Professional Documents
Culture Documents
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)
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
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.
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.
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
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.
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.
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.
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.
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.
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.
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.
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
Foto Vladimir Popovic
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
Foto Vladimir Vukadinovic
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.
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.
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.
Bibliografija / Bibliography Raffaele de Grada : Boccioni - il mito de! moderno; G. Barbera Ed., Firenze 1962.
40
Ernst Barlach
Wedel 1870 - Rostock 1938.
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.
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.
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.
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
ulje na platnu / Oil on canvas
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.
Bibliografija / Bibliography Jure Mikui-Zdenko Vrdlovec: Fritz Lang, ed. Imago, Ljubljana 1985. repr.
52
Kees van Dongen
Delfshaven, Rotterdam 1877 - Monaco 1968.
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.
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
::,
Alexander Archipenko
Kiev 1887 - New York 1964.
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.
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
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.
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.
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.
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
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.
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
Foto Vladimir Popovic
Frantisek Muzika
Praha 1900 - Praha 1974.
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.
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.
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
Foto Vladimir Vukadinovic
Fernand Leger
Argentan, Normandie 1881 - Gif-sur-Yvette 1955.
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
ulje na platnu / Oil on canvas
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
ulje na platnu / Oil on canvas
32,5 X40 cm
sign.d.d.: Morandi 1941
vi. NG, Ljubljana, Inv. 1990
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
Foto Arhiv Narodne galerije, Ljubljana
Massimo Campigli
Firenze 1895 - Saint Tropez 1971.
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.
Bibliografija / Bibliography M. Valsecchi, Renato Birolli, Milano 1966; Zeri, 1983, kat. 102, repr. 102.
88
"'
C
.!!!.
:0
:,
::r
:coi
a,
.;
Cl
:!!
~
z"'
i0
_....,,.__, ~
Filippo de Pisis
Ferrara 1896 - Milano 1956.
Bibliografija / Bibliography M. Valsecchi, Filippo de Pisis, Milano, 1956; Zeri, 1983, kat. 103, repr. 103.
90
Max Ernst
Briihl 1891 - Paris 1976.
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
~ ...
(IJ
iil
:,
.;;·
•~- r
. . ,. '-:-, ---- ..:;,1
~
~~.,,,.._,
f :f~,,.; ~·. ,,.
,,.,,q.-,,, ,,•• ., ~ 7;, ~
::.__,.,.. ~.., 7y,-- ....,/ ,-.-._, • .,_,, ...,,,,. Y'"' 71'.I' .~
( ~ ? ,.,_.,..,~..,.,.. '?r>,r • . .-:..?"'.~~
~
--·
~ .,j,F. ,,,., ,, '"J'_ ., ,...,, ,·,. _••. ,.,,_....·.--;,~ ?;J ...,,
1> "'l'<fl' :(,j ,1r)'J .,,..., ,,
r ;,, .... ~ L" :.r•r/~ ,-._., '-" ,.,...........J_h'> • " 7 ~
- ~,,,'i,. ...;;e,. 91"~
-e-y·,.,,qr,y1.,_, "...,
,-r. ..... ~~ -:,~ .,.. ·;,•,ir,, - . - ,.,...,; ; /"
"'"41...-.....,,,,
, ~ ,:
. __,,, " ~ ;,•;,/t
~ ., ~ ·
:> -
n,,.,_ .,.._,,,
',,
"?J v · u/
•y,
-~...• .·'--. '" '"'' ,.r "~I,-. ,; .....,r. ~
U' h &.,} " " " / • •'"' )'•---~
77~,Y•i-
.,t ..
~
.,- t;,,-y ')-J ,1-7r;y ";2
r.
-,"Y ..._,,~ !'
1. ~ , """"'f. .,,. .•..,> --=--; z,- 'YI'-"" ?1•y>'" .,,.,,.- . .i'" -
1'."\•,,--. .;...,-_,,,,,,.- ~ - - JJ,.,·-....,..u:t· ,,~ n,t o-:,••
~ ,;·~"."} ..:,y
,_. ,4
?',,."7H1rv" -,H•I"'-:' '}'J ~ ..,., >It
...... ~>!'l'Y .. >"...,J ,,,,,, ~
11.,,. . ...,,,.~,. . ...v.,._.,,.,,,,,,,. ,. .-
r J'" 'YI
;,,·.- 1 . . ,,. ,,,,,,.L. ' H'W-7w,1,,I >--.
~ µtr}'..; ,,_,,,,,,,,~
.... ;,- rn•i ► •t
t~/ ? •-,. '.'7 C
,,,, )'>•,"" ~ J-/.,.,, ,,.,
>''1 l'T'"
j""1 ...,,.,.,.JI)?~-"' ~,.,,
'41rrr,
e~
...,.,~ l.J',1•-;r~ ' ~
"7.i, J,,,,, ,,,,.,.,.., , , , , ,,,.... ~
~..,.._,,7 ..,.,,,... .- . ,,:.t... -:,}rf- ?'./
~-"LI
4---Y ,....,.....,.. .;·~ ' 7 7,1¥7? ..
-,'r r.7'7' .., + 'lf1 r,
.~
~-~ · rµ.l _.· ·
._,. &.-.vp J,. ;, p,,,,.,' "'J.I
~
I
-✓ rr ,, ....1 i,,,'T.7".
,...,,, l ' ~ J :, >•-,r ,.,_
..~
I,.._ ;,~'if,.,.
-
, -,,.,-~/.i
-
\ e-..,j'J....,,,.i
1\ ,,,,,_,,'7'7"-'r.
-1.,,,....,.,
-.~--I -
~ ··.r ~ -
___, , n -~rr,,,-~
\ \ f"-;•'JI '
., !..
l?J 1·_.,,(I/(
,,.~r/,19 -lr,,_,. I
I-~:::;-,c~~;.::
,,..... ,.(' .... ~ ·~,
~~-
17
'T ~
7-'/
-
·-
,........,
;.,,,,,-,pi:. ·
?2
'
7
I
\ I
I
)
I
\
\
\ \
I .,,,.;.a
-.-.,..>'....,
;,~,,
,,~
..;-~ .. ,,
/ ~-,. >r:"'
7,1
.... -
~,-,-_,.._
,,._.,,-.../.
,;l.r _,,
f,;ry_, ,.,. ...
\j ' -':-':(."';;,,rl ..
r .l
..,-
~
-1.,,,,
,:,;,,,
--Y.J:.:,~t,':::.~.. :•. '
·~
.,..'?
-·-
rn . ,...,. ~-., ~ , ---- -,ot,C?
---<.;~ -_ /
_,,,,,._, - -- -
-;,,,.
_ / '
,,,--'-./ ·
('
i7
i
--
.. .
s-r,
~ \ "~
'
\
~
I
.;.,.
..,., \...
,,-
' • '-op
...
.. ...~
' ,,Z?-J
_;,,'#,,
....71
_,>I>..,~
;,,
- ~
.,........
....,:
....
-t-;:.~~.,_...
4'1'. 'Jl"!9' ~
.,.,,-r -.A 1;.1
'!1. r r,__,., ~
Y.,-.J
-...,¥-r.>-_;,.,J
- ... ,,,.,11 . ' ,,.,,, r ·,
. ,...,,.,,
"',µ
/ ·" -
. 'IJ""'I
..
);I..,_
- -~
/''-✓ _,, ~~)' ,y, a.J .;...._._. , ,. ••• ;,,,
>~ ......~ ..... ""'7)7,L,.,,,..¼~, -~~r·
.....,,. ,,.1,._;.;. • ....,.
.-eor:.!~
.,,.-,--
1 -
Arturo Tosi
Busto Arsizio 1871 - Milano 1956.
Predeo u Albanu
Landscape in Albano
ulje na platnu / Oil on canvas
69,5X90 cm
sign.d.d.: A. Tosi
vi. NG, Ljubljana, Inv. 1998
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.
94
Foto Arhiv Narodne ga/erije, Ljubljana
Domenico Cantatore
Ruvo di Puglia 1906 - Milano 1980.
96
Foto Arhiv Narodne galerije, Ljubljana
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
vi. NG, Ljubljana, Inv. 1995
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.
98
Giacomo Manzu
Bergamo 1908, zivi u Milanu
100
Fote Boris Cvjetanovic
1
Richard P.Lohse
Zurich 1902, zivi u Ziirichu
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
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
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
vi. GSU, Zagreb, Inv. 758
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.
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
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
Bibliografija / Bibliography Katalog izlozbe Nove tendencije, Galerija suvremene umjetnosti, Zagreb 1961.
114
-
Foto Pelar D2oac
Berto Lardera
La Spezia 1911, zivi u Parizu
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.
ulje na platnu / Oil on canvas
58X250 cm
sign.d.d.: Hartung
vi. MSU, Skopje, Inv. 583
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.
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
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
-,4..:-;- .
~-
··p~
•
. j ~
-.
'~
·,. .Ji•·
.
.. " .,.
•• - #
' ,t (_. -,
........ i '(
rt, ~
+
,,' ~
,.· •
. ,
• ... .-, 'Jr
,
. .{· . P.:.•
· • ,~ :.. ,. !~ - r
.,
123
Pierre Soulages
Rodez, Averion 1919, zivi u Parizu
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
vi. MSU, Skopje, Inv. 334
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
8
C:
-.:
"'
::.
B
0
u.
127
Getulio Alviani
Udine 1939, z.ivi u Udinama
PM 4039, 1964.
aluminij I Aluminium
56X56 cm
sign. : nema
vi. GSU, Zagreb, Inv. 757
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
Bibliografija / Bibliography Manolo Millares, Galeria Juana Mordo, Madrid 1967, repr.; Petkovski 1970, repr.;
Damjanovska, 1981/82 repr.; Abadiieva Dimitrova 1985, repr.
130
•
I
',
•
t
Bibliografija / Bibliography Lucy Lippard: Pop Art, Jugoslavija, Beograd 1967; Petkovski, 1970 (repr.;
Damjanovska, 1981, repr. Abadiieva Dimitrova, 1985, repr.
132
•
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
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
vi. GSU, Zagreb, Inv. 1250
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
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
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
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
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
148
Fote Gojko SikimiC
149
Gunter Uecker
Wendorf, Macklenburg 1930, zivi u Diisseldorfu
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
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
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
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
316 haLifax ns Lny8jf • 17 31 ;2~P.Jdt via canadian
Lt
radosLav putar
gajerija suvremene
Lrnjetnost1 katarinin trg 2
Ll()QQ zagreb/yugosLavia l• A' · r 'f: I\ 1 A A I
i'O~II
-·
• I
ii r -
0
J,p. ot • ~i.
I,:;:- iW, .... .(ilil&
COL Lt Z
I
409() +
157
Joseph Beuys
Krefeld 1923 - Di.isseldorf 1985.
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.
Ravne na Koroskem Forma viva, vajarstvo u gvozdu, Forma viva, iron sculpture,
Medunarodni simpozij od 1964. Internanional symposium since 1964.
163
Seca pri Portorozu Forma viva, vajarstvo u kamenu, Forma viva, stone sculpture,
Medunarodni muzej od 1961. International symposium since 1961.
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.
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
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
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