of M. DuMont
Schauberg, Koln, and Massachusetts Institute of Technology in 1973.
M.H.
146
Foto Gojko Sikimi¢
Otto Piene
Laaspe, W estfalien 1928, zivi u Di.isseldorfu
Balet svjetlosti za Banja Luku, oko 1970.

Ballet of Light for Banja Luka
metal, elektromotor, sijalice / Metal, electromotor, bulbs
v_is. 193, radius kugle 80 cm
S!_gn.: nema
vi. UG, Banja Luka, Inv. 722
Ovaj eksponat, koji pripada Pieneovoj This exhibit belongs to Piene's series ballets
~eriji Svjetlosnih baleta koji je radio u of light, which he made at the time when
vrijeme pripadnosti grupi ZERO, narucila he was a member of the group Zero. It was
je od autora vlada SR Njemacke i poklonila ordered by the West German government
ga Umjetnickoj galeriji u Banjaluci 1973. which gave it in 1973 as a present to the Art
godine prilikom vec spomenute Akcije Gallery in Banja Luka, on the occasion of
solidarnosti vodene poslije katastrofalnog the »Action of Solidarity« organised after
zemljotresa 1969. godine. the earthquake in 1969.
Kao i oscali, i ovaj Pieneov Svjetlosni balet, This ballet by Piene, like other similar
za ciju igru je neophodan zamracen works by him, requires darkness for its
prostor, nastaje kada se svjet!ost, pokrenuta play. When the electromotor is switched on
i upaljena pomocu elektromotora, probije lightfenetrates the openings in the shiny
kroz orvore sjajne metalne kugle, izbusene meta ball which are arranged in a specific
po odredenom logicnom redu, cako da se u and logical order, so that in the surrounding
okolnom prostoru projekruje kontinuum space there is a continuous projection of
razlicitib svjet!ecih tragova koji irnaju svoj different traces of light which have a precise
tacan koreografski pokret. Prostor u kojem choreographic movement. The area in
se odvija ovaj pies svjet!osti u stanju je da which this dance of light takes {lace may
kod posmacraca izazove istinsku pocrebu stimulate in the spectator a rea need for
za meditacijom i kontemplacijom. meditation and contemplation.
M.H. M .H.
Izlozbe / Exhibitions Lumino-kineticki objekci grupe ZERO, Salon Narodnog pozorista Bosanske Krajine,
Banja Luka, maj 1973.
148
Fote Gojko SikimiC
149
Gunter Uecker
Wendorf, Macklenburg 1930, zivi u Diisseldorfu
Svjetlosna ploca, oko 1970.

Plate of Light
bojeno drvo i ekseri, elektrornotor, rernen, 2 reflektora / Painted wood and nails, electromotor,
transmission belt, two reflectors
101 x 100X22 cm
sign. : nerna
vi. UG, Banja Luka, Inv. 723
Ueckerovo djelo je u Urnjetnicku galeriju u This characteristic work by Uecker came to
Banjaluci dospjelo na isti nacin kao i djela the Art Gallery in Banja Luka in the same
Macka i Pienea, (pok.lon vlade SR Nernacke way as the works by Mack and Fiene. It is
1973. godine), a r,redstavlja karakteristicnu a mobile white board with nails hammered
Ueckerovu rnob1lnu bijelu plocu u koju su into it. The nails are painted white and are
zakucani bijeli obojeni ekseri jednake of equal size and exactly programmed
velicine i tacno prograrnirane gustine od density. They reflect the light from two
koji se odbija svjetlost dva dijagonalno diagonally fixed reflectors. In this way the
postavljena reflektora. Na taj nacin mobile shadows stimulate visual impressions
pokretne sjenke izazivaju zbir vizuelnih of the great number of possibilities offered
ucisaka o nizu mogucnosti koje pruza by a mechanical modulation of light and
rnehanicka rnodulacija svjetla i sjene. shadow.
M.H. M.H.
Izlozbe / Exhibitions Lurnino-kineticki objekti grupe ZERO, Salon Narodnog pozorista Bosanske Krajine,
Banja Luka, rnaj 1973; Stalna postavka, Urnjetnicka galenp Banja Luka.
150
Foto Gojko Sikimii:
151
Bengt Lindstrom
Storsjo 1925, zivi u Parizu
Bez naslova, 1970.

Without Title
ulje na placnu / Oil on canvas
146X113 cm
sign.d.d.: Lindstrom
vi. MG, Budva, Inv. 10
Iako grcevit, silovit i brz, Lindstromov Although spasmodic, forceful and quick,
potez ovdje pokazuje i izvjesnu Lindstrom's stroke betrays, here also, a
kontrolisanost koja dozvoljava da se iza certain control which allows completely
gesta nazru sasvim raspoznatljive figure. recognisable figures to appear behind the
Cijela slika je orkestrirana na bazi gest. The whole picture is orchestrated on
organoidnih oblika ciji se raspon krece od the basis of »organoid« shapes which vary
anatomskih segmenata do apstraktnih from anatomic segments to abstract signs.
znakova. Ustvari, ovaj impulsivni zapis In fact, this impulsive recording is full of
prepun je aluzije na zagonecno prisustvo allusion to the puzzling presence of some
nekih zloslutnih fantoma. Mada Lindstrom evil phantoms. Lindstrom is considered a
slovi kao predstavnik apstraktnog representative of abstract Expressionism
ekspresionizma unutar tzv. Pariske skole, within the so-called »Paris school«, but in
on ovom slikom vise pokazuje da je blizi this picture he is closer to nordic
nordijskom ekspresionizmu u njegovom Expressionism in its most classical meaning.
najklasicnijem znacenju. The picture by this Swedish artist, who has
Sliku ovo~ svedskog umjetnika, koji od been living and working in Paris since 1947,
1947. godme zivi i radi u Parizu, Moderna was acquired in 1972 by the Modern
galerija u Budvi je dobila 1972. godine Gallery in Budva through Ljubinka and
posredstvom Ljubinke i Bate Mihajlovica, Bata Mihajlovic, Yugoslav artists who also
jugoslovenskih umjetnika koji takode zive live and work in Paris.
i rade u Parizu. M.H.
M.H.
Izlozbe / Exhibitions Stalna postavka, Moderne galerije, Budva
Bibliografija Bibliography Georges Houdaille, Savremeni ekspresionisti (predgovor stranoj selekciji), Centar za
kulturu - Moderna galerija, Budva 1984.
152
153
Claude Viallat
Nirnes 1936, zivi u Nimesu
Ponavljanje u cast H.B., 1970.

Repetition in Honour of H.B.
otisak na platnu / Print on canvas
268X213 cm
sign.d.sred. : H.B.
U drugoj polovini sezdesetih i pocetkom In the second half of the 1960's and the
sedamdesetih Claude Viallat se opredeljuje beginning of the 1970's Claude Viallat
za jednu likovno-estetsku soluciju koja chooses an art aesthetic solution which
napusta tradicionalne atribute slike (okvir, abandons the traditional attributes of a
lajsne i sl. ), predlafoci predstave bez picture (frame, laths etc.) suggesting
pocetka i kraja. Na slobodno pusteno, antimimetic images with no beginning or
nezategnuto platno, autor repetira svoju end. On fresh, unstretched canvas, the
poznatu maticnu formu (stilizovan oblik author repeats his familiar original form
palete), koja se javlja kao fleka iii rupa. (the stylized shape of a palette) which
Pritom, »platno se ostvaruje i iscezava u appears as a stain or a hole. Thus »the
praznoj matrici koja omogucuje taj otisak« canvas becomes a reality and disappears in
(M. Pleynet). Igra izmedu monohromne an empty matryx which makes the print
osnove (svetlije obojene) i maticne tamnije possible« (M. Pleynet). The play between
obojene forme, svodi se na jednostavan the monochromatic base (brightly coloured)
koloristicki kontrast. Autorova likovna and the original darkly coloured form, is
misao koncentrisana je na tri primarna brought down to a single colourist contrast.
repera: formu, materiju i strukturu i The author's artistic thought is concentrated
istovremeno koriscenje iskustava on three primary points d'appui: form,
minirnalne, opticke i konceptualne matter and structure, and the simultaneous
umetnosti. use of minimal, optical and conceptual art
Poklon autora, 1. 4. 1971. experiences.
S.A.D. The picture was presented by the author to
the Museum of Contemporary Art in
Skopje, on April 1., 1971.
S.A.D.
Izlozbe / Exhibitions Poklonjena dela, MSU, Skopje 1971; Od Picassoa do Caldera, 1985; Stalna postavka
MSU, Skopje od 1986.
Bibliografija / Bibliography Marcelin Pleynet: Prvobitna scena, Claude Viallat in: Ogledi o savremenoj umetnosti,
MSU, Beograd 1985, 33-51.
154
Foto Mam Ownes
155
On Kawara
Aichi-Ken 1933, zivi u New Yorku
I am still alive, 1973.

telegrami / Telegrams
15,3X20,8 cm
vi. GSU, Zagreb, Inv. 1903 (1-5)
U svojoj biografiji On Kawara je zabiljezio : In his biography On Kawara wrote: »17
»17. april 1967. Nino Benvenuti, talijanski April, 1967. Nino Benvenuti, Italian boxer,
boksac, pobjednik je svetskog sampionata is the winner of the World Championship in
u srednjoj kategoriji. « 22. januara 1972. u the middle-weight categoryK. On 22
New Yorku u svoju biografiju upisuje: January, 1972 in New York in his biography
»Kisa«. he w rote: »Rain K.
U globalu konceptualistickog traganja za In the whole of the Conceptualist search for
egzistencijalnim samopotvrdivanjem, svaki existential self-affirmation every detail from
detalj iz zivota i zivotne sredine covjeka life and man's environment becomes an
postaje predmet urnjetnickog interesa. object of artistic interest. Faithful to the
Dosljedno konceptualistickoj praksi Conceptualist practice of mental
mentalne komunikacije On Kawara communication On Kawara attempts to
pokusava da svoju vlastiru egzistenciju place his own existence in the universal ftow
smjesti u univerzalni protok vremena od of time, beginning with Chaos up to the
Kaosa do tocke gdje prestaje vrijeme. point at which time ends.
Telegrami sto ih je On Kawara zapoceo The telegrams which On Kawara started to
slati 1970. g. na razne adrese u svijetu, sa send in 1970 to various addresses in the
uvijek istom porukom, tj. da je on, On world, always with the same message, that
Kawara jos uvijek ziv, sastavni je dio he, On Kawara, is still alive, are part of the
koncepta prema kojem se umjemost concept according to which art is identified
poistovjecuje sa zivotom. U svjedu odnosa with life. In the light of the relationship
umjemik-galerija telegrami takve sadrzine artist- galery, telegrams with this content
imaju visesmisleno znacenje. lako se moze have more than one meaning. Although we
govoriri o ludickoj komponenti koju ti could say that these telegrams have a play
telegrami sadrze, ne moze se osporiti da component, it cannot be denied that the
serija telegrama, koju je 1978. godine series of telegrams, which Rene Block
objavio Rene Block u Berlinu, ima i svoje published in 1978 in Berlin, also has its
posve odredeno idejno i socijalno znacenje. completely determined ideological and
Ove telegrame kustosi Galerije suvremene social meaning.
umjemosti primili su 1973. g. The curators of the Gallery of
t.K. Contemporary Art in Zagreb received these
telegrams in 1973.
Z.K.
Izlozbe / Exhibitions Zagreb 1986.
Bibliografija / Bibliography On Kawara - I am still alive, ed. Rene Block, Berlin 1978; On Kawara - Continuity/
Discontinuity 1963- 1979, Stockholm, Essen, Eindhoven, Osaka 1980- 1981.
156
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Foto Bons Cvjetanovic
157
Joseph Beuys
Krefeld 1923 - Di.isseldorf 1985.
»Duhovno drustvo« buducnosti, 1974.

»Spiritual society" of the Future
6 panel-tabli sa kredom / Wood pannels, chalk
6 X :200X2,8 cm
sign.: nema
vi. SKC, Beograd
Prisustvo Beuysa u Beogradu krece se od Beuys was present in Belgrade from the
pocetaka sedamdesetih godina kada je iz beginning of the 1970's when he presented
prvih kontakata koje sam sa njim imaJa dao his textual materials for the BITEF ofplasczc
svoje tekstualne materijaJe za likovni art in 1972. At the Edinburgh Festival in
BITEF 1972. Nezaboravan susret bio je sa the summer of 1973 a group of artists and
njim sledece godine u leto 1973. na historians of art from Belgrade spent severa,
Festivalu u Edinburghu koji je protekao u unforgettable days in his company and
visednevnom zajednickom druzenju i radu working :with him. Finally, he came to
sa grupom beogradskih umetnika i Belgrade with his family in 1974 for the
istoricara umetnosti. I konacno, tu je April meetings in the Student Cultural
njegov dolazak sa porodicom u Beograd Centre. At that time a large number of
1974. u vreme odrzavanja Aprilskih susreta Yugoslav and foreign artists, critics and
u Studentskom kulturnom centru. Tada je gallery workers took part in the
u programima »prosirenih medija« programmes of the »extended media.-, so ,:
ucestvovao veci broj jugoslovenskih i can be said that the »meetings.- were a
inostranih umetnika, kriticara i galerista, significant international gathering.
tako da se moze govoriti o »susretima« kao Joseph Beuys's lecture in Belgrade took ics
znacajnor.1 medunarodnom skupu. usual form : a performance by »the artist in
Predavanje Josepha Beuysa u Beogradu person«, a live object, with his
protekJo je u njegovoj uobicajenoj formi unchangeable appearance and clothing - .i
nastupa »umetnika u prvom lieu«, zivog waistcoat with a piece of rabbit skin, a hat,
objekta, u njegovom nepromenljivom a stick turned upside down in his har.d - in
izgledu - odece, prsluka sa komadima zecje front of big black boards on which, during
koze, sesira, obrnutog stapa u ruci, ispred the exposition, he drew and wrote the
velikih crnih tabli na kojima je tokom essential components of his visions, art-
izlaganja iscrtavao i upisivao osnovne philosophic theories about the origin of
komponente svojih videnja, umetnicko- man, animals and plants, and of nature as
filozofske teorije o poreklu coveka, an organism as a whole.
zivotinja i biljaka, prirode kao organizma u
In his biologistic attitudes Beuys uses the
celini. metaphor »tree« as the basic principle of
Sluzeci se metaforom »drveta« kao life. When interpreting the history of
osnovnog principa zivota u svojim civilisation, he comes to contemporary
biologistickim stavovima, Beuys u standpoints in radical sociology as well as to
tumacenju istorije civilizacije dolazi do forms of actual practice in »a changing«
savremenih stanovnistva radikalne society and to a system of w ork, thought
sociologije, kao oblika aktuelne prakse and behaviour. Beuys later changes, he
»promene« drustva i sistema rada, misljenja completes and introduces new and more
i ponasanja. Ove umetnicke iskaze s complex theoretical components into the art
pocetka sedamdesetih godina, Beuys expression which he employed at the
kasnije menja, dograduje, unosi nove i sve beginning of the 1970's. This makes his
slozenije teorijske komponente, sto work as a sculptor more complex and at the
istovremeno usloznjava njegov umetnicki same time leads to monumental ambiance
rad kao skulptora i dovodi do settings in conjunction with constantly
monumentalnih ambijentalnih postavki u natural materials, pure elements of matter.
sprezi uvek prirodnih materijala, cistih
elemenata materije. Beuys je u pravom
Beuys is, in the true sense, an artist of the
great German cultural tradition in art and
smislu umetoik velike nemacke kulturne philosophy, of the romantic and spiritual
tradicije u umetnosti i filozofiji, onog current, in which the rational and
romanticarskog duhovnog toka gde se spaja irrational, parallel realities of existence,
racionalno sa iracionalnim, paralelne meet on the very edge of existence itself. He
realnosti egzistencije, na samoj granici is a bearer of a deep Utopian conciousness
postojanja, kao nosilac duboke utopijske and ofa magic vision of the future »spiritual
svesti i magicne vizije »duhovnog drustva« society«.
buducnosti.
We should also speak of Beuys as a practical
0 Beuysu se mora govoriti i kao o theoretician who carried our his teachings
prakticnom teorecicaru, koji je svoja ucenja concretely, in numerous radical actions from
konkretno sprovodio brojnim radikalnim founding the Academy of Art in Dussefdorf
zahvatima, od otvaranja Akademije in the name of free creativity to his
umetnosti u Di.isseldorfu, u ime slobodne revolutionary leadership in the ecological
kreativnosti, do revolucionarnog vode u »green.- movement, or stating in public the
ekoloskom caboru »zelenih«, ili do high »irony« of the unreachables when at
iskazivanja one visoke »ironije«
158
the beginning of the 1980's with Andy
nedosriznih, kada je zajedno sa Warholom, Warhol he provoked the capitalist society,
provocirao kapiralisricko drusrvo pointing to »money« - capital as the power
pocetkom osamdesetih godina, ukazujuci
and force of governing.
na »novae« - kapital, kao moc i snagu
vladanja. For all those who personally knew Joseph
Beuys, he was first of all an ordinary
Za sve one koji su licno _poznavali Josepha »great« man and friend. A rare friend who
Beuysa, on je pre svega 610 obican »veliki« never forgot anyone, always ready for
covek i prijarelj. Redak prijarelj koji nikada »direct« communication, giving himself
nije zaboravljao nikoga, uvek spreman za and his work, in accordance with his own
»direktnu« komunikaciju, davanje sebe i principles, convictions and attitudes. I
svog rada, shodno licnm principima, would finish with the words of Novalis, a
ubedenjima i sravovima. Zavrsila bih recima significant inspirative predecessor, whose
Novalisa, znacajnog inspirativnog poetic metaphor is in the spirit of Beuys's
prethodnika i niegovom poerskom ideas of »cnaos« and »order« - elements of
metaforom u duhu Beuysovih ideja o nature and the old romantic nostalgia: • The
»haosu « i »redu«, elemenata prirode i davne sea is an element offreedom and equality «.
romanticarske nostalgije: »More je
elemenat slobode i jeanakosri«. B.T.
B.T.
lzlozbe / Exhibitions Prostorije Srudentskog kulturnog centra, Beograd
Bibliografija / Bibliography Joseph Beuys: Umetnosr je covek (imervju sa A.B. Olivom), Prosireni mediji (karalog),
Studentski kulturni centar, Beograd 1975; Caroline Tisdal! : Joseph Beuys, The Solomon
R. Guggenheim Museum, New York 1979; Armin Zweite: Joseph Beuys, Sradische
Galerie in Lenbachhaus, Miichen 1986.
160
Najznacajnije kolekcije svetske moderne umetnosti u
Jugoslaviji
The most significant Collections of World Modern Art in
Yugoslavia
Arandelovac Mermer i zvuci Marble and Sounds
Jugoslovenska manifestacija koja se pocev The Yugoslav manifestation under the title
od 1966. godine svakoga leta odrzava u Mermer i zvuci (Marble and Sounds), which
Arandelovcu pod nazivom M ermer i zvuci is held in Arandelovac every summer since
okuplja jugoslovenske i inostrane 1966, gathers Yugoslav and foreign artists,
umetnike, u okviru sirnpozijuma skulpture within the framework of the symposium on
Beli Vencac i medunarodnog festivala Svet sculpture Beli Vencac (White Vencac) and
keramike. Svoje radove u vencackom the international festival Svec keramike
mermeru oscavili su u Arandelovcu, (World of Ceramics). Works in Vencac
Bukovickoj Banji, i u drugim mescima marble were left in Arandelovac,
Srbije G. Sangregorio, R. Couturier, Bukovicka Banja and other Serbian towns
C. Lhoste, S. Hanzik, S. Selinger, by the artists G. Sangregorio, R . Couturier,
G. Pomodoro, C. Ramo us, A . Paradiso, C. Lhoste, S. Hanzik, S. Selinger,
F. Vilson, K. Azuma, D. Gerolimacos, G. Pomodoro, C. Ramous, A. Paradiso,
L. Chadwick, L. de Vries, I. Balderi, F. Vilson, K. Azuma, D. Gerolimatos,
S. Cox, G. Nielsen, J. de Kort, C. Lee, L. Chadwick, L. de Vries, I. Balderi,
G.M. Petterson, i dr. S. Cox, G. Nielsen,]. de Kort, C. Lee,
G.M. Petterson, etc.
Banja Luka Umjetnicka galerija Art Gallery

Trg 27. marta 2
Osnovana je 11. 01. 1971. godine. Njen The Gallery was founded 11 January 1971.
pocetni fundus cine djela likovnih Its original fundus consists of works by
umjemika Jugoslavije i svijeta prikur.liena Yugoslav and foreign artists collected in the
u »akciji solidarnosci« vodenoj poslije »Action of Solidarity«, initiated after the
kacastrofalnog zemljocresa koji je ovaj grad earthquake which befell this town in 1969.
zadesio 1969. godine: F. Hundercwasser, It includes works by F. Hundertwasser,
T. Panajocov, I. Antonov, P. Alechinsky, T. Panajotov, I. Antonov, P. Alechinsky,
S. Heyter, J. Messagier, A. Perilli, S. Heyter,]. Messagier, A. Perilli, E.
E. Pignon, P. Rebeyrol, J. Tabuchi, Pignon, P. Rebeyrol,j. Tabuchi, A. Das,}.
A. Das, J. Sing, F . Guerieri, L. Patella, Sing, F. Guerieri, L. Patella, C. Verna, l.
C. Verna, I. Bak. L. Barta, J. Bek, Bak. L. Barta,}. Bek,}. Lorant, H. Hebler,
J. Lorant, H. Hebler, K. Baum, J. Latour, K. Baum, ]. Latour, A. Biasi, etc.
A. Biasi, i dr.
Beograd Muzej savremene umetnosti Museum of Contemporary Art

Usce Save 66
Otvoren 20. 10. 1965. godine sa kolekcijom ened October 20, 1965 with a collection
jugoslovenske umetnosti XX veka.
Kolekcioniranje inostrane grafike otpoceto
o/
o Yugoslav 20th century art. The
acquisition of foreign graphics began in
1966. godine: M. Duchamp, Man Ray, 1966: M . Duchamp, Man Ray, ]. Miro,
J. Miro, R. Magritte, M. Bill, P . Dorazio, R. Magritte, M. Bill, P. Dorazio,
R. Lichtenstein, R. Rauschenberg, R. Lichtenstein, R. Rauschenberg,
R. Hamilton, A. Warhol, M. Tapies, R. Hamilton, A . Warhol, M. Tapies,
G. Fontana, R.J. Soto, Albers, J. Johns, G. Fontana, R.j. Soto, Albers,]. johns,
V. Vasarely, P . Picasso i dr. V. Vasarely, P. Picasso etc.
N arodni muzej The National Museum

Trg Repu6like la
Osnovan 10. 5. 1844. godine, Narodni The National Museum was founded May
muzej je formirao svoj u prvu zbirku 10, 1844. Its first collection of foreign art
inostrane umetnosti darovirna starih considered of works by old masters, mainly
majstora, uglavnom italijanskih, koje je Italian, which were received as a present
poklo□.io auscrijsk.i slikar Berthold Lippay from the Austrian painter Berthold Lippay
1892. i 1895. godine. Zbirka moderne in 1892 and 1895. The collection of modern
umetnosti nastala je uglavnom izmedu dva art was formed between the tw'o wars by
rata sistematsk.im orkupima od umetnika i systematic purchases from artists and big
po velikim galerijama u Londonu, Parizu, galleries in London, Paris, Berlin, and
Berlinu, kao i brojnim darovima i legatima, thanks to numerous gifts al'!d legacies to the
161
za tadasnji Muzej kneza Pavla (danas u Museum of Prince Paul of that time (now
sklopu Narodnog muzeja). U zbirci included in the National Museum). The
inostrane umetnosti i u Grafickom kabinetu foreign art collection and the graphic
cuvaju se - pored dela ukljucenih u ovu cabinet possess, apart from the exhibited
izlozbu -i slike H. de Toulouse-Lautreca, works, paintings by H. de Toulouse-
0. Redona, G. Moreaua, L. Corintha, Lautrec, 0. Redon, G. Moreau, L. Corinth,
A. Sisleya, M. Chagalla, R. Dufya, A . Sisley, M. Chagall, R. Dufy, A. Lhote,
A. Lhotea, S. Charchounea, R. Delaunaya, S. Charchoune, R. Delaunay, S. Valadon,
S. Valadon, M. Liebermanna, V. Van M. Liebermann, V. Van Gogh,
Gogha, M. Laurencin, E. Baja, M. Tobeya, M. Laurencin, E. Baj, M. Tobey, 0. Friesz,
0. Frieza, i dr. kao i crtezi i akvareli, etc. and drawings, watercolours and
grafike A. Modiglianija, M. Denisa, graphics by A. Modigliani, M. Denis,
J. Pascina, A. Gleizesa, A. Foraina, J. Pascin, A. Gleizes, A. Forain, A.
A. Marqueta, P. Cezannea, E. Bernarda, Marquet, P. Cezanne, E. Bernard, E.
E. Carrierea, L. Foujite, A. Rodina i dr. Carriere, L. Foujita, A. Rodin, etc.
Budva Moderna galerija Modern Gallery

Trg Republike 1
Na bazi fundu sa prikupljenog u Likovnoj The Modern Gallery was founded as a part
koloniji koja je u Budvi djelovala od 1966. of the Cultural Centre in 1972, thanks to
godine, osnovana je 1972. godine pri the f undus collected at the art colony in
Centru za kulturu Moderna galerija. Budva, active from 1966. The Gallery
Galerija organizuje lnternacionalne susrete organizes international meetings of artists
likovnih umjernika, a pored vece kolekcije ana appart from a large collection of artists
slikara Hlebinske skole, posebno of the Hlebine school, it collects particularly
kolekcionira djela jugoslovenskih i stranih works by Yugoslav and foreign
predstavnika savremenih vidova representatives of contemporary forms of
ekspresionizma (P. Alechinsky, K. Appel, Expressionism (P. Alechinsky, K. Appel,
D. Arnaiz, G. Bolin, M. Bradley, D. Arnaiz, G. Bolin, M. Bradley,]. Doucet,
J. Doucet, R.E Gillet, K.0. Gorz, R.E Gillet, K.O. Gatz, F. ]ousselin,
F. Jousselin, B. Lindstrom, J. Tabuchi) B. Lindstrom,]. Tabuchi)
Kostanjevica Forma viva, vajarstvo u drvu, Forma viva, wood sculpture,

Medunarodni simpozij od 1961. International symposium since 1961.
Kraljevo Narodni muzej The National Museum

UL Karadordeva 3
0snovan 1950. godine, Narodni muzej Founded in 1950, the National Museum
sakuplja, izmedu ostalog, i dela inostranih collects, among others, works by foreign
umentika XIX i XX veka: F. Pribyl, artists of the 19th and 20th centuries:
J. Ramus, H.A. Sigg, B. Bachem, F. Pribyl,]. Ramus, H.A. Sigg, B. Bachem,
L. Meisser i dr. L. Meisser etc.
Ljubljana Narodna galerija National Gallery

Prezihova 1
Posjeduje bogatu zbirku starih majstora Gallery has important collection of old
i manju zbirku stranih majstora rnoderne masters, and several important paintings
umjernosti. of modern art.
Moderna galerija Modern Gallery

T omsiceva 14
Kolekcija uglavnom posjeduje Gallery has representative collection
reprezentativni izbor grafike 20. st. kao of graphics of 20th century, connected
rezultat kontinuiranog organiziranja with the continuity of the Graphic Biennale.
Grafickog Biennala.
Maribor Forma viva, vajarstvo u betonu, Forma viva, concrete sculpture,

Medunarodni simpozij od 1967. International symposium since 1967.
Novi Sad Galerija s_avremene likovne Gallery of Contemporary Art

umetnost1
UL JNA 45/ I
Izlozbene prostorije: Sutjeska 2
162
Osnovana 1966, Galerija sakuplja dela Founded in 1966, the Gallery collects works
jugoslovenskih i posebno vojvodanskih by contemporary Yugoslav artists and
savremenih umetnika, kao i dela inostranih especially from Vojvodina, as well as works
stvaralaca - slike, crteze, grafiku, tapiseriju: by foreign authors - paintings, drawings,
V. Vasarely, U. Rantanen, F. Hundert- graphics, tapestries: V. Vasarely, U.
wasser, T. Ryohei, M . Heske, Rantanen, F. H undertwasser, T. Ryohei,
C. Fossier, R. Otreba, S. Endo, J. Cave, M. Heske, C. Fossier, R. Otreba, S. Endo,
R .J. Soto, E. Jorgensen, H. Medici, J. Cave, R.j. Soto, E. Jorgensen, H. Medici,
J.G. Mazzaro i dr. J.C. Mazzara etc.
Pocitelj Umjetnicka kolonija Pocitelj Pocitelj Art Colony

Od 1964. godine u radu Umjemicke Since 1964, numerous foreign guests take
kolonije u Pocitelju u okviru Udruzenja part in the work of the Pocitelj Art Colony
Likovnih umjetnika Bosne i Hercegovine, in conjunction with the Artist's Associa~on
ucestvuju i brojni gosci iz inostranstva koji, of Bosnia and Herzegovina, and as a rule,
po pravilu, oscavljaju Koloniji po jedno leave one of their works behind. The guests
svoie delo. Gostovali su umemici iz Icalije, have been artists from Italy, Austria,
Austrije, Madarske, Rumunije, Bugarske, Hungary, Rumania, Bulgaria,
CSSR, 5SSR, Poljske, Francuske, Belgije, Czechoslovakia, USSR, Poland, France,
Turske, Norveske, NDR, Japana, Egipta, Belgium, Turkey, Norway, East Germany,
Velike Bricanije, Finske, Meksika, Danske, japan, Egypt, Grea.t Britain, Finland,
Holandije, Cilea, Grcke, Indije, Svedske, Mexico, Denmark, Holland, Chile, Greece,
SAD, Alzira, Sudana, Iraka, SRN, India, Sweden, USA, Algeria, Sudan, Iraq,
Jordana, Bolivije i dr. West Germany, Jordan, Bolivia and others.
Pristina Galerija umetnosti / Galeria e Art Gallery, Youth Centre

arteve »Boro-Ramizi«
Dom omladine »Boro-Ramizi«
Pored dela jugoslovenskih savremenih Apart from works by Yugoslav
umetnika, Galerija umemosti sakuplja slike contemporary artists, the Art Gallery
i grafike inosrranih stvaralaca: I. Kodra, collects paintings and graphics by foreign
J . Rosenquist, C. Twombly, A. Warhol, authors: I. Kodra, J. Rosenquist,
M. Pistoletto, F. Clemente, P. Dorazio, C. Twombly, A. Warhol, M. Pistoletto,
M. Paladino, G. Santomaso, J. Kolar, F. Clemente, P. Dorazio, M. Paladino,
J.M. Folon, H. Hodgkin, H . Moore i dr. G. Santomaso,]. Kolar,]. M. Folan,
H. Hodgkin, H. Moore etc.
Ravne na Koroskem Forma viva, vajarstvo u gvozdu, Forma viva, iron sculpture,
Medunarodni simpozij od 1964. Internanional symposium since 1964.
Rijeka Moderna galerija Modern Gallery

D olac 1
Osnovana 1949. godine, Moderna galerija Founded in 1949, the Modern Gallery
sakuplja dela jugoslovenskih i inostranih collects works by Yugoslav and foreign
modernih umetnika: G. Alviani, modern artists: G. Alviani, I. Barbarigo,
I. Barbarigo, C. Pozzati, B. Cassinari, C. Pozzati, B. Cassinari, A. Soffici,
A. Soffici, L. Teodosi, M. Yaman, L. Teodosi, M. Yaman, F. Hundertwasser,
F. Hunderrwasser, J. Ipousteguy i dr. ]. Ipousteguy etc.
Sarajevo Umjetnicka galerija The Art Gallery of

Bosne i Hercegovine Bosnia and H ercegovina
UL JNA 38
Osnovana je 11. 11. 1946. godine. Njen The Gallery was founded 11 November,
pocetni fundus izdvojen je iz Galerije slika 1946. Its original fundus was taken from
Zemaljskog muzeja, zvanicno otvorene the Picture Gallery of the Regional Muse um
1930, 1ako ie Zemaljski muzej eksponate iz in Sarajevo (Landesmuseum). This Gallery
oblasti likovne umjemosri poceo da was opened officially in 1930, although it
kolekcionira jos 1917. godme. Galerija had begun collecting exhibits of fine art
danas posjeduje znacajnu zbirku starijih already in 1917. Today the Gallery possesses
stranih majstora, zbirku ikona od XVII a significant collection of foreign old
vijeka do danas, zbirku savremene masters, a collection 1of icons dating from
jugoslovenske i bosanskohercegovacke the 17th century till the present day, a
umjemosri i veliku zbirku djela Ferdinanda collection of contemporary Yugoslav and
Hodlera. 'Bosnian-Herzegovian art, as well as a large
collection of Ferdinand Hodler's works.
163
Seca pri Portorozu Forma viva, vajarstvo u kamenu, Forma viva, stone sculpture,
Medunarodni muzej od 1961. International symposium since 1961.
Skopje Muzej na sovremenata umetnost Museum of Contemporary Art

Samuilova 66
Muzej je osnovan posle kacascrofalnog The Museum was founded after the
zemljocresa koji je zadesio Skopje jula 1963. earthquake which damaged Skopje in July
godine. Pored kolekcije jugoslovenske 1963. Apart from the collection of Yugoslav
savremene umetnosti, Muzej ima contemporary art, the Muse um has the
najbogaciju zbirku inostrane savremene richest collection of foreign contemporary
umetnosti, dobijenu uglavnom darovima works which mainly consists of presents
umetnika iz cicavog sveca, pored izlozenih: from artists from all around the world. As
P. Picasso, J. Anderle, A. Masson, well as the exhibited, it includes works by
V. Pasmore1 B. Riley, Zao Wou-Ki, P. Picasso,]. Anderle, A. Masson, V.
R. Adams, G. Alviani, G. Baruchello, Pasmore, B. Riley, Zao Wou-Ki, R. Adams,
G. Capogrossi, S. Charchoune, C. Cruz- G. Alviani, G. Baruchello, G. Capogrossi,
Diez, J. D ewasne, R. Guttuso, S. Charchoune, C. Cruz-Diez,]. Dewasne,
D. Hockney, S. Lewitt, K . Menashe, R. Guttuso, D. Hockney, S. Lewitt, K.
R. Matta, R. Mortensen, E. Pignon, Menashe, R. Matta, R. Mortensen, E.
N. de Sainc-Phalle, F. Somaini, E. Vedova, Pignon, N. de Saint-Phalle, F. Somaini,
P. Soulages, A. Burri, J. Johns, M. Pan, £. Vedova, P. Soulages, A. Burri, ]. Johns,
L. Survage, P. Stampfli i dr. M. Pan, L. Survage, P. Stampfli etc.
Titograd Galerija umjetnosti nesvrstanih Gallery of Art of Non-Aligned

zemalja »Josip Broz Tito« Countries »josip Broz Tito «
Krusevac 66
Galerija umjecnosti nesvrstanih zemalja The Gallery of Art of Non-A ligned
osnovana je 1. 9. 1984. godine. Sakuplja Countries was founded on September 1,
dela kulturne bastine i savremenib 1984. It collects works from the cultural
umetnika i do sada cuva preko 500 radova inheritance and by contemporary artists.
iz 55 nesvrstanih zemalja. Up to now it has collected over 500 works
from 55 non-aligned countries.
Tuzla Galerija jugoslovenskog portreta Gallery of Yugoslav portraits

UL Slavka Micica 13
U okviru ove Galerije postoji This gallery possesses an International
Incernacionalna zbirka portreta - crcezi i collection ofportraits-drawings and graphics
grafike savremenih umetnika iz Italije, - by contemporary artists from Italy,
CSSR, Holandije, Velike Bricanije, Czechoslovakia, Holland, Great Britain,
Rumunije, Argentine, SAD, Bangladesa, Rumania, Argentine, USA, Bangladesh,
Grcke, Spanije, Japana, Poljske, i dr. Greece, Spain, Japan, Poland and others.
Zbirka je nastala zahvaljujuci otkupnim The collection was formed thanks to the
nagradama koje se od 1980. godine acquisition of the works which have
dodeljuju na likovnoj manifestaciji received awards since 1980, at the art
INTERBIFEP. manifestation INTERBIFEP.
Vela Luka Kulturni centar Vela Luka The Vela Luka Cultural Centre
Inostrana zbirka crteza i skulptura rezultat The foreign collection of drawings and
je tradicionalnih Medunarodnih susreta sculptures is the result of the traditional
umetnika koji su zapoceti kao bijenalni international meetings of artists which were
1986. godine, a nastavljeni 1970, 1972, planned as a Biennale, took place for the
1975, 1979. i 1981. kada je i postavljena ova first time in 1968 and continued in 1970,
zbirka. Zahvaljujuci organizatorima ovih 1912, 1975, 1979 and 1981, when this
susreta, Petru Omcikusu i Kosi Boksan, collection is given a permanent display.
zbirka je obogacena delima K. Lee, P . Thanks to the organizers of these meetings,
Corneillea, B. Lindstroma, F. Otanija, Petar Omcikus and Kosa Boksan, the
T. Brzozowskog, I. Sigga, C. Bellegardea, collection was enriched by works of K. L ee,
Prenticea, pored dve skulpture H . Moorea. P. Corneille, B. Lindstrom, F. Otani, T.
Brzozowski, I . Sigg, C. Bellegarde, Prentice
as well as by two sculptures by H. Moore.
Zagreb Galerija suvremene umjetnosti Gallery of Contemporary Art

Katarinin trg 2
Nastanak Galerije suvremene umjetnosti The foundation of the Gallery of
1954. godine vezuje se za nove pojave u Contemporary Art in 1954 is connected
164
hrvatskoj i jugoslavenskoj umjetnosti toga with new appearance in Croatian and
vremena, a posebno za sve intenzivnije Yugoslav art of that time and particularly
kulturne veze sa svjetskim centrima, sto su with the ever increasing intensity of cultural
posebno podstakle medunarodne izlozbe contacts with world centres, which were
pod jedinstvenim nazivom Nave especially inspired by the international
tendencije, pocev od 1961. godine. Pored exhibitions, all under the same name New
znacajnih djela hrvatskih i ju~oslavenskih Tendencies, held from 1961. Apart from
umjetnika, Galerija sakuplja 1 djela significant works by Croatian and Yugoslav
inostranih stvaralaca, slike, grafike, artists, the Gallery collects works by foreign
skulpture, crtez.e, objekte, fotografije, artists: paintings, graphics, sculptures,
video i sl. Pored djela zastupljenih na ovoj drawinss, objects, photographs, video etc.
izlozbi, u Galeriji se cuvaju i ostvarenja: Apart from the works presented at this
H. Moorea, P. Picassoa, B. Munarija, exhibition, the Gallery owns works hy:
F . Legera, J. Arpa-S. Tauber-Arp, H. Moore, P. Picasso, B. Munari, F. Leger,
R. Mortensena, K. Sugaija, P. Dorazija, J. Arp-S. Tauber-Arp, R. Mortensen, K.
H . Macka, A. M~vignera, M. Massironija, Sugai; P. Dorazio, H. Mack, A. M,1,:i,v_11c:r,
0. Pienea, F. Nakea, A. Biasija, Toyen, M. Massironi, 0. Piene, F. Nake, A. Biasi,
E. Paolozzija, J. Messagiera, J. Tilsona, Toyen, E. Paolozzi, J. Messagier, J. Tilson,
G. Pane, H . Haackea, A. Messager, G. Pane, H. Haacke, A. Messager, E.
E. Rusche, U. Rosenbach, U . La Pietre Rusche, U. Rosenbach, U. La Pietra etc.
i dr.
Metropolitanska galerija The Metropolitan Gallery

Galerija je u osnivanju. Za sada posjeduje The Gallery is still in foundation. At the
djela uglavnom talijanskih umjetnika: moment it possesses mainly works by Italian
U. Boccioni, G . Manzu, M. Sironi, artists: U. Boccioni, G. Manzi,, M. Sironi,
E. Prampolini i dr. E. Prampolini etc.
Moderna galerija Modern Gallery

Brace Kavuric 1
Osnovana 1902. godine. Pored djela It was founded in 1902. Apart from works
uglavnom hrvatskih umjetnika, posjeduje i mostly by Croatian artists, it possesses a
manju kolekciju inostranih ostvarenja: M. small collection of foreign works:
Vlaminck, P . Bonnard, M . Pechstein, G. M. Vlaminck, P. Bonnard, M. Pechstein,
Grosz, G. Papazoff, H. Stefan i dr. G. Grosz, G. Papazoff, H. Stefan etc.
Muzej grada Zagreba The Muse um of the City of

Opaticka 20 Zagreb
Muzej je osnovan 1907. godine. Sakuplja The Museum was founded in 1907. It
historijsku i umjetnicku gradu vezanu za collects historic and art material connected
povijest grada Zagreba. Pored veceg broja with the history of the city of Zagreb. Apart
donacija, ukljucuje i znacajnu zbirku Tille from a great number of donations, it
Durieux: M. Slevogt, M. Chagall, E. includes Tilla Durieux's significant
Barlach, A. Gaul, E. Orlik i dr. collection: M. Slevogt, M. Chagall, E.
Barlach, A. Gaul, E. Orlik etc.
Muzej za umjetnost i obrt The Muse um of Arts and Crafts

Trg Marsala Tita 10
Osnovan 1880. godine. Posjeduje The Museum was founded in 1880. It
uglavnom djela primjenjene umjetnosti, i possesses mainly works of applied art and
pojedina ostvarenja suvremenih likovnih some works of contemporary fine art
umjetnika (F. Morellet). (F. Morel/et).
165
lndeks umetnika Adams R. 163 d' Arcangelo A. 132
Adrian M. 114 Das A . 161
Index of Artists Albers J. 161 Degas E. 24
Alechinsky P. 122, 161, 162 Delaunay R. 162
Alviani G. 128, 163 Denis M. 162
Anderle J. 163 de Pisis F. 90
Antonov I. 161 Dewasne J. 163
Appel K. 162 Derain A. 76
Archipenko A . 58 Doucet J. 162
Arnaiz D . 162 Dongen K. van v. van Dongen K.
Arp J. 164 Dorazio P . 161, 163, 164
Azuma K. 161 Duchamp M. 161
Dufy R. 162
Balderi I. 161
Bachem B. 162 El Lissitzky v. Lissitzky El L.
Baj E. 162 Endo S. 162
Bak I. 161 Ernst M . 92
Barta L. 161
Barlach E . 42, 165 Filla E. 68
Barbarigo I. 163 Felon J. 163
Baruchello G. 163 Fontana L. 161
Baum K. 161 Forain A. 162
Bellegarde C. 164 Fossier C. 162
Bek J. 161 Foujita L. 162
Bernard E . 162 Friez 0. 162
Beuys J. 158
Biasi A. 161 , 164 Gauguin P. 20
Bill M. 161 Gaul A. 165
Birolli R. 88 Gerstner C. 106
Boccioni U. 40, 164 Gerolimatos D. 161
Bolin H. 162 Gillet R .E. 162
Bennard P. 26, 164 Gleizes A. 162
Bradley M . 162 Gogh V.van v. van Gogh V.
Brzozowski T. 164 Gotz K .O . 162
Burri A . 163 Grosz G. 164
Guerieri F. 161
Calder A. 11 O Guttuso R. 163
Campigli M. 86
Cantatore D . 96 Haacke H . 164
Carriere E. 162 Hamilton R. 161
Capogrossi G . 163 Hanzik S. 161
Cassinari B. 163 Hartung H . 118
Cave J. 162 Hebler H. 161
Cezanne P. 162 Heske M. 162
Chadwick L. 161 Heyter S. 161
Chagall M. 70, 162, 165 Hockney D. 163
Charchoune S. 162, 163 Hodgkin H. 163
Christo J. 140 Hedler F. 50
Clemente F. 163 Hundertwasser F . 161
Consagra P. 104
Couturier R . 161 lpousteguy J . 183
Corinth L. 162
Corneille P. 164 J awlensky A. 46
Cox S. 161 Johns J. 161,163
Cruz -Diez C. 163 Jorgensen E. 162
J ousselin F. 162
166
Kandinsky V. 28 Nake F. 164 Stazewski H. 126
Kawara 0. 156 Nielsen G. 161 Slevogt M. 38, 165
Kemeny Z. 120 Sofici A. 163
Kodra I. 163 Otani F. 164 Somaini F. 163
Kolar J. 163 Orlik E. 165 Soto J.R. 144 161, 162
Kort J.de 161 Otreba R. 162 Soulages P. 124, 163
Stampfli P. 163
Lam W. 134 Paladino M. 163 Stefan H. 56, 164
Lang F. 52 Pan M. 163 Survage L. 163
La Pietra U. 164 Panajotov T. 161 Sugai K. 164
Lardera B. 116 Pane G. 164 Sykora Z. 136, 164
Latour J . 161 Paolozzi, E. 164
Laurencin M . 161, 164 Pascin J . 162 Stursa J. 34
Leger F. 80 Papazoff G. 82, 164
Lee C. 161, 164 Paradiso A. 161 Tabuchi J. 142, 161, 162
Le Pare J. 112 Pasmore V. 163 Taeuber-Arp. S. 164
Le Witt S. 163 Patella L. 161 Tapies M. 161
Lichtenstein R. 161 Pechstein M. 164 T eodosi L. 163
Liebermann M. 162 Perilli A. 161 Tilson J. 164
Lindstrom B. 152, 162, 164 Pettersson G. 161 Tobey M. 162
Lissitzky L. El 62 Picasso P. 48, 161, 163, 164 Toorop J. 16
Lhoste C. 162 Pignon E. 161, 163 Tosi A. 94
Lhote A. 162 Piene 0. 148, 164 Toulouse-Lautrec H. 162
Lohse R.P. 112 Pissarro C. 18 Toyen 163
Lorant J. 161 Pisis De F. v De Pisis F. Twombly C. 163
Pistoletto M. 163
Mack H. 146, 164 Pomodoro G. 161 Uecker G. 150
Magritte R. 161 Pozzati C. 163 Utrillo M . 66
Maillol A. 32 Prampolini E. 164
Manzu G. 100, 164 Prentice M. 164 Valadon S. 162
Marquet A. 162 van Dongen K. 54
Massironi M. 164 Ramous C. 161 van Gogh V. 162
Masson A. 164 Ramus J. 162 Vasarely V. 138, 161, 162
Matta R. 163 Rantanen U. 162 Vedova E. 163
Matisse H. 30 Rauschenberg R. 161 Vierna C. 161
Mavigner A. 164 Ray M. 161 Viallat C. 154
Mazzera J.S. 162 Rebeyrol P. 161 Vilson F. 161
Medici A. 162 Redon 0. 162 Vlaminck M. 36, 164
Meisser L. 162 Renoir A. 22 Vries L.de 161
Menashe K. 163 Riley B. 163 Vuillard E. 44
Messager A. 164 Rodin A. 162
Messagier J. 161, 164 Rosenbach U. 164 Warhol A. 161, 163
Millares M. 130 Rosenquist J. 163 Yamana M. 163
Miro J. 161 Rouault G. 78
Modigliani A. 162 Ruscha £. 164 Zao-Wou-Ki 163
Moholy-Nagy L. 60 Ryuchei T. 162
Molnar F. 64
Mondrian P. 72 Saint-Phalle N. de 163
Monet C . 14 Sangregorio G. 161
Moore H. 163, 164 Santomaso G. 163
Morandi G . 84 Selinger S. 161
Morellet F. 108, 165 Severini G. 98
Moreau G. 162 Sigg I. 162, 164
Mortensen R. 163, 164 Sing J. 161
Munari B. 164 Sironi M. 164
Muzika F. 74 Sisley A. 162
167
Marc Adrian
Pierre Alechinsky
Getulio Alviani
Alan d'Arcangelo
Ernst Barlach
Joseph Beuys
Renato Birolli
Umberto Boccioni
Pierre Bonnard
Alexander Calder
Massimo Campigli
Domenico Cantatore
Marc Chagall
Christo
Pietro Consagra
Edgar Degas
Andre Derain
Kees van Dongen
Max Ernst
Emil Filla
Paul Gauguin
Carl Gerstner
Hans Hartung
Ferdinand Hodler
Alexei Jawlensky
Vassily Kandinsky
On Kawara
Zoltan Kemeny
Wifredo Lam
Fritz Lang
Berto Lardera
Julio le Pare
Fernand Leger
Bengt Lindstrom
Lazar El Lissitzky
Richard Lohse
Heinz Mack
Aristide Maillol
Giacomo Manzu
Henri Matisse
Manolo Millares
Laszlo Moholy-Nagy
Farkas Molnar
Piet Mondrian
Claude Monet
Giorgio Morandi
Fran~ois Morellet
Frantisek Muzika
Georges Papazoff
Pablo Picasso
Otto Piene
Filippo De Pisis
Camille Pissarro
August Renoir
Georges Rouault
Gino Severini
Max Slevogt
Jesus Raphael Soto
Pierre Soulages
Henryk Stazewski
Henrik Stefan
Zdenek Sykora
Jan Stursa
Jasse Tabuchi
Jan Toorop
Arturo Tosi
Gunther Uecker
Maurice Utrillo
Victor Vasarely
Claude Viallat
Maurice de Vlaminck
Edouard Vuillard

1987 World Masters of Modern Art From Yugoslav Collections

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1987 World Masters of Modern Art From Yugoslav Collections

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Svetski izmoderne umetnosti

Organizateri Narodni muzej, Beograd

U suradnji Umjetnicka galerija, Banja Luka

Auteri teksteva Sonja Abadzieva Dimicrova, Skopje

Restauracija i kenzervacija dela Gordana Zunjic-Kusovac

Graficka eprema katalega Ranko Novak, Studio Znak, Ljubljana

Prevedi na engleski / Ann Vasic

Glavni urednik Jevca Jevcovic, direkcor Narodnog muzeja, Beograd

~tampa Nasa djeca, Zagreb

National Museum, Belgrade

World of Modern Art

l ako postojece kolekcije cuvaju veliko istorijsko, kulturno i

Although the existing collections preserve great historical, cultural

Skracenice za cesce navodene

Foto Miodrag florc:tevic

Trg Francuskog pozorista, 1898.

Mrtva priroda sa vocem i bocom, 1893.

Devojcica sa sesirom I Umjetnikov sin, oko 1898.

Balerine u plavom / Tri plave balerine, oko 1900.

Dete za stolom I Dorucak, 1900.

Binc na Rigenu, 1901.

Purpurne bukve / Drvece kod Meuluna, 1901.

Polja / Brezuljci u Carriere-sur-Seine, 1904.

Portret Tille Durieux, 1907.

Pejzaz, 1908 (?)

Zena u hodu / Ruska opatica - monahinja, 1906-1913.

Enterijer / Zuti pokrivac, 1908.

Mrtva priroda, 1909.

Glava zene / Mlada zena, 1909.

Skulptura (Bastenske vaze 1-11, Bacchus 1-11), 1915.

Portret gospodice Minie Monet, oko 1920.

Pejsaz iz Pecuha, 1920.

Dve zene, 1920.

Arhitektura u staklu, 1921.

Fata Miadrag Jeremie

Portret Marcela Breuera, 1922.

Ludnica u Sannois, 1925.

Mrtva priroda, 1926.

Zaljubljeni /Damas pticom, oko 1927.

Kompozicija II, 1929.

Mrtva priroda sa zdelom, 1930.

Poklon Nacionalne galerije u Pragu, 24. 8.

Predeo sa maslinama, oko 1930.

Pere Ubu, 1931.

Koren kruske, 1933.

Zena koja dize veo, 1941-1942.

Pesnik Salvatore Quasimodo, 1942.

Blazeni Labre, 1942.

Prvi vazan razgovor sa Himerom, 1942.

,.,, 4,,, "tr,.,,..,, /) ' ~~'tr ; -,,1.,,,.,, .,..,

._• .,,,.)~l " " r , , l ' y i . . ~

~ -.·•. .;,~~ ...,,,I

Bibliografija / Bibliography Arturo Tosi, Milano 1972.

Zena koja sedi, 1942.

Bibliografija / Bibliography Zeri 1983, kat. 105, repr. 105.

Kardinal, oko 1950.

Dva kretanja i jedna osovina, 1952/1969.

Zanosni zbor, 1958.

Prije svega boja, 1959/1970.

Crveni poligon, 1961.

Vjerovatnost crnog jednaka bijelom, No. 4, 1961.

Serija Delta No. 4., 1961.

Prikaza IV, 1961.