Books by Dragan Damjanovic
Otto Wagner and Croatian Architecture, 2024
Architects educated at the Vienna Academy of Fine Arts played a key role in the history of archit... more Architects educated at the Vienna Academy of Fine Arts played a key role in the history of architecture of the second half of the 19th and the first decades of the 20th century in the entire Austro-Hungarian Monarchy, including Croatia. Until the 1890s, most Croatian architects had studied at the Academy in the class of Friedrich von Schmidt. However, at the end of the same decade, great importance for the history of Croatian architecture can arguably be attached to the special school headed by Otto Wagner, an architect whose texts and building projects laid the foundation of modern architecture in (Central) Europe.
In this book, my intention is to give an insight into Wagner's designs that he created specifically for building projects in Croatia, the designs he made for Croatian investors and companies, and the realized and unrealized designs created by Wagner’s students for buildings in cities and towns in the territory of present-day Croatia. The greatest attention has been given to Wagner's students who lived in Zagreb, namely, Vjekoslav Bastl and Viktor Kovačić, but the works of the students living in other parts of the Monarchy have also been analyzed.
Despite the limited size of the book, due to which it was not possible to provide a comprehensive insight into Otto Wagner's influence on Croatian architecture, the text briefly mentions individual achievements of Croatian architects who did not attend Wagner’s school within which his influence was the strongest. In the final chapters of the book, I attempt to show how the architecture of Otto Wagner's students in Croatia was transformed in the period from the late 1900s to the 1940s.
Compared to the German version, the English translation of the monograph is somewhat longer since, in the meantime, research yielded new information and publications which, in turn, led to an updated version of the references.
Art and the State in Modern Central Europe (18th – 21st Century), 2024
Attempts to explore and define in more detail, both diachronically and synchronically, relationsh... more Attempts to explore and define in more detail, both diachronically and synchronically, relationships and mutual influences between state bodies and art production, communication, education and reception have for decades formed an important part of numerous explorations in various academic disciplines such as art history, history, anthropology, sociology, education etc. The conference proceedings aim to provide insights into the current knowledge and interpretations of these relations from the 18th century to the present day, i.e. from the period in which Europe states went through intense centralization, leading to the growth of their influence on artistic production, public cultural and artistic institutions and education. In all these contexts the term “state” is taken to stand for a politically organized body of people usually occupying a definite territory and the political organization of such a body of people.
During the nineteenth century, a change developed in the way architectural objects from the dista... more During the nineteenth century, a change developed in the way architectural objects from the distant past were viewed by contemporaries. Such edifices, be they churches, castles, chapels or various other buildings, were not only admired for their aesthetic values, but also for the role they played in ancient times, and their role as reminders of important events from the national past. Architectural heritage often was (and still is) an important element of nation building. Authors address the process of building national myths around certain architectural objects. National narratives are questioned, as is the position architectural heritage played in the nineteenth and the early twentieth centuries.
Ars et Virtus. Horvátország-Magyarország. 800 év közös kulturális öröksége, 2021
Hungarian version of the catalogue of the exhibition.
Slikar Ivan Tišov. Zbornik radova (Painter Ivan Tišov. Book of Proceedings), 2021
Riječ je o zborniku radova izloženih na znanstvenom skupu o Ivanu Tišovu.
Zbornik je sljedećeg s... more Riječ je o zborniku radova izloženih na znanstvenom skupu o Ivanu Tišovu.
Zbornik je sljedećeg sadržaja
Irena Kraševac, Ivan Tišov i Terezija Neuhäusler – umjetnički bračni par u Zagrebu na prijelazu iz 19. u 20. stoljeće
Dragan Damjanović, Državne narudžbe u opusu Ivana Tišova – radovi za sakralne i javne građevine
Ivan Kokeza, Historijsko slikarstvo u opusu Ivana Tišova
Petra Vugrinec, Ivan Tišov i simbolizam
Jasminka Najcer Sabljak, Slavonski motivi u djelima Ivana Tišova
Daniel Zec, Pejzaž Ivana Tišova iz Muzeja likovnih umjetnosti u Osijeku u svjetlu recentnih istraživanja
Zbornik su recenzirali prof. dr. sc. Zvonko Maković i dr. sc. Darija Alujević.
Art and the State in Modern Central Europe (18th – 21st Century), 2021
Programme and Book of Abstracts of the Conference Art and the State
in Modern Central Europe (18t... more Programme and Book of Abstracts of the Conference Art and the State
in Modern Central Europe (18th – 21st Century)
Faculty of Humanities and Social Sciences, University of Zagreb
30 June 2021 – 3 July 2021, Zagreb, Croatia
Knjiga donosi uvid u stradanja građevina i obnovu grada Zagreba i drugih okolnih mjesta nakon pot... more Knjiga donosi uvid u stradanja građevina i obnovu grada Zagreba i drugih okolnih mjesta nakon potresa 1880. i 2020. godine.
Wie in der gesamten österreichisch-ungarischen Monarchie spielten auch in Kroatien die an der Wie... more Wie in der gesamten österreichisch-ungarischen Monarchie spielten auch in Kroatien die an der Wiener Akademie der bildenden Künste ausgebildeten Architekten in der zweiten Hälfte des 19. und der ersten Hälfte des 20. Jahrhunderts eine entscheidende Rolle. Bis in die 1890-er Jahre studierten die meisten kroatischen Architekten an der Akademie in der Klasse von Friedrich von Schmidt und anschließend, seit dem Ende des Jahrzehnts, ging die Führungsrolle auf die Fachschule Otto Wagners über, des Architekten, der in seinen Texten sowie in den errichteten Bauten das Fundament der modernen Architektur in (Mittel-) Europa legte.
Die Absicht dieser Ausstellung und der begleitenden Publikation ist es, Einblick zu geben in diejenigen Entwürfe Wagners, die unmittelbar für Kroatien konzipiert wurden, und in jene, die einen Bezug zu Investoren und Firmen in Kroatien haben, sowie, die realisierten und nichtrealisierten Pläne seiner Schüler, die für das Gebiet des heutigen Kroatien angefertigt wurden, zu analysieren. Die größte Aufmerksamkeit ist Wagners in Zagreb lebenden Schülern Vjekoslav Bastl und Viktor Kovačić gewidmet, aber es werden auch für Kroatien bestimmte Pläne von Schülern Wagners gezeigt, die in anderen Teilen der Monarchie lebten. Obwohl es aufgrund des begrenzten Umfangs dieser Publikation nicht möglich war, einen umfassenden Einblick in den Einfluss Otto Wagners auf die kroatische Architektur zu geben, widmet sich der Text kurz auch einzelnen Werken kroatischer Architekten, die nicht an der Fachschule der Wiener Akademie studiert haben, bei denen aber dennoch ein Einfluss Wagners und seiner Schule klar erkennbar ist. Der letzte Teil der Publikation soll aufzeigen, welche Transformation die Architektur der Schüler Otto Wagners in der Zeit zwischen dem ersten Jahrzehnt des 20. Jahrhunderts und den 1940-er Jahren durchlaufen hat.
Monografija donosi uvid u raznolike utjecaje arhitekta Otta Wagnera na hrvatsku arhitekturu. Ugru... more Monografija donosi uvid u raznolike utjecaje arhitekta Otta Wagnera na hrvatsku arhitekturu. Ugrubo mogla bi se podijeliti na dva dijela. Prvi dio govori o neposrednom utjecaju Otta Wagnera na hrvatsku arhitekturu, o njegovim radovima koji su posredno ili neposredno vezani za Hrvatsku, a drugi, veći dio, o radovima njegovih učenika u Hrvatskoj.
Iako, nažalost, na području Hrvatske nije realizirao niti jednu građevinu jedan je projekt Wagner ipak izradio za našu zemlju. Riječ je o iznimno atraktivnom natječajnom projektu za osječku župnu crkvu svetih Petra i Pavla iz 1893. koji je predviđao inovativnu otvorenu upotrebu lijevanoga željeza u izvedbi stupova u unutrašnjosti, no koji je odbačen u korist naposljetku realiziranog daleko tradicionalnijeg neogotičkog projekta njemačkog arhitekta Franza Langenberga. Žiri, koji su čini istaknuti stručnjaci iz Beča, Zagreba i Osijeka, Wagnerov je projekt odbacio jer su smatrali da svojim rješenjem ne odgovara izgledu jedne katoličke crkve.
Monografija, nadalje, pokazuje da su investitori jedne od najvažnijih Wagnerovih realizacija iz 1890-ih, robne kuće Neumann na Kärtnerstrasse u Beču, braća Neumann, porijeklom iz Hrvatske. Pokazuje i njegovu suradnju s tvrtkama Bothe & Ehrmann i Zagorka, te govori o ogradi koja je po Wagnerovu projektu izvedena u Dubrovniku.
Kako je spomenuto, drugi dio knjige govori o radovima Wagnerovih učenika u Hrvatskoj.
U njegovoj se Specijalnoj školi školovao ukupno 191 učenik, od kojih su dva gotovo cijelim svojim opusom vezani za Hrvatsku – to su poznati prvaci hrvatske moderne arhitekture Vjekoslav Bastl i Viktor Kovačić. Osim Bastla i Kovačića ostalo je malo poznato da je na području današnje Hrvatske rođen još cijeli niz arhitekata koji su se školovali kod Wagnera: Josip (Josef) Costaperaria (Krapje kod Novske, 2. 6. 1876. – Ljubljana, 12. 7. 1951.), Gustav Flesch von Brunningen (Split, 17. 12- 1877. – Beč, 22. 4. 1939.) te Juraj (Giorgio/Georg) Zaninović (Zaninovich)(Split, 27. 4. 1876. – Buenos Aires, Argentina, 6. 11. 1946.). Nadalje još je jedan Wagnerov đak, iako rođen u Donjoj Austriji, Theodor Träxler (Horn, Donja Austrija, 7. 10. 1881. - ?). gotovo cijeli svoj opus ostvario u Hrvatskoj – u Rijeci. Nadalje, brojni su Wagnerovi učenici, koji su inače živjeli i radili u Beču ili nekom drugom centru Austro-Ugarske projektirali za Hrvatsku, ponajprije za Istru i Dalmaciju koje se početkom 20. stoljeća intenzivno počinju turistički razvijati (poput Marcela Kamerera, Jože Plečnika, Otta Schöntala, Maxa Fabianija i drugih). Hrvatski dijelovi opusa svih njih se obrađuju u ovoj monografiji.
Od svih je hrvatskih Wagnerovih đaka nesumnjivo najvažniji Viktor Kovačić. Studirao je u Beču na Akademiji između 1896. i 1899. i već za studija izrađivao je iznimno inovativne projekte, kao što pokazuje njegov diplomski rad – projekt za dvorac ruskih careva u Oriandi na Krimu. Po povratku u Zagreb 1899. Kovačić se objavom tekstova borio za postulate moderne arhitekture, a paralelno je izradio i brojne projekte za stambene, poslovne, javne i sakralne građevine kao i urbanističke planove. Samo se na rijetkim njegovim ostvarenjima, poput kuće Oršić-Divković u Masarykovoj ulici u Zagrebu (1906-07.) kod njega osjeća utjecaj radova Otta Wagnera. Vrlo rano Kovačić razvija poseban arhitektonski jezik baziran na kombiniranju elemenata povijesnih stilova i moderne. Najvažnija su mu djela bez ikakve sumnje crkva svetog Blaža u Zagrebu (1911-14.), jedna od prvih građevina u Hrvatskoj u čijoj je izgradnji korišten armirani beton, te zgrada Burze za robu i vrednote, također u Zagrebu, u kojoj se danas nalazi središte Hrvatske narodne banke (1923-27.). Sa svojim klasicističkim pročeljem prekrivenim kvalitetnim mramorom s Brača te reprezentativnim, u cijelosti sačuvanim, interijerom s glavnom burzovnom dvoranom nadsvođenom velikom armiranobetonskom kupolom, ova građevina predstavlja najreprezentativniji primjer javne arhitekture 1920-ih godina u Hrvatskoj.
Za razliku od Kovačića koji se vrlo brzo po završetku školovanja odmaknuo od Wagnerova stila drugi Wagnerov hrvatski učenik, Vjekoslav Bastl, ostat će u puno većoj mjeri vjeran secesiji. Na Akademiji u Beču studirao je 1899-02., no već 1899. imao je prilike realizirati prve projekte u Zagrebu zahvaljujući okolnosti da se zaposlio kao projektant u poduzeću Hönigsberg i Deutsch, u to vrijeme najvažnijem arhitektonskom birou u Zagrebu. Prva realizacija mu je zgrada ljekarnika Josipa Pečića u zagrebačkoj Ilici na kojoj se motivima – postavljanjem dekoracije u obliku zmija oko pehara na vrhu zabata, neposredno referirao na ulogu zgrade kao apoteke. U razdoblju koje dolazi (1902. – 1907.) to će mu biti glavni način oblikovanja pročelja zgrada. Stvarao je, naime, zgrade s pročeljima – reklamama. Pročelja zgrade Josipa Kalline u Masarykovoj u Zagrebu prekrio je tako majoličkim pločicama budući da se Kallinina tvrtka bavila proizvodnjom keramičke robe. Dijelove pročelja kuće Rado na Trgu bana Jelačića u Zagrebu oblikovao je pak tako da imaju izgled unutrašnjosti zubarske ordinacije – Eugen Rado bio je naime u to vrijeme najugledniji zagrebački zubar. Najoriginalnije rješenje primijenio je na kući Eugena Viktora Fellera na uglu Trga bana Jelačića i Jurišićeve ulice u Zagrebu. Na njezin je ugao postavio motiv koji predstavlja golemu bocu napitka Elsa-Fluid, a koji je u to vrijeme Feller proizvodio i koji mu je donio ogromnu zaradu (Elsa Fluid se koristila u to vrijeme kao svojevrsni univerzalni lijek). Nažalost, za razliku od kuća Rado i Kallina, kuća Feller je kasnije pregrađena tako da se ovaj originalni primjer secesijske arhitekture više ne može vidjeti u izvornom obliku. Osim stambenih i poslovnih zgrada Bastl je projektirao i zgrade Trgovačko-obrtničke komore i Trgovačko obrtničkog muzeja u Zagrebu (1902-03.), i danas jedan od najslikovitijih secesijskih kompleksa u gradu. Bastla je zanimala metafizika pa je motive nabijene simbolizmom uključivao u svoje projekte (poput šišmiša na Kallininoj zgradi), a i diplomski mu je rad bio projekt za Palaču okultnih znanosti u Parizu (1902.).
Poput Kovačića i Bastl se kasnije okreće prema klasicizmu i realizira u tome stilu brojne projekte u Zagrebu od kojih je svakako najpoznatiji novi kompleks tržnice Dolac (1926-30.).
Uz spomenute arhitekte na prostoru današnje Hrvatske, ponajprije na području Istre, Primorja i Dalmacije, djelovali su i Wagnerovi učenici nastanjeni u drugim centrima Austro-ugarske Monarhije, ponajviše u Beču: Max Fabiani, Eduard Kramer, Marcel Kamerer, Jože Plečnik i drugi. Projektirajući hotele te kuće za odmor na Jadranu, u Opatiji, Dubrovniku, Voloskom i Lovranu ovi su arhitekti odigrali ključnu ulogu u počecima razvoja hrvatskog turizma. Od osobitoga je značaja opus arhitekta Eduarda Kramera koji je na Brijunima u prva tri desetljeća 20. stoljeća realizirao cijeli niz hotela i drugih turističkih objekata namijenjenih elitnom turizmu – bečkoj eliti koja je ovo otočje birala kao mjesto odmora i rehabilitacije.
Ljepota hrvatske obale privukla je i arhitekta Alfreda Fenzla. Povijesni spomenici i prirodne ljepote otočića Lokruma kod Dubrovnika navele su ga da utopijski projekt izgrade palače svjetskog mira iz 1900. smjesti upravo na Lokrum.
Osim njih na hrvatskoj je obali, u Rijeci, tada važnoj pomorskoj luci, živio i radio između 1911. i 1914. Wagnerov student Theodor Träxler. U tom je kratkom periodu uspio realizirati dva iznimno značajna i inovativna djela – samostan benediktinki i jednu od najmodernijih kazališnih zgrada onodobne Europe – Teatro Fenice podignuto u samome središtu Rijeke od armiranoga betona. S hrvatske je obale, iz Splita, potekao Wagnerov student Juraj Zaninović, koji je, međutim, svoje projekte odreda realizirao u drugim zemljama – projektirao je tako poznati Zmajski most u Ljubljani te niz secesijskih građevina u Trstu.
by Dragan Damjanovic, Petra Vugrinec, Darija Alujević, Géza Pálffy, Miljenko Jurkovic, László Szende, Damir Karbic, Marija Karbić, Dubravka Botica, Arijana Koprčina, Boris Dundović, Julija Lozzi Barković, and Pásztor Katalin Ars et Virtus. Hrvatska - Mađarska: 800 godina zajedničke kulturne baštine, 2020
Riječ je o hrvatskom izdanju zbornika tekstova i kataloga izložbe Ars et Virtus. Hrvatska - Mađar... more Riječ je o hrvatskom izdanju zbornika tekstova i kataloga izložbe Ars et Virtus. Hrvatska - Mađarska: 800 godina zajedničke kulturne baštine.
by Dragan Damjanovic, Petra Vugrinec, Darija Alujević, Dubravka Botica, Géza Pálffy, Damir Karbic, Marija Karbić, Boris Dundović, Pásztor Katalin, Miljenko Jurkovic, and Arijana Koprčina Ars et Virtus. Croatia-Hungary: 800 Years Of Shared Cultural Heritage, 2020
Edited book that contains articles on history of art and history of Croatia and Hungary accompani... more Edited book that contains articles on history of art and history of Croatia and Hungary accompanied by the catalogue of the Exhibition.
This volume compiles a selection of papers that were originally presented at the international co... more This volume compiles a selection of papers that were originally presented at the international conference, Art and Politics in Europe in the Modern Period, held at the Faculty of Humanities and Social Sciences at the University of Zagreb from June 29 to July 2, 2016. The main aim of the conference, and therefore of this volume as well, was to establish a comprehensive perspective on the intricate relationships between art and political regimes as seen from various vantages and based on different discourses (governmental, social, economic, religious, gender, ethnic and the like) in the period from the 15th century until the present.
Riječ je o monografiji o hramu Preobraženja Gospodnjeg i materijalnoj baštini Srpske pravoslavne ... more Riječ je o monografiji o hramu Preobraženja Gospodnjeg i materijalnoj baštini Srpske pravoslavne crkvene općine u Zagrebu
Riječ je o monografiji o hramu Preobraženja Gospodnjeg i materijalnoj baštini Srpske pravoslavne ... more Riječ je o monografiji o hramu Preobraženja Gospodnjeg i materijalnoj baštini Srpske pravoslavne crkvene općine u Zagrebu.
by Dragan Damjanovic, Lovorka Magas Bilandzic, Sanja Cvetnic, Nadezda Cacinovic, Ljerka Dulibic, Jasna M Jovanov, Silvija Lučevnjak, Daniel Zec, Andreja Šimičić, Ana Separovic, Žarko Španiček, and Patricia Počanić Knjiga Imago, imaginatio, imaginabile. Zbornik u čast Zvonka Makovića
objavljena je u izdanju Fil... more Knjiga Imago, imaginatio, imaginabile. Zbornik u čast Zvonka Makovića
objavljena je u izdanju Filozofskog fakulteta Sveučilišta u Zagrebu, a u
njezinoj su realizaciji sudjelovali povjesničari umjetnosti, povjesničari,
filozofi, konzervatori, etnolozi i muzejski djelatnici iz Hrvatske, Srbije
i Italije. Zbornik na 448 stranica donosi 22 priloga o različitim temama s
polja povijesti umjetnosti i kulturne povijesti te životopis i bibliografiju profesora Zvonka Makovića. Autori priloga su: Sanja Cvetnić, Franko Ćorić, Nadežda Čačinovič, Dragan Damjanović, Frano Dulibić, Ljerka Dulibić, Iskra Iveljić, Jasna Jovanov, Irena Kraševac, Silvija Lučevnjak, Lovorka Magaš Bilandžić, Tonko Maroević, Dino Milinović, Jasminka Najcer Sabljak, Iva Pasini Tržec, Milan Pelc, Tihana Petrović Leš, Giovanni Rubino, Katarina Nina Simončič, Ana Šeparović, Andreja Šimičić, Žarko Španiček, Radoslav Tomić i Daniel Zec.
Urednici knjige su Lovorka Magaš Bilandžić i Dragan Damjanović.
The content of this monograph on the Djakovo cathedral is concentrated on its interior - frescoes... more The content of this monograph on the Djakovo cathedral is concentrated on its interior - frescoes, sculptures, altars, furnishings. The content of some frescoes in the cathedral reflects the political ideology of Bishop Strossmayer. The book was edited by Mr. Žorž Draušnik.
Riječ je o monografiji o đakovačkoj katedrali čiji je sadržaj usredotočen na njezinu opremu - fre... more Riječ je o monografiji o đakovačkoj katedrali čiji je sadržaj usredotočen na njezinu opremu - freske, skulpture, oltare. Sadržaj dijela fresaka u katedrali odražava onodobne političke stavove biskupa Strossmayera.
This collection of essays focuses on the exhibition architecture in Central and Eastern European ... more This collection of essays focuses on the exhibition architecture in Central and Eastern European countries, a region of fluid geo-political conception, composed of multi-ethnic countries with constantly shifting borders. The authors analyse temporary constructions erected for national and international exhibitions in the 19th and 20th centuries presenting Polish, Czechoslovak, Hungarian, Croatian, Serbian, Bosnian-Herzegovinian, Yugoslav, Romanian, Russian cases. In the papers the pavilions are considered hubs of architectural and artistic trends, political visions of this culturally heterogeneous territory. The papers demonstrate the complex political, cultural, social, economic and urban context in which the exhibition architecture was created. The complexity of the hitherto less known Central-Eastern European exhibition architecture is demonstrated not only by the variety of cases analyzed, but also by the diversity of scholarly approaches applied. In the 19th century pavilions and exhibition galleries were powerful means for nation building and mass entertainment, as well as they provided a "magic frame" for the latest technological and cultural achievements. In 20th century ephemeral constructions were often appropriated and utilized by the changing political regimes for power demonstration or for signifying their role as flagships of modernism.
Detailed atlas of Zagreb architecture with 850 entries on important buildings and an introductory... more Detailed atlas of Zagreb architecture with 850 entries on important buildings and an introductory text about the history of Zagreb architecture.
Architectural atlas of Zagreb contains overview of the history of Zagreb architecture and 900 ent... more Architectural atlas of Zagreb contains overview of the history of Zagreb architecture and 900 entries on buildings from all parts of the city.
The buildings are grouped according to Zagreb’s neighborhoods: Upper Town, Kaptol, Lower Town - Centre, Lower Town - West, Lower Town - East, Savska street, Vukovarska street and Slavonska avenue, New Zagreb, etc. Each of these neighborhoods has been split into streets, and the buildings are organized according to their official street number. Along with each city area, a map showing the locations of all the marked buildings mentioned in the atlas is also attached.
The buildings in this atlas have been selected primarily according to their importance to the history of Zagreb’s architecture, while also bearing in mind their interest to the average visitor to Zagreb. The city center (Lower Town, Upper Town, and Kaptol) has been covered in most detail.
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Books by Dragan Damjanovic
In this book, my intention is to give an insight into Wagner's designs that he created specifically for building projects in Croatia, the designs he made for Croatian investors and companies, and the realized and unrealized designs created by Wagner’s students for buildings in cities and towns in the territory of present-day Croatia. The greatest attention has been given to Wagner's students who lived in Zagreb, namely, Vjekoslav Bastl and Viktor Kovačić, but the works of the students living in other parts of the Monarchy have also been analyzed.
Despite the limited size of the book, due to which it was not possible to provide a comprehensive insight into Otto Wagner's influence on Croatian architecture, the text briefly mentions individual achievements of Croatian architects who did not attend Wagner’s school within which his influence was the strongest. In the final chapters of the book, I attempt to show how the architecture of Otto Wagner's students in Croatia was transformed in the period from the late 1900s to the 1940s.
Compared to the German version, the English translation of the monograph is somewhat longer since, in the meantime, research yielded new information and publications which, in turn, led to an updated version of the references.
Zbornik je sljedećeg sadržaja
Irena Kraševac, Ivan Tišov i Terezija Neuhäusler – umjetnički bračni par u Zagrebu na prijelazu iz 19. u 20. stoljeće
Dragan Damjanović, Državne narudžbe u opusu Ivana Tišova – radovi za sakralne i javne građevine
Ivan Kokeza, Historijsko slikarstvo u opusu Ivana Tišova
Petra Vugrinec, Ivan Tišov i simbolizam
Jasminka Najcer Sabljak, Slavonski motivi u djelima Ivana Tišova
Daniel Zec, Pejzaž Ivana Tišova iz Muzeja likovnih umjetnosti u Osijeku u svjetlu recentnih istraživanja
Zbornik su recenzirali prof. dr. sc. Zvonko Maković i dr. sc. Darija Alujević.
in Modern Central Europe (18th – 21st Century)
Faculty of Humanities and Social Sciences, University of Zagreb
30 June 2021 – 3 July 2021, Zagreb, Croatia
Die Absicht dieser Ausstellung und der begleitenden Publikation ist es, Einblick zu geben in diejenigen Entwürfe Wagners, die unmittelbar für Kroatien konzipiert wurden, und in jene, die einen Bezug zu Investoren und Firmen in Kroatien haben, sowie, die realisierten und nichtrealisierten Pläne seiner Schüler, die für das Gebiet des heutigen Kroatien angefertigt wurden, zu analysieren. Die größte Aufmerksamkeit ist Wagners in Zagreb lebenden Schülern Vjekoslav Bastl und Viktor Kovačić gewidmet, aber es werden auch für Kroatien bestimmte Pläne von Schülern Wagners gezeigt, die in anderen Teilen der Monarchie lebten. Obwohl es aufgrund des begrenzten Umfangs dieser Publikation nicht möglich war, einen umfassenden Einblick in den Einfluss Otto Wagners auf die kroatische Architektur zu geben, widmet sich der Text kurz auch einzelnen Werken kroatischer Architekten, die nicht an der Fachschule der Wiener Akademie studiert haben, bei denen aber dennoch ein Einfluss Wagners und seiner Schule klar erkennbar ist. Der letzte Teil der Publikation soll aufzeigen, welche Transformation die Architektur der Schüler Otto Wagners in der Zeit zwischen dem ersten Jahrzehnt des 20. Jahrhunderts und den 1940-er Jahren durchlaufen hat.
Iako, nažalost, na području Hrvatske nije realizirao niti jednu građevinu jedan je projekt Wagner ipak izradio za našu zemlju. Riječ je o iznimno atraktivnom natječajnom projektu za osječku župnu crkvu svetih Petra i Pavla iz 1893. koji je predviđao inovativnu otvorenu upotrebu lijevanoga željeza u izvedbi stupova u unutrašnjosti, no koji je odbačen u korist naposljetku realiziranog daleko tradicionalnijeg neogotičkog projekta njemačkog arhitekta Franza Langenberga. Žiri, koji su čini istaknuti stručnjaci iz Beča, Zagreba i Osijeka, Wagnerov je projekt odbacio jer su smatrali da svojim rješenjem ne odgovara izgledu jedne katoličke crkve.
Monografija, nadalje, pokazuje da su investitori jedne od najvažnijih Wagnerovih realizacija iz 1890-ih, robne kuće Neumann na Kärtnerstrasse u Beču, braća Neumann, porijeklom iz Hrvatske. Pokazuje i njegovu suradnju s tvrtkama Bothe & Ehrmann i Zagorka, te govori o ogradi koja je po Wagnerovu projektu izvedena u Dubrovniku.
Kako je spomenuto, drugi dio knjige govori o radovima Wagnerovih učenika u Hrvatskoj.
U njegovoj se Specijalnoj školi školovao ukupno 191 učenik, od kojih su dva gotovo cijelim svojim opusom vezani za Hrvatsku – to su poznati prvaci hrvatske moderne arhitekture Vjekoslav Bastl i Viktor Kovačić. Osim Bastla i Kovačića ostalo je malo poznato da je na području današnje Hrvatske rođen još cijeli niz arhitekata koji su se školovali kod Wagnera: Josip (Josef) Costaperaria (Krapje kod Novske, 2. 6. 1876. – Ljubljana, 12. 7. 1951.), Gustav Flesch von Brunningen (Split, 17. 12- 1877. – Beč, 22. 4. 1939.) te Juraj (Giorgio/Georg) Zaninović (Zaninovich)(Split, 27. 4. 1876. – Buenos Aires, Argentina, 6. 11. 1946.). Nadalje još je jedan Wagnerov đak, iako rođen u Donjoj Austriji, Theodor Träxler (Horn, Donja Austrija, 7. 10. 1881. - ?). gotovo cijeli svoj opus ostvario u Hrvatskoj – u Rijeci. Nadalje, brojni su Wagnerovi učenici, koji su inače živjeli i radili u Beču ili nekom drugom centru Austro-Ugarske projektirali za Hrvatsku, ponajprije za Istru i Dalmaciju koje se početkom 20. stoljeća intenzivno počinju turistički razvijati (poput Marcela Kamerera, Jože Plečnika, Otta Schöntala, Maxa Fabianija i drugih). Hrvatski dijelovi opusa svih njih se obrađuju u ovoj monografiji.
Od svih je hrvatskih Wagnerovih đaka nesumnjivo najvažniji Viktor Kovačić. Studirao je u Beču na Akademiji između 1896. i 1899. i već za studija izrađivao je iznimno inovativne projekte, kao što pokazuje njegov diplomski rad – projekt za dvorac ruskih careva u Oriandi na Krimu. Po povratku u Zagreb 1899. Kovačić se objavom tekstova borio za postulate moderne arhitekture, a paralelno je izradio i brojne projekte za stambene, poslovne, javne i sakralne građevine kao i urbanističke planove. Samo se na rijetkim njegovim ostvarenjima, poput kuće Oršić-Divković u Masarykovoj ulici u Zagrebu (1906-07.) kod njega osjeća utjecaj radova Otta Wagnera. Vrlo rano Kovačić razvija poseban arhitektonski jezik baziran na kombiniranju elemenata povijesnih stilova i moderne. Najvažnija su mu djela bez ikakve sumnje crkva svetog Blaža u Zagrebu (1911-14.), jedna od prvih građevina u Hrvatskoj u čijoj je izgradnji korišten armirani beton, te zgrada Burze za robu i vrednote, također u Zagrebu, u kojoj se danas nalazi središte Hrvatske narodne banke (1923-27.). Sa svojim klasicističkim pročeljem prekrivenim kvalitetnim mramorom s Brača te reprezentativnim, u cijelosti sačuvanim, interijerom s glavnom burzovnom dvoranom nadsvođenom velikom armiranobetonskom kupolom, ova građevina predstavlja najreprezentativniji primjer javne arhitekture 1920-ih godina u Hrvatskoj.
Za razliku od Kovačića koji se vrlo brzo po završetku školovanja odmaknuo od Wagnerova stila drugi Wagnerov hrvatski učenik, Vjekoslav Bastl, ostat će u puno većoj mjeri vjeran secesiji. Na Akademiji u Beču studirao je 1899-02., no već 1899. imao je prilike realizirati prve projekte u Zagrebu zahvaljujući okolnosti da se zaposlio kao projektant u poduzeću Hönigsberg i Deutsch, u to vrijeme najvažnijem arhitektonskom birou u Zagrebu. Prva realizacija mu je zgrada ljekarnika Josipa Pečića u zagrebačkoj Ilici na kojoj se motivima – postavljanjem dekoracije u obliku zmija oko pehara na vrhu zabata, neposredno referirao na ulogu zgrade kao apoteke. U razdoblju koje dolazi (1902. – 1907.) to će mu biti glavni način oblikovanja pročelja zgrada. Stvarao je, naime, zgrade s pročeljima – reklamama. Pročelja zgrade Josipa Kalline u Masarykovoj u Zagrebu prekrio je tako majoličkim pločicama budući da se Kallinina tvrtka bavila proizvodnjom keramičke robe. Dijelove pročelja kuće Rado na Trgu bana Jelačića u Zagrebu oblikovao je pak tako da imaju izgled unutrašnjosti zubarske ordinacije – Eugen Rado bio je naime u to vrijeme najugledniji zagrebački zubar. Najoriginalnije rješenje primijenio je na kući Eugena Viktora Fellera na uglu Trga bana Jelačića i Jurišićeve ulice u Zagrebu. Na njezin je ugao postavio motiv koji predstavlja golemu bocu napitka Elsa-Fluid, a koji je u to vrijeme Feller proizvodio i koji mu je donio ogromnu zaradu (Elsa Fluid se koristila u to vrijeme kao svojevrsni univerzalni lijek). Nažalost, za razliku od kuća Rado i Kallina, kuća Feller je kasnije pregrađena tako da se ovaj originalni primjer secesijske arhitekture više ne može vidjeti u izvornom obliku. Osim stambenih i poslovnih zgrada Bastl je projektirao i zgrade Trgovačko-obrtničke komore i Trgovačko obrtničkog muzeja u Zagrebu (1902-03.), i danas jedan od najslikovitijih secesijskih kompleksa u gradu. Bastla je zanimala metafizika pa je motive nabijene simbolizmom uključivao u svoje projekte (poput šišmiša na Kallininoj zgradi), a i diplomski mu je rad bio projekt za Palaču okultnih znanosti u Parizu (1902.).
Poput Kovačića i Bastl se kasnije okreće prema klasicizmu i realizira u tome stilu brojne projekte u Zagrebu od kojih je svakako najpoznatiji novi kompleks tržnice Dolac (1926-30.).
Uz spomenute arhitekte na prostoru današnje Hrvatske, ponajprije na području Istre, Primorja i Dalmacije, djelovali su i Wagnerovi učenici nastanjeni u drugim centrima Austro-ugarske Monarhije, ponajviše u Beču: Max Fabiani, Eduard Kramer, Marcel Kamerer, Jože Plečnik i drugi. Projektirajući hotele te kuće za odmor na Jadranu, u Opatiji, Dubrovniku, Voloskom i Lovranu ovi su arhitekti odigrali ključnu ulogu u počecima razvoja hrvatskog turizma. Od osobitoga je značaja opus arhitekta Eduarda Kramera koji je na Brijunima u prva tri desetljeća 20. stoljeća realizirao cijeli niz hotela i drugih turističkih objekata namijenjenih elitnom turizmu – bečkoj eliti koja je ovo otočje birala kao mjesto odmora i rehabilitacije.
Ljepota hrvatske obale privukla je i arhitekta Alfreda Fenzla. Povijesni spomenici i prirodne ljepote otočića Lokruma kod Dubrovnika navele su ga da utopijski projekt izgrade palače svjetskog mira iz 1900. smjesti upravo na Lokrum.
Osim njih na hrvatskoj je obali, u Rijeci, tada važnoj pomorskoj luci, živio i radio između 1911. i 1914. Wagnerov student Theodor Träxler. U tom je kratkom periodu uspio realizirati dva iznimno značajna i inovativna djela – samostan benediktinki i jednu od najmodernijih kazališnih zgrada onodobne Europe – Teatro Fenice podignuto u samome središtu Rijeke od armiranoga betona. S hrvatske je obale, iz Splita, potekao Wagnerov student Juraj Zaninović, koji je, međutim, svoje projekte odreda realizirao u drugim zemljama – projektirao je tako poznati Zmajski most u Ljubljani te niz secesijskih građevina u Trstu.
objavljena je u izdanju Filozofskog fakulteta Sveučilišta u Zagrebu, a u
njezinoj su realizaciji sudjelovali povjesničari umjetnosti, povjesničari,
filozofi, konzervatori, etnolozi i muzejski djelatnici iz Hrvatske, Srbije
i Italije. Zbornik na 448 stranica donosi 22 priloga o različitim temama s
polja povijesti umjetnosti i kulturne povijesti te životopis i bibliografiju profesora Zvonka Makovića. Autori priloga su: Sanja Cvetnić, Franko Ćorić, Nadežda Čačinovič, Dragan Damjanović, Frano Dulibić, Ljerka Dulibić, Iskra Iveljić, Jasna Jovanov, Irena Kraševac, Silvija Lučevnjak, Lovorka Magaš Bilandžić, Tonko Maroević, Dino Milinović, Jasminka Najcer Sabljak, Iva Pasini Tržec, Milan Pelc, Tihana Petrović Leš, Giovanni Rubino, Katarina Nina Simončič, Ana Šeparović, Andreja Šimičić, Žarko Španiček, Radoslav Tomić i Daniel Zec.
Urednici knjige su Lovorka Magaš Bilandžić i Dragan Damjanović.
The buildings are grouped according to Zagreb’s neighborhoods: Upper Town, Kaptol, Lower Town - Centre, Lower Town - West, Lower Town - East, Savska street, Vukovarska street and Slavonska avenue, New Zagreb, etc. Each of these neighborhoods has been split into streets, and the buildings are organized according to their official street number. Along with each city area, a map showing the locations of all the marked buildings mentioned in the atlas is also attached.
The buildings in this atlas have been selected primarily according to their importance to the history of Zagreb’s architecture, while also bearing in mind their interest to the average visitor to Zagreb. The city center (Lower Town, Upper Town, and Kaptol) has been covered in most detail.
In this book, my intention is to give an insight into Wagner's designs that he created specifically for building projects in Croatia, the designs he made for Croatian investors and companies, and the realized and unrealized designs created by Wagner’s students for buildings in cities and towns in the territory of present-day Croatia. The greatest attention has been given to Wagner's students who lived in Zagreb, namely, Vjekoslav Bastl and Viktor Kovačić, but the works of the students living in other parts of the Monarchy have also been analyzed.
Despite the limited size of the book, due to which it was not possible to provide a comprehensive insight into Otto Wagner's influence on Croatian architecture, the text briefly mentions individual achievements of Croatian architects who did not attend Wagner’s school within which his influence was the strongest. In the final chapters of the book, I attempt to show how the architecture of Otto Wagner's students in Croatia was transformed in the period from the late 1900s to the 1940s.
Compared to the German version, the English translation of the monograph is somewhat longer since, in the meantime, research yielded new information and publications which, in turn, led to an updated version of the references.
Zbornik je sljedećeg sadržaja
Irena Kraševac, Ivan Tišov i Terezija Neuhäusler – umjetnički bračni par u Zagrebu na prijelazu iz 19. u 20. stoljeće
Dragan Damjanović, Državne narudžbe u opusu Ivana Tišova – radovi za sakralne i javne građevine
Ivan Kokeza, Historijsko slikarstvo u opusu Ivana Tišova
Petra Vugrinec, Ivan Tišov i simbolizam
Jasminka Najcer Sabljak, Slavonski motivi u djelima Ivana Tišova
Daniel Zec, Pejzaž Ivana Tišova iz Muzeja likovnih umjetnosti u Osijeku u svjetlu recentnih istraživanja
Zbornik su recenzirali prof. dr. sc. Zvonko Maković i dr. sc. Darija Alujević.
in Modern Central Europe (18th – 21st Century)
Faculty of Humanities and Social Sciences, University of Zagreb
30 June 2021 – 3 July 2021, Zagreb, Croatia
Die Absicht dieser Ausstellung und der begleitenden Publikation ist es, Einblick zu geben in diejenigen Entwürfe Wagners, die unmittelbar für Kroatien konzipiert wurden, und in jene, die einen Bezug zu Investoren und Firmen in Kroatien haben, sowie, die realisierten und nichtrealisierten Pläne seiner Schüler, die für das Gebiet des heutigen Kroatien angefertigt wurden, zu analysieren. Die größte Aufmerksamkeit ist Wagners in Zagreb lebenden Schülern Vjekoslav Bastl und Viktor Kovačić gewidmet, aber es werden auch für Kroatien bestimmte Pläne von Schülern Wagners gezeigt, die in anderen Teilen der Monarchie lebten. Obwohl es aufgrund des begrenzten Umfangs dieser Publikation nicht möglich war, einen umfassenden Einblick in den Einfluss Otto Wagners auf die kroatische Architektur zu geben, widmet sich der Text kurz auch einzelnen Werken kroatischer Architekten, die nicht an der Fachschule der Wiener Akademie studiert haben, bei denen aber dennoch ein Einfluss Wagners und seiner Schule klar erkennbar ist. Der letzte Teil der Publikation soll aufzeigen, welche Transformation die Architektur der Schüler Otto Wagners in der Zeit zwischen dem ersten Jahrzehnt des 20. Jahrhunderts und den 1940-er Jahren durchlaufen hat.
Iako, nažalost, na području Hrvatske nije realizirao niti jednu građevinu jedan je projekt Wagner ipak izradio za našu zemlju. Riječ je o iznimno atraktivnom natječajnom projektu za osječku župnu crkvu svetih Petra i Pavla iz 1893. koji je predviđao inovativnu otvorenu upotrebu lijevanoga željeza u izvedbi stupova u unutrašnjosti, no koji je odbačen u korist naposljetku realiziranog daleko tradicionalnijeg neogotičkog projekta njemačkog arhitekta Franza Langenberga. Žiri, koji su čini istaknuti stručnjaci iz Beča, Zagreba i Osijeka, Wagnerov je projekt odbacio jer su smatrali da svojim rješenjem ne odgovara izgledu jedne katoličke crkve.
Monografija, nadalje, pokazuje da su investitori jedne od najvažnijih Wagnerovih realizacija iz 1890-ih, robne kuće Neumann na Kärtnerstrasse u Beču, braća Neumann, porijeklom iz Hrvatske. Pokazuje i njegovu suradnju s tvrtkama Bothe & Ehrmann i Zagorka, te govori o ogradi koja je po Wagnerovu projektu izvedena u Dubrovniku.
Kako je spomenuto, drugi dio knjige govori o radovima Wagnerovih učenika u Hrvatskoj.
U njegovoj se Specijalnoj školi školovao ukupno 191 učenik, od kojih su dva gotovo cijelim svojim opusom vezani za Hrvatsku – to su poznati prvaci hrvatske moderne arhitekture Vjekoslav Bastl i Viktor Kovačić. Osim Bastla i Kovačića ostalo je malo poznato da je na području današnje Hrvatske rođen još cijeli niz arhitekata koji su se školovali kod Wagnera: Josip (Josef) Costaperaria (Krapje kod Novske, 2. 6. 1876. – Ljubljana, 12. 7. 1951.), Gustav Flesch von Brunningen (Split, 17. 12- 1877. – Beč, 22. 4. 1939.) te Juraj (Giorgio/Georg) Zaninović (Zaninovich)(Split, 27. 4. 1876. – Buenos Aires, Argentina, 6. 11. 1946.). Nadalje još je jedan Wagnerov đak, iako rođen u Donjoj Austriji, Theodor Träxler (Horn, Donja Austrija, 7. 10. 1881. - ?). gotovo cijeli svoj opus ostvario u Hrvatskoj – u Rijeci. Nadalje, brojni su Wagnerovi učenici, koji su inače živjeli i radili u Beču ili nekom drugom centru Austro-Ugarske projektirali za Hrvatsku, ponajprije za Istru i Dalmaciju koje se početkom 20. stoljeća intenzivno počinju turistički razvijati (poput Marcela Kamerera, Jože Plečnika, Otta Schöntala, Maxa Fabianija i drugih). Hrvatski dijelovi opusa svih njih se obrađuju u ovoj monografiji.
Od svih je hrvatskih Wagnerovih đaka nesumnjivo najvažniji Viktor Kovačić. Studirao je u Beču na Akademiji između 1896. i 1899. i već za studija izrađivao je iznimno inovativne projekte, kao što pokazuje njegov diplomski rad – projekt za dvorac ruskih careva u Oriandi na Krimu. Po povratku u Zagreb 1899. Kovačić se objavom tekstova borio za postulate moderne arhitekture, a paralelno je izradio i brojne projekte za stambene, poslovne, javne i sakralne građevine kao i urbanističke planove. Samo se na rijetkim njegovim ostvarenjima, poput kuće Oršić-Divković u Masarykovoj ulici u Zagrebu (1906-07.) kod njega osjeća utjecaj radova Otta Wagnera. Vrlo rano Kovačić razvija poseban arhitektonski jezik baziran na kombiniranju elemenata povijesnih stilova i moderne. Najvažnija su mu djela bez ikakve sumnje crkva svetog Blaža u Zagrebu (1911-14.), jedna od prvih građevina u Hrvatskoj u čijoj je izgradnji korišten armirani beton, te zgrada Burze za robu i vrednote, također u Zagrebu, u kojoj se danas nalazi središte Hrvatske narodne banke (1923-27.). Sa svojim klasicističkim pročeljem prekrivenim kvalitetnim mramorom s Brača te reprezentativnim, u cijelosti sačuvanim, interijerom s glavnom burzovnom dvoranom nadsvođenom velikom armiranobetonskom kupolom, ova građevina predstavlja najreprezentativniji primjer javne arhitekture 1920-ih godina u Hrvatskoj.
Za razliku od Kovačića koji se vrlo brzo po završetku školovanja odmaknuo od Wagnerova stila drugi Wagnerov hrvatski učenik, Vjekoslav Bastl, ostat će u puno većoj mjeri vjeran secesiji. Na Akademiji u Beču studirao je 1899-02., no već 1899. imao je prilike realizirati prve projekte u Zagrebu zahvaljujući okolnosti da se zaposlio kao projektant u poduzeću Hönigsberg i Deutsch, u to vrijeme najvažnijem arhitektonskom birou u Zagrebu. Prva realizacija mu je zgrada ljekarnika Josipa Pečića u zagrebačkoj Ilici na kojoj se motivima – postavljanjem dekoracije u obliku zmija oko pehara na vrhu zabata, neposredno referirao na ulogu zgrade kao apoteke. U razdoblju koje dolazi (1902. – 1907.) to će mu biti glavni način oblikovanja pročelja zgrada. Stvarao je, naime, zgrade s pročeljima – reklamama. Pročelja zgrade Josipa Kalline u Masarykovoj u Zagrebu prekrio je tako majoličkim pločicama budući da se Kallinina tvrtka bavila proizvodnjom keramičke robe. Dijelove pročelja kuće Rado na Trgu bana Jelačića u Zagrebu oblikovao je pak tako da imaju izgled unutrašnjosti zubarske ordinacije – Eugen Rado bio je naime u to vrijeme najugledniji zagrebački zubar. Najoriginalnije rješenje primijenio je na kući Eugena Viktora Fellera na uglu Trga bana Jelačića i Jurišićeve ulice u Zagrebu. Na njezin je ugao postavio motiv koji predstavlja golemu bocu napitka Elsa-Fluid, a koji je u to vrijeme Feller proizvodio i koji mu je donio ogromnu zaradu (Elsa Fluid se koristila u to vrijeme kao svojevrsni univerzalni lijek). Nažalost, za razliku od kuća Rado i Kallina, kuća Feller je kasnije pregrađena tako da se ovaj originalni primjer secesijske arhitekture više ne može vidjeti u izvornom obliku. Osim stambenih i poslovnih zgrada Bastl je projektirao i zgrade Trgovačko-obrtničke komore i Trgovačko obrtničkog muzeja u Zagrebu (1902-03.), i danas jedan od najslikovitijih secesijskih kompleksa u gradu. Bastla je zanimala metafizika pa je motive nabijene simbolizmom uključivao u svoje projekte (poput šišmiša na Kallininoj zgradi), a i diplomski mu je rad bio projekt za Palaču okultnih znanosti u Parizu (1902.).
Poput Kovačića i Bastl se kasnije okreće prema klasicizmu i realizira u tome stilu brojne projekte u Zagrebu od kojih je svakako najpoznatiji novi kompleks tržnice Dolac (1926-30.).
Uz spomenute arhitekte na prostoru današnje Hrvatske, ponajprije na području Istre, Primorja i Dalmacije, djelovali su i Wagnerovi učenici nastanjeni u drugim centrima Austro-ugarske Monarhije, ponajviše u Beču: Max Fabiani, Eduard Kramer, Marcel Kamerer, Jože Plečnik i drugi. Projektirajući hotele te kuće za odmor na Jadranu, u Opatiji, Dubrovniku, Voloskom i Lovranu ovi su arhitekti odigrali ključnu ulogu u počecima razvoja hrvatskog turizma. Od osobitoga je značaja opus arhitekta Eduarda Kramera koji je na Brijunima u prva tri desetljeća 20. stoljeća realizirao cijeli niz hotela i drugih turističkih objekata namijenjenih elitnom turizmu – bečkoj eliti koja je ovo otočje birala kao mjesto odmora i rehabilitacije.
Ljepota hrvatske obale privukla je i arhitekta Alfreda Fenzla. Povijesni spomenici i prirodne ljepote otočića Lokruma kod Dubrovnika navele su ga da utopijski projekt izgrade palače svjetskog mira iz 1900. smjesti upravo na Lokrum.
Osim njih na hrvatskoj je obali, u Rijeci, tada važnoj pomorskoj luci, živio i radio između 1911. i 1914. Wagnerov student Theodor Träxler. U tom je kratkom periodu uspio realizirati dva iznimno značajna i inovativna djela – samostan benediktinki i jednu od najmodernijih kazališnih zgrada onodobne Europe – Teatro Fenice podignuto u samome središtu Rijeke od armiranoga betona. S hrvatske je obale, iz Splita, potekao Wagnerov student Juraj Zaninović, koji je, međutim, svoje projekte odreda realizirao u drugim zemljama – projektirao je tako poznati Zmajski most u Ljubljani te niz secesijskih građevina u Trstu.
objavljena je u izdanju Filozofskog fakulteta Sveučilišta u Zagrebu, a u
njezinoj su realizaciji sudjelovali povjesničari umjetnosti, povjesničari,
filozofi, konzervatori, etnolozi i muzejski djelatnici iz Hrvatske, Srbije
i Italije. Zbornik na 448 stranica donosi 22 priloga o različitim temama s
polja povijesti umjetnosti i kulturne povijesti te životopis i bibliografiju profesora Zvonka Makovića. Autori priloga su: Sanja Cvetnić, Franko Ćorić, Nadežda Čačinovič, Dragan Damjanović, Frano Dulibić, Ljerka Dulibić, Iskra Iveljić, Jasna Jovanov, Irena Kraševac, Silvija Lučevnjak, Lovorka Magaš Bilandžić, Tonko Maroević, Dino Milinović, Jasminka Najcer Sabljak, Iva Pasini Tržec, Milan Pelc, Tihana Petrović Leš, Giovanni Rubino, Katarina Nina Simončič, Ana Šeparović, Andreja Šimičić, Žarko Španiček, Radoslav Tomić i Daniel Zec.
Urednici knjige su Lovorka Magaš Bilandžić i Dragan Damjanović.
The buildings are grouped according to Zagreb’s neighborhoods: Upper Town, Kaptol, Lower Town - Centre, Lower Town - West, Lower Town - East, Savska street, Vukovarska street and Slavonska avenue, New Zagreb, etc. Each of these neighborhoods has been split into streets, and the buildings are organized according to their official street number. Along with each city area, a map showing the locations of all the marked buildings mentioned in the atlas is also attached.
The buildings in this atlas have been selected primarily according to their importance to the history of Zagreb’s architecture, while also bearing in mind their interest to the average visitor to Zagreb. The city center (Lower Town, Upper Town, and Kaptol) has been covered in most detail.
Our field work has led us to conclude that the war in Ukraine has not significantly changed the attitude towards the Red Army monuments in Croatia: since the beginning of 2022, no initiatives to remove or destroy them have been detected. There are several reasons why there is less anti-Russian sentiment in Croatia than in some other parts of Eastern and Central Europe, and why the monuments have not become particularly controversial: the geographical distance from Ukraine; commemorating not just the fallen Red Army soldiers, but also the Yugoslav military units and local people; and not being erected by the Soviet authorities. Indeed, the monuments were often put up by Croatian or Yugoslav institutions, and executed exclusively by local artists. Finally, most of these monuments are legally protected as immovable cultural assets.
State authorities had no legal obligation to assist in these operations. In the territory of northern Croatia, both in the civilian territory and in Military Frontier, the patronage building duties of property owners (the state or private owners) towards the church basically only applied to Catholic parishes and did not extend to Orthodox parishes.
In addition, the laws related to Serb church-school autonomy in the area controlled by the Metropolitanate of Sremski Karlovci guaranteed the Orthodox Church autonomy in the field of construction, renovation and furnishing of church buildings. These interventions were led by local Church committees, that is, Church municipalities, that were in larger places (towns and cities) usually in the hands of the richest individuals, merchants, craftsmen or industrialists. Church committees had to get permission only from the Diocesan Consistory, however, if they turned to the state for help, the church buildings of the Orthodox Church were supervised just like the Catholic Church and were usually designed by engineers employed by local authorities (Counties, Districts, City Authorities).
In spite of the lack of legal obligation, the state did, in fact, help interventions in Orthodox churches, especially after the annexation of most part of the Military Frontier to Croatia in 1881, when the political importance of Serb political parties in Croatia increased in the Parliament and the Croatian government. During the 1890s, partly due to the efforts of Iso Kršnjavi, head of the Department of Religious and Educational Departments of Croatian government (1891-1896), the state helped with particularly large sums to restore the cathedral church in Pakrac, and then, between 1900 and 1914, the remaining Orthodox cathedrals in Croatia - the cathedral churches in Plaški and Sremski Karlovci. In addition, the Orthodox churches in the former Military Frontier were generously helped, partly due to the existence of the Military Frontier investment funds and Military Frontier property, and educational funds, which made these allocations possible, and partly due to the fact that the church municipalities in those areas of Croatia were the poorest and could not afford to replace older, mostly wooden buildings, with new masonry ones.
Likovna produkcija za Hrvatsku prve polovine 19. stoljeća još uvijek je prilično slabo istražena. Iako je riječ o razdoblju kada djeluje tek mali broj „domaćih“ majstora, cijeli niz djela istaknutih srednjoeuropskih slikara i kipara nastaje za naručitelje iz redova svećenstva, plemstva i bogatijega građanstva. Među manje poznata tada nastala djela ubrajaju se ilustracije koje je češki slikar Karel Svoboda (njem. Carl/Karl Swoboda ; 14. 6. 1824., Plánic, Češka – 12. 9. 1870., Beč) izradio za nikada objavljenu Dogodovštinu Ilirije Velike, historiografski pokušaj ključnog vođe ilirskog pokreta Ljudevita Gaja. Svobodini drvorezi, zajedno s matricama, očuvali su se u Zbirci rukopisa i starih knjiga Nacionalne i sveučilišne knjižnice u Zagrebu zahvaljujući spremnosti hrvatske Zemaljske vlade da otkupi Gajevu ostavštinu još 1892. godine. Cilj je ovoga teksta analizirati sačuvane drvoreze i staviti ih u kontekst kulturnopolitičkih zbivanja 1840-ih, te početaka historijskog slikarstva u Hrvatskoj i na širem području tadašnje Habsburške Monarhije.
Zainteresirani za skup mogu ga pratiti na poveznici https://www.djkbf.hr/hr/kbf-live
Short abstract:
The main goal of this panel is to present different roles played by military authorities in the urban development of European cities in the 19th and 20th centuries. Welcomed topics are: building or demolition of fortresses, new barracks complexes, military authorities and urban planning of cities, education of military engineers, army and development of innovations in architecture, and alike.
Session content:
The main goal of this panel is to present different roles played by military authorities in the urban development of European cities in the 19th and 20th centuries. In the 19th century due to the production of new types of weapons, its greater range and the strength, the old fortresses that protected European cities began to lose their functionality which (along with the wish to accelerate the development of cities) led to their demolition and, in general, to re-examination of the position of the military facilities in cities. Apart from the demolition of fortresses and urbanization of the space they previously occupied, this panel is intended to show also the other ways in which the military influenced the development of modern European cities. The demolition of part of fortresses went parallel with the strengthening of other, preserved fortresses, and with the construction of the barracks complexes. How they were positioned in relation to the existing or new urban settlements, in which way they influenced the development of infrastructure and urban planning in the cities, which contents such complexes included, are welcomed topics within this panel. At the same time, many cities were developed to serve exclusively as military centers – as garrison cities (Glogau in Prussia, Zamość or Modlin in Russian Poland), military harbors (such as Pula in Austria-Hungary, or Livorno in Italy) or alike. Furthermore, the army played an important role in the construction of roads, railways, bridges, as well as in determining the width or direction of streets in cities, to control the population in case of turmoil. Furthermore, presentations could also concentrate on how the greater power of weapons in the 19th and 20th centuries influenced the construction of military buildings, and how it contributed to the development of innovations and introduction of new materials in architecture. Finally, along with mentioned topics this panel welcomes contributions that deal with the ways in which the military authorities organized the education of their engineers, whether military projects corresponded with the projects of state and city urban planners and architects, and what kind of “cultural” politics they promoted.
Public sculptures were predominantly used to honour important personalities of the Croatian national culture and politics. They were followed in number by sculptures of national heroes and few monuments were also erected to honour members of the Habsburg dynasty.
The biggest cities of Croatia, namely Zagreb and Osijek, which will be the focus of this presentation, show that the construction of memorials to cultural and political figures occurred in new urban spaces that were created during the 19th and early 20th centuries. Conversely, the public sculptures built in older parts of these cities conveyed sacral or allegorical, non-political and non-national meanings and served almost exclusively to aestheticize or to sacralise urban spaces.
In Zagreb, this happened primarily due to political circumstances. From the 1868 Croatian-Hungarian Settlement to the outbreak of the First World War, Croatian political parties in power were close to Hungarian authorities. Their political conformism caused the Upper Town in Zagreb (the seat of all main Croatian autonomous political institutions), to remain free from monuments dedicated to Croatian national heroes and artists. Instead, these were placed at important sites in the newly built Lower Town.
Unlike Zagreb, in new urban parts of Osijek public sculptures were erected to celebrate local heroes or figures from the history of world literature rather than nationally significant notables. National (Croatian) heroes did not get their monuments in the city because their presence would have caused resistance from ethno-confessional groups living in this extremely nationally and religiously diverse area.
The deadline for submissions is Oct 5th
https://eauh2018.ccmgs.it/call-for-papers/
Session SS26
Regardless of whether they were monarchies, republics, federations or centralized states, state bodies played an extremely important role in the production of art and in the institutionalization of knowledge, culture and art in all parts of Europe and throughout the aforementioned period. By fabricating its visual identity, commissioning works from artists whom it considered close, and censoring those segments of art production that it judged potentially dangerous to its survival, the state has largely been shaping the art scene in all parts of Europe. Additionally, states’ cultural and educational policies have influenced (and still does) the shaping of knowledge about the arts and teaching content in the field of art (history) on all educational levels.
The conference therefore welcomes contributions that deal with approaches to interpretation of these phenomena and various topics in the broad field of art history (painting, sculpture, applied arts, graphic design, photography, architecture, urban planning, curricula and study programmes in art history, etc.) but also other humanities disciplines.
Regardless of whether they were monarchies, republics, federations or centralized states, state bodies played an extremely important role in the production of art and in the institutionalization of knowledge, culture and art in all parts of Europe and throughout the aforementioned period. By fabricating its visual identity, commissioning works from artists whom it considered close, and censoring those segments of art production that it judged potentially dangerous to its survival, the state has largely been shaping the art scene in all parts of Europe. Additionally, states’ cultural and educational policies have influenced (and still does) the shaping of knowledge about the arts and teaching content in the field of art (history) on all educational levels.
The conference therefore welcomes contributions that deal with approaches to interpretation of these phenomena and various topics in the broad field of art history (painting, sculpture, applied arts, graphic design, photography, architecture, urban planning, curricula and study programmes in art history, etc.) but also other humanities disciplines.
Apart from the demolition of fortresses and urbanization of the space they previously occupied, this panel is intended to show also the other ways in which the military influenced the development of modern European cities. The demolition of part of fortresses went parallel with the strengthening of other, preserved fortresses, and with the construction of the barracks complexes. How they were positioned in relation to the existing or new urban settlements, in which way they influenced the development of infrastructure and urban planning in the cities, which contents such complexes included, are welcomed topics within this panel.
At the same time, many cities were developed to serve exclusively as military centers – as garrison cities (Glogau in Prussia, Zamość or Modlin in Russian Poland), military harbors (such as Pula in Austria-Hungary, or Livorno in Italy) or alike. Furthermore, the army played an important role in the construction of roads, railways, bridges, as well as in determining the width or direction of streets in cities, to control the population in case of turmoil. Furthermore, presentations could also concentrate on how the greater power of weapons in the 19th and 20th centuries influenced the construction of military buildings, and how it contributed to the development of innovations and introduction of new materials in architecture.
Finally, along with mentioned topics this panel welcomes contributions that deal with the ways in which the military authorities organized the education of their engineers, whether military projects corresponded with the projects of state and city urban planners and architects, and what kind of “cultural” politics they promoted.
Faculty of Humanities and Social Sciences, University of Zagreb
Zagreb, Croatia, 29 June – 2 July 2016
Within the programme, a workshop was held on the topic entitled (Un)Mapping Diocletian’s Palace: Research methods in the understanding of the experience and meaning of place. The workshop is devoted to a monument that has been one of the most powerful magnets for Grand Tourist in their stay on the Croatian Adriatic.
Matteo Mazzalupi gave a lecture entitled Painting in Ancona in the 15th century with several parallels with Dalmatian painting, derived from his doctoral dissertation, and from the articles that he has published in the meantime. The lecture was held within the context of the academic project of the Institute of Art History entitled Fine arts and communication of power in the early modern period (1450-1800): historical Croatian regions at the borders of Central Europe and the Mediterranean, under the aegis of the Croatian Science Foundation.
Attempting one more time to weigh the arguments that the Zadar Forum, with all the stratification of historical monuments of two millennia that it reflects, is indeed a phenomenon of the world heritage, as part of the programme Discovering Dalmatia a scholarly colloquium entitled Zadar: space, time, architecture. Four new views was also organised. Four lectures were devoted to diverse aspects of the development of the architecture and town planning of Zadar and its renovation will put forward supporting arguments for the proposition that the historical centre of the city possesses indeed all the characteristics of exceptional universal value.
The concluding part of this week-long programme consisted of an international conference entitled Discovering Dalmatia. Dalmatia in 18th and 19th century travelogues, pictures and photographs, in which these topics will be analysed and evaluated in terms of literary theory and the theory and history of art and architecture.
The workshop and the conference stemed from the research project Dalmatia – a destination of the European Grand Tour in the 18th and the 19th century of the Institute of Art History, under the aegis of the Croatian Science Foundation.
https://www.cambridge.org/core/journals/austrian-history-yearbook/article/abs/matthew-rampley-markian-prokopovych-and-nora-veszpremi-the-museum-age-in-austriahungary-art-and-empire-in-the-long-nineteenth-century-university-park-pa-pennsylvania-state-university-press-2020-pp-300/20B24FE6D3F31ABFCE3AED79C992B13A
International Conference
Nova Gorica, 8–10 November 2018
Programme and Abstracts
na području Grada Zagreba, Krapinsko-zagorske županije i Zagrebačke županije u članku se govori o stavkama koje se odnose na zaštićena kulturna dobra.
The article deals with the damage of the 19th century Zagreb architectural heritage in the earthquake of March 22, 2020.
The Exhibition was then transferred to the Bezirksmuseum 3. Landstraße, Vienna, where it was held between February 15th and September 11th, 2019
Project is financed by Croatian Science Foundation (Hrvatska zaklada za znanost/ HRZZ).
Apart from the demolition of fortresses and urbanization of the space they previously occupied, this panel is intended to show also the other ways in which the military influenced the development of modern European cities. The demolition of part of fortresses went parallel with the strengthening of other, preserved fortresses, and with the construction of the barracks complexes. How they were positioned in relation to the existing or new urban settlements, in which way they influenced the development of infrastructure and urban planning in the cities, which contents such complexes included, are welcomed topics within this panel.
At the same time, many cities were developed to serve exclusively as military centers – as garrison cities (Glogau in Prussia, Zamość or Modlin in Russian Poland), military harbors (such as Pula in Austria-Hungary, or Livorno in Italy) or alike. Furthermore, the army played an important role in the construction of roads, railways, bridges, as well as in determining the width or direction of streets in cities, to control the population in case of turmoil. Furthermore, presentations could also concentrate on how the greater power of weapons in the 19th and 20th centuries influenced the construction of military buildings, and how it contributed to the development of innovations and introduction of new materials in architecture.
Finally, along with mentioned topics this panel welcomes contributions that deal with the ways in which the military authorities organized the education of their engineers, whether military projects corresponded with the projects of state and city urban planners and architects, and what kind of “cultural” politics they promoted.