STORIES ABOUT MONUMENTS Sketches and Models for the Monuments in the Permanent Exhibit of Antun Augustinčić Gallery

Davorin Vujčić STORIES ABOUT MONUMENTS Sketches and Models for the Monuments in the Permanent Exhibit of Antun Augustinčić Gallery

Miner Two Fighters and Head of a Turk Pietà / Silesian Mother

International Labour Organization, Monument to the Silesian Uprising and Marshal Geneva, 1939 Monument to the Fallen Citizens of Niš, Niš, 1937 Jozef Piłsudski, Katowice, 1936–1939

n 1936, Poland called an inter nationalI competition for the - he figure of a miner wielding a pick T figure of the rebel that ment to the Silesian Uprising andMonu Mar- is a modified he idea about erecting a monument T shal Jozef Piłsudski. In collaboration - was part of Augustinčić’s ensemble to the citizens of Niš who liberated the city with architect Drago Galić, Antun Au- Monument to the Silesian Uprising, from the Turks emerged before World War gustinčić won the first prize in a very made for Katowice between 1936 I, but due to the Balkan Wars the founda- strong competition. It was the first and 1939. The model of the mon- tion stone was laid only in 1924. The work time a Croatian sculptor won an in- ument (Photograph 1) shows three on the monument began in 1932 with a ternational competition. Augustinčić groupsBattle of rebel figures at the base. national competition specifying both the envisaged the memorial complex on The figure on the left, wielding a ri- type and the theme of the monument. In Death in Villefranche fle (Photograph 2), was a model for a square plateau with steps, in which Monument to the Miner. Since the 1934, a jury awarded three prizes: the first four groups of figures surround a tall Photograph 1 Model of the Monument to Antun Augustinčić, the second to Risto base with an equestrian statue on top the Silesian Uprising was never fully to the Silesian Uprising and Marshal Jozef Stijović, and the third to Sreten Stojanović. (Photographs 1 and 2). The front of executed – only the equestrian stat- Piłsudski (Zabrze Museum, courtesy of Łukasz Wyrzykowski, Katowice, GAA Photo Due to difficulties in obtaining bronze at the base features three groups of in- ue of Jozef Piłsudski was installed in Photograph 2 (right) Figure of Rebel, Collection) the time, the execution of the monument surgents, while on the rear side Au- Katowice,Monument Augustinčić to developed the memorial fragment, plaster model (Zabrze Museum, courtesy of Łukasz Wyrzykowski, was prolonged. The monument was un- gustinčić envisaged a figure ofModel the rifle-wielding for rebelthe into Monument Pietà, a scene Katowice, GAA Photo Collection) veiled on 28 June 1937, on the occasion featuring a Silesian mother mourning a dedicationKing Alexander to a Zagorje, miner (Pho- View of Liberation Squareher in Niš son (Photograph 3). The memori- tographsto 4a andRas 4b). Mäkonnen The very con- of the 60th anniversary of the liberation of Photograph 1 Sombor, 1940 Niš, at Liberation Square (Trg oslobođe- 1953 al was to reach 17 metres in height, nja), where it continues to stand to this day from the red granite base to the top Photograph 4 mutineerT he – hands summarily tied in shaped front and figure head of a he original The casting of the equestrian statue (Photograph 1). At the time it was installed of the equestrian figure. By theT year Battle relief was in- of Marshal Piłsudski, Zagreb, 1939 (GAA Photo corporated in the Photographsside of the 1 base and 2 of the covered with a hood, standing barefoot, 1939, Augustinčić completed all the Model of the Monument to Collection) it was known as the biggest and most beau- the Silesian Uprising and Marshal Jozef Piłsudski legs apart, awaiting execution – is Au- equestrian Photograph 1 Unveiling of tiful monument in Yugoslavia and the first figures, in life size, with the help of Monument(Zabrze to Museum, King Alexander courtesy of ,Łukasz Wyrzykowski, Monument to King Alexander in gustinčić’s model for the monument to the installed in SomborKatowice; in 1940 GAA in Photo honour Collection) realistic monument in the Balkans. sculptors Grga Antunac and Dragu- Sombor, 21 July 1940 (courtesy of mutiny of Croats in Villefranche-de-Rouer tin Filipović. The equestrianof King statue Alexander of I (Karađorđević) the Sombor City Museum, GAA Photo gue, France (PhotographThe total height1). Augustinčić’s of the monument is 11 Polish Marshal Jozef PiłsudskiUnifier, (Pho the- first ruler of the Kingdom of Collection) Monument to Ras Mäkonnen, Harar, 1959 model was nevermetres. made It includes into a monument a base with reliefs and tograph 4) was the only figureYugoslavia to be and supreme commander of and the Croats’an mutiny equestrian at Villefranche statue on top, was where StevanHerald - cast in bronze. After Worldthe Wararmy II that had liberated Sombor in 1918. commemoratedSinđelić with a memorialis symbolically by Vanja depicted as broken out, the work on theThe memomonument,- unveiled on 21 July 1940 Radauš, which wasof Victoryexecuted, facing years south,later. that is, arriving in rial was suspended, and the(Photographs figure of 1 and 2), consisted of an up- the city from the north, from the free part In agreement with the leadership of Piłsudski was not deliveredright to cuboid Poland. base with an equestrian stat- the NDH [World Warof IISerbia Independent (Photographs State 2 and 3). The base, One of the best equestrianue sculptures on top. The equestrian statue represent- as (an Ethiopian title of duke) of Croatia], Nazi Germanymade established of Jablanica granite, consists of two R in this part of the world spented King years Alexander as a hatless horseman Photograph 5 Equestrian statue of Marshal Piłsudski a Croat division within theparts: SS (theHandžar lower part is a horizontal cuboid in the GalleryMäkonnen patio (GAA Photo(Photograph Collection) 1) was an Ethiopi- in Augustinčić’s studio inin Zagreb, military uniform, holding the reins with an military leader who established a name Division or the 1st Croat withDivision), a shallow which bronze relief on each of was initially populated with Muslims from and once the Gallery in Klanjechis left hand, was curbing a strong horse, and for himself during the First Ethiopian-Ital- the four sides, while the upper part is an Miner in front of the central office building of the International Labour Organization in Geneva (photo by J. Maillard, © opened in 1976, it was placedholding in a the sword high in his right hand. Photograph 3 (down) Bosnia and Herzegovina. Since recruit- Monument to the Fallen Citizens of Niš Photograph 3 ian war, when he defeated the Italian army 9 upright cuboid on which bronze figures 5 Pietà on the model of the monument International Labour Organization) ment was not met with the desired re- Photographs 2 and 3 The monument stood at Liberation Square (Zabrze Museum,under courtesy the of commandŁukasz Wyrzykowski, of General Baratieri - depicted in combat scenes form a frieze Photograph 2 Sombor postcard sponse, recruits were eventually forced to Peace (Trg oslobođenja), opposite the entrance Katowice, GAA Photoat Adwa Collection) on 1 March 1896.issued Ras on theMäkonnen occasion of unveiling around the base. join. As part of training for combat against to the so-called City House (Photographs was father of Ras Tafariof theMäkonnen, monument emper (courtesy of Sombor City Museum, GAA Photo partisan units in Bosnia and Herzegovi- 3 and 4). On the two sides of the stone or known as Haile Selassie. It was Emperor Collection) na, the recruits were first transferred to base stood two Augustinčić’s bronze re- Haile Selassie who, during7 his visit to Yu- a training site in Germany and then to liefs. One showed King Alexander arriv- goslavia and Josip Broz Tito in 1954, came France. The Division headquarters was ing in Sombor, while the other depicted a up with the idea to erect monuments in Monument to Ras Mäkonnen is situated in Mende, some of the troops scene of a battle between Serbs and Turks Ethiopia. Augustinčić’s model for were based in Rodez, and some in Ville- in Kosovo, in a dynamic composition of the last of the three monuments that Antun Carrying the PhotographWounded 3 the monument to Mäkonnen (GAA Photo franche-de-Rouergue. Spinner Augustinčić and Frano Kršinić executed in intertwined equestrian figures. Ras Mäkonnen (http://myspace. Collection) Ethiopia together, as commissioned by the The mutiny of the recruits broke out In 1941 Sombor was occupied by Photograph 1 primarily due to the Nazi officers’ cruel- Ministry of Public Works and Transport of com) UN Headquarters, New York, 1954 Hungarian troops who, under Miklós Hor ty and the intention to transfer the Croat the Empire of Ethiopia. thy, fought on the German side. Horthy’s - troops to the Eastern Front instead of send- In his article “Antun Augustinčić and ing them back to the NDH territory, as soldiers dismantled the monument and Frano Kršinić’s Joint Work” (Anali Galerije had initially been agreed. The mutineers stored it in stables at the town outskirts. - Antuna Augustinčića 5. Klanjec, 1985), came into contact with members of the lo- After World War II, the new authorities Maro Grbić states: “After months of nego- Monument to the Victims of Fascism, cal Resistance Movement, who promisedAfter World War II, the UN Gener cut up the bronze sculpture into pieces, tiations on the appearance of the monu- al Assembly decided that the UN head- which then disappeared. Monument to the Victims of Fascism, Photograph 1 ment, Augustinčić and Kršinić prepared Viktorovac Cemetery, Sisak, 1965 quarters would beTošo in theDabac, United GAA StatesPhoto Collection) Antun Augustinčić: Death in Villefranche – Model for the Monument (photo by Antun Augustinčić GalleryAddis owned the Ababa, 1955 ture entitled,twoA models lthough and sentthe themethem toof Addisthe sculp Aba-- of America. The City of New York donat- plaster models of the Battle relief and the the humanenessba (PhotographsCarrying of the fighters2–3). the Wounded Having during consideredthe, is ed the land along the East River in 1946. anti-fascistboth struggle, models, the the roots Ministry of the decidedcom- what The construction of the buildings began position liethe in the figure Christian of Mäkonnen motif of the on horseback as early as 1949 and each UN mem- Deposition fromshould the look Cross, like. which It was is alsoquite important to ber state was given a task of refining the Model of the Peace monument pinner is part of the Monument Photograph 1 S based on the compositionthe Ethiopians of three that the figures. equestrian figure Augustinčić – Kršinić: Model for to the Victims of Fascism in Addis Aba- Photograph 4 ISBN 978-953-265-154-6 space. For instance, the Scandinavian and its architectural plan and zoning (photo Augustinčić madebe the as realisticfirst model and for recognizable the 11 as pos- countries organized and decorated the by Tošo Dabac, GAA Photo Collection) ba, which was executed by Antun Au- an equestrian statue of Ras Mäkonnen (property sculpture in 1944,sible during for his the visit parts to ofMos the- horseman’s and Kršinić’s model for the of Maro Grbić) (photo by Maro Grbić) interior of the Security Council, India gustinčić and Frano Kršinić in 1955. 19 Joiner Vlatko Bašic (armature cow with the militarythe mission, horse’s when equipment he as well as that it be Photograph 2 and other Asian countries donated large WhilePhotograph Ethiopian 2 Emperor Haile Selassie also defined the basic a scheme magnificent in which depiction ‘not of a young monument to Mäkonnen (property of Maro Grbić) (photo by Maro Grbić) handmade carpets for the halls, tapestries wasconstructor), visiting Yugoslavia sculptors Antun and PresidentAugustinčić Jo and- the figures on the left andwarrior the right but hold a mature man of peace and a were made, renowned painters donated sip VeliborBroz Tito Mačukatin in 1954, in thethe studio, idea inemerged front of the 13 clay model (photo by T. Dabac, GAA Photo the central figure of the woundedphilosopher.’ man. The list of remarks included their paintings, etc. Yugoslavia, along with that Collection)a monument be installed in Ethiopia This is a scheme that Augustinčića number modified of drawings of details and a list France and Sweden, was in charge of the that would commemorate the victims of for the next 30 or so years in about a doz- grounds. The task was entrusted to Antun the Italian fascist Peace occupation. is unloaded After in New the en models and monuments installed in Augustinčić, who travelled to New York in occupationPhotograph of Ethiopia 3 in 1935, Italian Derventa, Livno, Oroslavje, and Zagreb in Photograph 3 1952, when the construction of the main York (photo by Čedomir Čurčić, GAA Photo tombstone sculpture, Antun Augustinčić troops under the leadership of Marshal front of the Faculty of Veterinary Medicine Carrying the Wounded, UN buildings had already been complet- Collection) Gallery, Klanjec, 1976 (GAA Photo Graziani perpetrated a massacre in 1937, and the Faculty of Medicine (the first var Collection) ed, to decide on the spot. He proposed in which thousands of inhabitants of Ad- iant) (Photograph 1), and in Imotski and an equestrian statue that would symbolize Photograph 1 dis Ababa lost their lives. Krapinske Toplice (second variant) (Photo- Oroslavje, 1973 (GAA Photo Collection) Carrying the Wounded, world peace. In agreement with Trygve graph 2). Augustinčić chose the third var “It was suggested that Antun Au- Photograph 1 Augustinčić and Kršinić with a Photograph 2 Clay model of the relief (photo- Lie, the first Secretary General of the UN, iant for his own tomb in the park of the gustinčić be the author. He accepted the model of the monument (from Maro Grbić’s by Tošo Dabac, GAA Photo Collection) it was decided that the monument be in- Gallery in Klanjec, having changed the offer, taking Frano Kršinić as his associate. archives) stalled on a large plateau along the north- figure of the wounded man into a self-por In late December 1954, Augustinčić and three sides, one on top of the other. Above - ern entrance, through which thousands of trait (Photograph 3). visitors pass every day (Photograph 1). The Kršinić travelled to Ethiopia to select the them, on the edge, an imperial symbol: proposal was accepted, and Augustinčić location for the monument and to decide the lion of Judah.” In addition to the small, summarily shaped model that testifies to Augustinčić’s returned to Zagreb to begin work on the on the type of monument. Based on their - The lower relief depictsinitial life idea, and monument. He decided that a female fig- experience in building monuments and the emperor in peace time,ed thein Room attack IIICarrying is a plaster the Woundedcast of the marble ure would be more suitable as a symbol the information on local historical, ethnic, by the Italian army, andsculpture the mobili installed- at Viktorovac Cemetery of peace (“If women conducted politics, and urban context that they collected, zation, the scenes connectedin Sisak by as three exhibit- there would be no wars,” he said), and de- they designed models and prepared cal- Transport and installation of the monument in New York (GAAedge Photo figures: 15 a guard withFascism a shield, (PhotographMonument a 4). As to regards the Victims form, of signed a figure of a woman on horseback, Photographs 4 and 5 culations.” They decided that an obelisk soldier on sentry duty,the and sculpture a spinner, is the above mentioned first holding an olive branch in one hand and a- Collection) would be the dominant construction ele- the model of whichvariant is exhibited of the motif, in executed as a relief. globe in the other. The cape fluttering be- ment, referring to the 24-metre tall gran- the Gallery as a separateCarved figureout of Brač(Pho marble,- it is envisaged hind her and the horse in motion power ite stele in Axum, one of the symbols of tograph 2). The upper relief depicts the Ethiopian identity (Photograph 1). “… scenes of the massacres perpetrated Having returned to Zagreb in late winter by the Italian troops against the citi- Photograph 2 1967 (GAA Photo Collection) of 1955, they decided on the final form zens of Addis Ababa. The edge fig- Carrying the Wounded, Imotski, of the monument – a three-sided obe- ures are hanged people, a man with Photograph 3 Augustinčić in front of the lisk, 26 metre in height… On the obelisk, his hands tied, and a woman with a monument in Addis Ababa (photo by Tošo there would be two reliefs running on all man’s head on a platter (Judith). Dabac, GAA Photo Collection) Photograph 4 Viktorovac Cemetery (GAA Photo Collection) Carrying the Wounded, Sisak, 17

Davorin Vujčić

STORIES ABOUT MONUMENTS

Sketches and Models for the Monuments in the Permanent Exhibit of Antun Augustinčić Gallery

Antun Augustinčić Gallery KLANJEC, 2017

STORIES ABOUT MONUMENTS

Antun Augustinčić (Klanjec, 4 May 1900 – Zagreb, 10 May historical protagonists and events. In 1932 he and Vanja Radauš 1979), master sculptor, university professor, and academician, is executed the Monument to Petar Kočić in Banja Luka and, in the author of many monuments displayed throughout the world, 1935, two monuments to King Aleksandar Karađorđević – in some of which are presented in the permanent exhibit of the Varaždin and, in collaboration with Frano Kršinić, in Sušak (the Gallery in Klanjec that bears his name. Due to the museological latter two were both taken down in 1941). Augustinčić’s first ma- criteria and limited space, not all of Augustinčić’s monuments jor monument ensembles were the Monument to the Fallen Peo- are displayed. Nevertheless, the selection represents a reference ple of Šumadija in Kragujevac, which he executed in 1932 with Monument to point of 20th-century European and world sculpture. the creative assistance of Jozo Kljaković, and the the Fallen Citizens of Niš, which was unveiled in 1937. From Monuments are a specific segment of sculpture because the 1930s Augustinčić was intensively involved in monument their museological interpretation requires contextualization. sculpture, frequently collaborating with architect Drago Galić. More than is the case with portrait or intimate sculpture, they Having taken part in numerous sculpture competitions through- involve intertwined historical, cultural, and political elements out the world, he established himself as an excellent master of without the awareness of which it is impossible to recognize all monuments with characteristically compelling and frequently the characteristics of a monument. The stories of the creation and dramatic display of moving figures. His equestrian monuments the fate of Augustinčić’s monuments – the sketches and models won him particular success, some of which are still considered of which are on display in Room III and, in part, in the sculpture to be unsurpassed sculptural achievement. His first equestrian park of the Klanjec Gallery – are products of year-long research. sculpture was part of the monument in Niš. That same year, he al- We are publishing them in order to better acquaint the public so had the equestrian monuments to Kings Petar and Aleksandar with that part of the museum exhibit, to enrich the visual experi- Karađorđević installed at Emperor Dušan Bridge in Skopje (both ence of the monuments, and to point out the importance of the were taken down in the course of World War II). Augustinčić was Gallery holdings. the first Croatian sculptor to win the first prize at an international Antun Augustinčić’s competition. He won it for the Monument to the Silesian Upris- Monuments ing in Katowice in 1937. The equestrian statue of Poland’s Mar- shal Piłsudski, which he completed for the monument in 1939 Augustinčić’s first public sculptures were sepulchral in char- (and which was transferred from Klanjec to Katowice in 1990), acter (the sarcophagus of the Blessed Osanna of Cattaro in St. is the best equestrian monument in Croatian sculpture, which Mary’s church in Kotor, 1929), often intended for family tombs. Croatian writer Miroslav Krleža said was “without a doubt one From 1925 to the late 1930s Augustinčić executed about a doz- of the best equestrian statues by international standards”. With en sculptures installed at cemeteries – in Varaždin (Male Nude, Miner, set up in front of the International Labour Organization Jewish Cemetery), at Zagreb’s Mirogoj Cemetery (Sorrow, 1930: headquarters in Geneva, Augustinčić continued his European ca- Angel, 1933: Moses, 1934: Icarus], 1935), in Klanjec (Repose, reer, rounding up the pre-war period of equestrian monuments 1935), and in Niš (Spinner, 1939). in 1940 with the execution of the Monument to King Alexander While his 1927 Woman Bather – a sculpture with Art Deco in Sombor (taken down in 1941). That same year, he completed overtones (purchased in the 1950s for the spa park in Daruvarske the Monument to the Timok Uprising in Zaječar, marking the Toplice) – is a decorative emphasis in open space, in the 1930s beginning of the whirlwind of war with The Crucifix (1941) for Augustinčić began working on a long series of monuments to the parish church in Tuhelj.

3 After World War II, Augustinčić was appointed professor near Banja Luka (1961), Monument to the Victims of Fascism at the Academy of Fine Arts in Zagreb. Subsequently, he began at Viktorovac Cemetery in Sisak (1965), monuments to Martin the execution of a series of monuments dedicated to the revolu- Puštek (1970, Poljana Donja near Varaždinske Toplice) and Vla- tion: the monumental Monument of Gratitude to the Red Army do Zečević (1973, Loznica near Šabac), and many variants of at Batina Skela (unveiled in 1947), several variants of Carrying Carrying the Wounded. the Wounded, and the Monument to Tito in Kumrovec (1948), Augustinčić’s post-war opus includes public sculptures that which came to be a symbol of an era, having been executed do not contain elements of ideology. He continued his pre-war in various versions and variants (the last, enlarged variant was series of portraits (Ivo Raić, 1932, Croatian National Theatre in erected in Velenje in 1977). Zagreb; Stjepan Radić, 1937, Mače) installed in public spaces, In the 1950s, Augustinčić was focused on creating public which are among the best portrait sculptures in Croatia: Andrija sculptures with which the then Yugoslavia presented itself abroad. Štampar (1952, Faculty of Veterinary Medicine, Zagreb), Mon- This highly productive monument period is closely linked to the ument to Moša Pijade (1954, formerly in front of the Workers’ activity of his Master Workshop at Jabukovac in Zagreb, in which and People’s University, currently in the park of the Lavoslav prominent sculptors invested their skills and efforts towards the Schwartz Retirement Home, Zagreb), Zlatko Baloković (1967, execution of Augustinčić’s monuments. It was in that period that Mirogoj Cemetery, Zagreb), Branko Gavella (1974, Croatian Na- the fountains entitled Boy and Boy With Fish were created for the tional Theatre, Zagreb). He completed Eve (known as the Brijuni park of the Yugoslav Embassy in Rome (1950), as well as Peace Nude) – its marble versions were installed at the porch of the (1954), a large equestrian monument which was Yugoslavia’s White Villa on Brijuni islands in 1953 and in Ribnjak Park in gift to the United Nations in New York, and three monuments Zagreb in 1954. He also executed Monument to Marin Držić in Ethiopia, which were executed in collaboration with Frano (1963) for Villa Zagorje [Presidential Palace] in Zagreb and the Kršinić: Monument to the Victims of Fascism in Addis Ababa Mother and Child fountain in Glina (1969). (1955), Monument to the Ethiopian Partisan in Holleta (1957), His last monument took him back to Hrvatsko Zagorje: with and Monument to Ras Mäkonnen in Harar (1959). a significant contribution of associates from his Master Work- Augustinčić continued to create sculptures inspired by the shop, in 1973 he completed the impressive Memorial to the revolution well into the 1970s: Partisan Carrying a Flag (1957, Peasants’ Revolt and Matija Gubec in Gornja Stubica. On its base Nova Gradiška, taken down in the 1990s), Monument to Our is the figure of Petrica Kerempuh [itinerant musician and folk Struggle (1959, Klanjec), Monument to the Uprising (1961, prophet], a copy of which greets visitors at the entrance to Antun Gradac, taken down in 1992), the grand Monument to the Fall- Augustinčić Gallery in Klanjec. en People of Krajina on Mt. Šehitluci (present-day Banj Brdo)

4 Two Fighters and Head of a Turk

Monument to the Fallen Citizens of Niš, Niš, 1937

5 Photograph 4 Year 1874, lower relief: Kole Rašić’s Photograph 5 Year 1877, lower relief: King Milan Obrenović and the Liberation Army Rebels Against the Turks Take Oath; upper relief: Enter Niš; upper relief: Battle Against the Turks at Čegar Hill in 1809 (Head of a Turk) Kole Rašić Calling for Rebellion Photo 1–7 by Nenad Mladenović, GAA Photo Collection Nenad Mladenović, Photo 1–7 by

Photograph 6 Year 1915, lower relief: King Photograph 7 Year 1918, lower relief: King Peter and King Alexander Enter Niš; upper Alexander I (Karađorđević) Takes Oath as relief: The Serb-French Army Fighting the Austro-Hungarian Monarchy (Two Fighters). Regent]; upper relief: Stevan Sinđelić

Both the upper and the lower relief Now part of the Gallery permanent Bibliography illustrate crucial events in the history of exhibit, Head of a Turk and Two Fighters Pintarić, Snježana. “Spomenik palim Niš: the First Serb Uprising in 1874 (Pho- are fragments of the upper relief frieze Nišlijama”. Anali Galerije Antuna Au- tograph 4), the Second Serb Uprising and depicting the battle against the Turks on gustinčića, br. 5, Klanjec. 1985. the liberation of Niš from the Turkish rule Čegar Hill in 1809 (Photograph 5) and the in 1877 (Photograph 5), the change at the victory of the Serb-French army against throne in 1915 (Photograph 6), and the the Austro-Hungarian Monarchy (Photo- end of World War I and the liberation of graph 7). Niš (Photograph 7).

6 Pietà / Silesian Mother

Monument to the Silesian Uprising and Marshal Jozef Piłsudski, Katowice, 1936–1939

In 1936, Poland called an international competition for the Monu- ment to the Silesian Uprising and Mar- shal Jozef Piłsudski. In collaboration with architect Drago Galić, Antun Au- gustinčić won the first prize in a very strong competition. It was the first time a Croatian sculptor won an international competition. Augustinčić envisaged the memorial complex on a square plateau with steps, in which four groups of figures surround a tall base with an equestrian statue on top (Photographs 1 and 2). The front of the base features three groups of in- surgents, while on the rear side Au- gustinčić envisaged a Pietà, a scene featuring a Silesian mother mourning her son (Photograph 3). The memori- Photograph 4 The casting of the equestrian statue al was to reach 17 metres in height, of Marshal Piłsudski, Zagreb, 1939 (GAA Photo from the red granite base to the top Collection) of the equestrian figure. By the year Photographs 1 and 2 Model of the Monument to the Silesian Uprising and Marshal Jozef Piłsudski 1939, Augustinčić completed all the (Zabrze Museum, courtesy of Łukasz Wyrzykowski, figures, in life size, with the help of Katowice; GAA Photo Collection) sculptors Grga Antunac and Dragu- tin Filipović. The equestrian statue of Polish Marshal Jozef Piłsudski (Pho- tograph 4) was the only figure to be cast in bronze. After World War II had broken out, the work on the memorial was suspended, and the figure of Piłsudski was not delivered to Poland. Photograph 5 Equestrian statue of Marshal Piłsudski in the Gallery patio (GAA Photo Collection) One of the best equestrian sculptures in this part of the world spent years in Augustinčić’s studio in Zagreb, Photograph 3 Pietà on the model of the monument and once the Gallery in Klanjec was (Zabrze Museum, courtesy of Łukasz Wyrzykowski, opened in 1976, it was placed in the Katowice, GAA Photo Collection)

7 Gallery patio (Photograph 5). In the late 1980s, Poland renewed the re- quest for delivery, and in 1990 the Regional Institute for the Protection of Cultural Monuments in Zagreb issued a decision on the export of the equestrian figure to Poland. In January 1990, official representatives of the People’s Republic of Poland sent in a foundry team, who dismantled the equestrian statue (Photograph 6) and transported it to Katowice, where it was installed in front of the seat of the Silesian Duchy at Chorobrego Square in 1993 (Photograph 7). The remaining figures lived lives of their own – the plaster models of the Rebels were destroyed in time, though they did serve as inspiration and model for Augustinčić’s other monuments. For instance, he developed the figure of the rebel from the right side (Photograph 8) into Rudar [Miner], which was cast in bronze as Photograph 6 The dismantling of the equestrian Photograph 7 Equestrian statue of Marshal Piłsudski an independent statue and installed in statue of Marshal Piłsudski, 1990 (GAA Photo in Katowice (Photo by Mariusz Paździora, 2008) Collection) front of the International Labour Or- ganization building in Geneva. Pietà (Photograph 9) – its lower side dam- aged by damp – was placed in the Gallery and raised to its true height, testifying to the true dimensions and the monumentality of the ensemble. A sketch was added to show Au- gustinčić’s idea in its entirety.

Bibliography Marković, Slavica. “U očekivanju otkri vanja Spomenika šleskom ustanku i Jozefu Piłsudskom u Katowicama”. Photograph 8 Figure of Rebel, memorial fragment, Photograph 9 Pietà, memorial fragment, plaster plaster model (Zabrze Museum, courtesy of Łukasz model (Zabrze Museum, courtesy of Łukasz Anali Galerije Antuna Augustinčića, Wyrzykowski, Katowice, GAA Photo Collection) Wyrzykowski, Katowice, GAA Photo Collection) No. 9–10, Klanjec, 1989–1990

8 Miner

International Labour Organization, Geneva, 1939

The figure of a miner wielding a pick is a modified figure of the rebel that was part of Augustinčić’s ensemble Monument to the Silesian Uprising, made for Katowice between 1936 and 1939. The model of the monument (Photograph 1) shows three groups of rebel figures at the base. The figure on the left, wielding a rifle (Photograph 2), was a model for the Miner. Since the Monument to the Silesian Uprising was never fully Photograph 1 Model of the Monument executed – only the equestrian stat- to the Silesian Uprising and Marshal Jozef ue of Jozef Piłsudski was installed in Piłsudski (Zabrze Museum, courtesy of Katowice, Augustinčić developed the Łukasz Wyrzykowski, Katowice, GAA Photo Collection) figure of the rifle-wielding rebel into Photograph 2 (right) Figure of Rebel, a dedication to a Zagorje miner (Pho- memorial fragment, plaster model (Zabrze tographs 4a and 4b). The very con- Museum, courtesy of Łukasz Wyrzykowski, Katowice, GAA Photo Collection)

Photograph 3 (down) Miner in front of the central office building of the International Labour Organization in Geneva (photo by J. Maillard, © International Labour Organization)

9 vincingly sculpted Miner is a good example of Augustinčić’s expressive realism from the late 1930s. On the initiative of Dragiša Cvetković, the then Yugoslav minister of social pol- icy, the International Labour Organ- ization commissioned the sculpture from Augustinčić, and Miner was installed in the park surrounding the central office building in Geneva in 1939 (Photograph 3).

Photographs 4a and 4b The Miner cast in bronze, 1939 (GAA Photo Collection)

10 Battle

Monument to King Alexander, Sombor, 1940

he original Battle relief was in- Photograph 1 Unveiling of T Monument to King Alexander in corporated in the side of the base of the Sombor, 21 July 1940 (courtesy of equestrian Monument to King Alexander, Sombor City Museum, GAA Photo installed in Sombor in 1940 in honour Collection) of King Alexander I (Karađorđević) the Unifier, the first ruler of the Kingdom of Yugoslavia and supreme commander of the army that liberated Sombor in 1918. The monument, unveiled on 21 July 1940 (Photographs 1 and 2), consisted of an upright cuboid base with an equestrian statue on top. The equestrian statue represent- ed King Alexander as a hatless horseman in military uniform, holding the reins with his left hand, curbing a strong horse, and Photograph 2 Sombor postcard holding a sword high in his right hand. issued on the occasion of unveiling The monument stood at Liberation Square of the monument (courtesy of Sombor City Museum, GAA Photo (Trg oslobođenja), opposite the entrance Collection) to the so-called City House (Photographs 3 and 4). On the two sides of the stone base stood two Augustinčić’s bronze reliefs. One showed King Alexander arriving in Sombor, while the other depicted a scene of a battle between Serbs and Turks in Kosovo, in a dynamic composition of intertwined equestrian figures. In 1941 Sombor was occupied by Hungarian troops who, under Miklós Hor- thy, fought on the German side. Horthy’s soldiers dismantled the monument and stored it in stables at the town outskirts. After World War II, the new authorities cut up the bronze sculpture into pieces, which then disappeared. Antun Augustinčić Gallery owned the plaster models of the Battle relief and the

11 figure of the horse, which was part of the permanent exhibit in Room I. In 2000, both the relief and the horse figure were cast in bronze. While the relief stands in Room III, the Horse in Motion was installed in the Gallery park, becoming one of the land- marks of Klanjec (Photograph 5).

Photograph 3 Painting by Sava Stojkov, from the book Sombor’s Old Buildings by Milan Stepanović’s

Photograph 4 1940 postcard from Sombor (from Nandor Mejer’s collection at www.soinfo.org)

Photograph 5 Horse in Motion, Klanjec (GAA Photo Collection)

12 Death in Villefranche

1953

The summarily shaped figure of a mutineer – hands tied in front and head covered with a hood, standing barefoot, legs apart, awaiting execution – is Au- gustinčić’s model for the monument to the mutiny of Croats in Villefranche-de-Rouer- gue, France (Photograph 1). Augustinčić’s model was never made into a monument and the Croats’ mutiny at Villefranche was commemorated with a memorial by Vanja Radauš, which was executed years later. In agreement with the leadership of the NDH [World War II Independent State of Croatia], Nazi Germany established a Croat division within the SS (Handžar Division or the 1st Croat Division), which was initially populated with Muslims from Bosnia and Herzegovina. Since recruit- ment was not met with the desired re- sponse, recruits were eventually forced to join. As part of training for combat against partisan units in Bosnia and Herzegovi- na, the recruits were first transferred to a training site in Germany and then to France. The Division headquarters was situated in Mende, some of the troops were based in Rodez, and some in Ville- franche-de-Rouergue. The mutiny of the recruits broke out primarily due to the Nazi officers’ cruel- ty and the intention to transfer the Croat troops to the Eastern Front instead of send- ing them back to the NDH territory, as Photograph 1 Antun Augustinčić: Death in Villefranche – Model for the Monument (photo by had initially been agreed. The mutineers Tošo Dabac, GAA Photo Collection) came into contact with members of the local Resistance Movement, who prom-

13 After World War II, the land was never used for construction, and the citizens of Villefranche have commemorated the event and brought flowers. The access road is still called the Croats’ Avenue (Av- enue des Croates). To commemorate the 10-year anniversary of the event, the Government of the Socialist Republic of Croatia decided to erect a monument in Villefranche and commissioned it from sculptor Vanja Radauš. He completed the memorial in 1953, but the Federal Executive Coun- cil in Belgrade suspended its installation for political reasons. Radauš’s Memorial to the Croats’ Mutiny, designed for Ville- franche, was installed in Tito’s Park in Pu- la in 1955 as Monument to the Uprising of the People of Istria, where it continues Photograph 2 Radauš’s monument for Villefranche installed in Pula in 1955 (photo by D. Vujčić, 2012) to stand to this day (Photograph 2). It was only after the political changes and the breakdown of Communism that the idea arose to right the historical injustice and install the memorial in Villefranche. Archi- tect Ivan Prtenjak developed a variant of Radauš’s memorial in Pula, which was installed in Villefranche-de-Rouergue on 17 September 2006 (Photograph 3). Pula and Villefranche-de-Rouergue took that event as an opportunity to become twin towns.

Photograph 3 Radauš’s Mutiny of Croatian Home Guardsmen, Villefranche-de-Rouergue, 2006 (photograph from: Vijenac, 328, 12 October 2006)

ised them assistance of the inhabitants of hiding places for the mutineers, nearly Villefranche. At dawn of 17 September all of them were caught and violently 1943, they executed the German com- killed. Mutiny leaders Ferid Džanić, Luft- manders and took control of the city. The ija Dizdarević, and Nikola Vukelić were German command soon received word killed, while Eduard Matutinović and and sent reinforcements to the nearby Božo Jelinek managed to escape. The garrison. Fighting ensued in the town participants in the mutiny were execut- streets, 150 people were killed, and the ed and buried at the nearby Champs des mutiny was crushed. Despite the help of Martyrs. It was the first rebellion in the the people of Villefranche, who provided German army in World War II.

14 Peace

UN Headquarters, New York, 1954

After World War II, the UN Gener- al Assembly decided that the UN headquarters would be in the United States of America. The City of New York donated the land along the East River in 1946. The construction of the buildings began as early as 1949 and each UN mem- ber state was given a task of refining the space. For instance, the Scandinavian countries organized and decorated the Photograph 1 Model of the Peace monument interior of the Security Council, India and its architectural plan and zoning (photo and other Asian countries donated large by Tošo Dabac, GAA Photo Collection) handmade carpets for the halls, tapestries were made, renowned painters donated their paintings, etc. Yugoslavia, along with

France and Sweden, was in charge of the Photograph 2 Joiner Vlatko Bašic (armature grounds. The task was entrusted to Antun constructor), sculptors Antun Augustinčić and Augustinčić, who travelled to New York in Velibor Mačukatin in the studio, in front of the 1952, when the construction of the main clay model (photo by T. Dabac, GAA Photo Collection) UN buildings had already been completed, to decide on the spot. He proposed an equestrian statue that would symbolize Photograph 3 Peace is unloaded in New world peace. In agreement with Trygve York (photo by Čedomir Čurčić, GAA Photo Lie, the first Secretary General of the UN, Collection) it was decided that the monument be installed on a large plateau along the north- ern entrance, through which thousands of visitors pass every day (Photograph 1). The proposal was accepted, and Augustinčić returned to Zagreb to begin work on the monument. He decided that a female figure would be more suitable as a symbol of peace (“If women conducted politics, there would be no wars,” he said), and designed a figure of a woman on horseback, holding an olive branch in one hand and a globe in the other. The cape fluttering be- Photographs 4 and 5 Transport and installation of the monument in New York (GAA Photo hind her and the horse in motion power Collection)

15 Photograph 6 Dag Hammarskjöld, and Ernest Weissmann, a civil engineer UN Secretary General, Eelco Van from Zagreb. He also took care of a timely Kleffens, chairman of the Ninth UN General Assembly, and Dr. completion of the 10-metre tall base and Jože Brilej, head of the Yugoslav its panelling with red stone from the area mission to the UN, during the of Kotor. The stone had been carved in his unveiling ceremony (photo by Krešimir Horvat, GAA Photo workshop and would soon be replaced Collection) with white stone from the island of Brač. Photograph 7 Peace in New York, Once the monument was cast in 1954 (photo by Krešimir Horvat, bronze, it was transferred to New York GAA Photo Collection) by ship (Photographs 3–5). Newly elect- ed Secretary General Dag Hammarskjöld changed the decision on the location of the monument – he insisted that it be installed 200 metres further from the initial location, at the edge of a large lawn close to the East River. In the presence of the media, Peace was unveiled in early December 1954 by Dag Hammarskjöld, UN Secretary Gen- eral, Eelco Van Kleffens, chairman of the Ninth General Assembly, and Dr. Jože Brilej, head of the Yugoslav mission to the UN (Photograph 6). Augustinčić’s Peace, 5.5 metres tall and weighing five tonnes, is the most monumental gift the UN has ever received. Noticeable from all sides, it continues to dominate the area (Photo- graphs 7–9). That same year, Augustinčić received the Award of the City of Zagreb for this monument.

Bibliography Pintarić, Snježana. Javni i nadgrobni spomenici Antuna Augustinčića [An- Photographs 8 and 9 Peace in New York, tun Augustinčić’s Public and Sepul- 2001 (photo by D. Večerina, GAA Photo fully suggest a forward direction, that is, chral Monuments], MA thesis. Za- Collection) symbolic leadership of the world nations greb, 1992 (GAA Archives) toward peace. Horvat, Krešimir. “Sjećanja – 30 godina spomenika MIR u New Yorku.” [Mem- The work on the monument was ories – 30 Years of the Peace Mon- completed in 1954. Sculptor Velibor ument in New York]. Anali Galerije Mačukatin did most of the clay model- Antuna Augustinčića 3. Klanjec, 1983 ling (Photograph 2), while founder Josip Kraševac, Irena; Vujčić, Davorin. “Figura- Kroflin managed its casting in bronze at cija i modernost / Razgovor sa kipar- the Art Foundry of the Academy of Fine om Veliborom Mačukatinom” [Figu- Arts in Zagreb. In the meantime, architect ration and Modernity / Interview With Lovro Bilinić worked out all the plans and Sculptor Velibor Mačukatin]. Kvartal / prepared the grounds for the monument Kronika povijesti umjetnosti u Hrvat- along with UN architect Wallace Harrison skoj IV–1 Zagreb, 2007.

16 Spinner

Monument to the Victims of Fascism, Addis Ababa, 1955

Spinner is part of the Monument to the Victims of Fascism in Addis Aba- ba, which was executed by Antun Au- gustinčić and Frano Kršinić in 1955. While Ethiopian Emperor Haile Selassie was visiting Yugoslavia and President Jo- sip Broz Tito in 1954, the idea emerged that a monument be installed in Ethiopia that would commemorate the victims of the Italian fascist occupation. After the occupation of Ethiopia in 1935, Italian troops under the leadership of Marshal Graziani perpetrated a massacre in 1937, in which thousands of inhabitants of Ad- dis Ababa lost their lives.

“It was suggested that Antun Au- Photograph 1 Augustinčić and Kršinić with a Photograph 2 Clay model of the relief (photo gustinčić be the author. He accepted the model of the monument (from Maro Grbić’s by Tošo Dabac, GAA Photo Collection) offer, taking Frano Kršinić as his associate. archives) In late December 1954, Augustinčić and three sides, one on top of the other. Above Kršinić travelled to Ethiopia to select the them, on the edge, an imperial symbol: location for the monument and to decide the lion of Judah.” on the type of monument. Based on their The lower relief depicts life and experience in building monuments and the emperor in peace time, the attack the information on local historical, ethnic, by the Italian army, and the mobili- and urban context that they collected, zation, the scenes connected by three they designed models and prepared cal- edge figures: a guard with a shield, a culations.” They decided that an obelisk soldier on sentry duty, and a spinner, would be the dominant construction ele- the model of which is exhibited in ment, referring to the 24-metre tall gran- the Gallery as a separate figure (Pho- ite stele in Axum, one of the symbols of tograph 2). The upper relief depicts the Ethiopian identity (Photograph 1). “… scenes of the massacres perpetrated Having returned to Zagreb in late winter by the Italian troops against the citi- of 1955, they decided on the final form zens of Addis Ababa. The edge fig- of the monument – a three-sided obe- ures are hanged people, a man with Photograph 3 Augustinčić in front of the lisk, 26 metre in height… On the obelisk, his hands tied, and a woman with a monument in Addis Ababa (photo by Tošo there would be two reliefs running on all man’s head on a platter (Judith). Dabac, GAA Photo Collection)

17 “In Zagreb, Kršinić made a working model on the 1:5 scale. Based on this model, in the spring of 1955 Želimir Janeš, Valerije Michieli, Luka Musulin, and Ni- kola Njirić enlarged the reliefs, the edge figures, and the lion figure in Augustinčić’s Jabukovac studio in Zagreb. Augustinčić and Kršinić put the finishing touches on the sculpture, with Kršinić finalizing the head and hand details on the majority of the figures, while Augustinčić worked on the drapery and decor. […] In the course of August and September, the reliefs and the lion figure were cast in bronze at Plastika Foundry in Belgrade and the Art Foundry in Zagreb, and in late October they were transported to Ethiopia, where, with the help of two enchasers, they were Photograph 4 Spinner on the relief of the monument in Addis Ababa (photo by Denis Pešut, mounted onto the obelisk. The monument GAA Photo Collection) was unveiled in a ceremony on 2 Novem- ber 1955, on the occasion of the emper- or’s silver jubilee.”* (Photograph 3) Since the day of the massacre, 19 Feb- ruary 1937, is in the Ethiopian calendar the 12th day of the month of Yekatit 1929, the monument is known in Ethiopia as Monu- ment to the Victims of 12th Yekatit, that is, Sidist Kilo, after the city district. Commem- orations of the massacre were held every year at the base of the monument. After the change of regime in 1974, nearly all the monuments from the time of Emperor Haile Selassie were destroyed, especially those bearing the motif of the lion of Judah. However, Monument to the Victims of 12th Yekatit / Sidist Kilo remained untouched (Photographs 4–6). In total, Kršinić and Augustinčić designed five monuments for Ethiopia, of which three were executed: the one in Addis Ababa, the Monument to Photograph 5 Reliefs on the monument in Photograph 6 Monument to the Victims of the Ethiopian Partisan in Holleta in 1957, Addis Ababa (photo by Denis Pešut, GAA Fascism in present-day Addis Ababa (photo by and the Monument to Ras Mäkonnen in Photo Collection) Denis Pešut, GAA Photo Collection) Harar in 1959. Monument to the Victims of Fascism in Addis Ababa is the most com- “The architectural part of the monu- of stone elements for the lining of the ar- prehensive example of collaboration of ment – the circular terrace with steps and moured concrete core of the obelisk and two great Croatian sculptors. the obelisk – was made, from sketch to de- for paving the plateau and the steps. In the tailed design, by Ante Lozica in collabora- autumn of 1955, they constructed the ob- tion with Josip Frankol and Ivan Glogoja. elisk in the centre of the city, in front of * Quoted from Maro Grbić’s “Zajednički Following those designs, the workers of the old imperial palace, in collaboration radovi Antuna Augustinčića i Frana Kršinića” [Antun Augustinčić and Frano Kršinić’s Joint Adriatic Stone and Marble Industry on with Rad company and Ethiopia’s SABA Work]. Anali Galerije Antuna Augustinčića 5. the island of Brač cut 210 tonnes worth company…” Klanjec, 1985.

18 Model for the Monument to Ras Mäkonnen

Monument to Ras Mäkonnen, Harar, 1959

Ras (an Ethiopian title of duke) Mäkonnen (Photograph 1) was an Ethiopi- an military leader who established a name for himself during the First Ethiopian-Ital- ian war, when he defeated the Italian army under the command of General Baratieri at Adwa on 1 March 1896. Ras Mäkonnen was father of Ras Tafari Mäkonnen, emper- or known as Haile Selassie. It was Emperor Haile Selassie who, during his visit to Yu- goslavia and Josip Broz Tito in 1954, came up with the idea to erect monuments in Ethiopia. Monument to Ras Mäkonnen is the last of the three monuments that Antun Augustinčić and Frano Kršinić executed in Ethiopia together, as commissioned by the Ministry of Public Works and Transport of the Empire of Ethiopia. Photograph 1 Ras Mäkonnen (http://myspace. Photograph 3 Augustinčić’s model for In his article “Antun Augustinčić and com) the monument to Mäkonnen (GAA Photo Frano Kršinić’s Joint Work” (Anali Galerije Collection) Antuna Augustinčića 5. Klanjec, 1985), Maro Grbić states: “After months of nego- tiations on the appearance of the monument, Augustinčić and Kršinić prepared two models and sent them to Addis Aba- ba (Photographs 2–3). Having considered both models, the Ministry decided what the figure of Mäkonnen on horseback should look like. It was quite important to the Ethiopians that the equestrian figure be as realistic and recognizable as pos- sible for the parts of the horseman’s and the horse’s equipment as well as that it be a magnificent depiction ‘not of a young warrior but a mature man of peace and a Photograph 2 Kršinić’s model for the Photograph 4 Augustinčić – Kršinić: Model for philosopher.’ The list of remarks included monument to Mäkonnen (property of Maro an equestrian statue of Ras Mäkonnen (property a number of drawings of details and a list Grbić) (photo by Maro Grbić) of Maro Grbić) (photo by Maro Grbić)

19 of demands for changes to the appearance of parts of the horse and the horseman… Following the written instructions and pic- tures and invoking the experience of their previous equestrian monuments (details of the horse were done after the 1940 Som- bor one), Augustinčić and Kršinić executed a dignified figure of Mäkonnen in a ceremonial war uniform, wearing a chief’s crown, holding a spear in his right hand and a shield in the left, sitting on a strong horse that proudly walks up a mild slope (Photograph 4). The work on the sculpture started in late September and was completed in November, with the help of sculptor Vladimir Herljević (Photos 5–7). Afewerk Tekle, Ethiopia’s most celebrated painter, was supposed to approve the final appearance of the monument, his arrival anticipated in early 1959. Eventually, after many corrections carried out following the written and oral demands made by the Ethiopian representatives, the sculpture was forwarded to be cast in late January. After it was cast in bronze, it was sent off from Zagreb in the company of architect Ante Lozica and foundry manager Josip Kroflin. In mid-June, it arrived in Harar.” The monument was unveiled by Emperor Haile Selassie in a ceremony that was held on 2 October 1960 at Ras Mäkonnen Square in the centre of Harar, where the monument continues to stand to this day (Photographs 8 and 9).

Photograph 5 (upper left) Kršinić next to the equestrian statue model (photograph courtesy of Maro Grbić) Photograph 6 (upper right) Ras Mäkonnen, part of the equestrian statue (GAA Photo Collection) Photograph 7 (centre) Completed clay model of the monument to Ras Mäkonnen (photo by Tošo Dabac, courtesy of Maro Grbić) Photograph 8 (left) Unveiling of the monument in Harar (GAA Archives) Photograph 9 (right) Monument to Ras Mäkonnen in Harar at present (photo by Denis Pešut, GAA Photo Collection)

20 Carrying the Wounded

Monument to the Victims of Fascism, Viktorovac Cemetery, Sisak, 1965

Although the theme of the sculpture entitled, Carrying the Wounded, is the humaneness of the fighters during the anti-fascist struggle, the roots of the composition lie in the Christian motif of the Deposition from the Cross, which is also based on the composition of three figures. Augustinčić made the first model for the sculpture in 1944, during his visit to Mos- Photograph 3 Carrying the Wounded, cow with the military mission, when he tombstone sculpture, Antun Augustinčić also defined the basic scheme in which Gallery, Klanjec, 1976 (GAA Photo the figures on the left and the right hold Collection) the central figure of the wounded man. This is a scheme that Augustinčić modified for the next 30 or so years in about a doz- en models and monuments installed in Derventa, Livno, Oroslavje, and Zagreb in Photograph 1 Carrying the Wounded, Oroslavje, 1973 (GAA Photo Collection) front of the Faculty of Veterinary Medicine and the Faculty of Medicine (the first variant) (Photograph 1), and in Imotski and Krapinske Toplice (second variant) (Photo- graph 2). Augustinčić chose the third variant for his own tomb in the park of the Gallery in Klanjec, having changed the figure of the wounded man into a self-portrait (Photograph 3). In addition to the small, summarily shaped model that testifies to Augustinčić’s initial idea, Carrying the Wounded exhibited in Room III is a plaster cast of the marble sculpture installed at Viktorovac Cemetery in Sisak as Monument to the Victims of Fascism (Photograph 4). As regards form, the sculpture is the above mentioned first variant of the motif, executed as a relief. Photograph 2 Carrying the Wounded, Imotski, Photograph 4 Carrying the Wounded, Sisak, Carved out of Brač marble, it is envisaged 1967 (GAA Photo Collection) Viktorovac Cemetery (GAA Photo Collection)

21 as part of a monument consisting of an underground tomb and the above-ground part in the shape of a monumental flag rising out of the ground (Photograph 5). Augustinčić’s sketch of the monument did not include the motif of carrying the wounded – he envisaged it as a complex involving three flags, peaks speared from Photograph a hillside, and a line of equestrian figures 5 Monument to the below (Photograph 6). Pintarić is right Victims of Fascism, Sisak, Viktorovac in saying that Augustinčić’s idea was for Cemetery, 1965 (GAA the Sisak monument to link the fighting Photo Collection) against Turks to the fight against fascism, to establish a continuity of heroism past and present. Limited funds, however, led to the execution of a simpler variant of the monument complex. The flag was made out of concrete and lined with Brač marble tiles. Leading toward it are two flights of steps, with a marble cuboid on Photograph 6 Sketch the side of the landing, bearing the high for the Monument to the Victims of Fascism relief of Carrying the Wounded. in Sisak (GAA Photo The monument, which was unveiled Collection) on 22 June 1965, has had an unfortunate fate. Pollution in the industrial Sisak and the harsh climate have caused damage to the stone. In the 1980s, the monument was in a state in which safety of the observers could not be guaranteed, and at present access to the monument is prohibited in view of the danger of falling parts of the stone lining. Above Carrying the Wound- ed a cross was installed to commemorate the people killed in the Homeland War (Photographs 7 and 8).

Bibliography Photographs 7 and Pintarić, Snježana. Javni i nadgrobni spo 8 Monument to the menici Antuna Augustinčića [Antun Victims of Fascism, Sisak, Viktorovac Augustinčić’s Public and Sepulchral Cemetery, 2004 (GAA Monuments], MA thesis. Zagreb, Photo Collection) 1992 (GAA Archives)

Davorin Vujčić STORIES ABOUT MONUMENTS Sketches and Models for Monuments in the Permanent Exhibit of Antun Augustinčić Gallery

Publisher MUSEUMS OF CROATIAN ZAGORJE – ANTUN AUGUSTINČIĆ GALLERY Trg Antuna Mihanovića 10, Klanjec

For the Publisher NADICA JAGARČEC

Editor BOŽIDAR PEJKOVIĆ

Translation SUZANA BERTOVIĆ

Language Editing and Proofreading SILVA TOMANIĆ KIŠ

Graphic Design and Prepress FRANJO KIŠ, ARTRESOR NAKLADA, Zagreb

Print TISKARA ZELINA d.d., Sv. Ivan Zelina

This Edition 600 copies

This journal was published with the support of the Ministry of Culture of the Republic of Croatia.

ISBN 978-953-265-154-6

Two Fighters and Head of a Turk

Monument to the Fallen Citizens of Niš, Niš, 1937

The idea about erecting a monument to the citizens of Niš who liberated the city from the Turks emerged before World War I, but due to the Balkan Wars the founda- tion stone was laid only in 1924. The work on the monument began in 1932 with a national competition specifying both the type and the theme of the monument. In Death in Villefranche 1934, a jury awarded three prizes: the first to Antun Augustinčić, the second to Risto Stijović, and the third to Sreten Stojanović. Due to difficulties in obtaining bronze at the time, the execution of the monument was prolonged. The monument was unveiled on 28 June 1937, on the occasion View of Liberation Square in Niš of the 60th anniversary of the liberation of Photograph 1 Niš, at Liberation Square (Trg oslobođe- 1953 nja), where it continues to stand to this day mutineerT he – hands summarily tied in shaped front and figure head of a (Photograph 1). At the time it was installed covered with a hood, standing barefoot, it was known as the biggest and most beau- legs apart, awaiting execution – is Au- tiful monument in Yugoslavia and the first gustinčić’s model for the monument to the realistic monument in the Balkans. mutiny of Croats in Villefranche-de-Rouer gue, France (PhotographThe total height1). Augustinčić’s of the monument is 11 model was nevermetres. made It includes into a monument a base with reliefs and and the Croats’an mutiny equestrian at Villefranche statue on top, was where StevanHerald - commemoratedSinđelić with a memorialis symbolically by Vanja depicted as Radauš, which wasof Victoryexecuted, facing years south,later. that is, arriving in In agreement withthe city the leadershipfrom the north, of from the free part the NDH [World Warof IISerbia Independent (Photographs State 2 and 3). The base, of Croatia], Nazi Germanymade established of Jablanica granite, consists of two a Croat division within theparts: SS (theHandžar lower part is a horizontal cuboid Division or the 1st Croat withDivision), a shallow which bronze relief on each of was initially populated with Muslims from the four sides, while the upper part is an Bosnia and Herzegovina. Since recruit- upright cuboid on which bronze figures Monument to the Fallen Citizens of Niš 5 ment was not met with the desired re- Photographs 2 and 3 depicted in combat scenes form a frieze sponse, recruits were eventually forced to Peace around the base. join. As part of training for combat against partisan units in Bosnia and Herzegovi- na, the recruits were first transferred to a training site in Germany and then to France. The Division headquarters was situated in Mende, some of the troops were based in Rodez, and some in Ville- franche-de-Rouergue.

The mutiny of the recruits broke out primarily due to the Nazi officers’ cruel- UN Headquarters, New York, 1954 ty and the intention to transfer the Croat troops to the Eastern Front instead of send- ing them back to the NDH territory, as had initially been agreed. The mutineers - came into contact with members of the local Resistance Movement, who promisedAfter World War II, the UN Gener al Assembly decided that the UN head- Photograph 1 quarters would beTošo in theDabac, United GAA StatesPhoto Collection) Antun Augustinčić: Death in Villefranche – Model for the Monument (photo by of America. The City of New York donated the land along the East River in 1946. The construction of the buildings began as early as 1949 and each UN mem- ber state was given a task of refining the Model of the Peace monument Photograph 1 ISBN 978-953-265-154-6 space. For instance, the Scandinavian and its architectural plan and zoning (photo countries organized and decorated the by Tošo Dabac, GAA Photo Collection) interior of the Security Council, India Joiner Vlatko Bašic (armature and other Asian countries donated large Photograph 2 handmade carpets for the halls, tapestries constructor), sculptors Antun Augustinčić and were made, renowned painters donated Velibor Mačukatin in the studio, in front of the 13 clay model (photo by T. Dabac, GAA Photo their paintings, etc. Yugoslavia, along with Collection) France and Sweden, was in charge of the grounds. The task was entrusted to Antun Peace is unloaded in New Augustinčić, who travelled to New York in Photograph 3 1952, when the construction of the main York (photo by Čedomir Čurčić, GAA Photo UN buildings had already been complet- Collection) ed, to decide on the spot. He proposed an equestrian statue that would symbolize world peace. In agreement with Trygve Lie, the first Secretary General of the UN, it was decided that the monument be installed on a large plateau along the north- ern entrance, through which thousands of visitors pass every day (Photograph 1). The proposal was accepted, and Augustinčić returned to Zagreb to begin work on the monument. He decided that a female figure would be more suitable as a symbol of peace (“If women conducted politics, there would be no wars,” he said), and de- Transport and installation of the monument in New York (GAA Photo 15 signed a figure of a woman on horseback, Photographs 4 and 5 holding an olive branch in one hand and a- Collection) globe in the other. The cape fluttering be- hind her and the horse in motion power