Izme\U Straha I Odu[Evqewa Between

$Izme\U Straha I Odu[Evqewa Between$

IZME\U STRAHA I ODU[EVQEWA Primeri grafi~kog dizajna u Srbiji 1950 –1970.

BETWEEN FEAR AND ZEAL Examples of graphic design in Serbia 1950 –1970.

Galerija Grafi~ki kolektiv Graphic Collective Gallery Beograd Belgrade 22. Jun – 18. Jul 2009. June 22th – July 18th 2009 Povodom obele`avawa 60 godina rada Grafi~kog kolektiva On the occasion of marking the 60 years of Graphic Collective

IZME\U STRAHA I ODU[EVQEWA Primeri grafi~kog dizajna u Srbiji 1950 – 1970. BETWEEN FEAR AND ZEAL Examples of graphic design in Serbia 1950 – 1970

Galerija Grafi~ki kolektiv Graphic Collective Gallery Beograd Belgrade 22. jun – 18. jul 2009. June 22th – July 18th 2009 Grafi~ki kolektiv duguje veliku zahvalnost Branku Vu~i}evi}u, inicijatoru ovog projekta, i Gordani Popovi} Vasi} koja je svoje iskustvo, entuzijazam i visoke profesionalne kriterijume ugradila u ovaj obiman istra`iva~ki rad i studijski tekst. Grafi~ki kolektiv se zahvaquje svim institucijama i pojedincima koji su pru`ili dragocenu pomo} u realizaciji ovog projekta.

The Graphic Collective owes an immense gratitude to Branko Vu~i}evi}, the initiator of this project, and Gordana Popovi} Vasic that built her experience, enthusiasm and high professional criteria into this comprehensive research and study-text. The Graphic collective extends its thanks to all institutions and individuals that provided valuable assistance in the realization of this project. Izlo`ba „IZME\U STRAHA I ODU[EVQEWA, Primeri grafi~kog dizajna u Srbiji 1950 – 1970“ zahtevala je u~e{}e mnogih saradnika zbog sloènos- ti teme i obima materijala koji je trebalo obraditi. Za realizaciju ove izlo`be zasluàn je Branko Vu~i}evi}, u~esnik i svedok decenija na koje se ona odnosi. Dao je po~etnu ideju i obavezao nas da je os- tvarimo. Veliku zahvalnost dugujem autorima koji su mi stavili na uvid svoje radove i koji su mi razgovorima i savetima pomogli da razumem vreme o kome je ovde re~: Stejepan Fileki, Borivoje Liki}, Bogdan Kr{i}, Slobodan Ma{i}, Alek- sandar Pajvan~i}, Jugoslav Vlahovi} kao i Rastko ]iri} koji mi je u~inio dostupnim radove wegovih roditeqa Ide i Milo{a ]iri}a. Pristup i kori{}ewe materijala omogu}ili su mi Muzej primewene umetnosti, Muzej istorije Jugoslavije, Muzej kinoteke, Biblioteka grada Beograda, Biblioteka Fakulteta primewenih umetnosti kao i mnogi pojedinci. Zahval- nost dugujem: Ivanki Zori}, direktorki MPU i kustosima Bojani Popovi}, Sr|anu Rakowcu i Slobodanu Jovanovi}u i bibliotekaru Marijani Petrovi}; Katarini @ivanovi}, direktorki MIJ i kustosima Momi Cvijovi}u i Mari- ji \orgovi}; Dinku Tucakovi}u, direktoru programa i kustoskiwi Marijani Cuko}an iz MK; Marini Kalezi}, direktorki sektora za izdava~ku delatnost Jugomarke i Viktoriji Kelec, bibliotekaru FPU. Eksponate za ovu izlo`bu dali su Bogdan Kr{i}, Borivoje Liki}, Alek- sandar Pajvan~i}, Nada Zobec, Kosta Popovi} kao i porodica Kruta. U realizaciji kataloga u~estvovali su Sr|an Rakowac prevodom na engleski jezik, Velibor @itarevi} i êdomir Vasi} fotografijama, a dizajn su uradili Novica Koci} i Darko Novakovi}. Tekst su u rukopisu pro~itali Gor- dana Koci} Krsmanovi} i Dragan Milenkovi} i svojim sugestijama u~inili da bude boqi. Svima se qubazno zahvaqujem. Posebnu zahvalnost dugujem Qiqani ]inkul, umetni~koj direktorki Grafi~kog kolektiva koja mi je svojom podr{kom i savetima pomogla u svim fazama rada na ostvarewu ove izlo`be.

Gordana Popovi} Vasi} The exhibition “Between Fear and Zeal, examples of graphic design in Serbia 1950 - 1970,” required the participation of many associates because of the com- plexity of issues and scope of material that should have been processed. For the realization of this exhibition much credit goes to Branko Vu~i}evi} who was a participant and witness to the decades to which it is pertaining. He gave the initial idea and made us beholden to complete it. I owe great debt to authors who have provided an insight into their works and by talks and advices helped me to understand the time in question: Stejepan File- ki, Borivoje Liki}, Bogdan Kr{i}, Slobodan Ma{i}, Aleksandar Pajvan~i}, Jugoslav Vlahovi}, as well as Rastko ]iri} who made available to me the works of his parents Ida and Milo{ ]iri}. Access to materials and their use have enabled the Museum of Applied Art, His- torical Museum of Yugoslavia, the Museum of Yugoslav Cinotheque, Belgrade City Library, Faculty of Applied Arts Library as well as many individuals. Gratitude is due to: Ivanka Zori}, the director of the Museum of Applied Art and curators Bo- jana Popovi}, Sr|an Rakonjac, Slobodan Jovanovi} and Marijana Petrovi}; Kata- rina @ivanovi}, the director of Historical Museum of Yugoslavia, as well as curators Moma Cvijovi} and Marija \orgovi}; Dinko Tucakovi}, the director of programs and curator Marijana Cuko}an at the Museum of Yugoslav Cinotheque; Kalezi} Marina, the head of Jugomarka Sector for Publishing and Viktoria Kelec, a librarian at the Faculty of Applied Arts. Exhibits for this exhibition gave Bogdan Kr{i}, Borivoje Liki}, Aleksandar Paj- van~i}, Nada Zobec, Kosta Popovi} and family Kruta In the realization of the catalog took part Sr|an Rakonjac with translation into English, Velibor @itarevi} and ^edomir Vasi} with photographs, and design was made by Novica Koci} and Darko Novakovi}. The text in a manuscript perused Gor- dana Kocic Krsmanovi} and Dragan Milenkovi} that by their suggestions contributed to be made better. I wish to kindly thank them all for their collaboration. Lastly and by no means least I must give a very special mention to Ljiljana ]in - kul, the art director of Graphic Collective, which helped me in all phases of work on the realization of this exhibition by giving unstinting support and useful advices that have driven the project from start to finish.

Gordana Popovi} Vasi} IZME\U STRAHA I ODU[EVQEWA Primeri grafi~kog dizajna u Srbiji u periodu od 1950. do 1970. godine

Gordana Popovi} Vasi}

Jo{ u vreme svog postojawa socijali- Po svojoj prirodi razu|en i lako dostu- sti~ ka Jugoslavija (1945–1992), zemqa koje pan, razumqiv i potro{an, grafi~ kidizajn vi{e nema, zbog svoje geopoliti~kei isto- proìma sve nivoe ìvota i stvarala{tva rijske uloge, multinacionalnog sastava, i omogu}ava da se sveobuhvatno sagledaju dru{tvenog ure|ewa i posebnog puta kroz promene u dràvi, dru{tvu i samoj umetno- ili u socijalizam budila je interes stranih sti. Po svom karakteru utilitaran, vezan za i doma}ih istori~ara i istraìva~a. î- politi~ ke doga|aje, dru{tvene akcije, eko- tava wena istorija u doma}im politi~ kim nomska kretawa, privredne poduhvate, kul- forumima okarakterisana je kao „prelazni turna i sportska de{avawa, vaspitavawe period“. Mislilo se do komunizma, isposta- dece i omladine, dakle za sve ono {to odre- vilo se do kapitalizma. |uje ustrojstvo jedne dràve i profil dru- U posledwih petnaestak godina doma}i {tva kome je namewen, grafi~ kidizajn je- istori~ari, istori~ari umetnosti, istra- ste izraz i odraz tog dru{tva, ali i sam je ìva~i i publicisti, oslobo|eni prethod- na to dru{tvo vr{io neposredan uticaj. ne ideologije, koja je optere}ivala i sama Zbog svega navedenog neophodno je osvr- istraìvawa, a naro~ito zakqu~ keobja- nuti se na istorijski okvir vremena o kome vqenih radova, ~ine napore da ispitaju je ovde re~, a to je period od 1950. do 1970. go- razli~ite segmente ìvota i umetnosti Ju- dine. To vreme me|utim, nije mogu}e razume- goslavije i wenih republika, danas zaseb- ti bez uvida u prethodnu deceniju sa kojom je nih dràva. povezano {to velikim razlikama, {to Umetnost ovoga perioda analizirana je u sli~ nostima, a iznad svega razlozima za vi{e zna~ajnih studija i preko nekoliko za- mnoge doga|aje koji }e uslediti. nimqivih izlo`bi (npr. Beogradski politi~ ki plakat 1944–1974 Muzeja primewe- ISTORIJSKE PRILIKE ne umetnosti, Oblikovawe kwige u Jugosla- viji, XXIII likovni susret u Subotici odr- Kraj dvadesetog veka ozna~io je zavr{e- àn 1985. godine i izlo`ba Vreme na zidu tak istorije Jugoslavije, zemqe ~ije su Muzeja grada Beograda iz 2005. godine koja je specifi~ nosti prevazilazile wenu veli- obuhvatila politi~ ke plakate i oglase od ~inu i wen uticaj. Ove osobenosti bile su 1941. do 2000. godine), ali nijedna nije uzela zanimqive, ali pokazalo se i razorne, a u obzir grafi~ ki dizajn u celini. âk ni zemqu su u~inile neodrìvom u jednom no- iscrpna istorijska studija, kwiga Predra- vom vremenu i novom politi~ kom okruè- ga J. Markovi}a Beograd izme|u istoka i za- wu. Dana{we analize sugeri{u da je wen pada 1948–1965 ne pridaje zna~aj grafi~ kom kraj bio predvidqiv skoro od samog po~et- dizajnu, iako se izme|u ostalog bavi i odno- ka, da je bilo mnogo iluzija na kojima se som partije i kulture, likovnih umetnosti, insistiralo, te da je svaka gre{ka u wenom masovnom kulturom i medijima. rukovo|ewu bila fatalna i sa dalekose- 5 `nim posledicama. Danas izgleda da je to bila zemqa privida, nebrojanih zabluda koje su dugo trajale i da su sve vreme, bez obzira na organizaciju dràvnog ìvota, tiwali sukobi svake vrste: idejni, politi~ ki, etni~ ki, ekonomski, dru{tveni, pa ~ak i umetni~ki. Onisu, naravno, me|usob- no bili povezani. Svaka decenija ove dr- àve, koja je trajala osamdeset pet godina, ima svoje karakteristike, prevashodno uslovqene politi~ kim prilikama. Ni{ta se nije de{avalo u dru{tvenim odnosima, ekonomiji ili kulturi {to se najpre nije dogodilo u politici. Svako pomerawe, za- okret odraàvao se u ostalim segmentima ìvota, jer su u vremenu socijalisti~ ke Jugoslavije odluke Plenuma i Kongresa Jugoslavija u usponu, kada izgleda da dru- KPJ (SKJ) imale ulogu usmeravawa svih {tvo napreduje u svakom pogledu, da zabora- tokova. U kasnijoj fazi razvoja socijali- vqa traume prethodne decenije rata i peri- sti~ kog sistema govorilo se o „smernica- oda neposredno posle rata, kada se svima ~i- ma“, {to je bio eufemizam za direktive, nilo da ekonomski ja~aju, da }e se postoje}i preporuke koje je vaqalo usvojiti kao bes- dru{tveni, ali i li~niproblemi nekako pogovorne naloge. re{iti. Qudi su imali ose}aj da rade za op- Ako su se politi~ ki problemi prve Jugo- {te, ali i sopstveno dobro. Proizvodilo se, slavije, one do Drugog svetskog rata, prela- trgovalo, putovalo i zabavqalo, ìvelo se mali kroz partijsku borbu, etni~ keodnose, punim ìvotom u miru koji je trajao. Bilo teritorijalnu reorganizaciju dràve, eko- je vere i bilo je nade i ovaj je period senti- nomske reforme, dru{tveno raslojavawe, mentalno zapam}en kao period prosperite- {trajkove i proteste, dovode}i do atentata, ta. [ta je tu bio privid? Skoro sve. hap{ewa i diktature, druga Jugoslavija je Ratna stradawa su se polako zaboravqa- po~ela sa diktaturom, hap{ewima i ubi- la, s jedne strane zbog prirodne qudske po- stvima i nije izbegla teritorijalnu reorga- trebe da neprijatna iskustva potisne, a s nizaciju, etni~kesukobe, ekonomske refor- druge jer je zvani~ no tuma~ewe rata dobilo me, dru{tveno raslojavawe, {trajkove i ideolo{ko obele` je po kome je pobeda ko- proteste, a zavr{ila u gra|anskom ratu komunista u gra|anskom ratu bila jednako va- ji nije preìvela. `na kao pobeda nad okupatorima. Nova Ovaj saèti pogled na istoriju jedne nesta- vlast koja je sebe nazivala narodnom, odmah le zemqe neophodan je kao uvod u razdobqe ko- po oslobo|ewu obra~unala se sa neistomo- je je predmet na{eg interesovawa, a to su {e- {qenicima i kolebqivcima progla{ava- sta i sedma decenija pro{log veka, odnosno ju}i ih narodnim neprijateqima, hapse}i ~etvrta i peta decenija postojawa Jugoslavi- ih, degradirju}i ih, ka`wavaju}i ih odu- je. Prate}i jednu na izgled perifernu oblast zimawem posla i imovine, izbacuju}i wi- u domenu kulture, sa kojom je me|utim u tesnoj hovu decu iz {kola i najzad streqaju}i ih vezi, kao i sa svim ostalim nivoima ìvota, bez su|ewa ili preko montiranih procesa. vide}emo da ona pokriva sve doga|aje i prome- Ovakvi doga|aji bili su jasna poruka oni- ne i da je savr{eni svedok istorije. ma koji su imali bilo kakve sumwe u wiho- Re~ je o grafi~ komdizajnu u Srbiji izve najboqe namere. Politi~ ki„podobni me|u 1950. i 1970. godine, prvenstveno u Be- drugovi i drugarice“ pisali su karakteri- ogradu, glavnom gradu zemqe i prirodnom stike mawe podobnim (drugovima i druga- centru svih politi~kih i kulturnih zbiva- ricama), promovi{u}i ih u podobne ili wa. Dakle, periodu kada je socijalisti~ka nepodobne. Od te procene zavisilo je ne sa- 6 mo ho}e li neko biti primqen u partiju, S druge strane, svi su bili sre} ni{to nego ho}e li dobiti posao, stan, ili se upi- nema vi{e rata, zemqa se obnavqala. Po- sati u {kolu. boq{ana je zdravstvena za{tita. Uvedeno Partija se pisala sa velikim slovom P, je obavezno opismewavawe, {kolovawe je jer je bila jedina i uspostavila se kao sve- bilo besplatno. Mnogi su dobili krov nad drè}a institucija. Vlast je bila organi- glavom. Stanovi se nisu vi{e kupovali, do- zovana, a dru{tvo je funkcionisalo vrlo deqivani su naj~e{}e preko ustanova u ko- sli~ no sovjetskom postrevolucionarnom jima su qudi radili. [to su bili bliè modelu koji je bio neskriveni uzor. Oslonac Partiji pre su ga i dobili. Neki ga nisu do- nove vlasti bili su naj{iri slojevi siro- bili nikad, neki jesu, ali u tu|oj ku}i. (Us- ma{nih qudi, radnici i seqaci bez zemqe, postavqeni su zajedni~ ki stanovi i ta te- progla{ena je „diktatura proletarijata“, a kovina Revolucije zadràla se do kasnih za one koji se nisu bavili neposredno pro- {ezdesetih.) Neki su dobili tu|e ku}e i izvodwom smi{qen je termin „po{tena in- stanove, a neki su bili izba~eni iz svojih. teligencija“. Ona je morala dokazivati oda- Sve prema zasluzi. nost Partiji i revolucionarnim idejama. U Stanovni{tvo iz pasivnih krajeva prese- suprotnom sledila je etiketa „reakcionar“ qavano je u plodna podru~ ja Vojvodine i Sla- i vrlo neizvesna budu} nost, za mla|e na dru- vonije, a zbog intenzivne industrijalizaci- {tveno popravnom radu, za starije uglavnom je koja nije uvek imala ekonomsku logiku, se- u zatvoru. Od prvih vi{epartijskih izbora qaci su postajali radnici, „proletarijat“, 1946. godine do slede}ih pro{lo je ~itavih gradovi su se uve}avali na ra~un sela koja su ~etrdeset i pet godina. se smawivala ili tokom godina nestajala. Sloboda govora je ko{tala skupo. Odre|e- Radne akcije u kojima su svi u~estvovali, ne izjave morale su se objasniti na „infor- imale su za ciq ne samo da obezbede besplat- mativnom razgovoru“ gde se vlast obave{ta- nu radnu snagu za krupne graditeqske podu- vala {ta doti~ ni misli i da li misli ako hvate ve} i da objedine u odu{evqewu zbog misli suprotno od zadatog, da li deluje u obnove zemqe i izgradwe novog dru{tvenog skladu sa onim {to misli. Retko je ko name- sistema sve strukture stanovni{tva, a pre ravao da ne{to i preduzme, jer bi ga ve} iz- svega omladinu. Umetnici su dobili zada- govorena re~ odvela u zatvor. Partija se mo- tak da idu na radne akcije i svojim radovi- rala po{tovati pre porodice, a re~ revolu- ma posvedo~e o entuzijazmu graditeqa i us- cija postala je za nekoliko slede}ih dece- pesima u izgradwi. U umetnosti je zavladao nija sinonim za opravdanu borbu svim sred- socijalisti~ ki realizam, zadati pravac de- stvima koja obavezno dovodi do boqitka. lovawa u kome je agitpropovski ciq izjed- U politi~ kom zaokretu 1948. godine po- na~en sa umetni~ kim: „U svojoj su{tini to- sle Rezolucije Informbiroa, u konfuziji tatalitarna ideologija socijalisti~kog re- koja je nastupila, najvi{e su zbog izgovore- alizma utemeqena je u nekoliko negacija. nog stradali sami komunisti, u velikom Na prvom mestu je ru{ewe simbola stranih broju ~ak istaknuti borci za novi poredak. uticaja ‘buròaske‘ (gra|anske) sfere – ne- Zatvori su bili nedovoqna kazna. Za wih je gacija gotovo celokupnog zapadnog umetni~ - smi{qeno posebno geografsko odredi{te, kog nasle|a i didakti~ no ukazivawe na pri- ekvivalent \avoqeg ostrva, Goli otok. Na hvatqivi model sovjetske umetnosti...“1, wemu je hiqade Sizifa godinama razbijalo konstatuje Lidija Merenik. i guralo kamen pod posebnim logorskim re- Nova vlast se posebno oslawala na mla- ìmom, pla}aju}i ceh svojim ube|ewima. Po de nara{taje kao nosioce novog doba. Mla- povratku svi su }utali. ]utali su i drugi. dala~ki polet i energija usmeravani su u Svi su za}utali. Surovost se isplatila. dru{tvene i politi~ke akcije prema potre- Lekcija o poslu{nosti bila je savladana. bi. Mnogo se govorilo o mladima i wihovoj Strah je postao normalna pojava. budu}nosti, wihovoj svesti i opredeqewu,

1 – L. Me re nik, Ideološki modeli: Srpsko slikarstvo 1945 -1965, Be o grad 2001, стр. 27 7 ali je vreme socijalisti~ ke Jugoslavije tako|e bilo vreme duge mladosti. Oni koji su ve} bili na odre|enim pozicijama smatrali su mladim i nedovoqno iskusnim svako- ga ko je mla|i od wih. Me|u najmla|ima ustanovqeni su pioniri, Titovi pioniri kako su ih zvali. To su bili |aci osnovnih {kola koji su dobili svoje uniforme, peva- li revolucionarne pesme i pesme posve}ene Titu i tako mali i puni poverewa u odrasle zdu{no se s pesnicama na ~elu zakliwali da }e slediti put komunista i druga Tita. Bilo je mnogo proslava, godi{wica, pri- redbi na kojima su se pevale partizanske pesme i kora~nice i recitovala rodoqubiva poezija uz obavezni patos koji je dokazivao ube|ewe. Ova zvani~ naegzaltacija bila je podràna iskrenim entuzijazmom qudi koji su èleli da doprinesu svojoj siroma- {noj i razru{enoj zemqi, da postane razvi- jenija, bogatija, uspe{nija i pravednija ne- 002 go {to je dotle bila. Tita biti zadràn do kraja wegovog ìvota, U skladu sa revolucionarnom ideologi- pa ~ak i nekoliko godina posle. [tafeta, jom ustanovqen je kult rada kao najvi{i simbol me|usobne povezanosti naroda i na- dru{tveni ciq. Radilo se prekovremeno, roda sa vo|om, bakqa zajedni~ keideje koja svako je èleo da bude udarnik, a posebni je 25. maja, datum koji je simbolizovao ne sa- uspesi radnika isticani su javno. O materi- mo Titov ro|endan ve} i Dan mladosti, uru- jalnoj nadoknadi niko nije brinuo. Qudi su ~ivana vrhovnom komandantu na grandio- se ose}ali sigurnim jer jednom ste~eni po- znoj sve~anosti, sletu, no{ena je i nekoli- sao nije se mogao izgubiti. Zakon je {titio ko godina posle wegove smrti. svakog zaposlenog bez obzira na wegovo za- Ne treba imati iluzije da je za kult li~ - lagawe. Snabdevawe na ta~kiceubrzo je za- nosti zaslu`na samo li~nost o kojoj je re~. meweno skromnim li~ nim dohocima koji su Mnogo vi{e taj kult odgovara nomenklaturi zadovoqavali minimum potreba, a biti bo- oko we, koja ga stvara i neguje koriste}i ga gat i onako je postala sramota. povremeno kao gromobran, a ~e{}e kao ki{o- Vlast, rukovodstvo kako se govorilo, sa bran. Tek Jugoslavija je pedeset godina ìve- svoje strane podsticala je kolektivizam, la pod okriqem jednog dvoslo`nog imena ko- zajedni{tvo u naporima, odricawu, ali i je je odràvalo unutra{wu koheziju zemqe i proslavama, stalno isti~u}i ciq – „svetlu po kome su je identifikovali van wenih gra- budu} nost“ koja }e jednog dana uslediti. nica. Od 1948. godine ova li~nostpostala je Na ~elu svih akcija stajala je Komuni- simbol otpora staqinisti~kom Sovjetskom sti~ ka partija Jugoslavije (KPJ), a na ~elu Savezu i jednog humanijeg socijalizma, kao i KPJ Tito. Uspostavqen je kult li~nostipo prve pobede Zapada nad Istokom. uzoru na Staqina u Sovjetskom Savezu, kao Na talasu straha i odu{evqewa narod {to je i u svim ostalim sferama iskustvo Jugoslavije u{ao je u pedesete jo{ uvek ne- postrevolucionarne Rusije bilo osnova za svestan prednosti, ali ni isku{ewa koja ga organizaciju dràve. Vremenom }e se na~in slede}ih godina o~ekuju. ìvota u Jugoslaviji promeniti, kao {to }e Decenije izme|u 1950. i 1970. u umetno- se mewati i na~in upravqawa dràvom, sti su ome|ene s jedne strane raskidom sa so- privredom, ekonomijom, {kolstvom, naro- cijalisti~ kim realizmom, a sa druge punim ~ito umetno{}u, ali }e kult Josipa Broza ukqu~ewem u savremene tokove zapadnoe- 8 vropske umetnosti. Obe pojave imale su po- mene u spoqnoj i unutra{woj politici ko- liti~ ku pozadinu. Prva u raskidu sa tvrdim je su simultano mewale strukturu i izgled socijalizmom Sovjeta 1948, a druga u stu- zemqe. dentskoj pobuni 1968. godine koja je izmeni- Po{to je po uzoru na Sovjetski Savez la pogled na svet. Prvi slu~aj se odigrao 1947. godine odbila Mar{alov plan koji je unutar Partije, dok je drugi izazvao elitni mnogim zemqama omogu}io izlazak iz po- deo omladine, studenti. sleratne krize i ubrzao privredni napre- Predvo|eni profesorima, nezadovoqni dak, Jugoslavija je morala da se osloni na hipokrizijom koja je u dru{tvu bila o~i- sopstvene snage i pomo} sa istoka. Mar{a- gledna, studenti su za {est dana pobune ste- lov plan odbijen je iz ideolo{kih razloga, kli naklonost i drugih slojeva, intelektu- ali se fleksibilnost ideolo{kih ube|ewa alaca, ali i radnika {to je naro~ito bilo iskazala ve} 1949. godine posle razlaza sa opasno za vlast komunista. I mada je pro- Sovjetskim Savezom.2 U zvani~ nim glasili- test bio sasvim na levoj ideolo{koj lini- ma i nastupima partijskih vo|a izvr{ena je ji, mnogo {ta je re~eno javno i glasno i po- konverzija slike sveta, negativni Zapad pokazalo se da izme|u dràvnog rukovodstva staje sve pozitivniji dok se o idealnom Is- i partijskih struktura sa jedne i narodnih toku otkrivaju najcrwe istine. Obi~an svet masa sa druge strane ne postoji vi{e uni- bio je zapawen novim smerom, „istine“ i sono jedinstvo koje se dotle podrazumevalo. „laì“ su izmenile mesta, a Goli otok je bio U idejama iznetim na studentskim zborovi- sve naseqeniji. Zemqi je bila potrebna eko- ma prepoznati su glavni krivci, profeso- nomska pomo} i ona je 1951. stigla sa Zapa- ri saradnici ~asopisa Praksis, kao teo- da. „U tipi~ noideolo{kom dru{tvu, kakvo retski korektori dotada{we jugoslovenske je bilo jugoslovensko, idejna i moralna {i- socijalisti~ ke stvarnosti. Bilo je opasno zofrenija je wegova duhovna su{tina i iz- {to su teorijske rasprave iza{le iz okvi- raàva se u razilaèwu proklamovanih ra Centralnog komiteta Partije, pripre- ciqeva i prakse, revolucionarnih ideala i mqenih Kongresa i partijskog kruga zadu- stvarnosti, re~i i dela.“3 ènog za usmeravawe dru{tvene teorije i Posle 1948. godine Jugoslavija je posta- prakse i {to su se odvijale na najosetqi- la zemqa „izme|u“ u svakom pogledu. Izme- vijem podru~ ju, Univerzitetu, me|umladom |u istoka i zapada, ni istok ni zapad, trpe- inteligencijom. la je pritiske oba, zadràla je komunisti~- Pobuna je meko prekinuta jednim od Ti- ki poredak, a u prakti~nomìvotu dopu- tovih demago{kih obra}a- wa studentima, a represali- je su stigle odmah potom, hap{ewem predvodnika protesta, su|ewima i izbaciva- wem sa posla nepodobnih profesora. Iako su studenti manipulacijom smireni, a profesori ka`weni, 1968. ozna~ila je podrivawe do tada neprikosnovenih auto- riteta. U dvadeset godina izme|u ova dva doga|aja Jugoslavija je doìvela svoj uspon, ali i veliki broj potresa, pro- 005

2 – П.Ј. Мар ко вић, Београд између истока и запада 1948 – 1965, Бе о град 1996, стр. 119-134 3 – Д. Ћо сић, Пред го вор у књи зи П.Ј. Мар ко ви ћа Београд између истока и запада 1948 – 1965, стр. 9 9 {tala zapadne uticaje. Otuda nebrojane ne- ravala privredna kretawa i dru{tveni doslednosti, konstantan rascep izme|u re- ìvot, ali se nije odustajalo ni od qudskih ~i i dela, stalna ekonomska i moralna ko- du{a, naro~ito ne od wih. Budno je pra}ena lebawa. U izvesnom smislu imala je kasni- propaganda sa zapada, ali i sa istoka i wi- ju ulogu Zapadnog Berlina, mesta koje je is- hovi me|usobni uticaji, a pra}eni su i qu- toku trebalo da pokaè prednosti zapada, di koji su im podlegali ili su mogli da im da postane zapad istoka. podlegnu. Svaki kontakt sa strancima iza- Herojski, osioni polet nepokolebqivih zivao je sumwu. boraca za „svetlu budu} nost“ vremenom se Povezivawe privrede, me|unarodne rastopio u neprekidnom prilago|avawu no- utakmice i umetni~ ki nastupi zahtevali su vim okolnostima. odlazak u zapadne zemqe. Iako neophodna i Pomo} koju je zapad, prvenstveno SAD, uz dozvolu vlasti, ova putovawa su tako|e pruìla Jugoslaviji posle isto~ne bloka- izazivala sumwu. Da se ova sloboda ne bi po- de koja je trajala od 1948. do 1951. godine, a gre{no shvatila starala se doma}a propa- po~ela paketima i nastavila se kreditima, ganda. Tokom pedesetih, a naro~ito {ezde- omogu}ila je zemqi da stane na noge, ukine setih godina dvadesetog veka zapadni uticaj racionalno snabdevawe, nastavi industrij- je bivao sve ja~i, ali je paralelno sa gosto- sku, privrednu i stambenu izgradwu, po~ne vawima zapadnih muzi~ara i pozori{nih da podiè standard stanovni{tva i povra- umetnika, prevodima pisaca sa Zapada (u ti samopouzdawe. Izvesni ustupci bili su po~etku klasika i socijalno orijentisanih neizbe`ni. Re~ nikje ostao isti, ali se dis- autora), organizovawem izlo`bi zapadwa~ - kurs promenio ve} na samom po~etku i na- ke umetnosti, vo|ena neprestana ideolo{ka stavio je da se prilago|ava od slu~aja do diskusija u partijskim forumima. slu~aja u slede}im godinama. Pragmati~ - U Titovoj Jugoslaviji narod je strepeo od nost je zamenila idealizam. vlasti, a vlast od naroda koji je, kad mu se Titova Jugoslavija je „izabrala“ sop- pruìla prilika, sa neo~ekivanom lako- stveni put u socijalizam. Partija je usme- }om, reklo bi se lakomisleno{}u, skretao na zapadnu stranu. êsto se govori o blagodetima koje je ovo dru{tvo omogu}ilo pojedincima, o ravno- prvnosti, socijalnoj sigurnosti, samoupra- vqawu, slobodi putovawa, paso{ima koji su vaìli svuda, o slobodi stvarala{tva. Sve je to samo delimi~ no ta~ no, jer je ova sloboda bila strogo dozirana i postojala je samo u odre|enim okvirima i pod odre|enim uslovima.

UMETNOST I GRAFI^ KI DIZAJN Za zemqu koja je imala pedeset procena- ta nepismenog stanovni{tva i koja je kao jedan od glavnih dru{tvenih zadataka posta- vila op{te opismewavawe, neobi~ noje ko- liki je zna~aj pridavan kretawima u kulturi i umetnosti. Smatralo se da umetnost ima veliki uticaj na narodne mase, weno vaspitavawe i prevaspitavawe i nastojalo se da bude {iroko dostupna. Kwige i ulaznice za kulturne manifestacije bile su jeftine i 007 svima pristupa~ne. Umetni~kirad se ce- 10 nio, a svaka zvani~naporuxbina bila je dobro nagra|ena. Umetnost je tako|e bila prvorazredno sredstvo propagande u inostranstvu. U izve{taju Saveta za nauku i kulturu Vlade FNRJ o na{em u~e{}u na Bijena- lu u Veneciji 1950. godine prigovara se or- ganizatorima na{e izlo`be {to nisu vodi- li dovoqno ra~una o politi~kom i propa- gandnom momentu i krugovima „kojima je izlo`ba namewena (malogra|anskim i inte- lektualnim)... U bijenalskom ambijentu ona je delovala suvi{e nametqivo, suvi{e pro- pagandisti~ ki (u uskom smislu) i ako se tako moè re}i, suvi{e partizanski“4. ûvari qudskih du{a toga vremena budno su pratili {ta ko radi, pi{e ili slika, a poverenici za odre|ene oblasti posredo- vali su izme|u rukovodstva i esnafa. U atmosferi cenzure i posebno nagla{ene auto- cenzure, ~ak i mala odstupawa predstavqala su hrabrost. Zato je put „moderne“ i{ao postepeno i oprezno ka izrazu koji je danas op{teprihva}en kao „socijalisti~ ki estetizam“, kao i geometrizmu Decembarske grupe, enformelu i ostalim umetni~kimpoja- vama {este i sedme decenije. 013 Smatra se da su izlo`ba Mi}e Popovi}a dizajnom u vremenu o kojem je re~ nazivano iz 1950. godine, a naro~ito wegov tekst u ka- je primewena grafika i ovaj naziv mo`da talogu, kao i izlo`ba Petra Lubarde iz ta~ nije odre|uje wegovu ulogu . 1951. godine ozna~ili kraj socijalisti~ kog [iroko podru~je koje primewena grafi- realizma. Lidija Merenik ~ak isti~e da je ka pokriva (oglasi, oznake, putokazi, pla- to ve} u~inila Zadarska grupa napustiv{i kati, novac, hartije od vrednosti, po{tan- Akademiju i uputiv{i se u Zadar da bi sli- ske marke, oprema kwiga, novine, ~asopisi, kala u pleneru. U svakom slu~aju, Partija sve vrste publikacija od naslovne strane do koja je sa zaka{wewem zvani~no proglasi- ilustracija, kalendari, ~estitke, omoti la socijalisti~ ki realizam tek 1949. godi- gramofonskih plo~a, ambalaè, poveqe, dine, trude}i se da dokaè svoju odanost komu- plome, logotip, znak, piktogram, crtani nisti~ koj ideji, posle raskida sa Sovjet- film, karikature, strip, tv grafika) deo je skim Savezom na sli~an na~in ga je ukinu- svakodnevnog ìvota koji se konzumira us- la tek 1952. godine po{to su se pomenuti li- put i ostvaruje naj~e{}e trenutnu komuni- kovni doga|aji ve} odigrali. Briga Parti- kaciju. To je umetnost u slu`bi informaci- je nije nestala, stega jeste popustila, a ideje, vizuelna sublimacija odre|enog proiz- olo{ko teorijske rasprave preselile su se voda bez obzira da li je on materijalnog ili u novine i novopokrenute ~asopise (Delo i idejnog karaktera. Savremenik). Po~etak pedesetih godina pro{log veka Grafi~ ki dizajn, prakti~ na umetnost, jeste predtelevizijsko doba kada su glavna prvo i jeftino sredstvo propagande, pratio sredstva masovnog komunicirawa pored ra- je op{ta kretawa u umetnosti, ali ne{to dija bili {tampana re~ i slika, plakati i sporije. Ono {to danas zovemo grafi~ kim novine.

4– Културна политика Југославије: 1945-1952, Збор ник до ку ме на та, књ.2 (при ре ди ли Бран ка Док нић, Ми лић Ф. Пе тро вић, Иван Хоф - ман), Бе о град 2009, стр. 449. 11 PLAKAT uslovno shvatana, a okvire te slobode posta- vqali su partijski drugovi, ~esto i sami Kod nas kao i u svetu plakat je ve} imao umetnici. Iskreno odani socijalizmu i sa- izvesnu tradiciju, ali je znatnu politi~- mi su bili u dilemi na koji na~in preto~i- ku i dru{tvenu ulogu odigrao u ratnom i ti socijalisti~ ke ideje u savremeni likov- naro~ito u poratnom periodu. Na po~etku ni jezik. „Diskusije“, kako se onda govori- {este decenije nema velike razlike u we- lo, odvijale su se na sastancima umetni~kih govoj koncepciji u odnosu na prve posle- udruèwa i posebnim telima Socijalisti~ - ratne godine. Sli~ naje ikonografija, a kog saveza radnog naroda Jugoslavije (biv- tekst koji prati sliku jo{ uvek je jezik pa- {i Narodni front) koja su se bavila kultu- rola. Sve do 1955. godine plakat ima revo- rom. Na plenumima SKJ pak, visoki rukovo- lucionarna obele` ja iako je ~e{}e name- dioci davali su {ture politi~ ke izjave, wen politi~koj agitaciji, te bi pre pripa- li{ene teoretskih razloga, a koje su pre- dao politi~ kom mobilizacionom plakatu tendovale da urede daqi kurs delovawa u (klasifikacija Svetlane Isakovi}5). Po- umetnosti i kulturi. U eseju o Miodragu B. sve}en je razli~itim aktuelnim temama: Proti}u, Jerko Denegri to naziva „ ’situa- narodnom zajmu, petogodi{wem planu, Ju- cijom’ u koju su svaki umetnik i cela umet- goslovenskoj narodnoj armiji, desetogodi- ni~ ka sredina bili dovedeni postojawem {wici ustanka naroda Jugoslavije, pozivu opisane klime u kojoj je ideologija umesto na izbore, Crvenom krstu. estetike i sâme umetnosti vodila glavnu Poletne parole prate sre} na lica sna- re~.“6 Sam Proti} kaè: „Pedesete.... Nisu `nih radnika i seqaka, trudbenika oba po- bile vesele, Gay fifty. Bile su mo`da roman- la, vojnika, nasmejane dece, uz obavezne sim- ti~ne, tople, nemirne i, sigurno, rastrzane bole, zvezdu, srp, ~eki}, zastavu. Optimizam ’izme|u onoga {to je bilo i onoga {to nije’... koji je podstican u narodnim masama nalazi Nazivane su ’zlatnim’ zbog ’nadokna|enog odjeka i na plakatima sasvim u duhu socija- istorijskog zaostajawa i pove}anog stan- listi~kog realizma. Autori ovih plakata su darda’; zbog duhovnog preporoda i samoosve- Matija Zlamalik, Mihailo Petrov, \or|e {}ewa; ili zbog ve}e vrednosti onoga {to je Andrejevi} Kun, Ivan Lu~ev, Andreja An- li~ nim snagama osvojeno od onoga {to je drejevi}, Anton Huter, Alfred Lehner. Me- partijskim umom zami{qeno.“7 |u wima slobodnom koncepcijom odska~u U atmosferi u kojoj su se umetnici bori- plakati Mila Milunovi}a ra|eni u duhu li za autonomno umetni~ ko delovawe, u ko- wegovog slikarstva. Posve}eni proslavama, joj je vlast bila sapeta izme|u demokratiza- 1. maja – Praznika rada i 20. oktobra – Dana cije kao ustupka Zapadu i ideologije kojom oslobo|ewa Beograda 1944–1954, i pored ne- je tu vlast i zauzela, nastale su umetni~ ke zaobilazne socijalisti~ke simbolike (zve- grupe Samostalni, Jedanaestorica, [e- zda petokraka, srp i ~eki}, dràvne i par- storica, Decembarska grupa i Grupa 57, a tijske zastave, golub mira) shva}eni su na koje su se formirale s ciqem da odbrane in- pikturalan na~in. Mada deluju pomalo ne- dividualni autorski umetni~ ki jezik. pregledno i u izvesnom smislu ne~itqivo, U primewenoj umetnosti je to bilo utoli- predstavqaju odstupawe od vladaju}eg rea- ko teè {to su naru~ioci plakata, poveqa, listi~kog i narativnog izraza. po{tanskih marki bile zvani~ ne dràvne Raskid sa koncepcijom socijalisti~kog ustanove, politi~keorganizacije, Savez ko- realizma iako dobrodo{ao u umetni~ kim munista Jugoslavije i Socijalistiki savez krugovima, bio je ipak optere}en mnogobroj- radnog naroda Jugoslavije ili neke druge nim raspravama o umetnosti koja treba da dru{tvene institucije (Crveni krst, Anti- ima humani karakter i ne sme slepo da pra- fa{isti~ kifront èna – AF@), ali uvek ti zapadne uzore. Sloboda stvarala{tva je pod kontrolom ~lanova partije.

5 – S. Isa ko vić, Beogradski politički plakat 44 –74, MPU, Be o grad 1974, str. 1 6 – Ј. Denegri, Pedesete: teme srpske umetnosti, Sve to vi, No vi Sad, 1993, стр. 123 7 – М.Б. Про тић, Нојева барка, СКЗ, Бе о град 1992 , стр. 307 12 brojnih tehni~kih postupaka {to ih pozna- ju tri osnovne grafi~ ke discipline; viso- ka, duboka i ravna {tampa – ostvari kona~- no u velikom, vrlo velikom, ~ak ogromnom broju istovetnih primeraka. – To je bitna osobina grafike. Sa we je ona u preimu}stvu umetni~ kih zadataka kojima je ciq masovno dejstvovawe. Zbog we je ona postala izrazi- to ‘prakti~ na‘ likovno-umetni~ ka delatnost – toliko prisno i tako {iroko poveza- na sa svakodnevnim ìvotom i wegovim po- trebama. I zahvaquju}i woj ona je u tolikoj meri mogla da postigne i stalno ostvaruje svoju ‘primewenost‘, razgrawavaju}i sve vi- {e i neprekidno svoje tehni~ ke postupke i zahvataju}i svojom izraàjnom mo}i {iroko poqe stvarala{tva – od slova do opreme kwige, do plakata, umetni~ keopreme industrijskih proizvoda, grafi~kereproduk- cije tvorevina ostalih likovnih grana i jo{ dugog niza razli~itih vidova sa kojima grafi~ ka delatnost korisno dejstvuje na svim podru~jima savremenog likovnog ì- vota, na kulturnome koliko i na politi~ - kom i privrednom – svuda gde se radi o vas- pitanim, propagandnim ili agitacionim poduhvatima masovnih razmera, udruènim 016 sa likovnim elementima i estetskim kompo- Me|utim, rane pedesete zanimqive su ne nentama“8. Pored Mihaila Petrova profe- samo zbog raskida sa socijalisti~ kim rea- sori na ovom odseku bili su Matija Zlama- lizmom i otvarawa prema zapadu nego i po lik, Ivan Lu~ev, Branko [otra, Jefto Pe- tome {to su tih godina stasali prvi di- ri} i drugi. plomci Akademije za primewenu umetnost. Na poqu primewene grafike izme|u 1951. Osnovana 1948. godine pod rukovodstvom i 1957. godine pojavila su se nova imena ko- grafi~ara i revolucionara Branka [otre ja su se odmah ukqu~ila u mnogobrojne ak- koji je bio wen prvi dekan, ova visoko{kol- tivnosti: Viktorija Bregovqanin, @ivojin ska ustanova razvijala se i mewala struk- Kova~evi}, \or|e Gorbunov, Bojana Spremo, turu tokom godina i doprinela je plasmanu Stjepan Fileki, Vladimir Trbojevi}, Iva- industrijskih proizvoda na trì{tu i na Vu~ kovi} (Ida]iri}), Mateja Rodi~i, oplemewivawu ukusa sredine u kojoj je delo- Andrija Milenkovi}, Milo{ ]iri}, Mi- vala. Bila je dugo godina jedina {kola te lo{ Bukinac, Radomir Stevi} Ras, Bosiqka vrste na teritoriji Jugoslavije i weni |a- Ki}evac, Branko Bosi}, Borislav Stanoj- ci dolazili su iz svih krajeva zemqe. Osno- ~i}, kao i Bogdan Kr{i} koji }e uz svoje ko- ve grafi~ kog odseka postavio je Mihialo lege sa Akademije likovnih umetnosti, Bo- Petrov koji u katalogu studentske izlo`be {ka Karanovi}a, Dragoslava Stojanovi}a 1953. godine opisuje zna~aj grafi~kedelat- Sipa, Dragoquba Kaì}a, Marka Krsmano- nosti na slede}i na~in: „Umno`qivost gra- vi}a, u~initi krupne korake na podru~ ju fi~ kog dela, mogu} nost da se svaka grafi~ - grafi~ kog dizajna i grafike. Ovi autori ka tvorevina – oblikovana jednim od mnogo- {kolovani u miru i sa odre|enim sistemom,

8– Друга изложба студената Аладемије примењених умет но сти, Бе о град 1953, 26 13 bez obzira na ideolo{ka ograni~ewa, stupi- li su na scenu u jednom sre}nijem vremenu, te su pro{irili mogu} nosti struke, a mnogi od wih su vremenom preuzeli ulogu pedagoga novih generacija grafi~ara. Zna~ajan doprinos razvoju primewenih umetnosti daju i dve institucije osnovane u ovom periodu: Zavod za primewene umetnosti 1946. i Muzej primewene umetnosti 1950. godine. Grafi~ki kolektiv osnovan 1949. godine, postao je mesto okupqawa grafi~ara i mesto koje }e svojom izlaga~kom aktivno{}u slede}ih {ezdeset godina negovati i afirmi- sati umetni~ku i primewenu grafiku. Jedna od li~nosti koja je u~estvovala u osnivawu bio je Dragoslav Stojanovi} Sip, tada mla- di asistent Akademije primewenih umetnosti u Beogradu, osoba energi~nai radoznala koja }e imati velikog uticaja na razvoj primewene umetnosti i na vaspitawe mladih umetnika. Obdaren i organizacionim spo- sobnostima, zasluàn je za osnivawe ~asopisa LIK, kao i Udruèwa primewenih 022 umetnika i [kole za industrijsko obliko- prou~avawu jezika forme „kao gramatike vawe. Wegova izjava data listu 20. oktobar oblikovawa“ i povezivawu umetnosti i in- oktobra 1951. godine o grupi Samostalni, dustrije, uklopile su se u novo jugosloven- kojoj je i sam pripadao, govori o novom shva- sko dru{tvo. Novi humanizam Bauhausa ve- tawu mesta i uloge umetni~ kog rada: „Mi ho- zan za Vajmarsku republiku prihva}en je }emo da ULUS postane stale{ko udruèwe kao uzor. Tokom slede}ih godina Gropijusov likovnih umetnika i da se vi{e ne me{a u uticaj ogleda}e se u masovnoj arhitekturi na~in slikawa“.9 Ovaj iskaz jasno pokazuje upro{}enih, pravougaonih oblika {irom da je Udruèwe likovnih umetnika Srbije zemqe, a pre svega u novim naseqima poput funkcionisalo kao i druge institucije u ze- Novog Beograda. U grafici je pobornik kon- mqi. U dugim raspravama o idejnosti i mo- struktivizma Bauhausa i teorija oblikova- dernosti, o tome kome je i kakva umetnost po- wa bio Dragoslav Stojanovi} Sip. On je ka- trebna, branilo se pravo na umetni~kiiz- ko u prakti~ nom tako i u teorijskom radu bor i li~ni izraz. Ove rasprave prerastaju nastojao da razvije ideje o formi Klea, Al- u polemiku dve struje, „modernista“ i „rea- bersa i Kandinskog.10 lista“ koja se 1955. godine odvijala na stra- U tom rasponu od herojske figurativno- nicama ~asopisa Delo i Savremenik. sti socijalisti~ kog realizma do umetnosti Ono {to je u domenu primewene grafike ~iste apstrakcije razvio se „socijalisti~ - smatrano modernim zasnivalo se na idejama ki estetizam“ (izraz koji je prvi uveo Sveta Bauhausa. Na principima ove ~uvene {kole Luki}11), stil opreznog apstrahovawa for- bila je zasnovana i Akademija primewenih me, specifi~ nestilizacije sa naglaskom na umetnosti. Zamisli o spajawu umetnosti i linearnom crteù i geometrizaciji. Ovaj zanatstva, o strogoj funkcionalnosti umet- na~in bio je {iroko prihva}en i ogledao se ni~ kih disciplina, sintezi umetnosti, od slikarstva do pozori{ne scenografije,

9 – Маријана Петровић Раић, Драгослав Стојановић СИП – Скица за портрет, МПУ, Београд 2003, стр. 61. 10 – D. Stojanović Sip, O proporcijama, Beograd, s.a., Svetlost, senka i boja, Beograd s.a., Elementi oblika –osnovi oblikovanja, Beograd 1966. 11 – Све та Лу кић, Социјалистички естетизам, Једна нова појава, По ли ти ка , 28. април 1963. 14 godina. Sam Sip kao rodona~elnik savremenog plakata pedesetih najpre se oslawa na ideje Bauhausa u organizaciji povr{ina. Tako je ve} uveliko poznat plakat za Kul- turno umetni~ ko dru{tvo Kolo iz 1954, koji je po svojoj figurativnoj stilizaciji pravi primer socijalisti~kog estetizma. U kasnijim radovima umerena geometrijska struktura razigrana koloristi~kim ritmo- vanim povr{inama ogleda se na plakatima Svi na izbore iz 1958. i Izlo`ba jugoslovenske kwige u Moskvi, Lewingradu i Kije- vu iz 1961. godine. Potpuna prevlast geome- trijske strukture i geometrijskih oblika gotovo do op arta, najkonsekventnije }e biti iskazana znatno kasnije na plakatu Umetni~ ka kolonija E~ ka iz 1970. godine. Drugi zna~ajni stvaralac u ovim deceni- jama je Radomir Stevi} Ras, tako|e li~nost svestranih interesovawa: slikar, pesnik, organizator pozori{nih predstava. Gradio je svoj likovni izraz na sli~nim principima kao i Sip, tj. sa nagla{enijom te`wom ka 026 figuraciji i obiqem detaqa. Wegova stili- a naro~ito je bio pogodan za grafiku sa po- zacija bliska je radovima francuskog umet- sebnom namenom. Proistekao je iz iskustva nika @ana Lirsaa. Ras je konstruisao po- u~enika i sledbenika Bauhausa, geometrij- sebno }irili~ no pismo koje je koristio u ske apstrakcije i francuskog posleratnog svojim plakatima i kwigama. figurativnog slikarstva. Miodrag B. Pro- Za kulturni ìvot pedesetih bila je veti} kao uzore navodi Erbena, Mawelija, Bi- oma va`na filmska umetnost. Kako jo{ ni- la, Albersa, Nikolsona i Vazarelija.12 je bilo televizije odlazak u bioskop bila je Iako vrlo rasprostrawen ne moè se nazva- jedna od glavnih zabava. Od po~etka prihva- ti „ni stilom ni pravcem“ jer nije dobio ni }en kao prvorazredno propagandno sredstvo, teorijski ni manifestni stav koji bi jasno filmu je poklawana velika pa`wa i shva- pokazao ~emu se tu teìlo. Ostavqeno je tan je ozbiqno kao i bilo koja druga umet- umetnicima da se po individualnom ose}a- nost. Po{to je ve}ina filmova stizala sa wu kre}u kroz zamr{ene uzore svetske umet- Zapada, film je bio ne samo sredstvo zabave nosti i nejasne zahteve doma}e sredine. So- ve} i izvor informacija.13 Filmski plakat cijalisti~ ki estetizam zapravo je bio od- bio je reklama koja svojim vizuelnim sadr- raz samocenzure u procesu osvajawa umet- àjem zasnovanim na pojedinim sekvencama ni~ ke slobode. Vremenom je uspostavqen od- iz filma treba da pozove i privu~e gledao- nos relativne tolerancije izme|u umetni~ - ce u dvorane. Zbog toga za ovu vrstu plakata kih nastojawa i dru{tvenih zahteva ~emu je nisu vaìla ista pravila. On je bio u prvom doprinelo i uvo|ewe samoupravqawa u sfe- redu ilustrativan, isticao je pojedine sce- ru kulture. Bilo je dozvoqeno sve {to nije ne iz filma ili likove glavnih glumaca zadiralo u samu vlast. koji su, po Holivudskom obrascu, svojim U primewenoj grafici, prvenstveno pla- u~e{}em bili najja~i magnet za privla~e- katu, ispoqila su se razli~ita nastojawa i we publike. Kako je film po svojoj prirodi vrlo raznovrsna re{ewa koja su nastala tih najneposredniji beg u imaginarno i zbog to-

12 – Mi o drag B. Pro tić, Slikarstvo šeste decenije u Srbiji, kata log izlo žbe Jugoslovensko slikarstvo šeste decenije, MSU, Be o grad 1980, стр. 32 13 – Предраг Марко вић, исто.., 446. 15 ga izuzetno popularan i filmski plakati ìvot, Nijagara). I drugi autori, kao Ivo su sugerisali doìvqaje iz jednog nestvar- Ku{ani}, Bojana Spremo, Dragoqub Kaì}, nog sveta. Pored muzike film je bio jedno od Milo{ Bukinac, Radomir Stevi} Ras, Bra- glavnih sredstava zapadnog uticaja u ovoj na Jovanovi}, bave se filmskim plakatom, sredini i politi~ ke strukture su toga mo- ali se po vizuelnoj posebnosti izdvajaju rale biti svesne. U ovoj oblasti bila je do- Tre}i ~ovek Aleksandra Gojkovi}a i Odmor pu{tena sloboda koja nije bila zastupqena gospodina Iloa Milo{a ]iri}a. Tre}i ~o- u nekim drugim sferama. vek Aleksandra Gojkovi}a iz 1956. godine Tako je za filmski plakat bilo otvoreno mo`da je najefektniji filmski plakat tog {iroko poqe delovawa. Nasuprot drugim vremena. Re{en je u dve boje, crvenoj i crnoj, vrstama plakata kod kojih je umetni~ ki na- ~istim povr{inama i formom stilizova- por bio usredsre|en na odvajawe od reali- nom do siluete. Neobi~noupro{}avawe za zma predstava, filmski plakat je ostao do- vreme u kome je nastao nagove{tava novi od- sledan realisti~ kom na~inu izraàvawa. nos prema plakatu i najjednostavnijim Me|utim, koreni ovakve vrste izraàvawa sredstvima upu}uje na tajanstvenost pri~e bili su mnogo mawe u obrascima socijali- o prvim posleratnim danima u Be~u. Odmor sti~ kog realizma, a znatno vi{e u tradici- gospodina Iloa jedna od kultnih komedija ji ameri~ kih filmskih oglasnih panoa – @aka Tatija koja ve} u to vreme uo~ava i bilborda koji su svojim gigantskim fotore- podsmeva se novoj udobnosti automatizova- alisti~ kim prikazima pojedinih likova ne svakodnevice, a podvu~ena posebnom ko- ili scena mamili publiku u dvorane. reografijom specifi~ nom za ovog francu- Glavni autor filmskih plakata bio je skog pantomimi~ara adekvatan odgovor je Alfred Lehner, tvorac vi{e stotina film- na{la u grafizmu ]iri}evog plakata koji skih postera. Podjednako rade}i plakate za ima karikaturalno obele` je. Zanimqivo je doma}e i strane filmove, za ruske i ame- da karikatura nije ~esto kori{}ena na ri~ ke, evropskeili azijske, Lehner je uspe- filmskim plakatima. Izuzetak su Op- vao da u svakom obezbedi visoku komunika- {tinsko dete Zuke Xumhura, 4km na sat tivnost koja pored ilustrativne dimenzije Ive Ku{ani}a, Pop ]ira i pop Spira i Go- daje i portretsku karakterizaciju glavnih spo|a Ministarka Dorijana Sokoli}a i likova14, pomenimo samo neke: Tri Ane (li- Ruìce Nenadovi}. kovno veoma pregnantan), Diliànsa snova, Iako je humor negovan, a karikatura bi- Posledwi kolosek, Za kim zvono zvoni, Mu- la vrlo prisutna u {tampi, ona }e na pla- {karci, San, Oènih se ve{ticom, Karo- katima zauzeti zna~ajnije mesto tek u slede- lina Rije~ ka, Putnici sa Splendida. Au- }oj deceniji, sa pojavom Aleksandra Kara- tor se trudio da izabere psiholo{ki kqu~ - ku{evi}a Klasa. ne scene koje nagove{tavaju napetost film- Tih godina sve je moralo da ima didak- ske radwe. Iako su kao i najve}i broj film- ti~ki ton. Izgledalo je da nema cenzure pri skih plakata ra|eni po fotografijama oni uvozu filmova. Bile su zastupqene sve svet- sadrè likovne i pikturalne vrednosti ko- ske kinematografije, francuska, italijan- je im daju neospornu ìvost. ska, ~ak i japanska, a predwa~ila je ameri~- Stjepan Fileki, autor koji }e se kasnije ka, ali su razne ideolo{ke komisije (Agit- proslaviti po prou~avawu pisma, pre svega prop CK KPJ, Ideolo{ka komisija CK SKJ, }irilice, po~etkom pedesetih tako|e radi Komitet za kinematografiju) bdele nad re- filmske plakate u ne{to savremenijem akcijama publike, naro~ito mladeì i bri- kqu~u. Kompoziciono promi{qeni, vizu- nule o moralnim porukama koje filmovi no- elno jednostavniji, dekorativniji i pored se. âk je i sam Tito u nekoliko mahova da- realisti~ nih predstava likova nose svede- vao zabrinute izjave o uticaju filma. niji likovni izraz (Devojke sa [panskog U toj atmosferi realizam filmskih trga, Neobi~ noputovawe, Wen sopstveni plakata bio je logi~an i siguran put za pri-

14 – Ко ста Ва сиљ ко вић, Контроверзе дизајна и филмски плакат Алфреда Лехнера, у ка та ло гу из ло жбе Алфред Лехнер, филмски пла- кат, УЛУ ПУДС, Бе о град 2007, стр. 12-14 16 dina kasnije svojom popularno{}u }e pre- vazi}i svoj umetni~ ki domet i ozna~iti ulazak u novu dekadu. Vedri film, tanke fabule, govori o modi, sajmovima, qubavi, uvodi „vespu“ kao simbol novog standarda. [lager Bojana Adami~a iz tog filma bi}e oznaka beogradske atmosfere jo{ mnogo godina posle. Ali bilo je mnogo simbolike u tim „lakim notama“ koje su nagove{tavale jedan opu{teniji period. Ras radi veliki plakat (176h70cm) na kome je lakim linear- nim crteòm predstavqena ènska figura sa aktuelnom modnom siluetom. U drugoj polovini pedesetih na plakatima se sve ~e{}e koristi fotografija. Naj- jednostavniji, ~esto amaterski plakati upotrebqavaju samo fotografiju odre|ene li~ nosti i tekst kao obave{tewe. To je prvenstveno slu~aj sa muzi~ kim plakatima za koncerte popularnih peva~a (\or|e Marja- novi}, Lola Novakovi}, Tomi Soviq). Zani- mqiviji su oni koji koriste fotomontaù ili kola` kao umetni~kosredstvo (M. Pe- trov – Memento, V. Sokolov – Prozvan je i V3). Kori{}ena u novinama u dokumentarne ili reklamne svrhe fotografija u ovom periodu postaje i umetni~ ko izraàjno sredstvo {to se o~ituje i na plakatima, ali i reklamama. Zna~ajni fotografi poput Bra- nibora Debeqkovi}a i Dragoquba Kaì}a u~estvuju u wihovom stvarawu. Sve ve}i broj autora koji se bave prime- wenom grafikom pro{irivao je moduse umetni~ kog izraàvawa, a plakat je polako mewao svoj izgled postaju}i vizuelno je- zgrovitiji i likovno ubedqiviji. Poqski plakat koji je po svojim likovnim osobeno- stima bio evropski priznat imao je velikog 038 uticaja i na na{e autore. Kultivisani pik- vla~ewe publike, a publika je donosila no- turalni jezik ovih plakata koji se poigra- vac. Vlast se na{la izme|u potrebe za zara- va slikarstvom, fotografijom, tipografi- dom i ideolo{ke brige. S jedne strane je zbog jom ~esto ima humoristi~an ~ak nadreali- toga ispoqavala toleranciju, a sa druge je ti~ki pogled na temu i slobodno koristi li- povremeno prete}i podizala prst. Film je kovne uzore. Drugi model na{im autorima svakako bio i umetni~ ki i ekonomski feno- bio je {vajcarski plakat koji ima drugu men koji je ozna~io novo doba jugoslovenskog tradiciju u evropskoj umetnosti. Jasnim iz- socijalizma. Simboli~no1950. godine pri- razom i racionalnim likovnim jezikom, kazan je Bal na vodi, mjuzikl, revija na vo- upotrebom fotografije i tipografskim re- di koja je odu{evila publiku umornu od {ewima izvr{io je {irok uticaj u umetno- ozbiqnosti, prevaspitavawa i siroma{tva. sti plakata. Po{tuju}i princip „mawe je Jedan doma}i film, Qubav i moda, deset govi{e“, plakati {ezdesetih, iako vrlo raz- 17 li~iti u zavisnosti od li~ nosti i wihovih Patrisa Lumumbe, Vijetnamski rat, sve je to autorskih rukopisa, sve ~e{}e koriste sve- izgledalo kao da se ti~e i nas da bi kulmi- dena sredstva, intenzivan kolorit i boqu niralo u studentskom protestu 1968. godine ravnoteù izme|u slike i tipografije da bi koji je najpre po~eo u Parizu. „Tamo je levi- ostvarili ciqanu poruku. Uvo|ewe sito- ca obarala buròaziju staru, plavu, ovde {tampe krajem sedme decenije znatno je do- novu crvenu. I izazivala pani~ nu, iako prinelo koloristi~ kom kvalitetu postera. prikrivenu, promenu sistema.“16 [ezdesete su bile naro~ito uzbudqive na O ~emu govore plakati tog vremena: Pa- dru{tvenom, ali i na umetni~kom planu. `wa svima, sve nudi sve ima aparate, tek- Po~etak emitovawa televizijskog programa stil..., Robna ku}a Ineks 1960, I interna- 1958, konferencija {efova nesvrstanih ze- cionalni gra|evinski sajam 1960, Tre}i maqa 1961. godine, Titovi napadi na ap- skok preko koè studenata, rudara, geolo- straktnu umetnost 1962, zvani~nouvo|ewe ga, metalurga, Beograd – sajmi{te 1960, IX samoupravqawa Ustavom iz 1963, 1965. godi- Me|unarodni sajam tehnike 1960, Popis ne privredna reforma uvodi polutrì{nu stanovni{tva 31. III 1961, IX Me|unarodni ekonomiju, liberalizacija putovawa u ino- sajam tekstila i tekstilnih ma{ina Le- stranstvo, otvarawe Muzeja savremene umet- skovac 1961, Moda u svetu IX, H, 1961, Ada nosti 1965, obra~un sa Aleksandrom Ranko- 62 – Radna akcija omladine Beograd ‘62, vi}em 1966, studentske demonstracije 1968, 1962, Etiketa Kluz garancija da ste ode- napadi na „crni talas“ u filmu, sve to ~i- veni po posledwoj modi, Beogradski varije- ni uzbudqiv miqe doma}e scene. te Orfeum ‘63, [tafeta mladosti – Po- „Te godine je kulturna politika pedese- zdrav mladosti drugu Titu za wegov sedam- tih kona~ no zamewena suprotnom politi- deset prvi ro|endan, Cirkus Adria ‘63, kom; politikom administrativnog i eko- Stogodi{wica Crvenog krsta 1863–1963, nomskog automatizma koja je, u stvari, po- Ko{arka Jugoslavija – Evropa, Beograd, 8. ~ela Titovim govorom protiv apstraktne juni 1963, Jesewa robnonov~ana lutrija ‘63, umetnosti (1962/1963). Aparat postaje op- 1. maj praznik radnih qudi i me|unarodne rezan: sve ~e{}e zanemaruje vrednosne kri- solidarnosti radni~ ke klase ‘64, Iseqe- terijume kao ’subjektivne’ i ’relativne’, a ni~ka nedeqa 1954–1964, juni 1964, 5. vinski mo`da i opasne. U {estoj deceniji oslawao bal, Vlasotince, 27. VI 1964, IX Me|unarod- se na javno priznate li~nosti; usedmoj – na ni sajam kwiga 1964, UNESCO mesec spome- formalne predstavnike ustanova i organi- nika kulture 15 IX – 15 X 1964, Poruka pro- 15 zacija.“ le}u Savez omladine Srbije, 1965, III Save- U likovnim umetnostima to je decenija zno takmi~ewe seka~a Delnice – Lokve enformela, nadrealizma i renesansnog uzo- 1965, Turisti~ ka lutrija, 1965, Zlatno ra Mediale, nove figuracije, vrlo razu|ene pero Beograda, 1965, Na plo~ama RTB Ximi umetni~ ke aktivnosti; prvog Oktobarskog Stani}, Du{an Jak{i}, Lola Novakovi}, salona 1960, prvog Trijenala jugoslovenske \or|e Marjanovi}, 1965, Novogodi{wa lu- likovne umetnosti 1961, osnivawa Muzeja trija, 1966, V me|unarodni sajam hemijske savrmene umetnosti 1962, Doma omladine industrije, 1966, Turisti~ ka lutrija, 1964, BITEF-a 1967, decenija mnogih doma- 1966, Pozori{no igrali{te, 1966, Kud }ih i stranih izlo`bi, gostovawa na{ih Branko Krsmanovi}, Pokret gorana, 1967, umetnika na internacionalnim manifesta- Letwa lutrija, 1967, Rent a car – Inex, Lu- cijama. Beograd se sve vi{e ose}a delom trija putovawa, 1967, Privredna reforma, evropske kulture. Sve su brojnija putovawa 1968, Nauka radnom ~oveku, 1968, IX kongres i stipendije. Pa ipak ovo je decenija nemi- SKJ, 1968, Ro{tiqijada, 17 V–15 VI pod po- ra. Odjeci doga|aja u polarizovanom svetu kroviteqstvom Beogradske klanice, 1968, stizali su i do nas. Kubanska kriza, ubistvo Oslobodite svoje sposobnosti upisujte se

15 – М.Б. Про тић, Нојева барка..., стр. 489 16 – М.Б. Протић, исто...., стр.489 18 u {kole za osnovno obrazovawe odraslih, pularnosti. Zanimqivo je da plakati pra- 1968, Petnaest najveselijih dana, Beograd vqeni za ove filmove koriste pri grafi~- 15 – 31 . decembar 1968, Azulin Merima os - kom oblikovawu mahom crno-belu fotogra- novana 1839 – 1969, Stodvadesetpet godi- fiju kao najpodesnije sredstvo za obradu tena Narodnog Muzeja u Beogradu, 1969, Pro- {kih tema i nagla{avawe istinitosti (do- slava pedest godina SKJ 1919–1969, Nedeqa kumentarnosti). Pojedini autori radili su piva od 8. do 15. juna, BIP, 1969, Dvadeset- anonimno plakate za ove filmove. pet godina Ujediwenih nacija, 1970. godine. U sedmoj deceniji javqa se nekoliko no- Kao {to se iz samih naslova vidi teì- vih zanimqivih autorskih pojava. Sa kari- {te je bilo na razvoju privrede, na me|una- katuristom Aleksandrom Karaku{evi}em rodnim sajmovima na kojima su se sklapali Klasom plakati su dobili duhovit, anegdot- poslovi, na lutriji koja je donosila novac i ski karakter. Radio je mnogo, na razli~ite reklo bi se da je nastupio komercijalni so- teme. Wegov crte` je prepoznatqiv, ne me- cijalizam zahvaquju}i kome su onda bile wa se mnogo, ~esto je narativan, ali je humo- mogu}e i mnogobrojne kulturne manifesta- risti~ na nota donela osveèwe plakatskoj cije. U isto vreme raslojavawe je postalo umetnosti. Likovno druga~ije deluju rado- o~igledno i neka vrsta tenzije se osetila u vi Milo{a ]iri}a, Boleta Miloradovi}a, dru{tvu bez obzira na stalne o~igledne Qubomira Pavi}evi}a Fisa, Aleksandra uspehe. Ona je na{la izraza najpre u film- Daskalovi}a, Bogdana Kr{i}a, Borivoja skoj umetnosti. Autori kao {to su Puri{a Liki}a, a krajem decenije Slobodana Ma- \or|evi}, @ivojin Pavlovi}, Sa{a Petro- {i}a, Dragana Stojanovskog i Aleksandra vi}, Du{an Makavejev, @elimir @ilnik Pajvan~i}a. Postaju o~igledni uticaji no- govorili su druga~ije o sre}i i uspesima Ti- vih umetni~ kih pravaca op i pop arta kao i tove Jugoslavije. Okarakterisani kao „crni psihodeli~ ne umetnosti. talas“ èstoko su napadnuti sa vrha vlasti Zna~ajna li~ nost u grafi~ kom dizajnu {to je, me|utim, samo doprinelo wihovoj po- sedme decenije je arhitekta Slobodan Ma- {i}. Odvojiv{i se od primewene grafike {iroko oslowene na likovnu umetnost, Ma{i} donosi preokret u shvatawu dizajna jer ga posmatra kao sistemati~an na~in mi{qewa i poseban jezik. Ve} svojim plakatom za izlo`bu Radomira Damjanovi}a Damjana iz 1966. godine donosi novi geome- trijski duh tzv. ~istog dizajna koji }e u Zagrebu promovisati Ivan Piceq. Wiho- va apstraktna re{ewa promeni}e stav o delotvornosti slike u dizajnu i sve{}e je na znak. Po kazivawu Slobodana Ma{i}a, Dida De Majo je prvi napravio dizajn kada je kao golooto~ki osu|enik na logorskom trgu napravio veliku petokraku zvezdu oivi~enu krugom. Daju}i joj pored likovnog i metafori~ no zna~ewe, ovu „zarobqe- nu“ zvezdu koristi}e i sam Ma{i} u vi{e varijanti i u~initi je simbolom svog dizajna. Krajem {ezdesetih odnos prema dizajnu se definitivno promenio. Do{lo je do samoosve{}ewa dizajnera. Dru{tvo je postalo vi{e ekonomski orijentisano, privreda 102 je nastojala da bude konkurentna na svet- 19 skom trì{tu. Zemqa je postala otvoreni- po~iwe mnogo raznovrsniji repertoar te- ja, a kontakti sa drugim sredinama mnogo ma koje }e se vremenom pro{iriti: III va- intenzivniji. Nekoliko izlo`bi odigra}e zduhoplovni slet u Rumi, [ahovska olim- kqu~ nu ulogu u vaspitawu i promeni na~i- pijada u Dubrovniku, razne grane privrede na mi{qewa mladih grafi~ kih dizajnera. FNRJ, I izdawe posve}eno zaslu`nim qu- Ako je poqski plakat sa svojim specifi~ - dima kulturno istorijske pro{losti, nostima imao zna~ajnog uticaja krajem pe- 1952. obeleèna je Olimpijada u Helsinki- desetih i po~etkom {ezdesetih, krajem ove ju, 1953. desetogodi{wica smrti Nikole decenije to su izlo`ba ameri~ kih plakata Tesle (nacrt P. Dabovi}a), u ~ast Ujediwe- 1968. godine na kojoj su se mogli videti ra- nih nacija izdata je serija marki sa scena- dovi Roja Lihten{tajna, Xima Dajna, Rober- ma iz fresko-slikarstva srpskih manasti- ta Rau{enberga, Xaspera Xonsa, Endija ra. Od 1953. godine, po nacrtima Matije Vorhola, Roberta Indijane, Man Reja, zatim Zlamalika, po~iwu naizmeni~noda izlaze izlo`ba ameri~ kog psihodeli~ nog plakata serije faune i flore Jugoslavije. Para- januara 1970. godine, kao i izlo`ba Ivana lelno se na markama mogu pratiti i zna~aj- Piceqa oktobra iste godine. Slede}e, 1971. ni sportski doga|aji: XVI olimpijada u godine u Muzeju primewene umetnosti pri- Melburnu po nacrtu Ide i Milo{a ]iri- re|ena je izlo`ba Pu{ Pin studija ~ime je }a, II svetska gimnaestrada u Zagrebu po otvorena potpuno nova stranica u poimawu nacrtu J. Bisa, zatim jugoslovenski fol- grafi~ kog dizajna. klor, turisti~kamesta Jugoslavije (nacrt \or|a Gorbunova), a 1958. godine Me|una- PO[TANSKE MARKE rodna geofizi~ ka godina obeleèna je dve- ma markama po nacrtu Bogdana Kr{i}a i Ono {to je objavqivano na velikim for- desetogodi{wica Deklaracije prava ~ove- matima plakata postaje motiv i na najsit- ka po nacrtu Radomira Stevi}a Rasa. nijim tvorevinama primewene grafike – êtrdeset godina osnivawa KPJ obele- po{tanskim markama. Demokratska Fede- èno je markom po nacrtu \or|a Andrejevi- rativna Jugoslavija je svoju prvu po{tansku }a Kuna u potpuno revolucionarnom mani- marku {tampala 21. II 1945. godine sa likom ru (ustalasane crvene zastave). B. Spremo i mar{ala Tita po nacrtu \or|a Andrejevi- A. Milenkovi} rade marke za II slet Dru- }a Kuna. Do 1950. godine motivi }e se naj~e- {tva za telesno vaspitawe Partizan i {}e odnositi na partizansku borbu, pro- XVII Olimpijske igre u Rimu 1959, odnosno slave godi{wica AVNOJ-a, oslobo|ewe Be- 1960. godine. Iste godine po nacrtu Mateje ograda, Ustavovotvornu skup{tinu, Kon- Rodi~ija obeleèna je I jugoslovenska izlo- gres KPJ, ali i borbu protiv tuberkuloze, `ba nuklearne energije. izgradwu pruge [amac–Sarajevo, Balkani- Zna~ajni politi~ki doga|aji, Titov izbor jadu u Qubqani, sajam u Zagrebu, stogodi- za predsednika 1953, dvadesetogodi{wica {wicu objavqivawa Gorskog vijenca, stogo- narodnog ustanka i I konferencija nesvr- di{wicu reforme srpskog pravopisa Vuka stanih 1961. godine obeleène su nacrtima Stefanovi}a Karaxi}a. Boìdara Jakca i \or|a Gorbunova, a XII Prva marka 1950. godine posve}ena je Me|unarodni kongres vizantologa u Ohridu autoputu Bratstvo–jedinstvo po nacrtu sa likom sv. Klimenta Ohridskog po re{ewu P. Gavrani}a, S. Gruji}a i A. Jovanovi}a, Bojane Spremo i Andre Milenkovi}a. druga 1. maju i nosi Titov lik, ali otada Godine 1962. izlazi jedna od najlep{ih

104a 20 113a serija marki izdatih u Jugoslaviji, Umet- paju se iskqu~ivo latinicom (sa izuzetkom nost Jugoslavije kroz vekove, koju rade bloka posve}enog Oktobarskoj revoluciji Dragoqub Kaì} i Stjepan Fileki. Otada 1967. godine na kome su natpisi na srpsko- svake godine pojavquju se jedna ili dve se- hrvatskom u oba pisma, i }irilicom i la- rije sa ovom temom koju od 1967. godine li- tinicom, slovena~ komi makedonskom). Ko- kovno obra|uje Andra Milenkovi}. Po pla- munisti su latinicu smatrali internaci- katima Boleta Miloradovi}a, A. Vahnickog onalnim pismom, a }irilicu anahronim i B. Cihalovskog, Milenkovi} obra|uje i izrazom lokalne kulture, te iako su oba pi- serije posve}ene pedesetogodi{wici Save- sma zvani~ no bila ravnopravna i u {kola- za komunista Jugoslavije 1969. godine i IX ma paralelno kori{}ena, latinica je u Kongresu SKJ. zvani~ nom ìvotu imala sve ve}u upotrebu. Bitne karakteristike plakata, od teme Latini~ no pismo je postalo zvani~ no pi- do likovne obrade, zadràvaju se i na po- smo Jugoslovenske narodne armije i smatra- {tanskim markama. Ako je u plakatu jasan no je integrativnim faktorom jugosloven- i sveden jezik potreban radi brze komuni- skog jedinstva. kacije sa posmatra~ima, u po{tanskim Po{tanske marke su reprezentovale ze- markama on je neophodan zbog malog forma- mqu, a ne treba zaboraviti da je ovo vreme ta. Bilo je potrebno mnogo ve{tine i pre- bilo vreme komunikacije prvenstveno pu- ciznosti da bi minuciozna slika bila tem {tampanih medija. Prvih godina posle- atraktivna i ~itqiva. Ona tako|e sadrì ratne Jugoslavije ~ak je i telefon bio ret- i odre|eni tekst (naziv zemqe, vrednost kost u svakida{wem ìvotu. Ako se kori- apoena i potpis autora kao obavezne) {to stio u ustanovama, u doma}instvu je bio pra- optere}uje format i zahteva istan~an smi- va retkost. Pisma i dopisnice bili su glav- sao za kompoziciju. na sredstva komunikacije. Mnogi autori koji su se bavili plakatom radili su i po{tanske marke, a wihov OMOTI ZA PLOÊ umetni~ki rukopis je ~itqiv i prepoznatqiv i na ovoj vrsti male grafike. U kom- [ezdesete su tako|e i godine rokenrola, ponovawu po{tanskih marki u~estvovali ùreva i prvih diskoteka. One su uvod u su umetnici iz cele Jugoslavije. Precizan subkulturu sedamdesetih koja }e preplavi- crte` Boìdara Jakca bio je pogodan kada ti svet. Kao {to je xez bio nerado prihva- su bili u pitawu portreti znamenitih li~- }en pedesetih kao izraz „dekadentne“ „bur- nosti te je dosta ~esto kori{}en. Ipak sla- òaske“ sredine, tako je i rok sa svojom po- vu jugoslovenskih marki pronele su serije buweni~kom filozofijom bio neprihva- posve}ene umetnosti na tlu Jugoslavije, a tqiv onima koji su brinuli o pravilnom marka Triglav iz Bohiwa iz 1968. godine usmeravawu mladih qudi. Ali Radio Luk- ~ak je te godine progal{ena najlep{om semburg se slu{ao od 1960. godine i bio je markom na svetu. prozor u jedan drugi svet. Kroz taj prozor Do 1966. godine na po{tanskim markama u{la je muzika i zaraza rokenrolom koja se tekst je {tampan i }irilicom i latinicom. nije mogla suzbiti iz kancelarija dru{tve- Od te godine svi natpisi na markama {tam- no politi~ kih radnika. 21 koliko atraktivnih omota me|u kojima se isti~e Zagreba~ ki xez kvartet (1957), Mu- stafa \or|a Marjanovi}a (1958), Plavo u plavom Domenika Moduwa (1959), \or|e Marjanovi} i Plavi orkestar (1959). Dra- goslav Stojanovi} Sip je u svom maniru ura- dio omot–~estitku za plo~e za Novu 1966. go- dinu. List Radio TV revija ~ak je uz svaki broj poklawao po jednu singl plo~u. Paja Stankovi} re{ewima za Pesmu leta ‘67 i Pesmu leta ‘68 uvodi karikature peva~a na omote plo~a. Iako se ovi omoti ne mogu porediti sa ogromnom i ozbiqnom svetskom produkcijom omota za plo~e koji ulaze u antologije dizajna, oni su pokazateq jednog vremena, „godi- 141 na na 6“, kako ih je nazvao frontmen Crnih Doma}a muzi~ka scena popularne muzi- bisera Vladimir Jankovi} Xet, i ùrbe da ke imala je svoje idole, peva~e {lagera se stigne tamo gde je izgledalo da su drugi Lolu Novakovi}, Du{ka Jak{i}a, Senku ve} bili, u svet pun boja i muzike, slobode i Veletanli} i druge, a harizmati~ nali~ - blagostawa. nost \or|a Marjanovi}a osvojila je doma- }u mlade` svojom energijom, vedrinom, ILUSTRACIJA I OPREMA KWIGE muzikom. Wegovi nastupi su donekle podse}ali na idole Radio Luksemburga. Prva Period izme|u 1950. i 1970. godine je plo~a u Beogradu izdata je 1958. godine. vreme zamaha primewenih umetnosti budu- Proizvodwa gramofonskih plo~a Radio }i da su one bile povezane sa usponom svih televizije Beograd i Diskos iz Aleksan- privrednih grana. Izdava{tvo je imalo drovca tokom {ezdesetih izdaju plo~e sa posebnu ulogu. Smatrano je da svake novi- omotima koje retko rade profesionalni ne, ~asopis ili kwiga moraju imati i vas- dizajneri. Oni naj~e{}e koriste fotogra- pitnu ulogu u stvarawu novog ~oveka, a tek- fiju ili neki pejza` i vi{e su izvor po- stovi koji }e biti objavqeni vrlo su pa- dataka o modi vremena, dokument o odelu, `qivo birani. Paralelno sa tekstom frizuri ili {minki peva~a nego {to i{ao je i vizuelni deo, ilustracija. Pone- predstavqaju ozbiqan dizajn. Kao da se kad samo kao viweta, a mnogo ~e{}e kao pa- smatralo da je sam portret izvo|a~a dovo- ralelni likovni sadràj, ilustracija je qan da privu~e kupca. I dizajn omota plo- bila sastavni deo kwiga za odrasle, ali ~a toga vremena zapadnih proizvo|a~a naro~ito za decu. naj~e{}e koristi fotografiju, ali sa za- Lo{e tehni~ ke mogu} nosti, nedostatak nimqivim rakursima u osmi{qenom ras- dobrog papira, pa i ma{ina, oteàvali su poredu sa tipografijom i bojom. Strani rad autora koji nikad nisu mogli biti si- kulturni centri u Beogradu pozajmqiva- gurni da li }e predata skica izgledati do- li su ne samo kwige ve} i plo~e posetio- voqno dobro kada jednom bude od{tampana. cima i one su verovatno posluìle kao Bila je prava ve{tina tako napraviti cr- uzor plo~ama doma}e produkcije. te` da on odgovori ograni~enim mogu}no- Qubomir Pavi}evi} Fis jedan je od ret- stima tehnike kako bi zavr{ena kwiga ili kih autora koji ozbiqno pristupa ovom po- ~asopis zadràli kvalitet originala. slu. Poigravaju}i se geometrijskim oblici- U po~etku jednostavnih korica i sa ilu- ma, fotografijom i tipografijom sa o~i- stracijama {tampanim najvi{e u dve boje, glednom sve{}u o ulozi boje, napravio je ne- kwige postaju likovno bogatije sa pove}a- 22 vawem tehni~kih mogu}nosti. Naro~itu pa`wu izazivaju ilustracije za decu koje bogatstvom umetni~kog izraza, pedago- {kom odgovorno{}u i grafi~ kom ve{tinom od samog po~etka pokazuju raznovr- snost i zrelost. Programski karakter je vidqiv u ~estim pesmama i pri~ama o Titu i wegovom detiw- stvu u skladu sa kultom li~ nosti koji je odràvan na svim nivoima, u mnogobrojnim pri~ama o patwama i herojstvu partizana, ali u isto vreme nisu zaboravqeni de~ ji pi- sci i pesnici ~ija dela sa ideologijom nisu imala nikakve veze. Na izradi ilustracija bili su angaò- vani mnogi umetnici. Me|u najplodnijim autorima od starijih tu su Qubica Cuca So- 154a ki}, Anton Huter, Nikola Graovac i Du{ko Risti}, a me|u mla|ima Bo{ko Karanovi}, crte` asocira na naivne umetnike po koji- Mi}a Popovi}, Marko Krsmanovi} i Bogdan ma je Banat postao poznat, a u isto vreme Kr{i}. Treba im prikqu~iti i Viktoriju koristi Magritov nadrealizam. Nadreali- Bregovqanin, Milana Mladenovi}a, Rado- zmom }e se inspirisati i za [tihove Og- mira Stevi}a Rasa, \or|a Gorbunova, Iva- dena Ne{a. na Petkovi}a, kao i mnoge druge primewene Bogdan Kr{i} ima posebnu ulogu u opre- umetnike koji su se ~esto bavili i ilustra- mi kwige i ilustracije. Dugogodi{wi pro- cijom. Nastaju radovi koji zadràvaju poe- fesor Akademije (Fakulteta) primewenih ti~ke karakteristike wihovog rada u sli- umetnosti upravo na predmetu Oprema kwi- karstvu, grafici ili raznim domenima ge i ilustracija, izvr{io je veliki uticaj primewene umetnosti. na brojne generacije grafi~ara, ali }e sva- Qubica Cuca Soki} je radila mnogo, u kako ostati upam}en po ilustracijama za maniru svog slikarstva, izbegavaju}i ve- Pohvalu ludosti Erazma Roterdamskog, like kontraste, dramati~ nescene i dina- seriji fantazmagori~ nih grafika u koji- mi~ ne kompozicije. Wene ilustracije odi- ma u slavu zdravog razuma spaja renesansne {u ne`no{}u i delikatno{}u. „Wen ruko- i nadrealisti~ ke teme. Wegove ilustraci- pis je prepozantqiv i ~itqiv u duhu do- je za decu imaju razli~it likovni pristup brih evropskih tradicija, a figuracija u u zavisnosti od teme. Od svedenog linear- kojoj se kre}e razvija se od tananih kroki- nog izraza u pri~ama za malu decu Perl ja do osetqivih slikarskih gradacija...“17 Bak, do ilustracija u boji za Rip Van Vin- Du{an Risti} se vi{e prilago|avao tekstu kla i Legendi o sawivoj dolini Va{ingto- i tokom pedesetih bio je glavni ilustrator na Irvinga, na kojima su vreme i kostimi ~asopisa Jugoslavija, ali i mnogih drugih detaqno prou~eni, do humoristi~ kog âr- izdawa. Erudicija po kojoj je bio poznat daka ni na nebu ni na zemqi (1951) gde je ve} o~igledna je i u preciznim detaqima veza- kori{}ena igra slike i re~i ne{to {to }e nim za tekst na wegovim ilustracijama. obeleìti rad ovog autora u kasnijem peri- Popularna kwiga Selo Sakule a u Banatu odu. Kr{i} je kombinovao fotografiju i jednog drugog slikara, Zorana Petrovi}a, crte` za Ficxeraldovog Velikog Getsbi- sadrì ilustracije Du{ka Risti}a inspi- ja i fotografije za antologiju revolucio- risane vojvo|anskim motivima. Linearan narne poezije Qudi.

17 – Љ. Ћин кул, Илустрације Љубице Сокић, Тре ћи про грам ра дио Бе о гра да, Хроника, 17. април 1989; исто, 22. Мајска изло жба УЛУ- ПУДС-а, 1990. 23 Ne{to je druk~iji slu~aj sa autorima vija se poseban odnos prema ilustraciji za koji su se gotovo iskqu~ivo posvetili ilu- decu18 koji se zasniva na udaqavawu od re- straciji kao {to su Aleksandar Hecl, Sava alisti~kih predstava i na inspiriciji Nikoli}, Moma Markovi}, \or|e Milano- de~ijim crteìma. Postajala je potreba da vi}, @ivojin Kova~evi}, Vladimir Trboje- se stvori autenti~an izraz udaqen od sve vi}, Ida ]iri} ili Bosiqka Ki}evac. Ovi prisutnijeg uticaja Volta Diznija i wego- autori pokazuju {irok dijapazon pristupa vih ~ovekolikih ìvotiwa.19 Kqu~na li~- ilustraciji koji pre svega proisti~e iz wi- nost je \or|e Milanovi} koji }e svojim ve- hove namene. Za omladinsku literaturu ka- selim crteìma dati pe~at mnogim edici- rakteristi~an je realisti~ ki pristup u ko- jama i naro~ito ~asopisu Poletarac za me dominiraju Aleksandar Hecl sa sna- koji }e uraditi bezbrojne priloge i na- `nim grafizmom u rasponu uzora od Tonija slovne strane. U svoje radove unosio je la- @oanoa do Hala Fostera i Sava Nikoli}, ki duh francuske karikature koji mu je verovatno najmarkantnija li~ nost u ovoj bio blizak po obrazovawu. @ivojin Kova- oblasti, sa nagla{enim ose}awem za eks- ~evi} u ne{to stroìjem stilu, sa ~vrsto presivno koje se proteè od se}awa na postavqenim likovnim odnosima odredi- Franciska Goju do iskustva Hansa Hartun- }e mnoga de~jasaznawa o svetu, ratu, bli- ga. Moma Markovi} uspostavi}e standard u òj i daqoj istoriji. Vladimir Trbojevi} novinskoj ilustraciji oboga}uju}i svojim crteòm nagla{enih kontura ostvarivao ekspresivnim grafi~ kim prilozima dnev- je dramati~ ne sukobe crnog i belog, dok se ni list Politiku. Ida Vu~kovi} ]iri} najvi{epribliì- Na drugoj strani, tokom pedesetih raz- la poetici de~ijih radova. Bosiqka Ki}e-

156a 163b

18 – Vesna Lakićević Pavićević, Ilustrovana štampa za decu kod Srba, Beograd, 1994. 19 – Пре ма усме ном све до че њу Бог да на Кр ши ћа. 24 vac se odvaja izvesnim lirizmom predsta- dijum’ ...su{tinaje u kwizi kao celini, kao va zasnovanom na odnosu o{trih ivica i totalnom organizmu, u jedinstvu pisane i mekih povr{ina. Poseban doprinos ilu- likovne komponente izrazito autorskog straciji za decu dao je Marko Krsmanovi} karaktera.“21 sa jednom grotesknom notom koja }e imati uticaja na mnoga kasnija ilustratorska [TAMPA pokolewa. (NOVINE I ÂSOPISI) Krajem {ezdesetih Slobodan Ma{i} unosi novi duh u grafi~ki dizajn svojim „Javno mwewe u Jugoslaviji ne oblikuje nezavisnim publikacijama koje su se iz- se u redakcijama prema uputstvima i nare- gledom i sadràjem razlikovale od dota- |ewima vlasnika novina, nego u narodu – u da{wih izdawa. Prvo nezavisno autorsko seoskim komitetima, na konferencijama izdawe u ovoj sredini imalo je kvadratni radnika i zaposlenih u malim i velikim oblik (20 h 20 sm), crnu osnovu naslovne preduze}ima, na sastancima partijskih or- strane, karakteristi~an latini~nitipo- ganizacija, Narodnog fronta i drugih na- grafski oblik, a kori{}eno je umnoàva- rodnih organizacija.“22 we slike ili slova kao likovnih elemena- U skladu sa ovim shvatawem tokom pede- ta. Papir na kome je {tampano bio je jef- setih i {ezdesetih godina u Srbiji po~iwe tini karton ili pakpapir. Svaka kwiga u da izlazi veliki broj novina i ~asopisa ko- ediciji nosila je svoj broj. Kwiga broj 1 je pokrivaju sve oblasti ìvota. Posve}eni (februar 1968) je Sadràj Bore ]osi}a, razli~itim oblastima bili su nameweni i broj 2 (tako|e februar 1968) Kr{evina ~itaocima razli~itih uzrasta. Wihov broj Drago{a Kalaji}a. Obe kwige ilustrovane se godinama uve}avao, a wihov izgled mewao su novinskim ise~cima i fotografijama u skladu sa op{tim kretawima i promena- iz ~asopisa. Traèn je smisao u sirovosti ma. Karakteristi~an je prelazak sa velikog materijala s idejom da sve moè postati novinskog format na mawi, ali boqe opre- dizajn. Upravo u Kr{evini Drago{ Kala- mqeni magazinski format uglavnom u ka- ji} iznosi mi{qewe o Ma{i}evoj ulozi: snim {ezdesetim godinama. „Slobodan Ma{i} Dane? Mislim da je to U Beogradu je pored jutarwih dnevnih jedini momak danas i ovde, koji razmi{qa listova Politike i Borbe, osnovanih pre o dizajnu kao jednom obliku mi{qewa, ob- Drugog svetskog rata, izlazio ve}i broj no- liku, koji kao medijum i mogu}nostne zao- voosnovanih ili ponovo pokrenutih li- staje iza filozofije, matematike, svakog stova i ~asopisa koji su imali svoj logo i stvarawa. Ja sam lud za dizajnom Ma{i}a grafi~ki izgled iz prethodnog vremena. jer je rusti~an i surov kao i Pitagorina Kao popodnevne novine po~iwu da izlaze teorema, jer bez parabola i vrdalama ide Ve~erwe novosti (1954) i Politika eks- direktno u centar problema i istine: we- pres (1963) ~ija crvena i plava zaglavqa, govi simboli imaju onu vrednost sugestije nagla{ena tipografija na senzacional- i koncentracije zna~ewa kao i simboli nim naslovima imaju za ciq da privuku stvarani milenijumima: krst, zvezda, sva- ~itaoce. stika, polumesec...“20. Nedeqni partijski list, Komunist, or- Sadràj Bore ]osi}a je skica za kwigu gan Centralnog komiteta Saveza komunista koja }e se pojaviti 1970. godine pod nazi- Jugoslavije po~eo je da izlazi 1949. godine vom Mixed Media u opremi Branka Vu~i}e- pod nazivom Partijska izgradwa, a prome- vi}a. „U duhu svoga naziva, spregom tekstu- nio je ime 1953. godine sa promenom naziva alnog i slikovnog materijala, ~ini – kao Komunisti~ ke partije u Savez komunista. {to i èli – kwigu kao pravi ’me{ani me- Me|u nedeqnicima najpoznatije su Ne-

20 – D. Ka la jić, Krševina, ne za vi sno autor sko iz da nje 2, Be o grad fe bru ar 1968, 22a 21 – J. Denegri, Oblikovanje knjige u Jugoslaviji, XXIII likovni susret, Subotica,1985, str. 56 22 – M.Pe tro vitch, La presse yougoslave, Jugoslavija, Ju go slo ven ska knji ga, Be o grad, autom ne 1949, str. 118 25 198 199 200 deqne informativne novine – NIN (1951) tijskih zadatka) do vrlo slobodne, poqsko- koje tokom ovog perioda izlaze u obliku no- psihodeli~ ne koncepcije prve strane pod vina da bi tek posle 1970. godine format bio rukovodstvom grafi~ kog urednika Flori- smawen i izgledom po~eo da podse}a na svet- jana Hajdua. ske nedeqnike (Tajm, Wusvik). Mewawem ob- I sportski ìvot ima svoje dnevne li- lika i crvene boje zaglavqa, kao i uvo|ewem stove: Sport, koji je izdavala Borba, Eho, a ve}ih fotografija na prvu stranu, ~inili pojavquje se i nedeqni ilustrovani sport- su se poku{aji da se oìve relativno su- ski list Tempo (1966). morne novinske strane. Naro~itu pa`wu privla~e brojni ~aso- Pored NIN-a koji se smatrao najozbiqni- pisi za decu: Politikin zabavnik (osno- jim nedeqnim listom, po ugledu na Lajf ili van 1939. godine, a obnovqen 1952), Pioni- Pari ma~ pojavquju se ilustrovani nedeqni- ri (nedeqne de~je informativne novine, ci sa popularnim sadràjima poput Duge 1944), Pioniri (de~je zabavne novine, (1945), Sveta, Ilustrovane Politike (1958) 1951), Zmaj (de~ je kwièvne novine, 1954), i Beogradske nedeqe (1961). Kao i najpoznati- Poletarac (mese~ni ~asopis za {kolsku ji ènski ~asopisi Prakti~ na èna (1956) decu) i Kekec (Borbin zabavnik za mlade od i Bazar (1964), oni se zasnivaju na {to ve}em 7 do 77 godina, 1957–1958) koji kasnije sa broju fotografija koje treba da obaveste ~i- fuzijom Pionira postaje Pionir Kekec taoce o nekom doga|aju, o modnim trendovima. (Jugoslovenski pionirski list, 1964). Narasli interes za film i ìvot filmskih Glavni humoristi~ ki ~asopis je Je` (1945) zvezda pokriva Filmski svet (1955). koji nastavqa tradiciju predratnog O{i- Omladini su posve}eni Polet (omladin- {anog jeà (1935). ski ~asopis za kwièvnost i kulturu, 1950), Kulturni ìvot pokrivaju ~asopisi zatim obnovqeni predratni list Student Kwièvnost (1946), Jugoslavija (1949), Sa- koji se u po~etku zove Narodni Student vremenik (1950), Delo (1955), Kwiga i svet (1950), Vidici, a {ezdesetih godina po~iwe (1957). Specijalizovani ~asopisi koji se da izlazi Susret. Student }e tokom dve bave posebnim umetni~ kim granama su: Lik decenije doìveti zna~ajnu transformaci- (1950), Pozori{ni ìvot (1955), Umet- ju i od „organa Narodne Omladine na Uni- nost (1965). Od posebnog zna~aja je Ilustro- verzitetu i velikim {kolama“ postati vani ~asopis za (primewenu) umetnost i in- otvorena tribina politi~ kog dijaloga. To je dustrijsku estetiku Mozaik pokrenut 1953. propra}eno i o~iglednim grafi~ kim izme- godine koji su ure|ivali Miodrag S. Marin- nama od prvobitnog izgleda {tampanog bil- kovi}, Du{an Maleti} i Qubi{a K. Plav- tena, preko potencirawa uloge zaglavqa i {i}, a u ~ijem su redakcionom odboru bili va`nih naslova (naj~e{}e na liniji par- Slobodan Gari}, Predrag Pe|a Milosavqe- 26 201 224 227 vi}, arh. Milan Mini}, Vasa Pomori{ac i Du{an Maleti} }e tokom pedesetih u ~a- Ivan Tabakovi}.23 sopisu Mozaik nastaviti rasko{ni Janko- Na po~etku ovog perioda, 1950. godine umi- vi}ev prelom iz Jugoslavije koji je podrazu- re Du{an Jankovi}, slikar i arhitekta, li~ - mevao dinami~ nu smenu slika i teksta, sa nost koja je svakako bila najpozvanija da na dosta velikih fotografija i obaveznim re- poqu grafi~ ke opreme i tipografije u Beo- klamnim stranama na po~etku i kraju broja. gradu i Srbiji otvori nove puteve razvoja. Ovaj raspored odaje namere izdava~a da upo- Wegovo ure|ivawe reprezentativnog ~asopi- redo sa bogatim kulturnim sadràjem afir- sa Jugoslavija me|utim bi}e model koji }e mi{e i privredne uspehe i zna~ajne rezul- slediti umetni~ki i tehni~ki urednici u tate koje je zemqa postigla na specifi~ nom slede}oj deceniji. Jugoslavija je izlazila na „samoupravnom“ putu u socijalizam. nekoliko jezika, u najfinijoj {tampi koja se âsopis Pozori{ni ìvot kao „organ mogla na}i u zemqi i predstavqala je osnov- Saveza dramskih umetnika Jugoslavije“ no sredstvo kulturne propagande nove drà- prati sve va`ne doga|aje na doma}im i me- ve prema inostranstvu.24 O vremenu i te{ko- |unarodnim pozori{nim scenama. Tehni~ - }ama koje je ono nosilo, a kroz koja je Janko- ki urednik je Tihomir Maksimovi}, a na- vi} prolazio u svom radu kao umetni~ kidi- slovne strane rade Sip, Ernst Franc, Rad- rektor, svedo~i pismo upu}eno direktoru mila Velicki, Rudolf Sabli}. Ve}eg for- Otou Bihaqi Merinu: „Ta ’na{a’ stvar – ko- mata, sa vrlo dobrim fotografijama {tam- ja nije upravo samo na{a – o~igledno ne ide panim u heliogravuri i naslovnim strana- ni najmawe kako bi trebalo da ide: jer zaka- ma koje pokazuju savremeno shvatawe likov- {wava o~ajno, jer se kao posao ‘organizuje‘ nosti u geometrijskoj stilizaciji. nemogu}e, jer se stawe {tampe i materijala U slede}oj deceniji koncepcija umetni~- pogor{ava stalno....Sav napor i svo vreme kih ~asopisa se mewa, format se smawuje, a tako besmisleno utro{eni, vi{e se ne mogu karakteristi~an primer je ~asopis Umet- ni materijalno ni inteligentnije iskoristi- nost (1965) ~iji je grafi~kiizgled zami- ti: na boqu, savr{eniju, estetskiju, mo`da slio Slobodan Ma{i}. Skoro kvadratni ~ak originalniju, noviju, sveìju opremu ~a- format i upotreba lo{ijih vrsta papira sopisa. U svakom slu~aju na bar savr{eniju (novinskog, papira za pakovawe) deo je kon- tehni~ku realizaciju. Jer, umesto toga, i jed- cepcije novog dizajna koji u reciklaì ma- na i druga tapkaju ve} u jednoj improvizira- terijala korespondira sa aktuelnim umet- noj, a ipak {abloniziranoj ustaqenosti“25. ni~ kim pravcima (enformel, pop art).

23 – У за гла вљу ча со пи са по сто је раз ли чи те ква ли фи ка ци је: илу стро ва ни ча со пис (бр.1), ча со пис за при ме ње ну умет ност и ин ду стри - ску есте ти ку (бр.2), ча со пис за умет ност и ин ду стри ску есте ти ку (бр.5) 24 – Културна политика Југославије: 1945-1952, Збор ник до ку ме на та, књ.2 (при ре ди ли Бран ка Док нић, Ми лић Ф. Пе тро вић, Иван Хоф - ман), Бе о град 2009, стр. 434 25 – На пи смо из За о став шти не Ду ша на Јан ко ви ћа (по клон го спо ђе Во ји сла ве Ро зић Му зе ју при ме ње не умет но сти у Бе о гра ду), скре- ну ла ми је па жњу ку стос Му зе ја, Бо ја на По по вић. 27 PISMO on }e pripremiti ~itav niz grafi~ara koji }e (POVEQE I DIPLOME) ostvariti zna~ajne rezultate na ovom poqu. Poveqe i diplome, sredwovekovna po~a- Pismom i kaligrafijom, kao ve{tinom – sna pisma koja su se u izmewenom obliku za- ume}em pisawa i konstruisawa slova, u ovim dràla do na{ih dana, bila su vrlo raspro- decenijima bave se tek pojedini slikari i strawena u sve~anoj komunikaciji u socija- grafi~ari u sklopu formirawa likovne ce- listi~ koj Jugoslaviji. U posebnim prilika- line na plakatu ili naslovnoj strani kwi- ma dodeqivale su se zaslu`nim pojedinci- ge. Me|utim na Akademiji primewenih umet- ma i institucijama. Kako je proslava bilo nosti Pismo je obavezan predmet koji su pe- mnogo, na raznim nivoima, ovakva priznawa desetih predavali kratko Frawo Rado~aj i bila su u {irokoj upotrebi. Wih su izra|i- potom Petar Mladenovi}, a od {ezdesetih vali i amateri, ali i zna~ajni umetnici. Stjepan Fileki. Tu se formirala svest o Sam Josip Broz Tito kao predsednik Repu- zna~aju i ulozi pisma u svakodnevnoj i sve- blike i vrhovni komandant jugoslovenske ~anoj komunikaciji, te pojedini autori stva- raju sopstvena pisma: Milo{ ]iri} „}iri- vojske dodelio je vi{e diploma i poveqa, }icu“, a Radomir Stevi} Ras pismo „Ras“, in- ali ih je mnogo i primio. Svaki radni ko- spirisano sredwovekovnim rukopisima. lektiv i dru{tveno-politi~ ka organizaci- Glavni pokreta~ rada na ovom poqu i to ve- ja smatrali su da treba da se zahvale svom likim delom na stvarawu razli~itih }iril- predsedniku povodom raznih proslava. Ovi skih pisama bio je Stjepan Fileki koji je na- sve~ani dokumenti bili su naj~e{}e kali- pravio brojne tipove slova zasnovane na sta- grafski ispisani, ~esto i posebno ukra{e- rim ili novijim srpskim pismima. Tokom {e- ni inicijalima i viwetama. Stjepan File- zdesetih, a naro~ito sedamdesetih i kasnije, ki je sam ili u saradwi sa drugim grafi~a- rima (Bo{ko Karanovi}, Dragoqub Kaì}, Stojan ]eli}) izradio veliki broj poveqa i diploma za razli~ite dràvne, kulturne i privredne institucije ~ime je mnogo dopri- neo promovisawu i razumevawu zna~aja pisma kao primewene grafi~ke discipline. „Prise}amo se dana kada smo pred zoru izlazili iz ateqea podnadulih, crvenih o~iju, nokata izgorelih od cigareta. Koà nam je mirisala na beli luk; prsti su nam bili ulepqeni lepilom; {tamparska boja skupqala se ispod noktiju; miris pe~atnog voska ispuwavao nam je nozdrve. êsto smo bili posuti quspicama zlatnih listi}a. S nespokojstvom smo o~ekivali sutra{wi dan i razmi{qali kakvo je delo ostalo iza nas posle neprospavane no}i. De{avalo se da sutra ne{to treba popraviti ili doraditi. Radovali smo se uspesima, a ponekad, zakrat- ko, bivali obeshrabreni nerealnim i nedo- re~enim zahtevima naru~ilaca. Istrajava- li smo, istrajavali... Voleli smo i volimo svoj posao jer on donosi privilegije, sre}u i zadovoqstvo, {to ih uìvaju oni koji se bave umetno{}u. Na vijugavom smo putu stva- 245 rala{tva i evo nas danas pred vama.“26

26 – С. Филеки, Диплома, Бошко Карановић, Стејепан Филеки, Галерија Графички колектив, Београд 2005, стр. 4. 28 ZNACI I LOGOTIPI Sa industrijalizacijom zemqe i pri- vrednim usponom javila se potreba za specifi~ nim obele` jima preduze}a i fabri- ka po kojima bi odmah bila prepoznata u sredini u kojoj deluju. Kupci i poslovni partneri trebalo je odmah da uo~e znak odre|ene firme. U ranim novinskim reklamama, ve} oko 1950. godine, pojavquju se karakteristi~ ni logotipi Jugoleka, Parti- zanke, Zorke iz [apca, Jugoslovenske kwige, a koji }e se zadràti i u narednim dece- nijama. Me|utim, pravi procvat po~iwe posle 1955. godine. Reklamirawe je u to vreme ~ak shvatano kao nemoralno jer je reklama bila povezivana sa profitom i 258 omraènim kapitalizmom. Ali zakoni ke komunikacije. U nizu znakova izdvajaju proizvodwe i potro{we nametali su se sa- se za{titni znak poqoprivredne zadruge mi po sebi, a sa wima i potreba za ogla{a- vawem i reklamom. Amerika je va`nost Maki{ iz 1961, znak i logotip Galerije grafi~ kog kao i industrijskog dizajna pre- Grafi~ ki kolektiv 1962, za{titni znak poznala tridesetih godina u vreme ekonom- Muzeja revolucije naroda i narodnosti Ju- ske krize. Reklama i pakovawe prodavali goslavije 1963, ULUPUS-a 1964, znak izlo- su proizvode. Socijalisti~kaJugoslavija `be Zlatno pero 1965, zatim Univerziteta je sredinom pedesetih po~ela sa osmi{qe- umetnosti, simboli~nopredstavqenog kao nim identifikovawem firmi i proizvoda, ~etiri lista na istoj grani, potom izdava~ - a grafi~ ki dizajneri poput Qubomira Pa- kog preduze}a Mlado pokolewe 1966, Jelen – vi}evi}a Fisa, Milo{a ]iri}a i Drago- lovno {umsko poqoprivredno gazdinstvo slava Stojanovi}a Sipa rade logotipe i 1967, kao i znakove Muzeja savremene umet- znake za sve ve}i broj naru~ilaca. nosti i BIGZ-a (Beogradskog izdava~ kog Godine 1954. Fis radi logotip za firmu grafi~kog zavoda) 1970. Znaci Milo{a ]i- Janko Lisjak, 1955. za Tran{ped i Duvan, ri}a imaju sva obele` ja wegovog stila – jak 1956. za Vino @upu, 1958. za Produkciju crno beli odnos, ~vrstu liniju i geometrij- gramofonskih plo~a Diskos i novinsku ski raspored povr{ina. Svoja shvatawa i agenciju Tanjug, a 1964. za Industriju cipe- sistem konstrukcije grafi~ke identifika- la Obu}a koja }e godinama biti u upotrebi. cije objasni}e detaqno u kwigama Grafi~- Sip 1965. radi projekt znaka Kolar~evog ka identifikacija 1961–1981 iz 1982. godi- narodnog univerziteta i Galerije Milan ne i Grafi~ ke komunikacije 1954–1984 ob- Kowovi} u Somboru, a 1969. znak za Okto- javqene 1986. godine. barski salon. Aleksandar Pajvan~i} Aleks koji }e u Najplodotvorniji na ovom poslu bio je profesiju u}i posle zavr{enih studija na Milo{ ]iri}, profesor na Akademiji (Fa- Akademiji primewenih umetnosti kasnih kultetu) primewenih umetnosti koji }e go- {ezdesetih, naslednik je Milo{a ]iri}a tovo ~etrdeset godina delom i re~ ju promo- po shvatawu grafi~ kog dizajna, ali i po visati zna~aj grafi~kih znakova i grafi~- oblastima koje svojom delatno{}u pokriva. On }e na nov na~in, u skladu sa shvatawima o „~istom“ dizajnu, re{avati probleme grafi~kih komunikacija. Jak kontrast crno- belih masa i duhovita re{ewa bi}e odlike wegovog dizajna. Godine 1968. uradi}e znak 249 29 za grupu Analiti~ ki humor kao neku vrstu ograni~ewa, ideolo{ke kontrole i sudske tao znaka stvorenog iz dva profila; 1970. zabrane nisu spre~ile wegov razvoj i zai- napravio je znak za Gra|evinsku kwigu, sta je veoma veliki broj umetnika, grafi~- Srpski guda~ ki kvartet, Oktobarski salon, kih dizajnera koji su radili u razli~itim Zlatno pero Beograda i tek osnovani Stu- granama ove oblasti. U dve osetqive dece- dentski kulturni centar. Ovi znaci su dugo nije pune promena, uzleta i padova, uspona kori{}eni, a znak SKC-a je i danas u upo- i potresa oni su pokazali izuzetan entuzi- trebi. Glavna aktivnost Aleksa Pajvan~i- jazam u radu, profesionalnu disciplinu i }a pripada godinama posle 1970. i jednoj otvorenost za novo. Pojedine oblasti, kao druga~ijoj umetni~ koj atmosferi. plakat i ilustracija, razvijale su se na te- meqima prethodnog iskustva, ali su gra- * * * fi~kekomunikacije (logotip, znak) bile novost i trebalo je vremena da postanu deo Istorija grafi~ kog dizajna u Srbiji od svakodnevnog ìvota. U svakom slu~aju ur- 1950. do 1970. istovremeno je politi~ka, bani pejza` se mewao zahvaquju}i i delo- ekonomska i kulturna istorija zemqe u ko- vawu grafi~ kih dizajnera. [tavi{e svojoj je nastao i razvijao se. Vezan za naru~i- jim brojnim delima u duhu novog shvatawa oce koji su naj~e{}e zvani~ne institucije likovnosti oni su doprineli {irewu druk- sistema neposredno je iskazivao kretawa u ~ijeg umetni~ kog senzibiliteta. dru{tvu i prenosio poruke. Pojedina re{ewa danas deluju siroma- Svaka druga vrsta umetnosti bez obzira {no, anahrono, ~ak nerazumqivo, ali su ona na politi~ ke i umetni~ ke diktate mogla je deo sloènog vremena i nije uvek bilo jasno zadràti svoju autonomiju pod odre|enim {ta se sme a {ta ne sme, vremena koje je ta- uslovima. Grafi~ kidizajn nije imao tu op- ko|e dugo bilo siroma{no, te su i tehni~ ke ciju. Bio je direktno uslovqen trenutkom, mogu} nosti bile ograni~ene, i koje je umno- politi~ kom i ekonomskom situacijom i gome bilo sku~enih shvatawa. Sloboda mi- ideolo{kim diktatom naru~ilaca, a neoba- {qewa i delovawa osvajana je postepeno uz ve{tenost onih kojima je bio namewen do- mnoge prepreke i ogroman trud, pa i li~ nu prinosila je nezavidnoj poziciji autora hrabrost. Povremena razo~arewa, rezigna- aktivnih u ovom periodu. Wegova uloga je u cija, teskoba i revolt nisu uticali na pri- prvom redu bila propagandna. Promovisao rodan razvoj svih grana. je ideje i ogla{avao mnogobrojne akcije U ovom tekstu nije bilo re~i o karikatu- zvani~nihinstitucija. Me|utim, uloga di- ri, stripu, animaciji, crtanom filmu, obla- zajna time nije bila iscrpqena. Zna~jnoje stima koje su na me|unarodnom planu stekle kori{}en u sferi kulture i obrazovawa. najvi{e priznawa. One obimom i zna~ajem Istorija filmske, pozori{ne, muzi~kei zasluùju posebne izlo`be. Pismo, ambala- likovne umetnosti vidqiva je kroz sadràj à i reklame tako|e zasluùju vi{e prosto- plakata i reklama, novina, ~asopisa, pa i ra nego {to su ga u ovom tekstu dobili. kwiga. Zabava, od popularne muzike i spor- Od prirodnog i zadatog optimizma po~et- ta do cirkuskih predstava, ostavila je tra- kom pedesetih do apsurda i cinizma sedam- ga u dizajnu. Iznad svega on je pokazateq desetih proteklo je dvadeset uzbudqivih go- estetskih promena. Socijalisti~kireali- dina. Ovaj uvod u istraìvawe grafi~ kog zam, socijalisti~ kiestetizam, geometrij- dizajna izme|u 1950. i 1970. godine posve}en ska i lirska apstrakcija, ideje Bauhausa, je onima koji su strpqivo i predano posta- nadrealizam, koncepcije poqskog i {vaj- vqali temeqe struke i koji su preìveli carskog plakata, op i pop arta, psihodeli~- strah i odu{evqewe na putu do slobodnog na umetnost, sve se to otkriva u mnogobroj- profesionalnog i autenti~nog umetni~kog nim radovima ovih decenija. Vi{estruka izraza.

30 BETWEEN FEAR AND ZEAL Examples of graphic design in Serbia 1950 – 1970

Gordana Popovi} Vasi}

Socialist Yugoslavia (1945-1992), the Extensive and easily accessible by nature, country that is no more, has aroused intere- as well as understandable and expendable, st of foreign and domestic historians and re- graphic design imbues all levels of life and searchers when it still used to be, due to its creativity so that all the changes in the state, geopolitical and historical role, multiethnic society and the art itself could be structure, a social system and specific road comprehensively perceived through it. to socialism. Its entire history is denoted in Utilitarian in its character and related to the local political forums as a „transitional the political events, social actions, economic t- period”, which was believed to lead to com- rends, corporate undertakings, cultural and s- munism, but it turned out that it led to port events, the education of children and capitalism. youth, as well as for all that determines the In the last fifteen years, local historians, art system of a state and profile of society to whic- historians, researchers and publicists, witho- h it is intended, graphic design is an expres- ut prejudice of previous ideology that has sion and a reflection of that society, making its burdened the researches themselves, and in impact felt directly on the society. particular the conclusions of published work- Because of all the above mentioned, it is s, made efforts to examine the different seg- necessary to look back to the historical time f- ments of life and art of Yugoslavia and its rep- rame, which is the matter of our study, and ublics that are now being separate states. that is the period from 1950 to 1970. That time, The art of this period has been analyzed in however, could not be understood without an several significant studies and interesting insight into the previous decade to which it is exhibitions, but none of them until now, if w- connected with great differences as much as e exclude the exhibitions “Belgrade political with similarities, and above all, with the rea- poster 1944 -1 974”, held in the Museum of Ap- sons for many events that would follow. plied Art, “ Book Design in Yugoslavia”, the 23rd Visual Encounter in Subotica (1985) and HISTORICAL CIRCUMSTANCES “Time on the wall“, held in the Museum of the City of Belgrade, which included political The end of the twentieth century marked the posters and ads from 1941 to 2000, did not completion of the history of Yugoslavia, which consider graphic design in its entirety. Even an was the state whose specific qualities exceeded in-depth historical study, the book of Predrag its size and its impact. These features were in- Markovi} “Belgrade between East and West teresting, but they proved to be destructible 1948-1 965 ” attaches no importance to graph- and made the country unsustainable in a new ic design, although, among other things, it time and the new political environment. To- deals with the relation between the communi- day’s analyses suggest that its end was predic- st party and the culture, as well as with the table almost from the beginning, including a lot fine arts, mass culture and media. of illusions on which were insisted, and that 31 any misjudgment in its management was fatal with far-reaching consequences. Today it seems that it was the land of illusions, numberless mi- sapprehensions that lasted a long time and that all the time, regardless of the organization of governmental life, smoldered hostilities of any kind: ideological, political, ethnic, economic, social and even artistic. They were, of course, related to each other. Every decade of the state, which lasted 85 years, has its own characteristics that were predominantly caused by political conditions. Nothing has happened in social relations, economy or culture that did not previously take place in politics. Every move or political turn reflected in the other segments of life, for at the time of socialist Yugoslavia the decisions of the Plenum and the Congress of It is a graphic design in Serbia between 1950 Communist Party of Yugoslavia KPJ (SKJ – and 1970 primarily in Belgrade, the capital of Yugoslav League of Communists) had the role the country and the natural center of all politi- of directing all the social developments. In the cal and cultural events. Indeed, it was the peri- later stage of development of the socialist sys- od of socialist Yugoslavia on the rise, when it tem was talked about the “guidelines”, which seemed that society was progressing in any way was a euphemism for the directives, the recom- and forgetting the trauma of the previous deca- mendations that should have been adopted as de of war and the period immediately after the unquestioning orders. war. It seemed to all that they would strength- If the political problems of the first Yugo- en economically and that the existing social and slavia, which lasted to the Second World War, personal problems would in some way be sol- had been reflected in the struggle of parties, ved. People had the feeling that they worked for ethnic relations, the territorial reorganization general and also for their own good. They proof the state, economic reforms, social disinte- duced, traded in, traveled and had fun, in other gration, strikes and protests, leading to assas- words, they lived the full life in the peace that sinations, arrests and dictatorship, the second lasted. There were faith and hope in that pe- Yugoslavia started with the dictatorship, ar- riod, which was sentimentally remembered as rests and killings, failing to avoid the territo- a period of prosperity. What was an illusion in rial reorganization, ethnic conflicts, economic all that? Almost all was an illusion. reforms, social disintegration, strikes and pro- War sufferings have been slowly forgotten, tests that ended up in the civil war, which it on the one hand because of the natural human did not survive. need to repress unpleasant experiences, and on This summarized view concerned with the the other because the official interpretation of history of the country, which does not exist the war has gotten ideological characteristics anymore, was necessary as a prelude to a pe- according to which the victory of Communists riod that is the subject of our interest, and tho- in the civil war was equally important as a vic- se were the sixth and seventh decades of the tory over the occupiers. The new government, last century, that is, the fourth and fifth deca- which called itself the Government of the Pe- des of the existence of Yugoslavia. By follo- ople, immediately after the liberation had a wing one of the seemingly insignificant appe- score to settle with non sympathizers and he- arances of a peripheral area in the field of cul- sitators declaring them to be national enemi- ture, with which, however, is in close connec- es, taking them into custody, degrading them, tion, as well as with all other levels of life, punishing them by depriving of job and confi- we’ll see that it covers all the events and chan- scation of property, expelling their children ges as a perfect witness to history. from school and finally executing them by 32 shooting without trial or passing them a death logical beliefs overtly, even prominent fighters sentence on rigged trials. Such events sent a for the new order in a large number. Imprison- clear message to those who had any doubt in ment was not sufficient punishment. A parti- their best intentions. Politically acceptable co- cular geographic destination was devised for mrades and female comrades wrote characte- them, and it was the island Goli Otok as an ristics for less ideologically correct (comrades equivalent of Devil Island. It was the place and female comrades) promoting them to ide- where thousands of Sisyphuses broke and pus- ologically correct or pronouncing them to be hed the stone under the special prison camp politically incorrect. On these estimates de- regime, paying heavily for their beliefs. After pended not only whether someone would be returning, all of them were as silent as a gra- received in the party, but also if he got a job, ve. Others also did not let a word escape. So, housing, or be enrolled in school. everyone became silent. Brutality was worth The party was written with a capital P be- it. The lesson on obedience was instilled. Fear cause it was the only one and established as all- came to be a normal phenomenon. powerful institution. State power was organi- On the other hand, everyone was happy zed, and society functioned very similarly to that there was no more war, and the country Soviet post-revolutionary model, which was was renewed. The health care became better. obvious ideal. The supports of the new autho- Mandatory literacy teaching was introduced, rity were the broad masses of the poor people, and education was free. A lot of people had workers and peasants without land, and on the the roof over their heads. Housings were no lines of that it was declared the “dictatorship of longer bought, but the institutions in which a proletariat”, whereas for all the people who people worked usually assigned them to the- were not directly involved in production was ir employees. The closer one was to the party forged the term “honest intelligence”. They had the earlier he would get his housing. Some of to give proof of their moral commitment to the them have never had any; some received it in party and the revolutionary ideas. Otherwise, someone else’s home. (Living in shared rooms they were labeled “reactionary” and a very un- was established, and that heritage of Revolu- certain future was ahead of them; for instance, tion has been successfully maintained till la- the younger were sent to social-correctional te 1960s.) Some got houses and apartments of work, and the elderly ended up in prison main- someone else’s, and some were ejected from ly. A full forty five years have passed from the their own houses and apartments. No matter first multiparty elections in 1946 to the next. what kind of faith has befallen one, it was ac- It was paid a heavy price for freedom of cording to one’s deserts. speech. Certain statements had to be explai- The population from unproductive regions ned at the “information meeting” where the was moved in the fertile areas of Vojvodina authority was informed what the person in qu- and Slavonija, and because of intensive indu- estion thought, and if one thought the opposi- strialization that did not always have the va- te of the given, they wanted to be informed of lid economic reasons, the peasants became one’s intentions to act in accordance with workers or so called “proletariat”, as well as what one thought. It is unlikely that anyone cities were getting bigger and bigger at the ex- had courage to take action because only a spo- pense of the villages, which decreased or di- ken word was enough for one to be sentenced sappeared over the years. to prison. The party had to be respected and Voluntary mass actions in which all parti- placed superior to the family, and for the next cipated, had the aim not only to provide free few decades, the word revolution became a labor for the large construction undertakings, synonym for a justified struggle by all means, but also to integrate all the structures of po- which led to prosperity without fail. pulation filled with enthusiasm for the resto- In the confusion that was caused by the po- ration of land and construction of new social litical turn in 1948, after the Resolution of Co- system. Artists were entrusted with the task of minform, communists themselves got hurt mo- taking part in those actions so as that they co- re than anyone else for expressing their ideo- uld testify by their works to the enthusiasm of 33 constructors and success of construction. In art became dominant socialist realism, the specified line of action in which the goal of propaganda office was on par with artistic goals:”In its essence, totalitarian ideology of socialist realism is based upon several negations. First on the list is the destruction of symbols of extraneous influences that are descended from ‘bourgeoises’ (civil) sphere - negation of almost entire Western artistic heritage and di- dactic pointing to the acceptable model of So- viet art ...”1, concludes Lidija Merenik. The new government particularly held onto the young generations as the exponents of new age. Youthful enthusiasm and energy were di- rected toward the social and political actions as circumstances required. It was talked a lot about young people and their future, their awareness and orientation, but the time of socialist Yugoslavia was also the time of protrac- ted youth. Those who had already taken certain positions looked upon anyone who was 036 younger than they as too young and insuffici- protected by the law, regardless of his effort. ently experienced. Among the children were Supply with food stamps was soon replaced by established pioneers, so-called Tito’s pioneers. modest personal incomes that met the mini- Those were the pupils of elementary schools mum needs, for being rich became a disgrace who received their uniforms, singing revoluti- anyway. onary songs and songs that were dedicated to State authority or management as they li- comrade Tito. So small and full of trust in ked to call themselves, gave impetus to collec- adults with fists to their heads, they swore tivism, cooperative behavior in efforts and wholeheartedly that they would follow the self-sacrifices but also incited to celebrations path of communists and comrade Tito. There by making the point that the bright future wo- were many celebrations, anniversaries and for- uld occur one day. mal events in which were sung partisan songs At the head of all actions was the Commu- and marches, as well as reciting patriotic poe- nist Party of Yugoslavia (KPJ), and the leader try with the pathos that served as testimony to of the Communist Party of Yugoslavia was Ti- their convictions. That official exaltation was to. His personality cult was established after supported by sincere enthusiasm of people who the model of Stalin in the Soviet Union, as wanted to contribute to their poor and demo- well as in all other spheres where the experi- lished country, in order that it would be more ence of post-revolutionary Russia was the ba- developed, richer, more successful and more sis for the organization of the state. In the co- righteous than it had been until then. urse of time, life in Yugoslavia was to be chan- In accordance with the revolutionary ideo- ged as would be changed the way of governing logy was an established work ethic as the hig- the state, industry, economy, education, espe- hest social goal. People worked overtime, cially the arts, but the cult of Josip Broz Tito everyone wanted to be shock worker, and par- would be retained until the end of his life and ticular successes of employees were emphasi- even a few years later. May 25th was not only zed in public. No one cared for material com- the date of Tito’s birthday, but also marked pensation. People felt safe, for once acquired the celebration of Youth Day when a grandi- business could not be lost. Every employee was ose rally was held on which occasion a relay

1 – L. Me re nik, Ideološki modeli: Srpsko slikarstvo 1945 -1965, Be o grad 2001, стр. 27 34 baton was handed to supreme commander as ideas brought to the attention of the public at a symbol of the mutual connection between student meetings fell on professors, contribu- nations and nationalities with the leader, sig- tors of the journal “Praxsis”, which were fo- nifying the idea of unity. It came about that it und guilty for theoretical correction of up-to- has been carried throughout the country a few then Yugoslav socialist reality. The danger years after his death. was that theoretical discussions came out of There is no need to have an illusion that on- the framework of Central Committee, prepa- ly the person in question is responsible for cult red Congresses and the party circle in charge personality. Much more credit goes to the par- of setting social theory and practice, and ty nomenclature around him, which created especially for the fact that they took place in and nurtured the cult using it occasionally as the most sensitive area, the University, a lightning rod, and more often as an umbrel- among the young intelligentsia. la. Be that as it may, Yugoslavia has lived fifty The rebellion had been stopped in a soft years under the patronage of his disyllabic na- way by Tito’s demagogic addressing to stu- me that held internal cohesion of the country dents, and reprisals were taken right after, in- and by which it was identified outside of its cluding the arrests of protest leaders, trials borders. Since 1948, not only had this person and dismisses of politically unacceptable pro- become the symbol of resistance to Stalinist fessors. Although students were peacefully Soviet Union, but also the symbol of more hu- brought under control by manipulations and mane socialism and the first victory of the professors punished, the year of 1968 is mar- West over the East. ked by the subversion of authorities that until Riding the wave of fear and enthusiasm, the then had been unquestionable. people of Yugoslavia came in the fifties still Over the period of twenty years between unaware of advantages and challenges that the two events Yugoslavia witnessed the rise would happen in the following years. and a large number of upheavals, as well as On the one hand, decades between 1950 and changes in foreign and domestic policies that 1970 in the field of art were bounded with a de- simultaneously changed the structure and ap- parture from socialist realism, and on the other pearance of the country. with full involvement in mainstream contempo- Following the example of the Soviet Union rary Western European art. Both phenomena in 1947, Yugoslavia rejected the Marshall had a political background. The first one was Plan that enabled many countries to resolve closely related to the break with the hard-lining the Post-War crisis and speed up economic Soviet Socialism in 1948, and the second to stu- progress, so that it had to rely on its own dent protests in 1968, which changed the view strength and help from the East. The Mar- of the world. Whereas the first case took place shall Plan was refused for the sake of ideolo- within the party, the other was caused by the gical reasons, but the flexibility of ideologi- elite part of youth, students. cal beliefs was already demonstrated in 1949 Led by their professors and dissatisfied after breaking up with the Soviet Union.2 In with the hypocrisy of the society that was ob- the official media and declarations of party vious, in six days of demonstrations, students leaders was made the conversion of world vi- managed to gain favor of other classes, both ew, “the negative West became increasingly the intellectuals and the workers, which was positive, whereas a sad truth about the ideal particularly dangerous for communist autho- East was finally brought to light. Ordinary rity. And even though the protest toed enti- people were stunned with the new direction. rely to the left ideological line, a lot of what Consequently, ‘truths’ and ‘lies’ changed pla- was said publicly and loudly showed that bet- ces, and the prison camp Goli Otok became ween the state leadership and party structu- more and more inhabited. The country nee- res on one level and broad masses of people ded economic assistance and in 1951 it came on the other there was no more unison unity, from the West.” “In a typical ideological so- which was implied till then. The blame for ciety, as Yugoslav society was, ideological

2 – П.Ј. Мар ко вић, Београд између истока и запада 1948 – 1965, Бе о град 1996, стр. 119-134 35 and moral schizophrenia was its spiritual essence expressed in the dispersal of proclai- med goals and practice, as well as in the separation of revolutionary ideals and reality or words and deeds.”3 After 1948, Yugoslavia came to be a country somewhere “in-between” in every respect. Bet- ween the East and the West, neither the East nor the West, it suffered the pressures of both, retaining the communist order, but in practice the Western influences were allowed. Hence there were numerous inconsistencies, a constant split between words and deeds, and per- manent economic and moral oscillations. In some sense, it played the role of later Western Berlin, that is, the role of the place that should have shown the advantages of the West to the East and to become the West of the East. In time, heroic and fierce enthusiasm of firm fighters for “bright future” has been dissolved in constant adjustment to new circumstances. The financial assistance that the West, pri- 078 marily the United States, gave to Yugoslavia although they were necessary and taken with after the eastern blockade from 1948 to 1951, the permission of the authorities. On the other which began with packages of goods and con- hand, the domestic propaganda made sure that tinued with business credits, provided the co- this freedom would not be wrongly under- untry to get back on its feet, eliminate ratio- stood. During the fifties, and especially the nal supply, continue industrial, commercial sixties in the twentieth century, Western influ- and residential construction, raise the living ence became much stronger, but parallel with standard of population and regain self-confi- guest performances of musicians and theater dence. Some concessions were inevitable. Vo- artists, translations of writers from the West cabulary remained the same, but the discour- (classics and socially-oriented authors in the se was changed at the very beginning and con- beginning), organizing exhibitions of Western tinued to be adjusted from case to case in the art, it was constantly held ideological discus- following years. Idealism was replaced by sion in party forums. pragmatism. In Tito’s Yugoslavia the people were in fe- Tito’s Yugoslavia “chose” its own way to ar of the state power, and reversely the power socialism. The party set the guidelines for bu- was very uneasy about the people who devia- siness development and social life, but it did ted toward the west side with unexpected ease, not renounce human souls, especially not and one might say with levity, whenever they them. The propaganda from the West, as well got an opportunity. as from the East and the influence of one or the There is much talk about the benefits that other, were kept under strict control as much this society allowed for individuals, as for in- as people that succumbed or could have suc- stance, equality, social security, self-manage- cumbed to it. Every contact with foreigners ment, freedom of travel, passports which we- caused the suspicion. re applicable everywhere, the freedom of cre- Business cooperation, and international ativity. All that is only partially true, because sport games and artistic performances neces- the freedom was strictly controlled and it exi- sitated numerous departures for Western co- sted only within a certain framework, and un- untries. Those trips have also caused doubt, der certain conditions.

3 – Д. Ћо сић, Пред го вор у књи зи П.Ј. Мар ко ви ћа Београд између истока и запада 1948 – 1965, стр. 9 36 ART AND GRAPHIC DESIGN ready done by the Zadar Group, the members of which abandoned the Academy and went in For the country that had a 50% of illitera- Zadar to paint en plein air. In any case, the par- te population and set a general spread of lite- ty that with a delay officially declared socialist racy as one of its main social tasks was quite realism as late as 1949, trying to prove its de- unusual how much importance was given to votion to the communist idea and movement, following progress in culture and art. It was after the break with the Soviet Union abolished commonly recognized that art had a great im- it in a similar way not earlier than1952 when pact on the masses, as well as on their educa- the above-mentioned events in the field of vi- tion and reforming, so efforts were made that sual art had been already enacted. it would be within everybody’s reach. Books It does not mean that the concern of the and tickets for cultural events were cheap and party disappeared, but the discipline slipped affordable to all. The artistic work was appre- so that ideological and theoretical discussions ciated highly and every work of art on the moved to the newspapers and newly launched commission of official authority was well re- magazines (“Delo”and “Savremenik”). warded. Art was also the first-rate means of Graphic design, a practical art, the first and propaganda abroad. In the report of the Coun- cheap means of propaganda has followed the cil for Science and Culture of the Government general trends in art but a little bit slower. FNRJ (Federative People’s Republic of Yugo- What is now called graphic design at the time slavia) about our participation in the Bienna- of which we are speaking was called the ap- le in Venice in 1950, the objections were rai- plied graphic art, and that name perhaps de- sed to the organizers of our exhibition for ta- fines its role more precisely. king too little account of the political and pro- Broad area that it covers (ads, labels, sig- paganda moment and circles ”to which the nposts, posters, money, securities, stamps, bo- show was meant for (intellectual and petty- ok design, newspapers, magazines, all kinds of bourgeois).” “In the Biennale environment, it appeared to be too intrusive, too propagandistic (in the narrow sense), and if so to say, too partisan.”4 Guardians of the human soul at the time watched closely what was that one worked, wrote or painted, and those charged with a commission for certain areas acted as media- tors between the state management and craft- guild. In an atmosphere of censorship and particularly stressed self-censorship, even small departures from official policy represented courage. Therefore, the development of “modern” gradually and cautiously went a long way to the expression that is now widely accepted as the “socialist aestheticism”, to the geometrization of the December Group, art informel and other phenomena of sixth and seventh decades in the previous century. It is thought that the exhibition of Mi}a Po- povi} in 1950 and especially his text in the catalog, as well as the exhibition of Petar Lubar- da in 1951, marked the end of socialist realism. Lidija Merenik even considered that it was al- 040

4– Културна политика Југославије: 1945-1952, Збор ник до ку ме на та, књ.2 (при ре ди ли Бран ка Док нић, Ми лић Ф. Пе тро вић, Иван Хоф - ман), Бе о град 2009, стр. 449. 37 publications from cover page to illustration, Lehner. The posters of Milo Milunovi} made in calendars, greeting cards, record covers, pac- the spirit of his paintings, stand apart from kaging, charters, diplomas, logo, sign, picto- them by their free conception. Dedicated to the graphs, cartoons, caricatures, comics, TV celebrations of the1st May - Labor Day and the graphics) is part of everyday life that is consu- 20th October - the Day of the liberation of Bel- med in passing and most often makes the in- grade 1944-1954, they were understood in a pic- stantaneous communication. It is art in the torial way notwithstanding unavoidable socia- service of information, the visual sublimation list symbolism (the five-pointed star, the ham- of a certain product regardless of whether it is mer and sickle, the state and party flags, a dove material or ideal in character. of peace). Although they leave an impression of The beginning of the fifties in the previous being badly laid out and unreadable in some century represents the time prior to television sense, however, they represent a departure from when the main means of mass communication prevailing, realistic and narrative expression. in addition to the radio were the printed word Although the break with the conception of and image, posters and newspapers. socialist realism was welcome in artistic circles, artists were still burdened with discussi- POSTER ons about the art that should have had a human character and must have not blindly fol- In our country, as well as in the world, the lowed the Western patterns. Creative freedom poster has already had some tradition concer- was conditionally realized because the frame- ning the fact that it played a significant politi- work of that freedom was set by the party co- cal and social role in the war and especially in mrades that often were artists themselves. For the Post-War period. In the beginning of the being sincerely devoted to socialism, they fo- sixth decade of the twentieth century there was und themselves in a dilemma of how far and in not much difference in its concept as compa- what way to convert socialist ideas in contem- red to the first Post-War years. The icono- porary art language. “Discussions” as they we- graphy was similar, and the text accompanying re called then, took place at the meetings of art the image was still the language of slogans. Un- associations and special government bodies of til 1955, the poster had revolutionary features Socialist Alliance of Working People of Yugo- even though in most cases it was designed for slavia (formerly the People’s Front), which de- political agitation and in keeping with that it alt with culture. At the plenums of communist could be categorized as a political mobiliza- party (SKJ – Yugoslav League of Communists) tion-poster (classification by Svetlana Isako- senior government officials in their turn have vi})5. It was devoted to various current topics made spare political statements devoid of the- of that time such as: a national loan, a five-year oretical reasons, aspiring to regulate the furt- plan, the Yugoslav People’s Army, the tenth her course of action in art and culture. In his anniversary of the Yugoslav People Uprising, essay about Miodrag B. Proti}, Jerko Denegri calling for the elections, the Red Cross. calls it a “situation into which was brought Enthusiastic slogans were accompanied by every single artist together with the whole ar- the happy faces of vigorous workers, toilers of tistic environment owing to the existence of a both sexes, soldiers, smiling children, along described climate in which the ideology held with unfailing symbols, the star, the hammer forth instead of esthetics and art”.6 And Pro- and sickle, as well as a flag. Optimism that was ti} himself says: “the fifties were not happy... stimulated among the masses of the people Gay fifties. They may have been romantic, struck a responsive chord in the posters being warm, restless, and, without any doubt, torn completely in the spirit of socialist realism. The between what was and what was not“... They authors of those posters were: Matija Zlamalik, were called the “golden” because of “making Mihailo Petrov, \or|e Andrejevi} Kun, Ivan up for historical lagging behind and increased Lu~ev, Andrija Andrejevi}, Anton Huter, Alfred living standard”; because of the spiritual revi-

5 – S. Isa ko vić, Beogradski politički plakat 44 –74, MPU, Be o grad 1974, str. 1 6 – Ј. Denegri, Pedesete: teme srpske umetnosti, Sve to vi, No vi Sad, 1993, стр. 123 38 074 val and self-awakening; or for department of graphic art was greater value of what was ob- laid by Mihailo Petrov who, in tained by personal efforts the catalogue of Student Exhi- than that which was thought bition from 1953, described the up by the party reason.”7 importance of graphic activiti- In an atmosphere in which es: “What makes graphic the artists fought for the works so special is their capa- autonomy of art activities, bility to be multiplied, that is, whereas the state authority the possibility of every graphic was fettered between the de- creation - formed by one of the mocratization as a concession numerous graphic methods be- to the West and ideology by ing known in three basic grap- which it attained power, hic disciplines (relief, intaglio emerged several art groups and planographic printing) - to such as “the Independent”, be finally realized in a large, “the Eleven”, “the Six”, “the very large, even an immense December Group”, “the Gro- number of identical copies. up 57”, which were formed in This is an essential characteri- order to defend the individual stic of graphic art. Owing to author’s artistic language. this it obtains an advantage In the field of applied arts over artistic tasks, the goal of it was a much more difficult which is mass effect. Because situation as posters, charters, of that, it came to be a marked- postage stamps were commis- ly ‘practical’ visual-art acti- sioned by the official state in- vity, which is so closely and so stitutions, political organiza- broadly linked to everyday life tions (SKJ - Yugoslav League and its needs. This made it of Communists and SSRNj - possible that it could obtain its Socialist Alliance of Working People of Yu- ‘applicability’ in such a large measure and per- goslavia) or some other social institutions manently realize it, diversifying its technical (the Red Cross, AF@ – Anti-Fascist Women’s methods as much as possible and continually, as Front), which were always under the control well as extending over the broad field of crea- of the party members. tivity by its own power of expression. In other However, the early fifties are interesting not words, this approach makes itself felt in all only because of departure from socialist realism parts of visual reality, from letters to book de- and the opening to the West but also by the fact sign, as well as posters, industrial design, the that in those years came on the scene the first graphic reproduction of visual creations in ot- graduates of the Academy of Applied Arts. Fo- her spheres of fine arts and also many other unded in 1948, under the direction of a graphic forms by means of which graphic activities use- artist and a revolutionary Branko [otra who fully affect the entire domain of contemporary was its first dean, this university education in- visual life, not only in the sense of culture, but stitution developed and changed its structure in also in the sense of politics and economy whe- the course of time, as well as contributing to the reby they are involved in educational, propa- sales of industrial products on the market and gandistic or agitating undertakings on a massi- refining the taste of the social environment in ve scale, which are associated with visual ele- which it was active. For a long time, it was the ments and esthetic components.”8 Apart from only school of that kind on the territory of Yugo- Mihailo Petrov, the professors at this depart- slavia which means that its students came from ment were Matija Zlamalik, Ivan Lu~ev, Bran- all parts of the country. The foundation of the ko [otra, Jefto Peri} and others.

7 – М.Б. Про тић, Нојева барка, СКЗ, Бе о град 1992 , стр. 307 8– Друга изложба студената Аладемије примењених умет но сти, Бе о град 1953, 26 39 In the field of applied graphic art, between sociation of Visual Artists of Serbia functio- 1951 and 1957, appeared the new names of ned in the same way as other institutions in authors, which were immediately engaged in the country. In the long debates about ideo- numerous activities: Victoria Bregovljanin, @i- logy and modernity, as well as what kind of vojin Kova~evi}, \or|e Gorbunov, Bojana art was needed and for whom it was intended, Spremo, Stjepan Fileki, Vladimir Trbojevi}, actually, the right of artists to choose their Ivana Vu~ kovi} (Ida ]iri}), Matija Rodi~i, An- own artistic expression was defended. This drija Milenkovi}, Milo{ ]iri}, Milo{ Bukinac, conflict turned into the polemic between two Radomir Stevi} Ras, Bosa Ki}evac, Branko factions, the “modernists” and the “realists”, Bosi}, Borislav Stanoj~i}, Bogdan Kr{i} that which took place in the magazines “Delo” and “Savremenik” in 1955. with their colleagues from the Academy of Fi- What was considered to be modern in the ne Arts Bo{ko Karanovi}, Dragoslav Stojano- domain of applied graphic art was founded on vic SIP, Dragoljub Ka`i} and Marko Krsma- the ideas of Bauhaus. On the principles of this novi} would make a significant move in the fi- famous school was based the Academy of Ap- eld of graphic design and graphics. Educated plied Arts too. Ideas about joining arts and in peace and according to a defined systema- crafts, the strict functionality of art discipli- tic teaching program regardless of the ideolo- nes, the synthesis of arts, research into the lan- gical restrictions, they entered the scene in a guage of form “as the grammar of design”and happier time so that they could have expanded connecting arts with industry were consistent the possibilities of the profession, and in time, with the new Yugoslav society. New Huma- many of them assumed the role of pedagogues nism of Bauhaus associated with Weimar Re- teaching the new generations of graphic ar- public was accepted as a model. In the coming tists. In those years the Museum of Applied Art years, the influence of Gropius would be re- in Belgrade started to work (1950). flected in the mass architecture of simplified The Graphic Collective founded in 1949, rectangular forms across the country, especi- became a gathering place of graphic artists ally in new settlements such as New Belgrade. that would cultivate and affirm graphic art The advocate of these ideas in the field of through its exhibition activity in following graphic art was Dragoslav Stojanovi} SIP. He sixty years. One of those who took part in the endeavored, in practice and in his theoretical establishment of this center was Dragoslav work, to develop the ideas about form repre- Stojanovi} SIP, then a young assistant of the sented by Klee, Albers and Kandinsky.10 Academy of Applied Arts in Belgrade, a curi- In that range from heroic figurative quality ous and energetic person that would have a of socialist realism to the art of pure abstrac- huge impact on the development of applied tion has been developed “socialist aestheticism” art and the education of young artists. Gifted (a term that was first introduced by Sveta Lu- with organizational skills too, he was respon- ki})11, the manner of prudent abstraction of sible for the establishment of the journal forms and specific stylization with the empha- “LIK” (Form), as well as the Association of sis on linear drawing and geometrization. That Applied Artists and the School for Industrial approach was widely accepted in all branches Design. His statement given to the magazine of art, from paining to stage design, and was “the 20th October” in October of 1951 about particularly suitable for graphics with a special “the Independent”, the group of artists to purpose. It was derived from the experiences of which he belonged, was about a new under- students and followers of Bauhaus, geometric standing of position and role of artistic work: abstraction and the French postwar figurative “We want the Association of Visual Artists of painting. Miodrag B. Proti} points out Herbin, Serbia (ULUS) to become a trade association Magnelli, Bill, Albers, Nicholson and Vasarely of artists, which no more interferes in the way as their examples.12 Although being spread of painting.”9 This clearly shows that the As- through the length and breadth of the country,

9 – Ма ри ја на Пе тро вић Ра ић, Драгослав Стојановић СИП – Скица за портрет, МПУ, Бе о град 2003, стр. 61 10 – D. Stojanović Sip, O proporcijama, Beograd, s.a., Svetlost, senka i boja, Beograd s.a., Elementi oblika –osnovi oblikovanja, Beograd 1966. 11 – Све та Лу кић, Социјалистички естетизам, Једна нова појава, По ли ти ка , 28. април 1963. 12 – Mi o drag B. Pro tić, Slikarstvo šeste decenije u Srbiji, kata log izlo žbe Jugoslovensko slikarstvo šeste decenije, MSU, Be o grad 1980, стр. 32 40 body go to the polls!” from 1958 or “The Ex- hibition of the Yugoslav Books in Moscow, Ki- ev and Leningrad” from 1961. Total domina- tion of geometric structure and geometric shapes almost in an op-art manner, would be shown most consequently in the poster “Art Colony E~ ka” much later, in 1970. Another significant figure in those decades is Radomir Stevi} Ras who was also a versati- le person of broad interests: a painter, a poet, an organizer of theatrical performances. He built up his visual expression on similar principles as SIP did, but with more accentuated aspiration to figurative quality and ampleness of details. His stylization is close to the works of French artist Jean Lurçat. Ras constructed a specific Cyrillic lettering that he used in his posters and books. For the cultural life of the fifties was very important the art of making motion-pictures. As then there was no television, going to the movie 091 theaters was one of the main entertainments. it could not be called “either style or move- Since the film was from the beginning accepted ment” because it had neither theoretical nor de- as a first-rate means of propaganda, it was gi- monstrative view that clearly showed at what ven great attention and looked upon as seriously was aimed. It was left to artists’ own feeling to as any other art. Concerning the fact that the move through the complicated patterns of majority of films came from the West, the film world-art and unclear requirements of the do- was not only a means of entertainment but also 13 mestic environment. Socialist aestheticism was a source of information. The film poster as the actually the reflection of self-censorship in the genre was an advertisement in those years, process of obtaining artistic freedom. In the co- which should have called and attracted viewers urse of time, the relationship of relative tole- to the movie theaters by its visual contents ba- rance was established between artistic aims sed on the individual sequences from the film. and social demands to which contributed the Therefore, for this type of posters were not ap- introduction of the self-government in the plied the same rules as for others. It was, first of sphere of culture. It was allowed all that posed all, illustrative, highlighting a certain scene no threat to the state power. from the movie or pointing out the main charac- In the field of applied graphic art, prima- ters of actors that according to Hollywood pat- rily posters, became apparent the different en- terns was the strongest magnet for attracting deavors and very heterogenous solutions that the audience. As the film by its nature is most were developed in those years. SIP himself, as direct escape to the imaginary and for that ex- a founder of modern posters in the fifties, was tremely popular, film posters have also sugge- the first who relied on the Bauhaus in the or- sted experiences from an unreal world. In addi- ganization of surfaces. So, his by far known tion to music, film was one of the main means poster for the Cultural club “Wheel-dance” of Western influence in this environment and from 1954 is a real example of socialist aest- political structures had to be aware of that, but heticism by its figurative stylization. In his la- in this area was allowed the freedom that was ter works, a moderate geometric structure ani- not permitted in some other spheres. mated by rhythmically arranged color areas, Thus it came about that for the film poster could be clearly seen in the posters “Every- was opened wide field of activity. Contrary to

13 – Предраг Марко вић, item..., 446. 41 other kind of posters in which the artistic ef- be the most striking film poster of that time. fort was focused on the separation from the re- It is solved in two colors, red and black, as the alism of representations, the film poster rema- surfaces are clean and form is reduced to a ined consistent with a realistic manner of ex- silhouette. Simplification unusual for the ti- pression. However, the roots of this type of ex- me in which it was created, suggests a new at- pression were much less in the patterns of so- titude toward posters and by simplest means cialist realism, and much more in the tradition directs to the mysticism of stories about the of American film advertising boards - billbo- first postwar days in Vienna. Mr. Hulot’s Ho- ards that lured the audience into the theaters liday, one of the cult comedies by Jacques Ta- by their gigantic photorealistic presentations ti, which as far back as that time recognized of the particular characters or scenes. and held up to ridicule the comfort of a new The main author of film posters was Alfred automated everyday life, underlined with pe- Lehner who made several hundreds of them. culiar choreography characteristic for the Making posters for domestic and foreign films French pantomimist, found an adequate re- about equally, Russian and American, Euro- sponse in the graphic quality of ]iri}’s poster pean or Asian, Lehner has succeeded to ensu- that had a caricaturist feature. It is intere- re high communicativeness to all of them that sting that the caricature has not been often in addition to the illustrative dimension gave used for film posters. Exceptions are “Muni- a portrait characterization of the main charac- cipal Child” by Zuko Dùmhur, “4km Per Ho- ters.14 I make mention of just a few: Three ur” by Ivo Ku{ani}, “Priests Called ]ira and Girls Named Anna (very pregnant in a visual Spira” and “Mrs. Minister’s Wife” by Dorijan sense), Dreams Come by Coach, The Last Sokoli} and Ruìca Nenadovi}. Track, For Whom the Bell Tolls, Men, Dream, Although the humor was fostered, and the I Married a Witch, Karolina of Rijeka, Passen- caricature was very much present in the press, gers from Splendid. The author strove to sin- in posters it would take a significant place not gle out the key psychological scenes that sug- longer ago than the next decade, with the ap- gested the tension of movie action. Although pearance of Aleksandar Karaku{evi} Klas. having been made after photographs, as well In those years everything had to have a di- as the majority of film posters, they possessed dactic tone. It seemed that there was no cen- visual and pictorial values that provided them sorship in the import of films. All the world indisputable vividness. film industries were represented, French, Ita- Stjepan Fileki, the author who would la- lian and even Japanese, with American in the ter become celebrated for his research into forefront of all others, but various ideologi- lettering, first of all Cyrillic, in early fifties cal commissions (Agitprop CK KPJ – the pro- also made film posters in a more contempo- paganda office of the Central Committee of rary manner. Well-thought-out in terms of the Communist Party of Yugoslavia, Ideolo- composition, visually simple, more decorati- gical Commission of CK SKJ – Central Com- ve despite realistic presentations of charac- mittee of Yugoslav League of Communists, ters, his posters bear more reduced art ex- the Committee for Cinematography) watched pression (Girls of the Spanish Steps, Strange over reactions of the audience, especially the Jorney, Her Own Life, Niagara Falls). Many youth, being worried about the moral messa- other authors such as Ivo Ku{ani}, Bojana ges that films conveyed. Even Tito occasio- Spremo, Dragoljub Kaì}, Milo{ Bukinac, Ra- nally made a few concerned statements abo- domir Stevi} Ras, Brana Jovanovi} were con- ut the impact of the film. cerned with film posters, but “The Third In such an atmosphere the realism of film Man” by Aleksandar Gojkovi} and “Mr. Hu- posters was a logical and safe way to attract lot’s Holiday” by Milo{ ]iri} are remarkable the audience, and the audience added up to the for their special visual quality. The Third money. The authority was in a position to cho- Man by Aleksandar Gojkovi} from 1956 may ose between the need for profit and ideologi-

14 – Ко ста Ва сиљ ко вић, Контроверзе дизајна и филмски плакат Алфреда Лехнера, у ка та ло гу из ло жбе Алфред Лехнер, филмски пла- кат, УЛУ ПУДС, Бе о град 2007, стр. 12-14 42 cal concerns. On the one hand, it has shown to- the forms of artistic expression so that the po- lerance and on the other, it has occasionally ster gradually changed its look, thus coming to shaken its finger in a threatening way. The be more visually concise and more convincing film has certainly been the artistic and econo- in visual-art terms. The Polish poster, which mic phenomenon that marked the new era of was recognized throughout Europe due to its Yugoslav socialism. Symbolically, the film outstanding quality, had a great impact on our “Bathing Beauty” was released in 1950, a mu- authors as well. The cultivated pictorial langu- sical, a revue on the water, which delighted the age of these posters, which played with pain- audience tired of the seriousness, reeducation ting, photography, typography, often had a hu- and poverty. One domestic film “Love and morous and even surrealistic view on a theme Fashion” would surpass its own artistic achi- and used visual patterns in a free manner. The evement by its popularity ten years later, mar- other model, which inspired our authors, was king the transition into the new decade. It was the Swiss poster that had a long tradition in a cheerful film with a thin fable about fashion, European art. It exerted a broad influence on fairs and love, which introduced a symbol of the art of the poster by its clear expression and living standard - a popular motor scooter into rational visual language, making use of photo- the streets of Belgrade. A hit song of Bojan graphy and original typographic solutions. Re- Adami} from the film was to be the symbol of specting the principle that “less is more”, the Belgrade atmosphere for many years after. posters of the sixties, although being very dif- There was much symbolism in those “easy no- ferent depending on individual personalities tes” that announced a more relaxed period. and their own authorial modes of expression, Ras made a large poster for the movie (176 cm more and more often used reduced means, in- X 70 cm) in which was represented a female fi- tense coloring and better balance between the gure with the current fashion silhouette by image and typography to achieve a targeted means of a light linear drawing. message. The introduction of serigraphy at the In the second half of the fifties were often end of the seventh decade, significantly contri- used photographs in the creation of posters. In buted to the color quality of posters. The sixti- the simplest, often amateur posters were used es were exciting, especially on social and arti- only the photographs of a certain person and a stic levels. The beginning of broadcasting tele- text as a notification. It was primarily the case vision programs in 1958, the conference of Non- with music posters for concerts of popular sin- Aligned countries leaders in 1961, Tito’s attacks gers (\or|e Marjanovi}, Lola Novakovi}, Tomi on abstract art in 1962, the official introduction Sovilj). Much more interesting were those in of self-management by the Constitution in which were used the techniques of photomon- 1963, the economic reform in 1965 which intro- tage and collage as a means of art (M. Petrov - duced mixed-market economy, the liberaliza- Memento, V. Sokolov - The Clas of V-3 Has Been Called Over). Used in the newspapers for the documentary or advertising purposes, photography became the artistic expressive means in that period, which was evident not only in the posters, but also in ads. Signi- ficant photographers such as Branibor Debeljkovi} and Dragoljub Ka`i} took part in their creation too. An increasing number of authors who dealt with applied graphic art expanded 025 43 tion of traveling abroad, the opening of the Mu- October 1960”, “Third High Jump over the Le- seum of Contemporary Art in 1965, the strife ather, the Competition of Students, Miners, with Aleksandar Rankovi} and his resignation Geologists, Metallurgists, Belgrade - Fairgro- in 1966, student demonstrations in 1968, at- und ’60”, “International Technics Fair Sep- tacks on “the black wave” in the art of making tember 1960”, “Census 31 March 1961”, “9th motion pictures, all that contributed to be ma- International Fair of Textile and Textile Mac- de an exciting milieu of a domestic scene. hinery, Leskovac 1961”, “Fashion in the “That year, the cultural policy of the fifti- World, 9th October1961”, “Ada 62 - Voluntary es was finally replaced by the opposite policy, Mas Action of Youth, Belgrade ‘62”, “Time - which, in fact, was the policy of administra- Bleaches Linen ‘62”, “Label Kluz Guarantee tive and economic automatism that began Ti- That You Are Dressed by the Last Fashion”, to’s speech against abstract art (1962/63). The “Belgrade Variety Orfeum ‘63”, “Youth Relay government apparatus became careful: over - Youth Greetings to Comrade Tito for His Se- and over it neglected value criteria as ‘subjec- venty-first Birthday”, “Circus Adria ‘63”, tive’ and ‘relative’, and possibly dangerous. “Hundredth Anniversary of the Red Cross In the sixth decade it relied on publicly recog- 1863 – 1963”, “Basketball Yugoslavia - Euro- nized figures; in the seventh, it relied on the pe, Belgrade 8th June 1963”, “Autumn Raffle formal representatives of institutions and or- and Money Lottery ‘63”, “1st May the Feast of ganizations.” 15 the Working People and the International In the sphere of visual arts it was the deca- Working Class Solidarity, ‘64”, “Emigrant We- de of art informel, surrealism and the renais- ek 1954 - 1964, June 1964”, “5th Wine Ball Vla- sance model of “Medijala”, new figurative art, sotince 27th June 1964”, “Ninth International that is, the time of various artistic activities, Book Fair in 1964”, “UNESCO Cultural Mo- and also the time of the First October Salon in nument Month 15 IX-15 X 1964”, “Message to 1960, the First Triennial of Yugoslav Visual Spring, Serbian Youth Association ‘65”, “3rd Art in 1961, the foundation of the Museum of Federal Competition of Cutters, Delnice - Lo- Contemporary Art in 1962, Youth Center in kve ‘65”, “Tourist Lottery ‘65”, “The Golden 1964, BITEF (The Belgrade International The- Pen of Belgrade ‘65”, “On the Records of RTB ater Festival) in 1967, the decade of many do- D`imi Stani} , Du{an Jak{i}, Lola Novakovi}, mestic and foreign exhibitions, as well as the \or|e Marjanovi} ‘65”, “New Year’s Lottery guest performances of our artists in the inter- of ‘66”, “5th International Fair of Chemical In- national manifestations. Belgrade made itself dustry ‘66”, “Tourist Lottery ‘66”, “Theater felt much more the part of European culture. Playground ‘66”, “Cultural Club Branko Kr- The number of travels and scholarships were smanovi}”, “Young Conservationists Move- on the increase. Yet this is also the decade of ment ‘67”, “Summer Lottery ‘67”, “Rent a Car unrest. The echoes of events in the polarized - Inex”, “Travel Lottery ‘67”, “Economic Re- world have come to us. It seems that Cuban form ‘68”, “Science to the Working Man ‘68”, crisis, the murder of Patrice Lumumba, the Vi- “Ninth Congress of SKJ (Yugoslav League of etnam War, in one word, all the events that ha- Communists) ‘68”, “Barbecue 17 V -15 V, Un- ve happened at the time concerned us so as to der the Auspices of the Belgrade Slaughterho- culminate in the student protest in 1968, use ‘68”, “Free Your Capacities, Enroll in the which first started in Paris. “The Left brought School for Elementary Education of Adults down bourgeoisie old and blue there, whereas ‘68”, “Fifteen Most Cheerful Days, Belgrade 15 here it brought down new and red, causing pa- - 31 December 1968”, “Azulin Merima Foun- nicky change of the system, though hidden.”16 ded in 1839 – 1969”, “125 Years of the Natio- Let us see what the posters of that time are nal Museum in Belgrade in 1969”, “Celebra- about: “Note to all, we offer all and all we ha- tion of 50 years of SKJ (Yugoslav League of ve, devices, textile ... Department Store Ineks Communists) 1919-1969”, “Beer Week from 8 1960”, “First International Construction Fair, - 15 June BIP 1969”, “25 Years of UN 1970”.

15 – М.Б. Про тић, Нојева барка..., стр. 489 16 – М.Б. Протић, item..., стр.489 44 As can be seen from the titles themselves, the emphasis was laid on economic development, international trade fairs in which were concluded business transactions, the lottery that brought the money, so it would seem that the commercial socialism has set in, thanks to which it was possible to hold numerous cultural manifestations. At the same time, social disintegration has become obvious and some kind of tension was felt in the society regardless of the apparent continuing successes. It first found expression in the film art. Authors such as Puri{a \or|evi}, @ivojin Pavlovi}, Sa- {a Petrovi}, Du{an Makavejev, @elimir @ilnik talked in another manner about the happiness and successes of Tito’s Yugoslavia. Described as the „black wave”, they were heatedly de- nied from the top of government which, however, only contributed to their popularity. It is interesting that in the posters made for these films, was usually used black-and-white pho- 072 tography as the most appropriate means of the exhibition of Radomir Damjanovi} - Da- graphic design to treat serious themes and mjan, he brought a new geometrical spirit of the stress truthfulness (documentary quality). In a so-called pure design, which in Zagreb was to few cases, some authors made anonymously be introduced by Ivan Picelj. Their abstract so- posters for these films. lutions would have changed the viewpoint on Several interesting new authors appeared in the effectiveness of an image in the design and the seventh decade. With the coming of carica- reduced it to the sign. From what Slobodan Ma- turist Aleksandar Karaku{evi} Klas, posters {i} says, it was Dida De Majo who invented the gained in wittiness and became anecdotical in first design as a prisoner of the prison camp Go- character. He has worked a lot on various the- li Otok, when he made a large five-pointed star mes. His drawing is recognizable and often enclosed within a circle on the prison camp narrative; it has not changed much but its hu- square. By giving not only a visual but also a morous note had a bracing effect on the art of metaphorical meaning to this “captivated” star, making posters. Much more serious impression Ma{i} himself have used it in several variants in visual-art terms made the works of Milo{ ]i- and made it a symbol of his design. ri}, Bole Miloradovi}, Ljubomir Pavi}evi} Fis, At the end of the sixties, attitude to design Aleksandar Daskalovi}, Bogdan Kr{i}, Borivoj definitively changed for the better. Things got Liki}, as well as the works of Slobodan Ma{i}, such a state that designers became self-awake. Dragan Stojanovski and Aleksandar Pajvan~i} Society became more economically oriented, at the end of the decade. The influences of new meaning that the economy strove to be compe- artistic developments, especially op-art, pop- titive on the world market. The country beca- art and psychedelic art became obvious. me more open and contacts with others much The person of great importance for graphic more intensive. Several exhibitions played a design of the seventh decade is the architect crucial role in education, as well as changing Slobodan Ma{i}. Separating himself from ap- ways of thinking of young graphic designers. If plied graphic art that heavily relied on visual the Polish poster with its specific qualities had art, Ma{i} has brought a radical change in the a significant influence in the late fifties and interpretation of design because he considered early sixties, at the end of this decade the most it as a systematic way of thinking and a distinct influential exhibitions of posters were: the Ex- language. As early as 1966, with his poster for hibition of American Posters in 1968, at which 45 could be seen the works of Roy Lichtenstein, ople deserving honor and recognition in cultu- Jim Dine, Robert Rauschenberg, Jasper Johns, ral and historical past. In 1952, the Olympics in Andy Warhol, Robert Indiana, Man Ray, then Helsinki was marked, as well as the tenth an- the Exhibition of American Psychedelic Posters niversary of the death of Nikola Tesla (design in January 1970 and the Exhibition of Ivan Pi- by P. Dabovi}), and in honor of the United Na- celj in October the same year. In the following tions was issued a series of stamps with scenes year of 1971, at the Museum of Applied Art in from the Serbian monastery fresco painting. Belgrade was held the Exhibition of Push Pin Since 1953, according to the designs of Matija Studio, which opened an entirely new chapter Zlamalik, different series of fauna and flora in in the understanding of graphic design. Yugoslavia have been released by turns. Con- currently with that it could be traced important STAMPS sports events: “the Sixteenth Olympiad in Mel- bourne (design by Ida and Milo{ ]iri}), the What was released on large format posters World Gymnastic Meet in Zagreb (design by J. became the motive of the smallest creations of Bis), then the Yugoslav folklore, tourist places applied graphic art, stamps. Democratic Fede- of Yugoslavia (design by \or|e Gorbunov); the ral Yugoslavia printed the first stamp on 21st year of 1958 was the international geophysical February in 1945 with the figure of Marshal year that was marked by two stamps designed Tito, which was designed by \or|e Andreje- by Bogdan Kr{i}, while the tenth anniversary vi} Kun. Till 1950, the motifs usually referred of the Declaration of Human Rights was desig- to the partisan struggle, the celebrations of ned by Radomir Stevi} Ras. AVNOJ (the Anti-Fascist Council for the Peo- 40 years of the foundation of the Commu- ple’s Liberation of Yugoslavia) anniversaries, nist Party of Yugoslavia was marked by the the Liberation of Belgrade, Constituent As- stamp designed in a revolutionary manner sembly, the Congress of the Communist Party (undulated red flags) by \or|e Andrejevi} of Yugoslavia, and also the fight against tuber- Kun. B. Spremo and A. Milenkovi} made culosis, the building of the railway [amac - stamps for the Second rally of the Society for Sarajevo, Balkan Games in Ljubljana, Zagreb physical education “Partizan” (1959) and the Fair, the hundredth anniversary of Gorski vi- Seventeenth Olympic Games in Rome in 1960. jenac (The Mountain Wreath), the hundredth That same year, it was marked the First Yugo- anniversary of the reform of Serbian ortho- slav Exhibition of Nuclear Energy on the graphy by Vuk Stefanovi} Karad`i}. stamp designed by Mateja Rodi~i. The first stamp in 1950 was dedicated to the Significant political events such as Tito’s highway of Brotherhood and Unity, which was election for president in 1953, the twentieth designed by P. Gavrani}, S. Gruji} and A. Jo- anniversary of the National Uprising and the vanovi}, the second one was devoted to the 1st First Conference of Non-Aligned Countries in May and bore the figure of Tito, but since then 1961 were marked by designs of Bo`idar Jakac the repertoire of a lot more diversified topics and \or|e Gorbunov, as well as the 12th Inter- was started, which have been expanded in the national Congress of Byzantologists in Ohrid course of time: “the Third Aircraft-rally (Air- by the design of Bojan Spremo and Andra Mi- meeting) in Ruma”, “Chess Olympiad in Du- lenkovi}, which was marked with the figure of brovnik”, the various branches of the economy St. Kliment of Ohrid. of FNRJ (the Federative People’s Republic of In 1962 was released one of the most beau- Yugoslavia), the first issue dedicated to the pe- tiful stamp series issued in Yugoslavia “The

104b 46 113b Art of Yugoslavia through the Centuries”, for that year, all the signs on the stamps were the design of which were responsible Drago- printed only in Latin script (with the excepti- ljub Kaì} and Stejepan Fileki. Since then, on of a series from 1967 that was dedicated to every year had been distributed one or two se- the October Revolution, in which the text was ries on that theme, which Andra Milenkovi} printed in the Serbian-Croatian Cyrillic and continued to design from 1967. Following the Latin scripts, Slovenian and Macedonian). pattern of posters designed by Bole Milorado- Communists considered Latin letters as an in- vi}, A. Vahnicki and B. Cihalovski, Milenko- ternational script, whereas Cyrillic alphabet vi} also elaborated the series dedicated to the was held to be an anachronistic expression of 50 years of the Yugoslav League of Commu- local culture, and although both the letterings nists in 1969 and the Ninth Congress of the were officially equal and alongside used in Yugoslav League of Communists (SKJ). schools, Latin alphabet had much greater use The essential characteristics of the posters, in the official life. The Latin alphabet became from their themes to their elaboration in visu- the official script of the Yugoslav People’s al-art terms, have been kept in the stamps too. Army and it was considered to be the integra- As posters need explicit and reduced language tive factor of Yugoslav unity. for faster communication with observers, so the Stamps have represented the country and it stamps need it because of their small dimensi- should not be forgotten that it was the time in ons. It took a lot of skill and precision so as to which communications were realized prima- make a minutely detailed image attractive and rily by means of printed media. In the first fif- readable. A stamp also contains some amount teen years of Post-War Yugoslavia even the of text (the name of the country, the value of de- phone was a rarity in everyday life. Postcards nominations and the author signature are requ- and letters were the main means of communi- ired), which burdens format and requires very cation at the time. discerning esthetic sense of composition. Many authors who have dealt with the posters made stamps too, and their artistic GRAMOPHONE RECORD COVERS handwriting is legible and easily recognizable in this kind of graphic art smaller in scale than The sixties were also the years of rock-and- others of its type. The artists from all over roll, parties and the first disco clubs. They we- Yugoslavia have taken part in the creation of re an introduction to the subculture of the se- postage stamps. The precise drawing of Boì- venties, which was to overwhelm the world. As dar Jakac was suitable for portraying distin- jazz had been reluctantly accepted in the fif- guished persons and has been quite often used. ties as expression of “decadent” and “bourge- But after all, series that were dedicated to art ois” environment, so the rock music with its in Yugoslavia have made Yugoslav stamps wi- rebellious philosophy was unacceptable to dely known, and the stamp called “From Tri- those who cared about the proper orientation glav to Bohinj” was in 1968 declared the most of young people. However, the young people beautiful stamp in the world. had listened to the Radio Luxembourg since Till 1966, the text on stamps had been prin- 1960 and it was a window on some other ted in both Cyrillic and Latin scripts. Since world. Through that window entered the con- 47 tagious music of rock-and-roll, which could have not been repressed from the offices of government ideologists. Pop idols on the local music scene of popular music were singers such as Lola Novako- vi}, Du{ko Jak{i}, Senka Veletanli} and others, but due to his charismatic personality \or|e Marjanovi} won the favor of domestic youth with energy, optimism and music. His performance was somewhat reminiscent of pop idols of Radio Luxembourg. The first record in Belgrade was pressed in 1958. The Pro- duction of the Gramophone Records of Radio Television Belgrade and Diskos from Aleksan- drovac were recording companies that during the sixties issued records, the sleeves of which 137 were rarely made by professional designers. Although these covers cannot be compared They usually used a photograph or some with a huge and serious world production of landscape, which were more the source of in- record covers that have been collected in the formation about fashion at the time, the docu- anthologies of design, yet they are some marks ment about the clothing, hairstyle or make-up of that time, a symbol of “the years beginning of singers than a serious design. It looks as if with 6” as the front man of “Black Pearls” Vla- being considered that a portrait of a performer dimir Jankovi} Dèt called them, and also the was enough to attract buyers. The western de- symbol of a hurry to get where it seemed that signers of record covers at the time also used others had already been, the world full of co- photography most often, but they used it in an lor and music, freedom and prosperity. arrangement which was carefully thought up, including interesting camera angles, typogra- ILLUSTRATION AND BOOK DESIGN phy and color. Foreign cultural centers in Bel- grade have not only lent the books to their vi- Period between 1950 and 1970 is the time sitors but also the gramophone records, so it is of vigorous growth of applied arts, which was very likely that they served as a model for the closely connected with the general rise in all records of domestic production. the branches of economy. Publishing trade Ljubomir Pavi}evi} Fis is one of the few aut- played a prominent role. It was believed that hors who approached to this work seriously. every newspaper, magazine or book had to ha- Playing with the geometric shapes, photographs ve the educational role in the creation of a new and typography, apparently well aware of the man and consequently texts that were to be role of color, he made a few attractive covers published had been chosen very carefully. The prominent among them being “Zagreb Jazz Qu- visual part, illustration went with the text. So- artet” (1957), “Mustafa” by \or|e Marjanovi} metimes it was just a vignette but more often (1958), “Blue in Blue” by Domenico Modugno the illustration, as coexisting visual contents, (1959), “\or|e Marjanovi} and the Blue Orche- was an integral part of books for adults and stra” (1959). Dragoslav Stojanovi} Sip made in especially for children. his own manner the cover - greeting for the re- Poor technical possibilities, the lack of cord in the new year of 1966. The journal Radio good paper and machinery, had impeded the TV Review even gave a single as a present with work of authors who never could be sure that every issue. By his graphical solutions for the their sketches would look well enough when “Song of Summer 67” and the “Song of Summer they were finally printed. It was quite an ac- 68” Paja Stankovi} introduced the caricatures complishment to create a drawing that met li- of singers into the record covers. mited capacities of technology so as that a fi- 48 nished book or magazine retained the quality of the original. In the beginning, having had simple covers and illustrations printed in up to two colors, art books became richer in visual-art terms as technical possibilities increased. Particular attention deserves illustrations for children that from the very beginning showed diversity and maturity by their wealth of artistic expression, pedagogical responsibility and graphic skill. A program-character is visible in the frequ- ent songs and stories about Tito and his child- hood in accordance with the personality cult that was maintained at all levels, as well as in 182 many stories about the sufferings and heroism with motifs of Vojvodina. By his linear dra- of partisans, but at the same time were not for- wing he has conjured up naive artists that ma- gotten children’s writers and poets whose de Banat world-famous, at the same time us- works had nothing to do with ideology. ing Magritte’s surrealism. His illustrations for Many artists were engaged in making illu- Ogden Nash’s collection of verse were also in- strations. Among the most productive authors spired with surrealism. were Ljubica Cuca Soki}, Anton Huter, Nikola Bogdan Kr{i} has played a pivotal role in Graovac and Du{ko Risti} of the older, and the field of book design and illustration. A among the younger Bo{ko Karanovi}, Mi}a Po- longtime professor of the Academy (School) of povi}, Marko Krsmanovi} and Bogdan Kr{i}. applied Arts precisely on the subject of book Viktorija Bregovljanin, Milan Mladenovi}, Ra- design and illustration, he has made a great domir Stevi} Ras, \or|e Gorbunov, Ivan Pet- impact on many generations of graphic artists, kovi} should be also attached to them, as well but he would be certainly remained remembe- as many other artists who often dealt with illu- red by illustrations for the Praise of Folly by stration. They created works that retained po- Erasmus Desiderius, the series of phantasma- etical characteristics of their works in painting, gorical graphic works in which he combined graphics or various fields of applied art. renaissance and surrealist themes to the glory Ljubica Cuca Soki} worked a lot in the of common sense. His illustrations for children manner of her painting, avoiding sharp con- have a different visual approach depending on trasts, dramatic scenes and dynamic arrange- the topic. It ranges from the reduced linear in ments. Her illustrations give off tenderness stories for small children by Pearl Buck, to the and delicacy. “Her artistic handwriting is re- illustration in color for the Rip Van Winkle cognizable and readable in the spirit of good and the Legend of Sleepy Hollow by Washing- European traditions, and a figurative quality, ton Irving, in which the time and the costumes which marks her artistic idiom, establishes it- were studied in detail, as well as the humoro- self from a delicate croquis to sensitive pain- us Castles in the Air (1951) where he already ting-gradations ...”17 Du{an Risti} was more used the play of images and words that would adjusted to text and in the fifties was the main mark the work of this author in the later peri- illustrator of the journal Yugoslavia, as well od. Kr{i} combined photography and drawing as many other editions. The erudition for for The Great Gatsby by F. Scott Fitzgerald, which he was known is obvious in his illustra- as well as the mixed media of photography and tions and precise details related to text. A po- graphic art for the anthology of revolutionary pular book „Village Sakule in Banat“ by anot- poetry “People”. her painter Zoran Petrovi}, contains illustra- It is something different in the case of aut- tions of Du{ko Risti}, which were inspired hors who are almost exclusively dedicated to

17 – Љ. Ћинкул, Илустрације Љубице Сокић, Тре ћи про грам ра дио Бе о гра да, Хроника, 17. април 1989; item, 22. Мај ска из ло жба УЛУ - ПУДС-а, 1990. 49 illustration, such as Aleksandar Hecl, Sava Ni- koli}, Moma Markovi}, \or|e Milanovi}, @i- vojin Kova~evi}, Vladimir Trbojevi}, Ida ]iri} or Bosiljka Ki}evac. These authors show a wide range of approaches to illustration that primarily stems from their use. Youth literature was characterized by a realistic approach in which dominated Aleksandar Hecl with strong graphic quality ranging from the influences of Tony Johannot to Hal Foster, and Sava Niko- li} probably the most distinctive person in this field, with an emphasized feeling for the expressive, which extended from the memory of Francisco Goya to the experiences of Hans Hartung. Moma Markovi} has set the standard in the newspaper illustration enriching the daily newspaper “Politika” with his expressive graphic supplements. On the other hand, during the fifties was developed a special relation to illustration for 165a children18 based on the departure from reali- At the end of the sixties, Slobodan Ma{i} stic presentations, which found inspiration in brought a new spirit into the graphic design children’s drawings. There was a need for cre- with his independent publications that were in ating an authentic expression distanced from striking contrast to up-to-then editions by the- all-pervasive influence of Walt Disney and his ir look and contents. The first independent aut- manlike animals.19 The key-person was \or|e hor’s edition in this environment had a square Milanovi} whose jovial drawings would leave shape (20 X 20cm), as well as a black backgro- his personal imprint on many editions, especi- und of the title page with a characteristic La- ally on the magazine “Poletarac (Fledgling)” tin typographical form, using the multiplica- for which he made countless illustrations and tion of images or letters as visual elements. Pa- front pages. Into his works he brought the per on which was printed was a cheap cardbo- light spirit of the French caricatures, being ard or heavy wrapping paper. Every book in close to him by his education. @ivojin Kova~e- the edition had its number. The book No.1 (Fe- vi} was somewhat stricter in style, but he wo- bruary 1968) was “Sadr`aj” (Content) by Bora uld also help many children to establish the ]osi}, and No. 2 (also in February 1968) was knowledge of the world, war, close and distant “Kr{evina” (Bare Rocky Country) by Drago{ history by building up his solid visual relati- Kalaji}. Both books were illustrated with press ons. By means of a drawing with emphasized clippings and photographs from magazines. contours Vladimir Trbojevi} has realized the The point was sought in the rawness of mate- dramatic conflicts of black and white, while rial with an idea that everything could become Ida Vu~ kovi} / ]iri} has become closest to the design. In the book “Kr{evina” Drago{ Kalaji} poetics of children’s works. Bosiljka Ki}evac expressed his views about the role of Ma{i}: stood out by a certain lyricism of presentati- “Slobodan Ma{i} Dane? I think that he is the ons that was based on the interrelation of only guy here who ponders on design as a form sharp edges and soft surfaces. Special contri- of thinking, a form that as a media and a pos- bution to the illustration for the children gave sibility can hold its own with any philosophy, Marko Krsmanovi} with one grotesque note mathematics or creation. I am crazy about the that was to have an impact on many later ge- design of Ma{i} because it is rustic and brutal nerations of illustrators. as well as Pythagorean theorem, and because

18 – Vesna Lakićević Pavićević, Ilustrovana štampa za decu kod Srba, Beograd, 1994 19 – According to oral testimony of Bogdan Kršić 50 it aims directly at the center of the problem and (1963), red and blue headings of which, as well the truth without parables and waffling; his as emphasized typography on the sensational symbols have the value of suggestion and con- headlines were designed to attract readers. centration of meaning as much as the symbols The weekly paper of the party “Komunist” that have been created over millennia: a cross, (Communist), the organ of the Central Com- star, swastika, crescent moon...”20 mittee of the Yugoslav League of Communists, “Sadr`aj” (Content) by Bora ]osi} had been started publication in 1949, under the name actually the sketch for a book that would ap- “Partiska izgradnja” (Party Construction) and pear in 1970, under the name of Mixed Media, changed the name in 1953 when the Commu- in production of Branko Vu~i}evi}. “In a spi- nist Party of Yugoslavia changed its name in- rit of its title, by the conjugation of textual and to the Yugoslav League of Communists. pictorial materials, he makes the book - which Among weeklies the most renowned was Ne- is what he wants - a real ‘mixed media’... The deljne informativne novine - NIN (Information essence is the book as a whole, a total orga- Weekly Newspaper) (1951), which during this nism, a unity of written and visual components period had been published in the form of new- that are of explicit authorial character.”21 spapers, and after 1970 its format was lessened so that it started to look reminiscent of the world weeklies (Time, Newsweek). In an at- PRESS tempt to make its relatively gloomy pages mo- (NEWSPAPERS AND MAGAZINES) re vivid, the shape of it was changed as well as “Public opinion in Yugoslavia is not shaped the red color of its headers and larger photo- in the editorial offices according to the in- graphs were introduced on the front pages. structions and orders of newspapers owners, In addition to the NIN, which was conside- but among the people - in the village-commit- red the most serious weekly, many illustrated tees, at conferences of workers and employees weeklies with popular content made their ap- in small and large companies, at meetings of pearance, patterning themselves after the “Li- the party organizations, the People’s Front, fe” or “Paris-Match”. The more successful of and other people’s organizations.”22 them included “Duga” (Rainbow) (1945), “Svet” In accordance with this view, during the fif- (World) (), “Ilustrovana politika” (Politics Illu- ties and sixties in Serbia began to appear a lar- strated) (1958) and “Beogradska nedelja” (Bel- ge number of newspapers and journals covering grade Week) (1961). They, as well as the most all areas of life. For being dedicated to different popular women’s magazines “Prakti~na `ena” fields of interest they were intended for the re- (Practical Women) (1956) and “Bazar” (Bazaar) aders of different ages. Their number has incre- (1964), were illustrated with photographs as ased over the years, and their appearances many as possible so as to inform readers about changed in accordance with the general move- an event or fashion trends. An increased inte- ments and changes. It is characteristic that the rest for the film and the life of movie stars co- transition from a large newspaper format to a vered “Filmski svet” (Film World) (1955). smaller but better designed magazine format To youth were devoted “Polet” (Elan) (youth happened mainly in the late sixties. magazine for literature and culture - 1950), re- In Belgrade, besides the morning daily pa- vived prewar paper “Student” (Student), which pers Poltika (Politics) and Borba (Struggle), was initially called “Narodni student” (People’s which had been founded before the World War Student) (1950), “Vidici” (Views), and the sixti- II, were published a lot of newly founded or es saw the introduction of “Susret” (Encounter). reappeared papers and journals that retained The Student would be significantly transformed their logos and graphic appearances from pre- during the two decades and out of “the organ vious time. As evening papers began to appe- of the People’s Youth at the University and col- ar “Ve~ernje novosti” (Evening News) (1954) legiate schools” it would become an open plat- and “Politika ekspres” (Politics Express) form of political dialogue. It went with apparent

23 – In the titles of the magazine there are various qualifications: an illustrated magazine (No. 1), the magazine for applied arts and industrial esthetics (No. 2), the magazine for art and industrial esthetics (No. 5) 24 – Културна политика Југославије: 1945-1952, Зборник докумената, књ.2 (приредили Бранка Докнић, Милић Ф. Петровић, Иван Хофман), Београд 2009, стр. 434 52 207 204 219

which Jankovi} was passing as art director. were designed by SIP, Ernst Franc, Radmila “This ‘matter of our concern’- which is not on- Velicki, Rudolf Sabli}. It was larger in format, ly our concern - is obviously not going as it with very good photographs printed in helio- should go at least, because it is awfully over- gravure and front pages that showed the mo- due, because it is ‘organized’ in an impossible dern understanding of visual quality in geo- manner as work, because the state of the press metric stylization. and material deteriorates steadily. All the ef- In the next decade, the concept of art jour- fort and time spent so preposterously cannot nals changed, the format was reduced, and a be used either in material way or more intelli- characteristic example of that change was ma- gent so as to accomplish better, more perfect gazine “Art” (1965), the graphic appearance of or more esthetic, perhaps even more original, which was designed by Slobodan Ma{i}. Almost newer and fresher production of the magazi- square format and the use of low-grade types of ne. In any case, they even cannot be used for paper (newsprint paper, wrapping paper) was a more perfect technical realization. Instead of part of the new design concepts, which in the it, both the design and technical realization process of recycling corresponded with the cur- have made no progress, being stuck in impro- rent art movements (art informel, pop art). vised and yet stereotypical steadiness.”25 During the fifties, Du{an Maleti}, in the SCRIPT magazine “Mosaic”, would continue Janko- (CHARTERS AND DIPLOMAS) vi}’s luxurious layout from “Yugoslavia”, which included a dynamic change of images With script and calligraphy as a skill or the and text, with a lot of large photographs and art of fine writing and designing letters, in the- unescapable advertising pages at the begin- se decades would be concerned only some pa- ning and the end of the periodical. Such an ar- inters and graphic artists in the context of for- rangement revealed the intention of a publis- ming the whole on the poster or the book front her to affirm not only a rich cultural content page. However, at the Academy of Applied but also the economic success and significant Arts, Script was a required subject on which results that the country achieved on its speci- shortly lectured Franjo Rado~aj and then Pe- fic “self-management” road to socialism. tar Mladenovi} in the course of the fifties, and The magazine “Theater Life” as “the organ Stjepan Fileki starting from the sixties. It was of Yugoslav Drama Artists’ Union” covered all there that awareness on the importance and the important events on the domestic and in- role of the script in a daily and ceremonious ternational theatrical scenes. A technical edi- communication was formed so that some aut- tor was Tihomir Maksimovi}, and cover pages hors would create their own scripts like Milo{

25 – Bojana Popović, a curator at the Museum of Applied Arts brought my attention to the letter from the Legacy of Dušan Janković (donation of Mrs. Vojislava Rozić to the Museum) 53 ]iri} who shaped “}iri}ica” and Radomir Ste- vi} Ras that designed script called “Ras.” The main initiator of work in this field lar- gely in the creation of various Cyrillic letters was to be Stjepan Fileki who designed numerous types of characters based on old or newer Serbian scripts. During the sixties, especially in the seventies and later, he was to prepare a whole range of graphic artists that obtain significant results in this area of activity. Charters and diplomas, honorary medie- val letters that retained in modified form to our days, were remarkably widespread in the ceremonious communication of socialist Yugoslavia. On special occasions, they were awarded as a due recognition to meritorious individuals and institutions. Since there were many celebrations at various levels, such awards have been in wide use. They were made by amateurs, and important artists too. 242 Not only did Josip Broz Tito as president of the Republic and supreme commander of the of what was left behind us after sleepless Yugoslav army hand over a lot of honorary night. It has happened that the next day so- scrolls, but many of them he also received. mething should be repaired or be put some fi- Every working group and social-political or- nishing touches to. We have rejoiced in suc- ganization considered that they should have cess, and sometimes, for a while, we have acknowledged their indebtedness to the Pre- been discouraged by inadequate and unrea- sident on the occasion of various celebrati- listic demands of clients. We have held out ons. These honorary documents were usually and still we are holding out... We have loved written calligraphically and often decorated and still love this job because it brings privi- with complex interlacing designs of initials leges, happiness and satisfaction, which can intertwined with vignettes. Stjepan Fileki only experience those who deal with arts. We alone or in collaboration with other graphic are on the winding road of creativity and he- artists (Bo{ko Karanovi}, Dragoljub Ka`i}, re we’re just in front of you.”26 Stojan ]eli}) produced a large number of charters and diplomas for various state cul- SIGNS AND LOGOTYPES tural and business institutions which helped a lot to bring about promoting and under- With the industrialization of the country standing the importance of the script as a di- and its economic rise the need was being felt scipline of graphic arts. for distinctive external features of compani- “I Recall the days when before dawn we es and factories that would be immediately came out of ateliers with swollen red eyes recognized in the environment where they and nails burned by cigarettes. Our skin worked. Customers and business partners smelled of garlic; our fingers were pasted in- should have instantly noticed a certain sign to glue; printing color accumulated underne- of the company. In the early newspaper ads, ath the fingernails, the scent of sealing-wax around 1950, appeared typical logos of “Ju- permeated our nostrils. Often we have been golek”, “Partizanka”, “Zorka [abac”, “Jugo- covered with the flakes of a gold foil. We ex- slovenska knjiga” all of which would be re- pected the next day with uneasiness thinking tained in the coming decades. However, the

26 – С. Филеки, Диплома, Бошко Карановић, Стејепан Филеки, Галерија Графички колектив, Београд 2005, стр. 4. 54 real flourishing began after 1955. At the ti- the importance of graphic signs and graphic me, advertising was even considered as im- communication for almost forty years, moral because the ad was connected with the matching his words with his deeds. In an ex- profit and much hated capitalism. Neverthe- tensive series of signs feature prominently the less, the laws of production and consumption logo of the agricultural cooperative “Maki{” were forced into acceptance for their own sa- from 1961, the sign and logo of the “Gallery ke and with them the need for advertising Graphic Collective” (1962), the logo of the “ and ads as well. America had recognized the Museum of the Revolution of Yugoslav Nati- importance of graphic and industrial design ons and Nationalities” (1963), the trademark back in the thirties, during the economic cri- of “ULUPUS” (the Association of Serbian Vi- sis. It was actually advertising and packa- sual Artists in the Field of Applied Arts) ging that sold products. Not earlier than (1964), a sign of the exhibition “Golden Pen” mid-fifties, Socialist Yugoslavia started (1965), then the sign of the University of Arts, identifying companies with their products in symbolically presented as four leaves on the an organized manner so that graphic desig- same branch, as well as the logo for the pu- ners such as Ljubomir Pavi}evi} Fis, Milo{ blishing company “Mlado pokolenje” in 1966, ]iri} and Dragoslav Stojanovi} Sip finally the logo of Hunting Forest Agricultural Farm got a chance to design logos and signs for an “Jelen” in 1967, and also the signs of the increasing number of clients. “Museum of Contemporary Art” and “BIGZ” In 1954, FIS designed the logo for the com- (Belgrade Publishing Graphic Institute) pany “Janko Lisjak”, in 1955, for “Tran{ped” (1970). The signs of Milo{ ]iri} have all the and “Duvan”, in 1956, for “Vino @upa”, in characteristics of his style - a strong black 1958, for the “Production of Gramophone Re- and white relation, a solid line and the geo- cords Diskos” as well as for the news agency metric layout of surfaces. In his books “Grap- “Tanjug”, and in 1964, for the shoe industry hical Identification 1961 -1981“ issued in “Obu}a” that would survive and be in use for 1982, and “Graphic Communications 1954 - years. In 1965, Sip in his turn made the pro- 1984“ issued in 1986, he worked out in detail ject for the sign of “Kolarac People’s Univer- his ideas on graphic design and the system of sity” and the “Gallery Milan Konjovi}” in constructing graphical identification. Sombor, and in 1969, he designed the sign for Aleksandar Pajvan~i} Aleks that entered the October Salon. the profession in the late sixties after he had Most prolific among them at this job was finished the Academy of Applied Arts, was Milo{ ]iri}, a professor at the Academy (Fa- the successor of Milo{ ]iri} not only for his culty) of Applied Arts, which would promote similar understanding of graphic design, but also for the spheres of interest that he covered by his activities. He was to solve the problems of graphic communications by introdu- cing novelties in keeping with the conception of “pure” design. The strong contrast of black and white masses, as well as inventive solutions would be distinguishing features of his design. In 1968, he designed a sign for the group “Analytic Humor”, which was made in the form of Tao symbol created out of two profiles; in 1970, he made signs for “Gra|e- vinska knjiga”, “Serbian String Quartet”, “October Salon”, “Golden Pen of Belgrade” and newly established “Student Cultural Center”. These signs were used for a long ti- 261 me and the sign of SKC (Student Cultural 55 Center) is still in use. However, the activity worked in different branches of this field. In of Aleks Pajvan~i} is pertinent mainly to the those two sensitive decades, the fifties and the years after 1970 and consequently to a diffe- sixties, being full of changes, ups and downs, rent artistic atmosphere. rises and demises, graphic designers showed exceptional enthusiasm in work, professional * * * discipline, and openness toward new. Some areas, like posters and illustrations were deve- The history of Graphic Design in Serbia loped on the foundations of previous experi- from 1950 to 1970 is at the same time political, ence, but the graphic communications (logo, economic and cultural history of the country in sign) were an entire novelty and time was ne- which it emerged and developed. Concerning eded for them to become part of everyday life. the fact that it was most often tied to the offi- In any case, urban landscape has changed ow- cial institutions of the system, which commis- ing to the activities of graphic designers as sioned designers to work for them, graphic de- well. What is more, many of their works in the sign directly expressed movements in the soci- spirit of new ideas about visual quality have ety and conveyed messages of that time. contributed to the expansion of different arti- Any other kind of art, regardless of the po- stic sensibility. litical and artistic dictates, could have retai- To us some of the solutions may seem over- ned its autonomy under certain conditions. simplified, anachronistic and even unintelligi- Graphic design did not have such an option. ble today, but it should be kept in mind that It was directly conditioned by moment, poli- they are part of complex time in which one did tical or economic situations, as well as ideo- not know clearly what was allowed and what logical dictates of clients, whereas ignorance was not, the time of limited technical possibi- of those to whom it was intended contributed lities, which was burdened with poverty for a very much to the unenviable position of aut- long time and much hampered by the weight hors that were active in that period. Its role of narrow-minded views. Freedom of thought was propagandistic in the first place. It pro- and action has been conquered step by step moted ideas and advertised numerous actions with many obstacles and enormous effort, as of official institutions. Nevertheless, the role well as personal courage. However, occasional of design was not exhausted by that. It was disappointments, resignation, anxiety and re- considerably used in the sphere of culture and volt have not affected the natural development education. The history of film, theater, music of all the branches of graphic design. and visual art is visible through the content This text has not discussed caricature, co- of posters and ads, newspapers, magazines mics, animation, cartoons, all of which are the and books. Entertainment, from popular mu- disciplines of graphic design that received the sic and sport to circus performances, has left highest plaudits on the international scene. By their own imprint on design. Above all, it is their scope and importance they deserve to be an indicator of esthetic changes. Socialist re- displayed at separate exhibitions. alism, socialist aestheticism, geometric and From natural and given optimism in the lyrical abstraction, the ideas of Bauhaus, sur- early part of the fifties to the absurd and realism, the conceptions of Polish and Swiss cynicism of the seventies passed twenty ex- posters, op and pop art, psychedelic art, all of citing years. This introduction to the study of that can be revealed in numerous works of graphic design between 1950 and 1970 is de- these decades. dicated to those who have patiently and de- Various restrictions, ideological controls votedly laid the foundation of the profession, and injunctions have not prevented its deve- going through fear and enthusiasm on their lopment, and really there are a very large road to a free professional and authentic ar- number of artists, graphic designers who have tistic expression.

56 Plakati / Posters

57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 Filmski plakati / Film Posters

74 75 76 Po{tanske marke / Stamps

77 78 79 80 81 Omoti za plo~e / Gramophone record covers

82 83 Oprema kwige i ilustracije / Book design and illustrations

84 85 86 87 88 89 90 91 Novine i ~asopisi / Newspapers and magazines

92 93 94 Poveqe i diplome / Charters and diplomas

95 Znaci i logotipi / Signs and logotypes

96 SPISAK RADOVA THE LIST OF GRAFI^KOG DIZAJNA GRAPHIC DESIGN WORKS

Plakati Posters 000. Matija Zlamalik, Svi na izbore 1950, 000. Matija Zlamalik, “Everybody Go to the 100 h 70 Polls” (1950), 100 x 70 001. Mihajlo Petrov, Narodne igre 001. Mihajlo Petrov, “Folk Dances of Jugoslavije, 1950, 100 h 71 Yugoslavia” (1950), 100 x 71 002. Juka, Titova {tafeta, 1950, 71 h 50 002. Juka, “Tito’s Relay” (1950), 71 x 50 003. Matija Zlamalik, Nedeqa Crvenog 003. Matija Zlamalik, “The Red Cross Week” krsta, 1950, 70 h 50 (1950), 70 x 50 004. Higijena svuda na svakom mestu, 1950, 004. “Hygiene Everywhere in Every Place” 70 h 49,5 (1950), 70 x 49.5 005. Matija Zlamalik – Sreten Doki}, 005. Matija Zlamalik - Sreten Doki}, “Bonds of Obveznice Narodnog zajma, 1951, National Loan” (1951), 70.5 x 100 70,5 h 100 006. Matija Zlamalik, “The First Five-year 006. Matija Zlamalik, Prva petoqetka, Plan” (1947 - 1951), 100 x 71 1947 - 1951, 100 h 71 007. P. Dabovi}, “Republic Show of Modern 007. P. Dabovi}, Republi~ka revija Wearing” (1951) (Institute of Applied Arts), savremenog odevewa, 1951 (Zavod za 100 x 71 008. \or|e Gorbunov, “Cyrano de Bergerac” primewenu umetnost), 100 h 71 (1951), 90 x 64 cm 008. \or|e Gorbunov, Sirano de Berèrak, 009. Dragoslav Stojanovi} SIP, “90 years of the 1951, 90 h 64 sm Serbian National Theater” (1951), 100 x 70 009. Dragoslav Stojanovi} SIP, 90 godina 010. Radomir Stevi} Ras and Milo{ ]iri}, srpskog narodnog pozori{ta, 1951, “The First International Exhibition 100 h 70 of Photographs” (1952), 99 x 69.5 010. Radomir Stevi} Ras i Milo{ ]iri}, 011. Forcan, “Greeting to Tito (On the Occasion I me|unarodna izlo`ba fotografije, of His Sixtieth Birthday)” (1952), 1952, 99 h 69,5 100 x 70.5 011. Forcan, Pozdrav Titu (povodom 60 tog 012. Dragoljub Kaì}, “The Exhibition of ro|endana), 1952, 100 h 70,5 Japanese Painter Sharaku” (1953) 66 x 35.5 012. Dragoqub Kaì}, Izlo`ba japanskog 013. Bo{ko Karanovi}, “May Exhibition of slikara [araku, 1953, 66 h 35,5 Graphics” (1953) 71.5 x 46 013. Bo{ko Karanovi}, Majska izlo`ba 014. Lazar Vujaklija, “Color Graphics” (1954) grafike, 1953, 71,5 h 46 85 x 60.5 014. Lazar Vujaklija, Grafika u boji, 1954, 015. Andreja Andrejevi}, “The First Review of 85 h 60,5 Yugoslav Scout Organizations” (1954), 71 x 50.5 015. Andreja Andrejevi}, I smotra izvi|a~kih organizacija Jugoslavije, 016. Andreja Andrejevi}, “Eighty Years of 1954, 71 h 50,5 Graphic Union in Serbia” (1954) 98 x 54.5 016. Andreja Andrejevi}, Osamdeset 017. Dragoslav Stojanovi} Sip, “Wheel Dance” godina sindikata grafi~ara Srbije, (1954) 100 x 71 1954, 98 h 54,5 018. \or|e Andrejevi} Kun, “Week of Collect- 017. Dragoslav Stojanovi} Sip, Kolo, 1954, ing Historical Documents” (1955), 84 x 59 019. Milo Milunovi}, “The First May” (1955), 100 h 71 100 x 70 018. \or|e Andrejevi} Kun, Nedeqa 020. Milorad Dobri}, “Radio and Press Week”, prikupqawa istorijskih dokumenata, (1955), 69 x 49 1955, 84 h 59 021. Spremo-Milenkovi}, “The Third Yugoslav 019. Milo Milunovi}, Prvi maj , 1955, Radio Festival, (1956) 98.5 x 68 100 h 70 022. Dragoslav Stojanovi} Sip,”Synthesis of 020. Milorad Dobri}, Nedeqa {tampe i Plastic Arts” (1957), 81.5 x 57 radija, 1955, 69 h 49 023. Miodrag Vartabedijan, “The Fourth 021. Spremo-Milenkovi}, III jugoslovenski Yugoslav Pop Music Festival” (1957), radio festival, 1956, 98,5 h 68 99.5 x 70 022. Dragoslav Stojanovi} Sip, Sinteza 024. Kraj{ek, “Yugoslav Book Fair” (1957), plasti~kih umetnosti, 1957, 81,5 h 57 94 x 64 97 023. Miodrag Vartabedijan, 4 jugoslovenski 025. “Yugoslav Press Photography” 1957, festival estradne muzike, 68.5 x 98.5 (4 югославский фестиваль эстрадная 026. Radomir Stevi} Ras, “Interzonal Chess музыка), 1957, 99,5 h 70 Tournament, Portoro`” (1958) 99.5 x 68 024. Kraj{ek, Jugoslovenski sajam kwiga, 027. Dragoslav Stojanovi} Sip, “Everybody Go 1957, 94 h 64 to the Polls” (1958), 100 x 68 025. Jugoslovenska novinska fotografija, 028. S. Petrovi}, “Cultural Center of the 1957, 68,5 h 98,5 Western Vra~ar Municipality” (1958) 026. Radomir Stevi} Ras, Interzonski 70 x 48.5 {ahovski turnr, Portoro`, 1958, 029. “The Federal Rally of Partizan” (1959), 99,5 h 68 85 x 61 027. Dragoslav Stojanovi} Sip, 030. Radomir Stevi} Ras, “The Third Svi na izbore 1958, 100 h 68 International Fair of Technics” (1959) 028. S. Petrovi}, Dom kulture op{tine 98 x 67.5 Zapadni Vra~ar, 1958, 70 h 48,5 031. “Highway 59“ 1959, 83 x 57 029. Savezni slet Partizana, 1959, 85 h 61 032. “SKOJ (Yugoslav League of Communist 030. Radomir Stevi} Ras, III me|unarodni Youth) 1919 - 1959“ (1959), 85 x 61 sajam tehnike, 1959, 98 h 67,5 033. \or|e Andrejevi} Kun, “Freedom, Peace 031. Autoput 59, 1959, 83 h 57 and Socialism, SKJ (Yugoslav League of 032. SKOJ 1919 – 1959, 1959, 85 h 61 Communists) 1919-1959“ (1959), 98.5 x 69 033. \or|e Andrejevi} Kun, Za slobodu, 034. Eduard Stepan~i}, “Museum Week” (1960), mir i socijalizam, SKJ 1919-1959, 97 x 67 1959, 98,5 h 69 035. Du{an Risti}, “Portraits of Female Artists” 034. Eduard Stepan~i}, Nedeqa muzeja, (1960), 99 x 68 1960, 97 h 67 036. Stanko Vrzi}, “25th May, Youth Day” 035. Du{an Risti}, Likovi umetnica, 1960, (1960), 70.5 x 48.5 99 h 68 037. Dragan Dimitrijevi}, “Lottery of Yugoslav 036. Stanko Vrzi}, 25. maj, Dan mladosti, Auto-moto Federation” (1960), 48 x 70 1960, 70,5 h 48,5 038. Radomir Stevi} Ras, “Love and Fashion” 037. Dragan Dimitrijevi}, Lutrija (1960), 176 x 70 Auto-moto saveza Jugoslavije, 1960, 039. Dragoslav Stojanovi} Sip, “Yugoslav Book 48 h 70 Exhibition, Moscow, Leningrad, Kiev” 038. Radomir Stevi} Ras, Qubav i moda, (1961), 100 x 70 1960, 176 h 70 040. “October Salon” (1961), 100 x 70 039. Dragoslav Stojanovi} Sip, Izlo`ba 041. Radomir Perica, “Art in Industry” jugoslovenskih kwiga, Moskva, (1961), 83 x 58 Lewingrad, Kijev, 1961, 100 h 70 042. Radomir Stevi} Ras, “Book Month” (1961), 040. Oktobarski salon, 1961, 100 h 70 100 x 70 041. Radomir Perica, Umetnost 043. Bole Miloradovi}, “25 Years of Student” u industriji, 1961, 83 h 58 (1962), 100 X 70 042. Radomir Stevi} Ras, Mesec dana 044. Branislav Make{, “The Memorial Sava kwige, 1961, 100 h 70 [umanovi}, Sava Sumanovi} and 043. Bole Miloradovi}, Student 25 godina, Landscape in the Serbian Painting 1962, 100 h 70 Between the Two World Wars” (1962), 044. Branislav Make{, Memorijal Save 100 x 70 [umanovi}a, Sava [umanovi} 045. The Golden Pen” (1963), 70 x 50 i pejza` u srpskom slikarstvu izme|u 046. Radomir Perica, “World Fashion” 100 x 70 dva rata, 1962, 100 h 70 047. Milo{ ]iri}, “The Exhibition, 045. Zlatno pero, 1963, 70 h 50 Prison - School of Revolutionaries” 98 x 68 046. Radomir Perica, Moda u svetu, 048. V. Ta{kovski, “The Ball of flowers” (1964), 100 h 70 64.5 x 49.5 047. Milo{ ]iri}, Izlo`ba 049 Radomir Perica, “International Fair of Robija – {kola revolucionara, 98 h 68 Technics” (1964), 99 x 68 048. V. Ta{kovski, Bal cve}a, 1964, 050. “100 Years in a Humane Mission” (1964), 64,5 h 49,5 97 x 65 049. Radomir Perica, Me|unarodni sajam 051. Mile Medi} “The Month of Cultural tehnike, 1964, 99 h 68 Monuments” (1964), 97 x 67 050. 100 godina na humanom zadatku 1964, 052. Ida and Milo{ ]iri}, “Graphic Collective” 97 h 65 (1965), 71 x 50.5 98 051. Mile Medi}, Mesec spomenika 053. “Museum Week” (1965), 58.5 x 42 kulture, 1964, 97 h 67 054. Boìdar D`merkovi}, 052. Ida i Milo{ ]iri}, Grafi~ki “Economic Reform” (1965), 83.5 x 59 kolektiv, 1965, 71 h 50,5 055. Milo{ ]iric, “The Belgrade Circle 053. Nedeqa muzeja 1965, 58,5 h 42 Graphics” (1966), 48.5 x 69 054. Boìdar Xmerkovi}, Privredna 056. Nenad Novak, “The Exhibition of reforma, 1965, 83,5 h 59 Inventions and Technical Improvements” 055. Milo{ ]iri}, Grafika beogradskog (1966), 99.5 x 69 kruga, 1966, 48,5 h 69 057. Slobodan Ma{i}, “Radomir Damjanovi} 056. Nenad Novakov, Izlo`ba Damjan” (1966), 98 x 62 pronalazaka i tehni~kih unapre|ewa, 058. Dragoslav Stojanovi} Sip, “50 Years 1966, 99,5 h 69 of October, October 1917“ 100 x 70 057. Slobodan Ma{i}, Radomir 059. Borivoje Liki}, “ULUS - Association of Damjanovi} Damjan, 1966, 98 h 62 Visual Artists of Serbia” (1967), 98.5 x 34 058. Dragoslav Stojanovi} Sip, 50 godina 060. Milo{ ]iri}, “The Golden Pen of Belgrade” oktobra, Oktobar 1917, 100 h 70 (1968), 98 x 67 059. Borivoje Liki}, ULUS, 1967, 98,5 h 34 061. Bole Miloradovi}, “Belgrade Spring of 060. Milo{ ]iri}, Zlatno pero Beograda, 1968“, 69 x 49 1968, 98 h 67 062. Bole Miloradovi}, “Twenty Fifth 061. Bole Miloradovi}, Beogradsko Anniversary of the Battles on the Neretva prole}e 1968, 69 h 49 and Sutjeska 1943 - 1968“ 100 x 70 062. Bole Miloradovi}, 063. Bole Miloradovi}, “90 Years of Dvedesetpetogodi{wica bitki na the Military Museum” (1968), 100 x 70 Neretvi i Sutjesci 1943 – 1968, 100 h 70 064. Bole Miloradovi}, “Most Cheerful Fifteen 063. Bole Miloradovi}, 90 godina Vojnog Days, Belgrade, December 15-31“ 100 x 70 065. Aleks Pajvan~i}, “World Championships muzeja , 1968, 100 h 70 in Ice-hockey, Ljubljana” (1969), 100 x 70 064. Bole Miloradovi}, Petnaest 066. Aleksandar Daskalovi}, “Basketball najveselijih dana, Beograd Yugoslavia - Europe, Belgrade” (1969), 15 -31 decembar, 100 h 70 100 x 70 065. Aleks Pajvan~i}, Svetsko prvenstveno 067. Bogdan Kr{i}, “20 Years of Graphic u hokeju , Qubqana, 1969, 100 h 70 Collective, Belgrade Circle Graphics” 066. Aleksandar Daskalovi}, Ko{arka (1969), 70 x 50 Jugoslavija - Evropa, Beograd, 1969, 068. Vladislav Lalicki, “Hair” (1969), 100 x 70 100 h 70 069. Boìdar Bole Miloradovi}, 067. Bogdan Kr{i}, 20 godina Grafi~kog “The Celebration of the Fiftieth kolektiva Grafika beogradskog kruga Anniversary of SKJ (Yugoslav League 1969, 70 h 50 of Communists)” (1969), 98 x 68 068. Vladislav Lalicki, Kosa 1969, 070. Aleksandar Klas, “Student Day” (1969), 100 h 70 69.5 x 49.5 069. Boìdar Bole Miloradovi}, 071. Dragan Stojanovski, “Caviar and Lentil” Proslava pedesetogodi{wice SKJ, (1969), 99.5 x 59.5 1969, 98 h 68 072. Aleksandar Daskalovi}, “ The Congress of 070. Aleksandar Klas, Dan studenata 1969, SKJ (Yugoslav League of Communists)” 69,5 h 49,5 (1969), 100 x 70 071. Dragan Stojanovski, Kavijar i so~ivo, 073. “Belgrade International Folklore Festival” 1969, 99,5 h 59,5 (1969), 95 x 64 072. Aleksandar Daskalovi}, Kongres SKJ, 074. Aleks Pajvan~i}, “The Golden Pen 1969, 100 h 70 of Belgrade” (1970), 100 x 35 073. Beogradski internacionalni 075. Bole Miloradovi}, “ The Centenary festival folklora 1969, 95 h 64 of V.I. Lenin’s Birth” (1970), 96 x 68.5 074. Aleks Pajvan~i}, Zlatno pero 076. Moma Antonovi}, “Barbeque” (1970), Beograda 1970, 100 h 35 68.5 x 45.5 075. Bole Miloradovi}, Stogodi{wica 077. Dragoslav Stojanovi} SIP, “Art Colony ro|ewa V.I. Lewina, 1970, 96 h 68,5 E~ka, 15th Exhibition” (1970), 70 x 50 076. Moma Antonovi}, Ro{tiqijada 1970, 078. “Dizzy Gillespie and His Orchestra” (1956), 68,5 h 45,5 80.5 x 56 99 077. Dragoslav Stojanovi} SIP, 079. Aleksandar Klas, “Clean City - Our Pride” Umetni~ka kolonija E~ka 15. izlo`ba, 66.5 x 47 1970, 70 h 50 080. Sava Rajkovi}, “Be Careful” (1962), 078. Dizzy Gillespie sa svojim orkestrom, 69.5 x 50 1956, 80,5 h 56 081. Vladimir Todorovi}, “The First May) 079. Aleksandar Klas, îst grad na{ (1965), 99 x 68 ponos, 66,5 h 47 082. R. Ruvarac, “The Worker - Read Your 080. Sava Rajkovi}, Budi obazriv, 1962, Newspapers!” (1954), 71 x 50.5 69,5 h 50 083. Radomir Stevi} Ras, “Circus Adria, 081. Vladimir Todorovi}, 1. maj, 1965, 99 h 68 International Program” 130 x 95 082. R. Ruvarac, Radnik – ~itajte svoj list, 084. Azulyn. Merima, 69 x 48 1954, 71 h 50,5 085. “Voluntary Work in the Red Cross 083. Radomir Stevi} Ras, Cirkus Adria, Contributes to the General Progress of internacionalni program, 130 h 95 the Community” (1955), 58.5 x 41 084. Azulyn. Merima , 69 h 48 086. Suppress Tuberculosis! Parents Vaccinate 085. Dobrovoqni rad u Crvenom krstu Your children with BCG vaccine!” (1956), doprinosi op{tem napretku 69.5 x 49.5 zajednice, 1955, 58,5 h 41 087. “Kekec is publishing Tito’s Biography - 086. Suzbijajmo tuberkulozu! Roditeqi Following Life Path of Josip Broz Tito” vakcini{ite decu Be Se @e 60 x 100 vakcinom!, 1956, 69,5 h 49,5 087. Kekec objavquje Titovu biografiju - Film Posters @ivotnom stazom Josipa Broza Tita, 60 h 100 088. Stjepan Fileki, “Girls of the Spanish Steps, (1953), 100 x 71 Filmski plakati 089. Stjepan Fileki, “Strange Journey” (1953), 100 x 71 088. Stjepan Fileki , Devojke sa [panskog 090. Milo{ ]iri}, “Mr. Hulot’s Holiday” (1953), trga, 1953, 100 x 71 100 x 69 089. Stjepan Fileki, Neobi~no putovawe, 091. Ljubomir Pavi}evi} Fis, “Documents of 1953, 100 x 71 One Life” (1955), 70 x 50 090. Milo{ ]iri}, Odmor gospodina Iloa, 092. Milo{ Bukinac, “An American in Paris” 1953, 100 h 69 (1955), 99 x 68 091. Qubomir Pavi}evi} Fis, Dokumenti 093. Aleksandar Gojkovi}, “The Third Man” jedng ìvota, 1955, 70 50. x (1956), 70 x 50 092. Milo{ Bukinac, Amerikanac u 094. Ivo Ku{ani}, “4 Km per Hour” (1958), Parizu, 1955, 99 x 68 093. Aleksandar Gojkovi}, Tre}i ~ovek, 69 x 48 095. Alfred Lehner, “Dreams Come by Coach” 1956, 70 x 50 094. Ivo Ku{ani}, 4 km na sat, 1958, (1960), 70 x 50 096. Alfred Lehner, Three Girls Named Anna” 69 x 48 095. Alfred Lehner, Diliànsa snova, (1960), 100 x 70 097. Sene~i}, “Kozara” (1960), 97.5 x 68 1960, 70 x 50 096. Alfred Lehner, Tri Ane, 1960, 098. V. Sokolov, “The Class of V-3 Has Been 100 h 70 Called Over” (1962) 097. Sene~i}, Kozara, 1960, 97,5 x 68 099. Drops, Waters, Warriors (Rakonjac, 098. V. Sokolov, Prozvan je i V3, 1962 Pavlovi}, Babac)” (1962), 70 x 50 099. Kapi, vode ratnici. (Rakowac, 100. “Man Is Not a Bird (Du{an Makavejev)” Pavlovi}, Babac), 1962, 70 x 50 (1965), MJK (Museum of Film Archives), 100. ôvek nije tica (Du{an Makavejev) 70 x 50 1965, MJK, 70 x 50 101. “The Girl (Puri{a \or|evi})” (1965), MJK 101. Devojka,(Puri{a \or|evi}), 1965, (Museum of Film Archives), 70 x 50 MJK, 70 x 50 102. “Morning (Puri{a \or|evi})” 1967 MJK 102. Jutro,(Puri{a \or|evi})1967 MJK, (Museum of Film Archives), 70 x 50 70 x 50 103. “When I’m dead and Gone (@ivojin 103. Kad budem mrtav i beo, (@ivojin Pavlovi})” 1967, MJK (Museum of Film Pavlovi}), 1967, MJK, 70 x 50 Archives), 70 x 50 100 Po{tanske marke Stamps (P.i. - prigodno izdawe; (P.i. - appropriate release; R.i. – redovno izdawe) R.i. - regular edition) 104. Prvo R.i. s motivima raznih grana 104. First regular issue with the motives privrede FNRJ, nacrt dr P. Gavrani}, of various branches of FNRJ (Federative 1950 People’s Republic of Yugoslavia) economy, 105. P.i. povodom proslave Dana armije i design by P. Gavrani}, 1950 10. godi{wice osnivawa JNA, nacrt 105. Commemorative issue on the occasion of M. Zlamalika, 1951 the celebration of the Army Day and 10th 106. P.i. povodom 10. godi{wice smrti anniversary of JNA (Yugoslav People’s Nikole Tesle, nacrt P. Dabovi}a prema Army), design by M. Zlamalik, 1951 skulpturi I. Me{trovi}a, 1953 106. Commemorative issue on the occasion of th 107. P.i. povodom 150. godi{wice Prvog 10 anniversary of the death of Nikola srpskog ustanka, nacrt M. Milunovi}a Tesla, design by P. Dabovi} after the i \. Andrejevi}a Kuna, 1954 sculpture of I. Me{trovi}, 1953 108. Prvo P.i. sa slikama flore 107. Commemorative issue on the occasion of 150th anniversary of the First Serbian jugoslovenskog podru~ja, nacrt Uprising, design by M. Milunovi} M. Zlamalika, 1955 and \. Andrejevi} Kun, 1954 109. P.i. povodom Me|unarodne geofizi~ke 108. First commemorative issue with godine, nacrt B. Kr{i}a, 1958 photographs of the flora on Yugoslav 110. P.i. za vazdu{nu po{tu povodom territory, design by M. Zlamalik, 1955 Me|unarodne geofizi~ke godine, 109. Commemorative issue on the occasion of nacrt B. Kr{i}a, 1958 the International Geophysical Year, design 111. Prvo P.i. sa motivima turisti~kih by B. Kr{i}, 1958 mesta, nacrt \. Gorbunova, 1959 110. Commemorative issue for air mail on the 112. P.i. povodom 40. godi{wice osnivawa occasion of the International Geophysical Komunisti~ke partije Jugoslavije, Year, design by B. Kr{i}, 1958 nacrt \. Andrejevi}a Kuna, 1959 111. First commemorative issue with the motives of the tourist places, design 113. P.i. povodom XVII Olimpijade by \. Gorbunov, 1959 u Rimu, nacrt B. Spremo 112. Commemorative issue on the occasion i A. Milenkovi}a, 1960 of the 40th anniversary of the Communist 114. êtvrto P.i. posve}eno zaslu`nim Party of Yugoslavia, design qudima kulturno-istorijske by \. Andrejevi} Kun, 1959 pro{losti, nacrt M. Zlamalika, 1960 113. Commemorative issue on the occasion of 115. P.i. povodom proslave Dana armije i the XVII Olympics in Rome, design 20. godi{wice osnivawa JNA, nacrt by B. Spremo and A. Milenkovi}, 1960 B. Spremo i A.Milenkovi}a, 1961 114. Fourth commemorative issue dedicated to 116. Peto P.i. sa slikama faune the people deserving honor and recognition jugoslovenskog podru~ja, nacrt in cultural and historical past, design by M. Zlamalika, 1962 M. Zlamalik, 1960 115. Commemorative issue on the occasion of 117. P.i. Povodom VII Prvenstva Europe the Army Day and 20th anniversary of JNA u atletici, nacrt B. Kr{i}a, 1962 (Yugoslav People’s Army), design 118. P.i. za vazdu{nu po{tu Povodom VII by B. Spremo and A. Milenkovi}, 1961 Prvenstva Europe u atletici, nacrt 116. Fifth commemorative issue wit picture of B. Kr{i}a, 1962 fauna on Yugoslav territory, design 119. Prvo P.i. „Umetnost u Jugoslaviji by M. Zlamalik, 1962 kroz vekove“, nacrt D. Kaì}a 117. Commemorative issue on the occasion of i S. Filekija, 1962 the VII European Athletics 120. Drugo P.i. „Umetnost u Jugoslaviji Championships, design by B. Kr{i}, 1962 kroz vekove“, nacrt D. Kaì}a 118. Commemorative issue for air mail on the i S. Filekija, 1963 occasion of the VII European Athletics 121. P.i. povodom 100. godi{wice Championships, design by B. Kr{i}, 1962 vatrogastva u Jugoslaviji, nacrt 119. First commemorative issue “Art in S. Filekija, 1964 Yugoslavia through the Centuries” design by D. Kaì} and S. Fileki, 1962 122. Tre}e P.i. „Umetnost u Jugoslaviji 120. Second commemorative issue “Art in kroz vekove“, nacrt D. Kaì}a Yugoslavia through the Centuries” design i S. Filekija, 1964 by D. Kaì} and S. Fileki, 1963 101 123. êtvrto P.i. „Umetnost u Jugoslaviji 121. Commemorative issue on the occasion of kroz vekove“, nacrt D. Kaì}a the hunredth anniversary of Firefighting in i S. Filekija, 1965 Yugoslavia, design by S. Fileki, 1964 124. Peto P.i. „Umetnost u Jugoslaviji 122. Third commemorative issue “Art in kroz vekove“, nacrt D. Kaì}a Yugoslavia through the Centuries” design i S. Filekija, 1966 by D. Kaì} and S. Fileki, 1964 125. P.i. „Ikone – reprodukcije“, nacrt 123. Fourth commemorative issue “Art in Yugoslavia through the Centuries” design A. Milenkovi} po fotografijama, 1968 by D. Kaì} and S. Fileki, 1965 126. Osmo P.i. sa slikama faune 124. Fifth commemorative issue “Art in jugoslovenskog podru~ja (ptice Yugoslavia through the Centuries” design peva~ice), nacrt B. Spremo by D. Kaì} and S. Fileki, 1966 i A. Milenkovi}a, 1968 125. Commemorative issue 127. P.i povodom XIX Olimpijade u “Icons - Reproductions” design by Meksiku, nacrt M. Rodi~ija, 1968 A. Milenkovi} after photographs, 1968 128. Sedmo P.i. „Umetnost u Jugoslaviji 126. Eighth commemorative issue with kroz vekove“ – reprodukcije dela pictures of fauna on Yugoslav territory jugoslovenskih slikara XIX veka, (songbirds), design by B Spremo and nacrt A. Milenkovi}, 1968 A. Milenkovi}, 1968 129. P.i. povodom 50. godi{wice 127. Commemorative issue on the occasion of Me|unarodne organizacije rada, the XIX Olympics in Mexico, design by nacrt A. Milenkovi}a, 1969 M. Rodi~i, 1968 128. Seventh commemorative issue “Art in 130. P.i. povodom proslave 25. Yugoslavia through the Centuries” godi{wice oslobo|ewa Beograda, reproductions of Yugoslav nineteenth nacrt A. Milenkovi}, 1969 century painters’ works, design by 131. P.i. povodom proslave 25. A. Milenkovi}, 1968 godi{wice oslobo|ewa Skopqa, 129. Commemorative issue on the occasion nacrt A. Milenkovi}, 1969 of 50th anniversary of the International 132. Osmo P.i. „Umetnost u Jugoslaviji Labor Organization, design by kroz vekove“ – reprodukcije dela A. Milenkovi}, 1969 jugoslovenskih slikara XIX veka, 130. Commemorative issue dedicated to the nacrt A. Milenkovi}, 1969 celebration of 25th anniversary of the liberation of Belgrade, design by Omoti za plo~e A. Milenkovi}, 1969 131. Commemorative issue dedicated to the 133. Muzika za igru, \or|e Marjanovi} celebration of 25th anniversary of the u pratwi Plavog ansambla, 1960, omot liberation of Skoplje, design by Aleksandar Klas i Qubomir A. Milenkovi}, 1969 Pavi}evi} Fis 132. Eighth commemorative issue “Art in 134. Muzika za igru, Zabavni orkestar Yugoslavia through the Centuries” RTB, 1960 reproductions of Yugoslav nineteenth century painters’ works, design by 135. Napuq, izbor festivalskih pesama, A. Milenkovi}, 1969 1961, omot \or|e Gorbunov 136. Drugovi iz mog dvori{ta, \or|e Gramophone record covers Marjanovi}, 1963 137. Nada Kneèvi}, 1964 133. Dancing Music, \or|e Marjanovi} 138. Lola Novakovi}, 1964 featuring Blue Orchestra, 1960, Sleeve by 139. Radmila Karaklaji}, 1964 Aleksandar and Ljubomir Pavi}evi} Fis 140. Olivera Markovi}, @ivot je lep, 1965 134. Dancing Music, Dance Orchestra RTB, 141. Lola Novakovi}, T{ina, 1966 1960 142. Sre}na nova godina, 135. Naples, the Selection of Festival Songs, ~estitka- koverat za plo~u, 1966, 1961, Sleeve by \or|e Gorbunov 136. Friends from My Court-yard, \or|e nacrt Dragoslav Stojanovi} Sip Marjanovi}, 1963 143. Pesma leta 67, 1967, omot Paja 137. Nada Kneèvi}, 1964 Stankovi} 138. Lola Novakovi}, 1964 144. Olivera Vu~o, [u..[u..., 1967 139. Radmila Karaklaji}, 1964 145. Olivera Vu~o, 1967 140. Olivera Markovi}, Life is Beautiful, 1965 146. Liturgija Stevan St.Mokrawac, 1968 141. Lola Novakovi}, Silence, 1966 102 147. Pesma leta 68, 1968, omot Paja 142. Happy New Year, greeting card sleeve, Stankovi} 1966, design by Dragoslav Stojanovi} Sip 148. Sa{a Mandi}, Mis Jugoslavije, 1968 143. Summer Song 67, 1967, Sleeve by Paja 149. \or|e Marjanovi}, 1969 Stankovi} 150. Gabi Novak, Malo re~i treba 144. Olivera Vu~o, Shoo .. Shoo ..., 1967 kad se voli, 1969 145. Olivera Vu~o, 1967 151. 3 {e{ira, Vokalno instrumentalna 146. Liturgy, Stevan St.Mokranjac, 1968 grupa „Tri {e{ira“, 1970, nacrt i 147. Summer Song 68, 1968, Sleeve by Paja realizacija omota Dobrilo Nikoli} Stankovi} 148. Sa{a Mandi}, Miss Yugoslavia, 1968 Oprema kwige i ilustracije 149. \or|e Marjanovi}, 1969 150. Gabi Novak, Few Words Are Enough for Du{an Risti} Love, 1969 152. Feliks Salten, Bambi, De~ja kwiga, 151. 3 Hats, Vocal-instrumental Group Beograd 1951, naslovna strana “Three Hats”, 1970, Design and realization i ilustracije of sleeve by Dobrilo Nikoli} 153. Ogden Ne{, [tihovi, Kultura, Beograd 1969, naslovna strana Book design and illustrations i ilustracije Du{an Risti} 154. Zoran Petrovi}, Selo Sakule 152. Felix Salten, Bambi, De~ja knjiga, Belgrade a u Banatu, Matica srpska, Novi Sad 1951, Cover Design and Illustrations 1969. 153. Ogden Nash, Lyrics, Kultura, Belgrade Aleksandar Hecl 1969, Cover Design and Illustrations 155. @il Vern, Putovawe u sredi{te 154. Zoran Petrovi}, The Village of Sakule in zemqe, Rad, Beograd 1955, naslovna Banat, Matica Srpska, Novi Sad 1969 strana i ilustracije Aleksandar Hecl 156. Slavomir Nastasijevi}, Gvapo, 155. Jules Verne, Journey to the Center of the Stoèr, Beograd 1957, naslovna Earth, Rad, Belgrade 1955, Cover Design strana i ilustracije and Illustrations 157. Henrih Sjenkijevi~, Krsta{i, 156. Slavomir Nastasijevi}, Gvapo, Pivot, Belgrade Stoèr, Beograd 1958, naslovna strana 1957, Cover Design and Illustrations Radomir Stevi} Ras 157. Henryk Sienkiewicz, The Knights of the 158. Vladislav Petkovi} – Dis, Pesme, Cross, Pivot, Belgrade 1958, Cover Design Nolit , Beograd 1956, naslovna strana Radomir Stevi} Ras 159. Henrih Sjenkijevi~, Ogwem i ma~em, 158. Vladislav Petkovi} - Dis, Poems, Nolit, Nolit, Beograd 1960, naslovna strana Belgrade 1956, Cover Design 160. Miodrag Bulatovi}, \avoli 159. Henryk Sienkiewicz, With fire and sword, dolaze, Kultura, Beograd 1964, Nolit, Belgrade 1960, Cover Design naslovna strana 160. Miodrag Bulatovi}, The Devils Are Coming Vladimir Trbojevi} translated as Stop the Danube, Kultura, 161. @il @erar, Ubica lavova, De~ja Belgrade 1964, Cover Design kwiga, Beograd 1955, naslovna strana Vladimir Trbojevi} i ilustracije 161. Jules Gerard, Lion-Killer, De~ja knjiga, Sava Nikoli} Belgrade 1955, Cover Design and 162. Oskar Vajld, Sre}ni princ Illustrations i druge bajke, De~ja kwiga, Beograd Sava Nikoli} 1957, ilustracije 162. Oscar Wilde, The Happy Prince 163. Mato Lovrak, Iskrica, Kosmos, and Other Stories, De~ja knjiga, Belgrade Beograd 1958, naslovna strana i 1957, Illustrations ilustracije 163. Mato Lovrak, Scintilla, Kosmos, Beograd Anton Huter 1958, Cover Design and Illustrations 164. Johana [piri, Hajdi, De~ja kwiga, Anton Huter Beograd 1956, naslovna strana i 164. Johanna Spyri, Heidi, De~ja knjiga, Belgrade ilustracije 1956, Cover Design and Illustrations 103 Moma Markovi} Moma Markovi} 165. Indijske narodne bajke, Narodna 165. Indian Folk Fairy Tales, Narodna knjiga, kwiga, Beograd 1960, ilustracije Belgrade 1960, Illustrations Slobodan Bogojevi} Slobodan Bogojevi} 166. Mi}a Popovi}, Izlet, Kosmos, 166. Mi}a Popovi}, Excursion, Kosmos, Beograd 1957, omot za kwige. Belgrade 1957, Jacket Design Dragan Savi} Dragan Savi} 167. Mitar Maksimovi}, Zemqa Dembelija, 167. Mitar Maksimovic, Land of Cockaigne, De~ja kwiga, Beograd 1952, naslovna De~ja knjiga, Belgrade 1952, Cover and strana, forzec i ilustracije End Paper Design and Illustrations Mi}a Popovi} Mi}a Popovi} 168. Aleksandar Dima, Grof Monte 168. Alexandre Dumas, The Count of Monte Kristo, Nolit, Beograd 1960, Cristo, Nolit, Belgrade 1960, Cover Design naslovna strana Du{an Maleti} Du{an Maleti} 169. Forty Years, the Miscelany of memories 169. êtrdeset godina, Zbornik se}awa of Yugoslav revolutionary labor movement aktivista jugoslovenskog activists, Kultura, Belgrade 1960, revolucionarnog radni~kog pokreta, Jacket Design Kultura , Beograd 1960, omot MihajloPisanjuk MihajloPisawuk 170. Franz Kafka, Stories, Narodna knjiga, 170. Franc Kafka, Pripovetke, Narodna Beograd 1963, Cover Design kwiga, Beograd 1963, naslovna strana Miodrag Vuja~i} Mirski 171. J. D. Salinger, Franny and Zooey, Miodrag Vuja~i} Mirski Prosveta, Belgrade 1965, Jacket Design 171. X. D: Selinxer, Freni i Zui, Prosveta, 172. Heinrich Böl, The Clown, Prosveta, Beograd 1965, omot Belgrade 1966, Jacket Design 172. Hajnrih Bel, Mi{qewa jednog klovna, Prosveta, Beograd 1966, omot Bogdan Kr{i} 173. Washington Irving, Rip Van Winkle and Bogdan Kr{i} the Legend of Sleepy Hollow, Svjetlost, 173. Va{ington Irving, Rip van Vinkl i Sarajevo 1956, Jacket Design, Cover Legenda o sawivoj dolini, Svjetlost, Design and Illustrations Sarajevo 1956, omot, naslovna strana 174. Milica Miron, Miraculous Candlestick, i ilustracije fairy tale in five acts, Svjetlost, Sarajevo 174. Milica Miron, ûdotvorni ~irak, 1957, Cover Design and Illustrations bajka u pet ~inova, Svjetlost, Sarajevo 175. F. Scott Fitzgerald, The Great Gatsby and 1957, naslovna strana i ilustracije Four Stories, Yugoslavia, Belgrade 1967, 175. F. Skot Ficxerald, Veliki Getsbi i Illustrations ~etiri pri~e, Jugoslavija, Beograd 176. People, Komunist, Belgrade 1969, Cover 1967, ilustracije Design and Illustrations 176. Qudi, Komunist, Beograd 1969, 177. Desiderius Erasmus, The Praise of Folly, naslovna strana i ilustracije 1963 177. Erazmo Roterdamski, Pohvala ludosti, 1963 Ida ]iri} 178. Fledgling, 1960-61, Cover Design Ida ]iri} 179. Skill Has Its Rewards, Vuk Karadì}, 178. Poletarac, 1960-61, naslovna strana 1966, Illustrations 179. Ko umije wemu dvije, Vuk Karaxi}, Marko Krsmanovi} 1966, ilustracije 180. Zmaj, Sun, 1964, Cover Design Marko Krsmanovi} Zmaj, Black Boy, 1964, Cover Design 180. Zmaj, Sunce, 1964, naslovna strana 181. Zmaj, Rooster, 1964, Cover Design Zmaj, Crni de~ak, 1964, naslovna Zmaj, Butterfly, 1964, Cover Design strana LJubica Cuca Soki} 181. Zmaj, Petao, 1964, naslovna strana 182. Yugoslavia 1952, illustration Zmaj , Leptir, 1964, naslovna strana 183. Poletarac 1956, back cover 104 Qubica Cuca Soki} @ivojin Kova~evi} 182. Jugoslavija 1952, ilustracija 184. Desanka Maksimovi}, Welcome to 183. Poletarac 1956, zadwa strana korica the Exhibition, 1966, Illustrations 185. Boìdar Timotijevi}, The Blacksmith and @ivojin Kova~evi} the Sun, 1967, Illustrations 184. Desanka Maksimovi}, Izvolite na izlo`bu, 1966 , ilustracije Bosiljka Ki}evac 185. Boìdar Timotijevi}, Kova~ i Sunce, 186. Danilo Laki}, Lost Tail, 1970, Illustrations 1967, ilustracije \or|e Milanovi} Bosiqka Ki}evac 187. Calendar, Pioneers, 1955 186. Danilo Laki}, Izgubqeni rep, 1970, 188. Illustrations, Fledgling, 1959 ilustracije Slobodan Ma{i} \or|e Milanovi} 189. Bora ]osi}, Content, independent 187. Kalendar, Pioniri, 1955 copyright Edition 1, Belgrade 1968, Book 188. Ilustracije, Poletarac, 1959 Design Slobodan Ma{i} 189. Bora ]osi}, Sadràj, Nezavisno 190. Drago{ Klaji}, Kr{evina (Bare Rocky autorsko izdawe 1, Beograd 1968, Country), independent copyright Edition 2, oprema kwige Zagreb 1968, Book Design 190. Drago{ Klaji}, Kr{evina, Branko Vu~i}evi} Nezavisno autorsko izdawe 2, Beograd 1968, oprema kwige 191. Bora ]osi}, Mixed Media, independent copyright edition, Belgrade 1970, Branko Vu~i}evi} Book Design 191. Bora ]osi}, Mixed media, Nezavisno autorsko izdawe, Catalogs Beograd 1970, oprema kwige Slobodan Mileti} Katalozi 192. Belgrade 1807 - 1862 - 1867, Museum of the City of Belgrade, 1962, Cover and Slobodan Mileti} Catalog Design 192. Beograd 1807 – 1862 – 1867, Muzej grada Beograda, 1962, naslovna strana Dragoslav Stojanovi} Sip i oprema kataloga 193. Third Triennial of Visual Arts, Belgrade 1967, Cover and Catalog Design Dragoslav Stojanovi} Sip 193. Tre}i trijenale likovnih Nikola Masnikovi} umetnosti, Beograd 1967, naslovna 194. The Third Decade of Constructive strana i oprema kataloga Painting, Museum of Contemporary Art, Nikola Masnikovi} Belgrade 1969, Cover and Catalog Design 194. Tre}a decenija Konstruktivno Bogdan Kr{i} slikarstvo, Muzej savremene 195. 1929 - 1950 Surrealism, Social Art, umetnosti, Beograd 1969, naslovna Museum of Contemporary Art, Belgrade strana i oprema kataloga 1969, Cover and Catalog Design Bogdan Kr{i} 195. 1929 – 1950. Nadrealizam, Socijalna Press (newspapers and magazines) umetnost, Muzej savremene umetnosti, Beograd 1969, naslovna 196. Yougoslavie, automne 1949, strana i oprema kataloga Jugoslovenska knjiga, Belgrade 1949, art director Du{an Jankovi} 197. Yugoslavia, Autumn 1950, [tampa (novine i ~asopisi) Jugoslovenska knjiga, Belgrade 1950, 196. Yougoslavie, automne 1949, art director Du{an Jankovi} Jugoslovenska kwiga, Beograd 1949, 198. Borba (Struggle), the organ of umetni~ki direktor Du{an Jankovi} the Communist Party of Yugoslavia, No. 1, 197. Yougoslavia, autumn 1950, Year XV, 1 January 1950 Jugoslovenska kwiga, Beograd 1950, 199. NIN, Weekly Information Newspapers, umetni~ki direktor Du{an Jankovi} Year I, No. 24, 1 July 1951. 105 198. Borba, organ Komunisti~ke partije 200. Politikin Zabavnik (Politika’s Jugoslavije, broj 1, godina XV, Entertainment Magazine), 5 January 1952, 1. januar 1950 Year XIV, No. 1 199. NIN, Nedeqne informativne novine, 201. Duga (Rainbow), 24 May 1953, Year IX, Godina I, broj 24, 1. juli 1951. No. 250 200. Politikin zabavnik, 5 januar 1952, 202. Nova Misao (New Thought), June 1953, Godina XIV, broj 1 No. 6 201. Duga, 24. maj 1953, godina IX, broj 250 203. Mozaik (Mosaic), No. 1, Year I, September 202. Nova misao, juni 1953, broj 6 1953, the technical editor: Du{an Maleti}, 203. Mozaik, broj 1, godina I , septembar Front Cover Design by \or|e Milanovi} 1953; tehni~ki urednik: 204. Mozaik (Mosaic), No. 2, Year II, 1954; Du{an Maleti}, naslovna strana technical editor: Dusan Maletic, Du{an \or|e Milanovi} Maleti}, Front Cover Design by @ivojin 204. Mozaik, broj 2, godina II , 1954; Kova~evi}, Photo Processing of Ads by tehni~ki urednik: Du{an Maleti}, Branibor Debeljkovi} naslovna strana @ivojin Kova~evi}, 205. Je` (Hedgehog), 9 January 1954, No. 758, foto obrada reklama Branibor year XX Debeqkovi} 206. Je` (Hedgehog), 13 February 1954, No. 763, 205. Je`, 9. januar 1954, broj 758, year XX godina XX 207. Pioniri (Pioneers), 4 November 1954, Year 206. Je`, 13. februar 1954, broj 763, XI, No. 7 godina XX 208. Delo (Labor), March 1955, year I, No. 1 207. Pioniri, 4. novembar 1954, godina XI, 209. Savremenik (a Contemporary), 1955, No. 1 broj 7 210. Politikin Zabavnik (Politika’s th 208. Delo, mart 1955, godina I, broj 1 Entertainment Magazine), 5 January 209. Savremenik, 1955, broj 1 1957, year XIX, No. 262 210. Politikin zabavnik, 5. januar 1957, 211. Pozori{ni ìvot (Theater Life), November godina XIX, broj 262 1957, No. 5, Graphic Design by Tihomir 211. Pozori{ni ìvot, novembar 1957, Maksimovi} broj 5, grafi~ka obrada Tihomir 212. Pozori{ni ìvot (Theater Life, December Maksimovi} 1957, No. 6, Graphic Design by Tihomir 212. Pozori{ni ìvot, decembar 1957, Maksimovi}, Front Cover Design by broj 6, grafi~ka obrada Tihomir Dragoslav Stojanovi} Sip Maksimovi}, naslovna strana 213. Zmaj (Dragon), children’s literary maga- Dragoslav Stojanovi} Sip zine, 1957, No. 1 (Front Cover Design by 213. Zmaj, de~ji kwièvi ~asopis, 1957, \. Milanovi}) broj 1 (naslovna strana \. Milanovi}) 214. Zmaj (Dragon), the literary magazine for 214. Zmaj, kwièvni ~asopis za decu, 1958, children, 1958, No. 1 (@. Kova~evi}) broj 1 (@. Kova~evi}) 215. Kekec, Borba’s entertainment magazine 215. Kekec, Borbin zabavnik za mlade for the young from age 7 to 77, 2 January od 7 do 77 godina, 2. januar 1958, 1958, No. 2, Year II broj 2, godina II 216. Poletarac (Fledgling), 1959, No. 2, Year 216. Poletarac, 1959, broj 2, godina (Front Cover Design by V. Trbojevi}) * (naslovna strabna V. Trbojevi})* 217. Poletarac (Fledgling), 1960, No. 6, Year 217. Poletarac, 1960, broj 6, godina 218. Filmski svet (Film World), 7 April 1960, 218. Filmski svet, 7 april 1960, broj 275 No. 275 219. Kwièvnost, juli - avgust 1960, 219. Knjièvnost (Literature), July - August godina XV, broj 7-8 1960, Year XV, No. 7-8 220. Student, nedeqni list beogradskih 220. Student, weekly paper of Belgrade studenata, 1. novembar 1960, godina students, 1 November 1960, Year XXIV, XXIV, broj 25 No. 25 221. Prakti~na èna, 20. juli 1962, 221. Prakti~na èna (Practical Woman), godina sedma, broj 154 20 July 1962, Year VII, No. 154 222. Kwiga i svet, novembar 1962, godina 222. Knjiga i svet (Book and the world), VI, broj 55 220. November 1962, Year VI, No. 55 220 223. Politika ekspres, 18. oktobar 1963, 223. Politika Ekspres (Politics Express), godina I, broj 16 18 October 1963, Year I, No. 16 224. Filmski svet, 8. oktobar 1964, 224. Filmski svet (Film World), 8 October 1964, broj 510 No. 510 106 225. Umetnost, januar-februar-mart 225. Umetnost (Art), January-February-March 1965, broj 1, godina I, grafi~ka oprema 1965, No. 1, year I, Graphic Design by arh. Slobodan Ma{i} arch. Slobodan Ma{i} 226. Borba, 3. juli 1966, godina XXXI, 226. Borba (Struggle), 3 July 1966, Year XXXI, broj 180 No. 180 227. Tempo, nedeqni ilustrovani sportski 227. Tempo, weekly sports illustrated magazine, list, 31. VIII 1966, broj 27 31 August 1966, No. 27 228. Beogradska nedeqa, 25. septembar 1966, 228. Beogradska nedelja (Belgrade Week), godina IV, broj 262 25 September 1966, Year IV, No. 262 229. Umetnost, januar-februar-mart 229. Umetnost (Art), January-February-March 1966, broj 5, godina II 1966, 5, year II 230. Umetnost, april-maj-juni 1966, 230. Umetnost (Art), April-May-June 1966, broj 6, godina II No. 6, Year II 231. TV novosti, 9 – 16. II 1968, god. V, broj 163 231. TV novosti (TV news), 9 - 16 February 1968, Year V, No. 163 232. Student, 21. maj 1968, godina XXXII, broj 19 232. Student, 21 May 1968, Year XXXII, No. 19 233. Susret, list omladine Beograda, 233. Susret (Encounter), Belgrade youth juni 1968, broj 83, grafi~ki dizajn paper, June 1968, No. 83, Graphic Design arh. Slobodan Ma{i} by arch. Slobodan Ma{i} 234. NIN, 14. VII 1968, godina XVIII, 234. NIN, Weekly Information Newspapers, broj 914 14 July 1968, Year XVIII, No. 914 235. Vidici 1968. 235. Vidici (Views), 1968 236. Politikin Bazar, 18. januar 1969, 236. Politikin Bazar (Politika’s Bazaar), broj 104, god. VI 18 January 1969, No. 104, Year VI 237. Savremenik, april 1969, broj 4 237. Savremenik (a Contemporary), April 1969, 238. Ilustrovana Politika, 15. juli No. 4 1969, godina XII, broj 558 238. Ilustrovana Politika (Politics Illustrated), 239. Zmaj, kwièvni ~asopis za decu, 1969, 15 July 1969, Year XII, No. 558 broj 1 (@. Kova~evi}) 239. Zmaj (Dragon), the literary magazine for children, 1969, No. 1 (@. Kova~evi}) Poveqe i diplome 240. Zahvalnica Narodnog muzeja u Ni{u, Charters and diplomas 1954. 240. The Scroll of Honor of the National 241. Poveqa Tre}eg kongresa Saveza boraca Museum in Ni{, 1954 Narodnooslobodila~kog rata 241. The Charter of the Third Congress of Jugoslavije mar{alu Josipu Brozu Veterans’ Federation of National Titu o izboru za doìvotnog po~asnog Liberation War, which was dedicated to pretsednika , 27-28. aprila 1955. marshal Josip Broz Tito on the occasion 242. Poveqa Radni~kog univerziteta of his election for a lifetime honorary u Ni{u povodom deset godina rada, Oktobar 1964 president of Yugoslavia, 27-28 April 1955 243. Zahvalnica Dru{tva Srbije za borbu 242. The Charter of the Workers University in Ni{, on the occasion of the tenth protiv raka, 1-31 XII 1966 244. Plaketa Kolar~evog narodnog anniversary of its work, October 1964 243. The Honorary Scroll of Serbian Society for univerziteta, 1. XI 1968 245. Diploma Spomen plakete grada Fight against Cancer, 1-31 December 1966 Beograda Josipu Brozu Titu povodom 244. The Plaque of Kolarac People’s University, 25-godi{wice oslobo|ewa grada, 1 November 1968 Beograd, 20. oktobar 1969 245. The Diploma of Belgrade City Memorial 246. Diploma Spomen medaqe Narodnog Plaque, which was dedicated to Josip muzeja u Beogradu povodom 125. Broz Tito on the occasion of the 25th godi{wice rada, 20. novembra 1969 anniversary of the liberation of Belgrade, 247. Zahvalnica Vojno medicinske 20 October 1969 Akademije Vrhovnom komandantu 246. The Diploma of Memorial Medal of Mar{alu Jugoslavije Josipu Brozu the National Museum in Belgrade on the Titu, na dan proslave occasion of the 125th anniversary of its dvadesetogodi{wice VMA, 11 X 1970. work, 20 November 1969 107 Znaci i logotipi 247. The Scroll of Honor of the Military Medical Academy, which was dedicated to Supreme 248. Janko Lisjak, Beograd, 1954, Dragomir commander, Marshal of Yugoslavia Josip Pavi}evi} Fis Broz Tito, on the day of the celebration of 249. Tran{ped, Beograd, 1955, Dragomir the twentieth anniversary of VMA (Military Pavi}evi} Fis Medical Academy), 11 October 1970 250. Duvan, Beograd, 1956, Dragomir Pavi}evi} Fis Signs and logotypes 251. Vino @upa, Aleksandrovac,1956, Dragomir Pavi}evi} Fis 248. Janko Lisjak, Belgrade, 1954, Dragomir 252. Diskos, Kwaèvac, 1958, Dragomir Pavi}evi} Fis Pavi}evi} Fis 249. Tran{ped, Belgrade, 1955, Dragomir 253. Galerija Grafi~ki kolektiv, Pavi}evi} Fis Beograd, 1962, Milo{ ]iri} 250. Duvan, Belgrade, 1956, Dragomir 254. Jelen, Apatin, 1963, Milo{ ]iri} Pavi}evi} Fis 255. Muzej savremene umetnosti, Beograd 251. Vino @upa, Aleksandrovac, 1956, 1965, Milo{ ]iri} Dragomir Pavi}evi} Fis 256. Umetni~ka akademija 252. Diskos, Knjaèvac, 1958, Dragomir (Univerzitet umetnosti), Beograd Pavi}evi} Fis 1966, Milo{ ]iri} 253. Gallery Graphic Collective, Belgrade, 257. Grupa „Analiti~ki humor“, Beograd 1962, Milo{ ]iri} 1968, Aleksandar Aleks Pajvan~i} 254. Jelen, Apatin, 1963, Milo{ ]iri} 258. Beogradski izdava~ki grafi~ki zavod, 255. Museum of Contemporary Art, Belgrade Beograd, 1970, Milo{ ]iri} 1965, Milo{ ]iri} 256. Art Academy (University of Arts), 259. , Beograd 1970, Gra|evinska kwiga Belgrade 1966, Milo{ ]iri} Aleksandar Aleks Pajvan~i} 257. The Group “Analytical Humor”, Belgrade 260. Oktobarski salon, Beograd, 1970, 1968, Aleksandar Aleks Pajvan~i} Aleksandar Aleks Pajvan~i} 258. Belgrade Publishing Graphic Institute, 261. Studentski kulturni centar, Belgrade, 1970, Milo{ ]iri} beograd, 1970, Aleksandar Aleks 259. Gra|evinska knjiga, Belgrade 1970, Pajvan~i} Aleksandar Aleks Pajvan~i} 262. Zlatno pero Beograda, ULUPUDS, 260. October Salon, Belgrade, 1970, Aleksandar Beograd 1970, Aleksandar Aleks Aleks Pajvan~i} Pajvan~i} 261. Cultural Center, Belgrade, 1970, 263. Znak studentskog protesta 1968, Aleksandar Aleks Pajvan~i} Beograd 1968. 262. The golden pen of Belgrade, ULUPUDS, Belgrade 1970, Aleksandar Aleks Pajvan~i} 263. Sign of the Student Protests in 1968, Belgrade 1968.

108 109 110 111 Izlo`ba je realizovana finansijkom The exhibition was realized by financial podr{kom Sekretarijata za kulturu support of Belgrade City Secretariat for Culture Beograda i Ministarstva za kulturu and Ministry of Culture of the Republic Republike Srbije of Serbia

Izdava~: Grafi~ki kolektiv, Obili}ev Publisher: Graphic Collective, Obili}ev venac 27, Beograd venac 27, Belgrade Tel/faks. 2627.785 tel.3285.923 Tel / fax. 2627.785 tel.3285.923 E-m: [email protected] E-m: [email protected] www.grafickikolektiv.org www.grafickikolektiv.org Urednik i kustos: Qiqana ]inkul Editor and Curator: Ljiljana ]inkul Fotografije: Velibor @itarevi} Photographs: Velibor @itarevi} and materials i iz dokumentacije muzeja from the documentation of museums Prevod na engleski: Sr|an Rakowac Translation into English: Sr|an Rakonjac Lektor: Jelena Pani} Proofreading and Corrections: Jelena Pani} Umetni~ki savet: Branimir Karanovi}, Art Council: Branimir Karanovi}, Biljana Biqana Vukovi}, @arko Smiqani}, Vukovi}, @arko Smiljani}, Jelena Joci} Jelena Joci} i Qiqana ]inkul and Ljiljana ]inkul Grafi~ko oblikovawe: Novica Koci} Graphic design: Novica Koci} i Darko Novakovi} and Darko Novakovi} [tampa: Inpress Print: Inpress Tira`: 400 Circulation: 400