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Essay Thoughts on Painting Esej Razmišljanja O Slikarstvu

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Essay Thoughts on Painting Esej Razmišljanja O Slikarstvu HRVATSKA AKADEMIJA ZNANOSTI I UMJETNOSTI THE CROATIAN ACADEMY OF SCIENCES AND ARTS RAZRED ZA LIKOVNE UMJETNOSTI THE DEPARTMENT OF FINE ARTS ARHIV ZA LIKOVNE UMJETNOSTI THE FINE ARTS ARCHIVES ART BULLETIN 65 (2015) ART BULLETIN 65 (2015) Esej Essay VLAHO BUKOVAC VLAHO BUKOVAC Hrvatska akademija znanosti i umjetnosti The croatian Academy of Sciences and Arts Razmišljanja o slikarstvu Thoughts on Painting Vlaho Bukovac cijenjeni je hrvatski slikar, počasni Vlaho Bukovac is a highly regarded croatian paint- je član Hrvatske akademije znanosti umjetnosti, er. He was an honourable member of the croatian a njegov opus ostvaren u Zagrebu, Pragu, Parizu i Academy of Sciences and Arts, and his works creat- Londonu pripada temeljnim europskim impresio- ed in Zagreb, Prague, Paris, and London are among nističkim djelima nastalih početkom dvadesetog the foundational European impressionist works of stoljeća. Svoja razmišljanja o suštini slikarstva obja- the early 20th century. He published his thoughts vio je u autobiografskoj knjizi Moj život, objavlje- on the essence of painting in his autobiography My ne u Zagrebu, 1918. godine. Na osnovu opisa svojih Life (Moj život), published in Zagreb in 1918. On razmišljanja pri koncipiranju slike Gundulićev san the basis of his descriptions of his thoughts on his (na svečanoj zavjesi Hrvatskog narodnog kazališta conception of the painting Gundulić’s Dream (on u Zagrebu) i portreta suvremenika dovodi do za- the gala curtain of the croatian National Theatre ključka da je nacrt temelj kiparskog i slikarskog in Zagreb) and portraits of his contemporaries, he umijeća. concludes that the sketch is the foundation of both sculpture and painting. Ključne riječi: Key words: Vlaho Bukovac; slikar; autobiografija; Gundulićev Vlaho Bukovac; painter; autobiography; Gundulić’s san Dream Prvoga posjetih Račkoga. On nas je vrlo srdač- I visited Rački on the first. He welcomed us no primio. Dugo smo raspravljali o narodnim mo- quite warmly. We talked long of national motifs tivima i dogovarali se glede sujeta slike, koju mi je and agreed on the subject of the painting Stross- Strossmayer naručio. Mene sve to nije zadovoljilo, mayer had ordered from me. None of it satisfied a onda će Rački, da me na Gundulića sjeti i ne če- me, and then Rački, to remind me of Gundulić kajući mog odgovora, odmah se lati “Osmana”, i and without waiting for my reply, immediately poče da mi po malo čita, a kad je došao do stiha grabbed “Osman” and began to read to me. When he reached the passage “O djevice čiste i blage, Ke vrh gore slavne i svete, “O virgin, so pure and so gentle, Slatkom riječi pjesmi drage, Who from that high and holy peak, Svim pjevaćim naričete. In the sweet words of a dear song Narecite sad i meni, Laments for all poets. Kako istočnom caru mladu, Sing now to me a lament, Nesmiljeni vitezovi For the young Emperor in the east, Smrt daše u svom carigradu” To whom those merciless knights, Dealt death in his own constantinople” Tu sam Račkoga zaustavio i rekao mu, da mi je slika gotova u pameti. Odmah učinih prvu skicu; here I stopped Rački, saying that the painting što se kaže udarih mu u pravu biljegu. Bijaše za- was finished in my mind. I immediately made the dovoljan i tako smo se lako i bez Strossmayerove first sketch; I hit the mark, as they say. I was sa- naročito potvrde o svem ostalom dogovorili. tisfied, and so we easily agreed on everything else U Zagrebu sam izložio i sliku biskupa Stro- without Strossmayer’s confirmation. ssmayera, izradjenu u Djakovu. Svi su pohvali- I also exhibited a painting of Bishop Strossmay- li moje djelo. – Na to mi je barun Ljudevit Vra- er in Zagreb, which was painted in Đakovo. My niczany naručio portrait svog pokojnog oca, koga work was praised by everyone. – It was because sam u Parizu kasnije po fotografiji dovršio. Uz to of this that Baron Ljudevit Vraniczany ordered a mi se neprestano po glavi motala slika „Gunduli- portrait of his late father, which I later comple- ćev san“. Težak bijaše predmet, ali za to bogat i ted in Paris from a photograph. The whole time, dostojan velikog majstora, u čudu se pitam, kako “Gundulić’s Dream” was floating about in my head. bi današnji „kubisti“ vidno prikazali sliku izraženu It was a difficult subject, but a rich one worthy of a tim neumrlim stihovima! Meni je ne shvatljivo fi- great master. I asked myself in wonder, how would lozofiranje u slikarstvu. To je posao za literate, ali today’s “cubists” portray the painting expressed in za slikare neka samo šare i kist govore. Što će mi those timeless verses! I simply cannot understand slikarsko mudrovanje, kad ruka, ili noga ili glava ni- philosophising in painting. That is the task of the jesu umjetnički prikazane. literati, but let only colours and brushes speak for Često sam se u Londonu namjerio na kakovog painters. What use is sophistry in painting, when a siromašnog samouka, koji bi komadom ugljena i hand, or a foot, or a head are not artistically por- bijelom kredom na uličnom pločniku u tren oka trayed. nacrtao ribe, brodove, konje i ljude. Okolo njih In London, I would frequently happen upon mnoštvo udivljenih gledaoca, a svaki bi ih obdario some poor self-taught artist, who would use a pie- s bakrenim sitnišem. Za mene je takov siromašni ce of coal and white chalk to draw fish, boats, hor- art BULLETIN 65 (2015): 5-13 samouk pošteniji i bolji umjetnik, nego svi kubisti, ses, or people on the sidewalk. And around them a 6 Vlaho Bukovac: Razmišljanja o slikarstvu / Thoughts on Painting Vlaho Bukovac, Portret biskupa Josipa Jurja Strossmayera, Vlaho Bukovac, Portrait of Bishop Josip Juraj Strossmayer, 1892., ulje na platnu, 144 x 112 cm, Strossmayerova galerija 1892, oil on canvas, 144 x 122 cm, Strossmayer Gallery of Old starih majstora, Zagreb Masters, Zagreb 7 Vlaho Bukovac, svečana zavjesa u Hrvatskom narodnom kazalištu u Zagrebu art BULLETIN 65 (2015): 5-13 Vlaho Bukovac, festive curtain at the croatian National Theatre in Zagreb 8 Vlaho Bukovac: Razmišljanja o slikarstvu / Thoughts on Painting 9 futuristi i modernisti, što su svojim slikama une- crowd of people, amazed, would shower them with srećili svijet. Imade vještaka, što i njih hvale i pišu copper coins. I consider such poor self-taught ar- hvalospjeve na ono, nešto izmazana, što oni zovu, tists truer and better artists than all the cubists, da je umjetnost. Vele, da sve ono, što su Tizian, futurists, and modernists who have inflicted suffe- Paolo Veronese, Velasquez, Rembrant, Van Dyk, ring on the world with their paintings. There are Rafael i Michel Angelo izradili, da je došlo doba, da those who even praise them and write panegyrics se uništi. Riječju, da je sve to ništa i da umjetnost to the smudges they call their art. They say that jedino s njima počima. Uvjereni su da umjetniku the time has come to destroy all that Titian, Paolo ne treba nauke, jer da ih škola samo kvari. Sve ono, Veronese, Velasquez, Rembrandt, Van Dyck, Ra- što je istina njima je smiješno i s prijezirom na nju phael, and Michelangelo created. In a word, that gledaju. Oni vele, da slikaju kvintesencu prirode, a all of it is nothing, and that art begins solely with glupak je svaki, koji ne razumije, što oni mrče. them. They are convinced that the artist does not Istina je, da je umjetnost u prvoj polovici XIX. need learning, because schooling only spoils them. vijeka bila u padu. Akademski recepti ubili su li- Everything that is true, they consider silly and view kovne umjetnosti. Na to su kao spasitelji došli im- with contempt. They say that they are painting the presionisti i naučili mlade naraštaje, kako da gleda- quintessence of nature, and anyone who does not ju prirodu. understand their scribblings is an idiot. Kao voda i staklo, tako i vazduh, koji obuhvaća It is true that art was in decline in the first half zemlju, ima svoju boju. Kad sunce rasvijetli vazduh, of the 19th century. Academic recipes had killed the boja mu je potpuno modra i za to vidimo i modro fine arts. The impressionists came like saviours, nebo nad nama. Da vazduha nije, neizmjernost bi and taught young generations how to view nature. svemira, u kojoj se naša zemlja kreće, bila potpuno Like water and glass, so does the air surrounding crna i vidjeli bi zvijezde u podne kako i u noći. Tu the earth have its own colour. When the sun shines su istinu potvrdili svi zrakoplovci, jer što su više u into the air, its colour is completely blue, and that visine išli, nebo im bilo tamnije, to jest vazduh bio is why we see a blue sky above us. Were there no je rjedji. Dan je zapravo vazduh rasvijetljen suncem: air, the infinity of space through which our planet otuda modrina, što nas i zemlju obuhvaća. Otud pak moves would be completely black, and we would slijedi, da su svi predmeti, koji se nalaze pod kapom see the stars at noon as we do at night. This truth nebeskom osvijetljeni modrim svijetlom. S tim ot- has been confirmed by pilots, because when they krićem, ili bolje da kažem, tim znanstvenim razgla- would fly ever higher, the sky would grow ever dar- banjem okoristiše se impresionisti. A da je tomu ker – that is to say, the air would be thinner. Day tako, lako će se uvjeriti svaki ćutljivi umjetnik. is actually air lit by the sun; that is where the blue Modra boja odrazuje se i na najcrnijim predme- surrounding us and our planet comes from. It thus tima a osobito na olaštenim površinama.
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