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Croatian Painting and Art Criticism in the Period of Socialist Realism: Theory Vs

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Croatian Painting and Art Criticism in the Period of Socialist Realism: Theory Vs 1 INTERNATIONAL CONFERENCE ART AND POLITICS IN EUROPE IN THE MODERN PERIOD Faculty of Humanities and Social Sciences University of Zagreb Ivana Lučića 3, 10000 Zagreb, Croatia 29 June 2016 − 2 July 2016 ORGANIZER Faculty of Humanities and Social Sciences University of Zagreb SCIENTIFIC COMMITTEE Igor Borozan, University of Belgrade Rajka Bračun Sova, Ljubljana Nadežda Čačinovič, University of Zagreb Simona Čupić, University of Belgrade Frano Dulibić, University of Zagreb Iskra Iveljić, University of Zagreb Franci Lazarini, University of Maribor − France Sterle Institute of Art History, Ljubljana Zvonko Maković, Croatian Society of Art Historians, Zagreb ORGANIZING COMMITTEE Dragan Damjanović, University of Zagreb Lovorka Magaš Bilandžić, University of Zagreb Željka Miklošević, University of Zagreb ORGANIZING COMMITTEE ASSISTANTS Marija Perkec Patricia Počanić STUDENT VOLUNTEERS Ana Aljinović Buga Klara Blanuša Ivana Čvek Karla Hamžik Ileana Kurtović Petra Rukelj Rafaela Tassoti This conference has been partially supported by Croatian Science Foundation under the project 4153 Croatia and Central Europe: Art and Politics in the Late Modern Period (1780-1945). Art and Politics in Europe in the Modern Period 29 June – 2 July 2016, Zagreb, Croatia Faculty of Humanities and Social Sciences, University of Zagreb Programme and book of abstracts Art and Politics in Europe in the Modern Period he position and status of art and artist changed considerably in Europe in the modern period, primarily with the formulation of the concept of artistic genius and Tthe new division of labour that separated artists from artisans. Those dealing with art were looked upon as individuals possessing an extraordinary talent that transcended mere skill. Regardless of this new individuality, artistic genius cannot be equated with complete autonomy. Although no longer dependent upon brotherhoods and gilds, artistic practice was nevertheless tied to a wider social context. Political circumstances have always influenced artistic production to a greater or lesser extent. However, in the modern period, an increased significance was given to political bodies and legislative frameworks which introduced changes to social structures bringing thereby the need for artists to adapt to new situations. In addition to newly formed bourgeoisie, aristocracy and the church(es) which remained influential in the course of the 19th century, various political elites, and political bodies on both national and local levels, gradually assumed an important role as investors of architectural projects or patrons of artists and artworks in general. By stimulating or influencing cultural transfers political structures greatly influenced the shaping of cultural circles in European countries. Changes of political borders, social systems, wars and economic instability are still continuously mirrored in the production of art, both formally and conceptually. Social organization of artistic life has also been determined by different spheres of political, cultural or economic interests. Professional associations, organisation and artist collectives, whose activities can range from utopian programmes to practical implementation of artistic ideas, either affirm or oppose political parties and/or systems. The same is the case with individual artists whose work can speak more or less openly about their personal position in relation to wider socio-political circumstances. Although rarely, they still manage to oppose regimes and enforced visual models in more or less subtle ways. Their personal criticism can be interpreted as at least an effort to undermine the power of oppressive ideologies. 4 What of all these mere efforts or accomplishments stays recorded and conveyed to other generations is largely determined by museums. As institutions which either specialize in art or collect art as part of more diverse collections, museums often help determine, reinforce or disregard the value of individual art works, artists or certain aspects of art production. Collection and communication of art in these institutions, understood in the widest possible sense of the word, establish a dialogue between art production and the notion of quality, value, tradition and identity. By collecting art, which can be seen as an act of collective remembering, museums designate collected works as representatives of the material world that are worth keeping and protecting. By exhibiting, they transmit messages which are fraught with ideological meanings developed in specific political, economic and socio-cultural contexts. Through their basic functions, museums therefore indicate or clearly point out to specific relationships between art and ideology with what is present in their collections and shown in exhibitions as well as with what is absent. The goal of the conference is to stress the social contexts of artistic production and to question and interpret social and historical circumstances that conditioned the creation, meaning and perception of works of art. Therefore, the contributions to the scientific conference Art and Politics in Europe in the Modern Period deal with different aspects of complex relationships between visual art and political and economic, cultural, gender and other politics in Europe in the period from the late 15th century to the present day. Dragan Damjanović Lovorka Magaš Bilandžić Željka Miklošević 5 Programme WEDNESDAY, 29 JUNE 2016 9:30-10:30 REGISTRATION / COFFEE (LIBRARY FOYER) 10:30 CONFERENCE OPENING (D6) 11:00-12:00 KEYNOTE LECTURE (D6) Matthew Rampley, University of Birmingham, United Kingdom Beyond the National Paradigm 12:00-13:45 LUNCH BREAK SESSION 1.A (D1) SESSION 1.B (L) SESSION 1.C (A126) IMPACT OF ARISTOCRACY WORKS OF ART (TRANS)NATIONAL STYLES AND STATE POLITICS ON REPRESENTING IDEOLOGIES AND VISUAL IDENTITIES ART AND ARCHITECTURE Iconography and Politics I National Styles in Architecture Aristocracies and Governments Inspiring and Supporting Art Chair: Dino Milinović, University Chair: Dragan Damjanović, Production of Zagreb, Croatia University of Zagreb, Croatia Chair: Irena Kraševac, Institute of Art History, Zagreb, Croatia 13:45-14:10 13:45-14:10 13:45-14:10 Zvonko Maković, Croatian Jasenka Gudelj, University of Ada Hajdu, National University Society of Art Historians, Zagreb, Croatia, San Girolamo of Arts, Bucharest, Romania, Zagreb, Croatia, Ideological dei Croati in Rome: Painting A National Byzantine. The Dimension of Equestrian Politics and Politics of Painting Nationalisation of Byzantine Monuments Heritage in the Balkan Countries 14:10-14:35 14:10-14:35 14:10-14:35 Igor Borozan, University of Tanja Trška, University of Gábor György Papp, Hungarian Belgrade, Serbia, Between the Zagreb, Croatia, Painted History Academy of Sciences, Budapest, Arts and Politics: Ritual Cradle and Military Imagery in the Hungary, Budapest: 1896. The Donation and the Case of False Scuola di San Giorgio degli Architecture of the Millennial Pregnancy of Queen Draga Schiavoni in Venice Exhibition and the Shaping of Obrenovic National Identity 14:35-15:00 14:35-15:00 14:35-15:00 Zsuzsa Sidó, Hungarian Sanja Cvetnić, University of Cosmin Minea, University of Academy of Sciences, Budapest, Zagreb, Croatia, The Frankapan Birmingham, United Kingdom, Hungary, Noblesse Oblige: an Family and Political Iconography Romanian Architecture and Aristocrat in the Service of Modern of Early Modern and Modern 19th-century National Heritage Art. The Case of Count Tivadar Croatia Andrássy 15:00-15:25 15:00-15:25 15:00-15:25 Anna Penkała, Pedagogical Danko Šourek, University of Vendula Hnídková, Czech University, Krakow, Poland, Zagreb, Croatia, Iconography of Academy of Sciences, Prague, Women’s Sense of Art. the Sacred Stage: the Triumphal Czech Republic, Intentions Polish Noble Women’s Patronage Arch for the Canonical Coronation Hidden in Style after WWI in 18th-century Poland of Our Lady of Trsat (1715) 15:25-15:50 15:25-15:50 POSTER PRESENTATION Vlasta Zajec, Institute of Art Jovana Milovanović, University History, Zagreb, Croatia, of Belgrade, Faculty of Political Messages behind the Philosophy, Serbia Marble Altar of St. John of The 1896 Millennial Celebrations Nepomuk in Zagreb Cathedral and Rijeka: Andor Dudits’s Painting “Ceremonial Proclamation of the Annexation of Rijeka to Hungary, 1779” 15:50-16:20 COFFEE BREAK (LIBRARY FOYER) SESSION 2.A (D1) SESSION 2.B (L) SESSION 2.C (A126) IMPACT OF ARISTOCRACY ROLE OF POLITICS (TRANS)NATIONAL STYLES AND STATE POLITICS ON IN PROTECTION, AND VISUAL IDENTITIES ART AND ARCHITECTURE PRESENTATION AND Art, Architecture and Influence of Political Bodies USE OF ARTISTIC AND Yugoslavism on Architecture and Urban ARCHITECTURAL HERITAGE Planning Damnatio Memoriae Chair: Frano Dulibić, University of Zagreb, Croatia Chair: Iskra Iveljić, University of Chair: Franko Ćorić, University of Zagreb, Croatia Zagreb, Croatia 16:20-16:45 16:20-16:45 16:20-16:45 Dragan Damjanović, University Hadrien Volle, University Paris Sandi Bulimbašić, Ministry of Zagreb, Croatia, Austro- 1 Pantheon-Sorbonne, France, of Culture of the Republic of Hungarian Dualism and Croatian Using Architectural Ornaments to Croatia, Split, Croatia, Medulić, 19th-century Architecture – “Erase” Monarchy: Case Study of the Association of Croatian Politics and Architectural Design Saint-Germain Theater during the Artists in the Context of Central French Revolution European Artistic and Political Aspirations: the Myth and the Nation 16:45-17:10 16:45-17:10 16:45-17:10 Sanja Zadro, University of Marina Dmitrieva,
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