III

TIME OF THEIR OF VISIONARIES VISIONARIES ARTISTS ARTISTS OF CROATIAN CROATIAN OF ASSOCIATION ASSOCIATION ‘MEDULIĆ’ – – ‘MEDULIĆ’

PhD SANDI BULIMBAŠIĆ

2 Plavšić extended his extended Plavšić 1 1 — *This text is based on the author’s doctoral dissertation (2014) and book Medulić, dissertation the (2014) doctoral is based on the author’s *This text — 1 as 2016, Art, published in November and Politics Artists Croatian (1908-1919): of Association been published in journals from as a series of academic articles that have well and papers the same field. December 1918, Rački, , and Mirko Meštrović Ivan to telegram Dušan Plavšić’s and with members Cooperation 1.3. – HDLU. 1979 Fund Zagreb, Archives, State Croatian 1.3.3.147. HR-HDA-1979-HDLU), associations (henceforth: Jovanović, Lj. to telegram Dušan Plavšić’s Jakopič; R. to telegram 2 — Dušan Plavšić’s main – Irregular Main assembly 1883–1938. 1.2.1. HR-HDA-1979-HDLU December 1918, ‘Dear Sir, read: Ljuba Jovanović to addressed The telegram assembly 15 December 1918. our brotherly convey to you Art Society asks of the Croatian board elected the newly in will be united hope that we all our artists of the Serbian name in the sincere to regards art.’ Yugoslav young of the prosperity towards our efforts The dissolution of the Austro-Hungarian Empire and the estab- Empire The dissolution of the Austro-Hungarian - and Proc on Unification of the Act Shortly the promulgation after lishment of the Yugoslav state following the end of the Great War brought to to brought War the end of the Great following state lishment of the Yugoslav - of Croa of the Association of the members and efforts fruition the aspirations and cultural who had espoused the idea of South Slavic tian Artists ‘Medulić’, art, which had The idea of national Yugoslav the war. before political unity even most official institutions and artistic associations by and criticized been rejected lamation of the Unified Kingdom of Serbs, and Slovenes of 1 December of 1 Slovenes and Kingdom of Serbs, Croats lamation of the Unified Dušan Plavšić, chairman of the Art elected Society in Zagreb, the newly 1918, and Mirko Meštrović artists Ivan Croatian prominent notification to sent a written of […] recognition of the Art ‘in members Society Rački appointing them honorary and success of Yugoslav the development contributions to their immeasurable their artistic and political efforts’. thought and art through invitation for cooperation and joint ‘work towards the prosperity of Yugoslav cul- of Yugoslav the prosperity towards and joint ‘work cooperation for invitation sending a artists and Serbian as well, Slovene art’ all to Yugoslav and ‘young ture’ of Serbian minister and the former Jakopič Rihard painter the Slovene to telegram participated in the proclamation who had actively Ljubomir Jovanović, the interior of Serbia. of the Kingdom the government of of unification as a representative

49 50

th de- 3 century, while they were were while they century, th Along with Nadežda Petrović, Petrović, Along with Nadežda 6

, while their first formal association became association became formal , while their first 4 CENTURY. CENTURY. th ART ASSOCIATIONS AND ASSOCIATIONS ART THE IN LIFE ARTISTIC OF ORGANIZATION THE 20 EARLY During the turbulent period of the first two decades of the 20 two of the first turbulent period During the The Yugoslav Art Colony The Yugoslav their artistic and political between links the inextricable Due to ‘They are the prophetic forerunners of the political movement that has led us to that has led us to of the political movement forerunners the prophetic 3 are — ‘They , foreword Vidović K.), Emanuel Kisić (V. Vinko years.’ so few and unification after liberation 15. 7–16, 1919), realka, (Split: Velika Vidovića Izložba to: motivacije Meštrović: i Ivan Petrović „Nadežda details see: Sandi Bulimbašić, more 4 — For in: stoljeća“, 20. nacionalne ideje u umjetnosti početkom i pristupi oblikovanju nastojanja , ed. Jasna Jovanov . Zbornik radova (1873–1915) Petrović Nadeždi posvećen skup Naučni 24. 23–44, 2016), Beljanskog, Pavla Sad: Spomen-zbirka (Novi mark the to organized artists was Yugoslav that included various 5 exhibition — The first details more I. For of King Peter and the crowning Uprising Serbian centenary of the First Filozofski (Beograd: 1904–1927 izložbe umetničke Jugoslovenske Tošić, see: Dragutin 38–60. umetnosti, 1983), Institut za istoriju fakultet, Slovene, national divisions (Croatian, society with its four of the ‘Lada’ 6 — The program underlined the concept of unity Art Colony and the Yugoslav Serbian and Bulgarian) joint them in the field of art through building closer ties and between among South Slavs artists from young and many of the Colony The members exhibitions. Yugoslav , which already brought the first signs of disagreement between between signs of disagreement the first brought , which already 5 - Meštro Ivan Association including artists of the ‘Medulić’ prominent scribed the Matija Jama Jakopič, Rihard Krizman, Rački, Tomislav Mirko Vidović, Emanuel vić, high-ranking to appointed were Petrović, and Nadežda Grohar Ivan and the late their work. for praises well-earned received state and in the new positions the Yugoslav Art Colony. It was established in 1904, almost concurrently with with almost concurrently established in 1904, It was Art Colony. the Yugoslav Art Exhibition Yugoslav during the First Artists ‘Lada’, the Alliance of Yugoslav in receiving education abroad (, Munich) and participating in exhibitions of of participating Munich) and in exhibitions (Vienna, education abroad receiving movement the Vienna in , became fully legitimized. ‘Prophetic forerunners’, as Vinko Kisić Vinko as forerunners’, ‘Prophetic legitimized. became fully in Croatia, - of Cro generation the younger bonds between the ties and stronger views, Yugoslav to promote and Serbian artists their joint efforts and atian, Slovene of the 20 years and art began in the first culture century, while Croatia and were still parts of the Austro-Hungarian still parts of the Austro-Hungarian were and Slovenia Croatia while century, - in the pro a leading Association had role of the ‘Medulić’ members Empire, their in art. In addition to ideaand national expression motion of the Yugoslav popularizing the for activitiessocial and political mobilizing platform and their their artistic work, as well through gained prominence they same objectives, - of art. Partic development the progressive to contribution as their remarkable painter and Meštrović sculptor ularly deserving include the Croatian members all of whom Petrović, and the Serbian painter artist Jakopič; the Slovene Vidović; founding by of artistic life importantthe improvement contributions to gave the for exhibitions key art societies art and national institutions and organizing region. milieus and the wider of modern art, both in their native development the older and younger generation of artists. generation the older and younger and shortly and shortly 7 8 Croatia, Serbia and Slovenia mostly refused membership in the Association, but agreed but agreed in the Association, membership mostly refused Serbia and Slovenia Croatia, be to in the region exhibitions the first which were exhibitions, part in Yugoslav take to at the first already However, modern standards. to and equipped according organized artists of the older and between arose disagreements in 1904, in Belgrade exhibition Lada Art Exhibition Yugoslav at the Second intense which became more generation, younger artists did not and the majority of younger of the Colony members in Sofia (1906); lay The reason (1908). Art Exhibition in Zagreb Yugoslav at the Third their works showcase stance and politically neutral artistic program with the conservative in their disagreement the who perceived members as in the intrigues of the Lada of the Association, as well Artists of the older in the art market. as a rival generation unquestionably younger talented community cultural unity in the Yugoslav the concept of federal advocated generation the concept of integral promoted generation while the younger and academic realism, freedom affirmation of creative and political community, cultural unity in the Yugoslav For and the shaping of a national artistic expression. art movements, and contemporary rift Bulimbašić, see: Sandi and the generational details on these disagreements more Društvo (Zagreb, i politika umjetnost –1919): (1908 „Medulić“ hrvatskihDruštvo umjetnika 47–52. 2016), umjetnosti Hrvatske, povjesničara „Prva Ambrozić, see: Katarina and the exhibition on the Colony more 7 — For 261–268; 2 (1958): muzeja Narodnog Zbornik radova kolonija“, umetnička jugoslovenska 25–27. Meštrović“, i Ivan Petrović „Nadežda Bulimbašić, financial regarding fulfill its promises to 8 of Serbia failed — The Ministry of Education permanent or even in Belgrade members of Colony residences temporary support for and so Nadežda’s suitable ateliers, include providing to that were in Belgrade residences being in failed despite and art culture Yugoslav of the center Belgrade to make efforts „Prva of the time (Ambrozić, policy in the Serbian Serbia’ line with the concept of ‘Great 266). kolonija“, umetnička jugoslovenska Although the Yugoslav Art Colony played a historic role in the final role a historic played Art Colony Although the Yugoslav who was the most committed to the work of the Colony, its founders were were founders its the Colony, of work the to most committed the was who and Meštrović Ivan Jakopič, Rihard Grohar, Ivan Vesel, Ferdo Vučetić, Paško renounce to reluctant who was of Vesel, the exception With Vidović. Emanuel Art of the Yugoslav at the Exhibition all of them participated society, the Lada in early 1907 Museum in Belgrade held at the National Colony break with tradition, affirmation of the modern and the development of the con- modern and the development affirmation of the with tradition, break become a true mobilizing force to failed national art, the Colony cept of Yugoslav in Belgrade, the exhibition artists. Except of Yugoslav aspirations the shared for unfulfilled despite its almost decade-long existence, most of its aims remained to gather the efforts Nadežda’s Despite One. War until the beginning of World authorities support as the lack of genuine of Belgrade in Belgrade, members the general art as the lack of understanding and acceptance by own of her well as and mobilizing power same cohesive the public and art critics did not have in in 1908 and the society he founded her junior, years ten who was Meštrović, - in the organiza the leading role over and Dalmatian artists took Split. Meštrović and of the Colony the membership expanding the region, in tion of artistic life sessions of group she had set, with the exception fulfilling the objectives thereafter all became members of the ‘Medulić’ Association. The artists in the The artists Association. in the of the ‘Medulić’ all became members thereafter of the quality of artistic the improvement towards efforts their shared Colony of national art at home of modernism and promotion affirmation production, no ethnic with as Yugoslav, their works present to aim was Their and abroad. be art that would Yugoslav contemporary, a new, create distinctions, and to Art Gallery and of the Yugoslav Along with the founding based in Belgrade. of painting collective was main objective Arts, the Colony’s of Fine Academy the Serbian countryside authentic local landscapes, and documenting people, this best efforts, despite Nadežda’s and national costumes. However, customs fruition. to came never objective

51 The logo of the Association and invitation were by designed Tomislav Krizman. to Frano Bulić, Archives of the Conservation in Split, no. Department 12/1910. Letter with the invitation for membership in the ‘Medulić’ Association addressed in nature and documenting the life of Yugoslav nations.9 Although the idea of the Yugoslav Art Colony emerged in the European cultural context, by discovering and valorizing the fundamental points of collecting memory Meštrović managed to revive it using the rhetoric of form-symbol and transform it into an artistic-polit- ical program focused on the individual as the protagonist of the concept of unity.

Association of Croatian Artists ‘Medulić’ (1908–1919)

The Association of Croatian Artists ‘Medulić’ was founded in early December 1908 at the First Dalmatian Art Exhibition in Split as a regional associ- ation of artists from which, in view of the ethnicity of its exhibitors and the importance of its activities, grew to become a truly Yugoslav organization.10 All 28 exhibitors became members, while the founders of the Association in- cluded Meštrović and Vidović, Rački, Krizman and Bukovac, M. C. Medović, Ka- milo Tončić and Ivo Tartaglia. Vlaho Bukovac, whose status as a prominent fig- ure in Croatian art lent legitimacy and weight to the newly founded Association, was appointed its honorary president. Along with Meštrović, Vidović also had an important organizational role and was the most deserving for naming the Association in honor of the renowned Croatian painter Andrija Medulić Schia- vone. Unlike the Colony, the members of the Association did not include only visual artists but also prominent authors, mostly Dalmatian (I. Vojnović, M. Be- gović, A. Tresić Pavičić), politicians (N. Nardelli, J. Biankini, A. Trumbić, J. Smod- laka, P. Grisogono) and art critics (M. Marjanović, A. Milčinović, D. Mitrinović, I. Tartaglia, K. Strajnić, J. Miše), and the Association had its own statute ratified by the Dalmatian government in early 1910. In view of the historical circumstances in Dalmatia and Croatia under the Austro-Hungarian Empire, the membership

9 — Unlike Meštrović, who was enthusiastic, and Vidović, who refused to join Nadežda’s art colony near Sićevo in the summer of 1905, along with her, Jakopič, Grohar and Vesel were the most disappointed by the fact that it did not take place (Ambrozić, „Prva jugoslovenska umetnička kolonija“, 264). In the years of establishing the Colony as well as later, Nadežda’s activities corresponded with the Colony’s ideas and program: in Resnik, Sićevo and other locations in Serbia, she painted national landscapes and places of importance in national memory, portraits of ordinary people, the everyday life of the peasantry and people in national costumes, thereby contributing to the national expression in art (For more details see: Lidija Merenik, Nadežda Petrović: projekat i sudbina (Beograd: TOPY, 2006), 40–42; 48–52; 53–58); Simona Čupić, „Ideja nacionalnog u delu Nadežde Petrović i njenih savremenika“; Milanka Todić, „Voz, novooslobođeni krajevi i umetnički projekat Nadežde Petrović“, in: Naučni skup posvećen Nadeždi Petrović (1873–1915). Zbornik radova, ed. Jasna Jovanov (Novi Sad: Spomen-zbirka Pavla Beljanskog, 2016), 45–55; 86–98. A similar poetics, but without a strong ideological angle, was nurtured by Slovene painters who created their own version of permeated by the idea of national identity, symbolism and intimism. Their depictions of rural life and landscapes of Slovene provinces remained in the domain of intimate symbolic subjects shown with a degree of melancholy and in time acquired an air of national patriotism, although the painters had not intended this. 10 — In addition to cooperation with regional progressive art associations, the ‘Sava’ Club, the Yugoslav Art Colony and the Serbian Art Association, whose members fluctuated and were at the same time members of the ‘Medulić’ Association, owing to Meštrović and Bukovac it established international contacts with similar societies in Central Europe (the Czech Mánes Association of Fine Artists; the Association of Moravian Artists headed

by Joža Uprka). For more details see: Bulimbašić, Društvo hrvatskih umjetnika „Medulić“ 52 (1908–1919), 355–357. and activities of the Association were not bereft of political connotations and its members mostly included the Progressives or their supporters who advocated the political course of Serbophile Yugoslavism. The Association’s activities and particularly its ambitious exhibition plans were facilitated by membership fees and donations of prominent and renowned members, especially Dalmatian politicians. Reflecting political shifts, the Association changed its name on two occasions: to the Association of Serbo-Croat Artists ‘Medulić’ (1912) and to the Association of Yugoslav Artists ‘Medulić’ (1919)11. In the protection of class interests, affirmation of artistic freedom and modern visual formulations, as well as the development of artistic life through high artistic standards and the affirmation of national art at home and abroad, and the formation of national art institutions (School of Crafts, Ethno- graphic Museum, Art Gallery in Split)12, the Association ‘Medulić’, with its unques- tionable appeal lent by Meštrović’s involvement, achieved an important advance compared to similar associations that had been active earlier or at the same time.13

The national program and mobilizing role of the ‘Medulić’ Association in the development of Yugoslav cultural and political cooperation

The largest contribution of the ‘Medulić’ Association to the promo- tion and presentation of national art at home and abroad came in the form of its exhibitions. The eight realized exhibitions of the Association introduced new standards of exhibition practice.14 The lively exhibition activity of the ‘Medulić’ Association is attested by the fact that between 1912 and 1915 the Association planned several exhibitions that never came to fruition despite advanced prepa- rations in some cases.15 The mobilizing ‘national’ program of the Association is discussed here primarily through the creative and political activities of Ivan Meštrović. In the period leading up to the Great War, his engaged political acti- vities, work on the Vidovdan Fragments and the Cycle of Prince Marko (Kraljević Marko) and the idea to build the Vidovdan Temple as a symbol of national

11 — For more on the formation and history of the ‘Medulić’ Association see: Sandi Bulimbašić, „Prilog poznavanju povijesti Društva hrvatskih umjetnika ’Medulić’ 1908–1919“, Radovi Instituta za povijest umjetnosti 33 (2009): 251–260; Bulimbašić, Društvo hrvatskih umjetnika „Medulić“ (1908–1919), 47–97. 12 — Unlike Meštrović’s enchantment with the Vidovdan utopia and the construction of a temple dedicated to this idea, the efforts of the Split circle of Medulić members, led by Vidović, Tončić and Tartaglia were more practical and far-reaching. They are to be credited with the establishment of the abovementioned institutions. 13 — For more on the contribution of Medulić members to the organization of artistic life, see: Bulimbašić, Društvo hrvatskih umjetnika „Medulić“ (1908–1919), 318–329. 14 — Owing to Ivan Meštrović and the experience he gained by participating at exhibitions of the movement, the Medulić exhibitions introduced lofty standards in organization, concept, and design of exhibition posters, invitations and catalogs. For more details see: Bulimbašić, Društvo hrvatskih umjetnika „Medulić“ (1908–1919), 322–327. 15 — Charity exhibition for the children of soldiers killed in the Balkan War in Split in 1912; Exhibition of the Medulić and Marjan Associations; Posthumous Retrospective Exhibition of in Split 1913; Exhibition of Ivan Meštrović in Split in 1914; Exhibition of the Association of Croatian Artists ‘Medulić’ in Zagreb in 1915, which was to have a national

character, and the exhibition entitled In Spite of Non-Heroic Times. Bulimbašić, Društvo 54 hrvatskih umjetnika „Medulić“ (1908–1919), 85–93. liberation had a mobilizing effect on an entire generation of artists and art crit- ics in Croatia and in the territory of former Yugoslavia. A selection of artworks exhibited by Meštrović at the Association’s exhibitions allows us to trace his growing use of art in the service of the political idea of the unification of South Slavic peoples and the formulation of a national expression in art, as well as the acknowledgement of this idea in art criticism – it was in the texts penned by Meštrović’s most fervent supporters, Milan Marjanović and Dimitrije Mitrinović, that the terms ‘national expression’ and ‘national’ art were coined. By offering monumental works of supra-individual expression, the importance of Ivan Meštrović and his art achieved wide artistic and conceptual recognition.

The First Dalmatian Art Exhibition

At the First Dalmatian Art Exhibition in Split (30 September – 15 December 1098) the idea of national art had yet to emerge, although some art critics saw ‘national feelings’ in Meštrović’s works. It was primarily a regional exhi- bition by Dalmatian artists, both anti-Italian and anti-autonomist, which sought to present new artworks created abroad.16 The exhibition also marked the affirma- tion of new art trends and was a major cultural event for Split and Dalmatia. How- ever, in several places throughout the unsigned preface to the catalog, as one of the aims of the exhibition Ivo Tartaglia underlined ‘joining the artistic forces of not only Dalmatia, but the Croatian and Serbian people in general’17, clearly indi- cating the political orientation and future actions of Medulić members. During the exhibition Meštrović was in , and after the annexation of Bosnia and Her- zegovina, he began working on the sculptures of the Vidovdan Cycle, complet- ing them by 1912. He sent a few sculptures from this new cycle to be displayed at the exhibition in Split, where he showcased a total of fifteen works.18

The Exhibition of the Association of Croatian Artists ‘Medulić’ in

The exhibition entitled the Second Art Exhibition at the Pavilion of R. Jakopič. Croatian Art Association ‘Medulič’ [II. Umetniška razstava v Paviljonu R. Jakopiča. Hrv. um. Društvo „Medulič“] (3 November 1909 – 15 January 1910) was held at the Jakopič pavilion at the invitation and encouragement of Jakopič

16 — For more details see: Iris Slade, Prva dalmatinska umjetnička izložba, preface in: Prva dalmatinska umjetnička izložba, (Split: Galerija umjetnina, 2011), 21–80; Bulimbašić, Društvo hrvatskih umjetnika „Medulić“ (1908–1919), 99–133. 17 — Prva dalmatinska umjetnička izložba, exhibition catalog, (Split: Splitska društvena tiskara, 1908), 7. 18 — The Vidovdan Fragments included Banović Strahinja, Vječni idol (Mali torzo/Studija za Miloša) [Eternal Idol – Small Torso/Study for Miloš] and Slijepi guslar [Blind Bard], the sculpture that had appeared on the poster for the Exhibition of the Yugoslav Art Colony in 1907. On the identification of Meštrović’s works at the exhibition, see: Sandi Bulimbašić, „Društvo hrvatskih umjetnika ’Medulić’ (1908–1919)“ (PhD diss., Sveučilište u Zagrebu, 2014), 138–143; Sandi Bulimbašić, „Prilog identifikaciji djela Ivana Meštrovića na izložbama u prva

55 dva desetljeća 20. stoljeća“, Radovi Instituta za povijest umjetnosti 33 (2009): 149–162, 150–153; Bulimbašić, Društvo hrvatskih umjetnika „Medulić“ (1908–1919),131–132. 8 -

21 22 20 , 135–161. 1919) , 163–183. , 163–183. –1919) 80 exhibits in total including 36 Vidovdan Fragments. including 36 Vidovdan in total exhibits 80 21 — „Medulić“ hrvatskih Društvo umjetnika see: Bulimbašić, on this exhibition more For 22 — (1908 Initially Jakopič tried with N. Petrović and Meštrović to organize the Second Exhibition organize to and Meštrović tried with N. Petrović — Initially Jakopič 19 include Dalmatian, Serbian meant to which was at the pavilion, Art Colony of the Yugoslav umetnička jugoslovenska „Prva See: Ambrozić, as members. artists, as well and Bulgarian Društvo uprkos. vremenu in: Nejunačkom preface Oštrić, Novak Vesna 279–280; kolonija“, Moderne galerije izložba retrospektivna historijska 8. 1908–1916, „Medulić“ hrvatskih umjetnika postponed due to probably was The exhibition 7. Moderna galerija, 1962), (Zagreb: Zagreb the annexation and Serbia after Empire the Austro-Hungarian between relations the tense the risk of including Serbian take to reluctant was and Jakopič of Bosnia and , „Nadežda See: Bulimbašić, in a political context. interpreted the exhibition artists and having 31–32. Meštrović“, i Ivan Petrović „Društvo see: Bulimbašić, at the exhibition, works — On the identification of Meštrović’s 20 djela“, „Prilog identifikaciji Bulimbašić, “ (PhD diss.), 189–196; ’Medulić’ hrvatskih umjetnika hrvatskih Društvo umjetnika in Ljubljana see: Bulimbašić, on the exhibition more For 153–156. – (1908 „Medulić“ Exhibition In Spite of Non-heroic Times Exhibition of Non-heroic In Spite vremenu (Nejunačkom Times Non-heroic of In Spite The exhibition Exhibition Meštrović–Rački at the Art 1910) (30 April – 30 June The Exhibition Meštrović–Rački It was organized similarly to the one in Split: there was obvious formu- obvious was there in Split: the one to similarly organized It was 19 himself. ical context, it meant the confirmation of Yugoslav unification and affirmation unification it meantconfirmation of Yugoslav the ical context, in Paris, d’Automne at the Salon with his exhibition Preoccupied of modernism. in Lju- of the exhibition the organization commit to to busy too was Meštrović - solely responsi was who Vidović, by over taken completely bljana, and so it was sculptures eleven exhibited Meštrović artworks. the selection of displayed ble for Studija za Sjećanje [Memories], Fragments: Vidovdan four in Ljubljana, including - Stra Banović and a Caryatid], Slijepi guslar [TheBlind Bard] [Study for karijatidu catalog. Obilić which appears in the Miloš hinja, with the last replacing lation of national art and no consistency in the exhibition concept, and the con- concept, and the the exhibition in artlation of national consistency and no In its histor and inconsistent. varied was artworks quality of displayed and tent and was supported by the scenic exhibit in six exhibition rooms; it also enjoyed it also enjoyed rooms; in six exhibition exhibit the scenic supported by and was and the symbolism art critics who recognized the support of pro-Yugoslav Ivo was feature Another noteworthy sculptures. political meaning Meštrović’s of and catalog, which glorified Vidovdan in the exhibition introduction Vojnović’s - The critics and the public rec of heroism. gesture in a romantic its protagonists as an important cry in the development rallying Temple the Vidovdan ognized and unification. liberation of the idea of South Slavic and encouragement u prkos, 31 October 1910 – 1 January 1911) at the Art Pavilion in Zagreb was the was in Zagreb at the Art Pavilion – 1 January 1911) 1910 31 October u prkos, political and with a marked exhibition and programmatic central Association’s Pavilion in Zagreb marked the beginning of Meštrović’s increasingly intense po- intense increasingly the beginning of Meštrović’s marked in Zagreb Pavilion of the development litical activity and an important starting point in the context Association. This was of the ‘Medulić’ of the idea art of national in the program in his homeland Fragments of Vidovdan number of a larger display the first

Croatian and Slovene artists in front of the Jakopič Pavilion (Photo: Fran Vesel, 1909, Photo- graph Collection of the National Museum of Slovenia, Ljubljana, cat. no. N 29924) 57

234–238. , 234–238. , was organized so as to organized , was 26 23 The exhibition at the pavilion the pavilion at The exhibition In Croatia, preparations for the for preparations In Croatia, 25 24 ,185–225. ,185–225. –1919) Slovene members of the Medulić Association did not exhibit their works in . in Rome. their works of the Medulić Association did not exhibit members — Slovene 24 social and political to most committed the who were Petrović, and Nadežda Meštrović Unlike artists were domination Slovene Austrian from liberation for activities, despite their aspirations fearing political unity and, Yugoslav of in their affirmation politically unpredictable always or taking part in them. similar exhibitions organizing avoid to tended repercussions, potential –1919) (1908 „Medulić“ hrvatskih Društvo umjetnika Bulimbašić, 25 — see: Dragutin material, based on archival artworks of exhibiting a chronology 26 — For Zbornik Matice građe“, arhivske u izveštaju u Rimu 1911. Srbije na izložbi „Učešće Tošić, 341–385. (1980): 16 umetnosti likovne za srpske Društvo hrvatskih umjetnika „Medulić“ „Medulić“ hrvatskih umjetnika Društvo see: Bulimbašić, on this exhibition more For 23 — (1908 International Exhibition in Rome – 7 Decem- March (27 Exhibition in Rome the International At exhibition were marked by political scandals. by marked were exhibition national character, as suggested in its very title, Ivo Vojnović’s motto. It was It was motto. Vojnović’s Ivo title, very in its suggested as character, national Association’s of the presentation most faithful the that rendered this exhibition and national art unity thematically and artisticconceptual South Slavic aims: of exhibitors its 40 with its predecessors, Unlike poetry. folk in heroic rooted along with in nature: was truly South Slavic exhibition ethnicities,this different included the artists, its contributors and Bulgarian Serbian, Slovene Croatian, of the as the thematic lynchpin Prince Marko, of The cycle Uprka. Joža Czech of the the suffering symbolize to used was Meštrović, by conceived exhibition - Serbo-Croa to create as efforts as well in the country, people and the situation - includ the cycle to contributors Besides Meštrović, unity. tian and South Slavic The and Ljubo Babić. Rački, Krizman and painters Rosandić ed the sculptor equestrian statue of an Meštrović’s to given was exhibition spot at the central tall and placed under the dome in the meters five around angry Prince Marko, displayed part the painted of the cycle, And while part of the pavilion. central as described in national life Marko’s illustrated literally hall, quite in a different elements and illustration from free was part cycle of the the sculptural poetry, idea: suffering, of a universal as an embodiment level the symbolical to raised victory and of the people that will lead them to sacrifice and strength struggle, - a reflec was political idea, this exhibition its clearly formulated With liberation. undertaken consciously and the risks freedom and political tion of professional of associates. his close circle and Meštrović by prioritize Meštrović’s sculptures, which were very well-received at the exhibition at the exhibition well-received very which were sculptures, Meštrović’s prioritize of the activities The political context sculpture. for and earned prize him the first political and their art expressed its peak in Rome reached of Medulić members ber 1911), having refused to display their works at the Austrian and Hungarian at the Austrian their works display to refused having ber 1911), and Medulić members national section, Meštrović a separate without pavilion together of the at the pavilion their artworks showcased their opposition and Bosnian artists, demonstrating with Serbian, Montenegrin cultural and underlining South Slavic apparatus state the Austro-Hungarian to unity and the impending political unification. of the Kingdom of Serbia, which was built largely because of Meštrović’s deci- because of Meštrović’s built largely of the Kingdom of Serbia, which was with Serbian artists together his works display sion to

Ivan Meštrović, Equestrian statue of Prince Marko, 1910, plaster, around 5m in height, de- stroyed work, reprinted from Die Kunst für Alle, München, 1912, p. 57. 59 60 - The with 28 31 82–85; Sandi 82–85;

, , 229 (note 565). (note , 229 1919) 32 1919) (Beograd: Srpska (Beograd: , 261–285. , 261–285. 1915 1919) At the same time, it marked the end of it marked the same time, At 29 Zbornik radova s međunarodnog znanstvenog skupa „Ivo Tartaglia i njegovo i njegovo Tartaglia „Ivo skupa znanstvenog s međunarodnog Zbornik radova , 227–259. Unlike other Medulić exhibitions, the one in Rome was the most widely was the one in Rome other Medulić exhibitions, Unlike , 227–259. 1919) – The Fourth Yugoslav Art Exhibition Yugoslav The Fourth July 1912) – 26 May (27 Art Exhibition in Belgrade Yugoslav The Fourth Ivo Tartaglia: političar Tartaglia: in: Ivo ’Medulić’“, umjetnika hrvatskih i Društvo Tartaglia „Ivo Bulimbašić, , i intelektualac 240–242. 225–248, krug Split, 2016), (Split: Književni Marijan Buljan Jakir, , edd. Aleksandar doba“ – 1873 Petrović Nadežda see: Katarina Ambrozić, On the exhibition , izložbe umetničke Jugoslovenske Tošić, 363–375; publik, 1978), zadruga, Jugoslavija književna – (1908 „Medulić“ hrvatskih Društvo umjetnika Bulimbašić, 96–121; These busts were made in 1911, shortly before the exhibition in Rome and during in Rome the exhibition shortly before made in 1911, 28 — These busts were in the his works and ongoing discussions about exhibiting in Belgrade stay Meštrović’s during his and Milovanović about Pašić reminiscences Meštrović’s For Serbian pavilion. (Zagreb: ljude i događaje na političke Uspomene Meštrović, on their busts, see: Ivan work published in 1969. edition was The first 25. 22–23, 1993), Matice hrvatske, Nakladni zavod 12 A1; 709 marked 23 January 1912, Belgrade, Meštrović, to letter 29 Predić’s — Uroš Zagreb. Meštrović, pisama – Atelijer Fond A2, 709 marked 1912, February Jakopič's 16, 10s, no. , Map J 1844 izložbu umetničku Četvrtu za jugoslovensku Pravilnik 30 — Ljubljana. Mestni muzej legacy, Druga beogradska catalog (Beograd: , exhibition izložba umetnička 31 — Četvrta jugoslovenska 24. gimnazija, 1912), i Katunarić, but not Vidović Tartaglia, had the support of Ivo this decision Meštrović 32 — For to unfair the seat of the Association and that it was that Split should remain who believed poznavanju „Prilog change see: Bulimbašić, and the name On the talks Zagreb. exclude – (1908 „Medulić“ hrvatskih umjetnika Društvo Bulimbašić, 254–255; povijesti“, Društvo hrvatskih umjetnika „Medulić“ „Medulić“ hrvatskih Društvo umjetnika see: Bulimbašić, on the exhibition more — For 27 (1908 a For literature. in academic and later and Serbian press Croatian discussed in the contemporary – (1908 „Medulić“ hrvatskih Društvo umjetnika see: Bulimbašić, bibliography , and was invited to raise its reputation and quality. In the compromise In the compromise and quality. its reputation raise to invited , and was 30 Vidovdan Fragments and the Cycle of Prince Marko made up more than more made up Prince Marko of and the Cycle Fragments Vidovdan 27 - of express way clearly Meštrović’s was of theseinclusion exhibition busts at the the for Serbian government individuals and the the depicted to ing his gratitude him. to and the privileges accorded in Rome his works opportunity display to support of the Serbian cul- and material the moral the success Rome, After of in this important him and it was to public became increasingly and political tural be aimed. would Association activities at the ‘Medulić’ future that his direction Asso- ‘Medulić’ and the of the Colony of the members exhibition joint the first was personally only after Meštrović fruition came to Society and ciation with the ‘Lada’ his works. display to an invitation received ed artists to display their works. As the most influential among them, the ‘Medulić’ their works. ed artists display to of the and refereeing Association became an equal partner in the organization exhibition the domination of ‘Lada’ in the organization of Yugoslav exhibitions. Due to their to Due exhibitions. of Yugoslav organization in the the domination of ‘Lada’ abandon its established to organizational forced was debacles, ‘Lada’ frequent other artistic associations and non-affiliat and allow exhibitions Yugoslav rules for ideas. a half of Meštrović’s exhibits, with 40 out of 68 displayed artworks. Aside from Aside from artworks. displayed of 68 out 40 with exhibits, a half of Meštrović’s classical include two notable other works cycles, thematically distinct these two who Milovanović, and Milovan Pašić Nikola of Serbian ministers busts portrait government. the Serbian to Meštrović in promoting most vocal had been Belgrade becoming another seat with Split. of the Association along Belgrade talks he had with ‘Lada’, in a bid to secure the needed conditions for exhibiting exhibiting for the needed conditions secure in a bid to he had with ‘Lada’, talks changed and Serbia, Meštrović in Belgrade of ‘Medulić’ the influence and expand Artists ‘Medulić’, the Association of Serbo-Croat the name of his society to - - 35 Yugoslavism and Yugoslav and Yugoslav Yugoslavism 34 The notion of an integral Yugoslav community Yugoslav The notion of an integral 33 For more details see: Ana M. Bogdanović, „Umetničke veze između Beograda i između Beograda veze „Umetničke details see: Ana M. Bogdanović, more For The First World War interrupted the activities of the ‘Medulić’ Asso- the activities of the ‘Medulić’ interrupted War World The First Ivan Meštrović was a prominent member of the honorary presidency, while Medulić presidency, member of the honorary a prominent was 33 Meštrović — Ivan and N. Petrović M. Murat, Rosandić, M. Rački, T. Krizman, T. Jakopič, R. Becić, V. members in the proclaimed bodies. One of the objectives its working to appointed were K. Strajnić see: On the Committee Temple. Vidovdan the construction of Meštrović’s was program Srbije i umetničkih poslova za organizaciju ’Odbora „Principi i program Dejan Medaković, 671–682. (1970): 11/1 fakulteta Zbornik Filozofskog godine“, iz 1913. jugoslavenstva’ community of South Slavs’. the ‘Cultural to dedicated 34 catalog was — The exhibition 35 — salona (1919–1921)“, i Proljetnog između Grupe umetnika na primeru saradnje Zagreba 281–293. XXI – 2 (2014): u Beogradu muzeja Zbornik Narodnog - in a na rooted not was in Belgrade of ‘Medulić’ The appearance cultural unity achieved at this exhibition truly did represent another step for another step represent truly did at this exhibition unity achieved cultural of the nations of the future political unification and a view to on the road ward War. the Great after later, years fruition a few come to that would in the region partici - Meštrović artists. While abroad, of Yugoslav ciation and the cooperation deeply Having Committee. Yugoslav the of establishmentthe in pated work and on he drew Wars Balkan since the ever war, and violence of the sufferings felt in Fragments, but the Vidovdan reliefs, in his expressionist Christian motifs at his exhibitions. artworks still the central aims, were line with his propaganda of the ‘Medulić’ art the national program onwards, War the Great from However, monumental- Association – the esthetic of Secessionist stylization and heroic national poetry – lost its common ideational in heroic ism thematically rooted at emerged stylistic trends new 1916 art. Starting from in Croatian denominator to owing founded which was Spring Salon, formed the newly of the exhibitions at works exhibit their to who continued Medulić members of some the efforts began the national style state, in the new the war, After exhibitions. the Salon’s and artistic outlooks. modern approaches more seek different, to mixing clay; portraits of his father, mother father, of his portraits mixing clay; (The Hand and intimate ly personal and of home/homeland) symbolism with the associated which are and sister of Serbia in the future partly meant underline the importance to of the role Milovanović; and of Pašić (portraits community South Slavic and Serbo-Croat he planned to a monument for Obradović image of Dositej medallions with the - frag Vidovdan displayed The only in Dalmatian ). 1912 on Vidovdan erect in early government the Serbian bought from Sjećanje [Memories] ment was Meštrović’s to and adapted clearly conceived concept was This exhibition 1912. Association and the influence of the ‘Medulić’ expand wish to abovementioned cul- Yugoslav on a shared work and for influence in Serbia his own consolidate artists Serbian and Slovene end, Croatian, this To Belgrade. begin in free to ture of Serbia and of Art Affairs Organization the for established the Committee in 1913. Belgrade in Yugoslavia tional program as it had been at the exhibitions on Zagreb and Rome. Although Although and Rome. on Zagreb been at the exhibitions as it had tional program and of artists number (46) largest with the represented was the Association part was His selection eight of his works. only displayed (296), Meštrović works was the fundamental idea exhibition. was behind the

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37 38 40 , 296–297. , 296–297. It was organized in the new in the new organized It was 36 , 287–313. –1919) , Split, 27 March 1919, 2–3. Bulimbašić, Bulimbašić, 2–3. 1919, March doba, Split, 27 Novo u Splitu“, izložbe umjetničke „Otvor In the summer of the same year, the Association organized a solo exhibition for for a solo exhibition the Association organized In the summer of the same year, ‘This is a noble cause! Today, when a part of Europe denies Dalmatia’s Yugoslavism Yugoslavism denies Dalmatia’s when a part of Europe ‘This is a noble cause! Today, Društvo hrvatskih umjetnika „Medulić“ „Medulić“ hrvatskih Društvo umjetnika see: Bulimbašić, on the exhibition more For Tartaglia served as the mayor of Split from 1918 to 1928. The city experienced The city experienced 1928. to 1918 of Split from as the mayor served Tartaglia , while his speech openly underlines the national as well as artistic, while his speech openly underlines the national as well 39 –1919) (1908 „Medulić“ hrvatskihDruštvo umjetnika and when our people on these Adriatic shores are being accused of having no culture, no culture, being accused of having are shores and when our people on these Adriatic of the most cultured representatives while hosting lofty endeavor, spiritual capacity or any evidence of least at a little offer to our intention it was in our city, nations in the world to wanted and art. We and what our people can do in the fields of culture have what we of beauty and the beauty of appreciation a well-developed that our people have show Izložba Split 1919. “Medulić”. Društvo in: Jugoslav. preface Tartaglia, Ivo soul.’ the people’s 9. 7–10, 1919), realka, (Split: Velika iz Dalmacije umjetnika jugoslavenskih 40 — 39 — 36 — activities. of the Association’s the last trace in fact which was Emanuel Vidović, 37 — of along with the introduction urban and educational growth; a period of intense port in the making it the largest constructed, was Zagreb to route electrification, a railway and Slovenes/Yugoslavia. Kingdom of Serbs, Croats formed newly 38 — (1908 The Exhibition of Yugoslav Artists from Dalmatia (27 March – 15 May – 15 May March Dalmatia (27 Artists from of Yugoslav The Exhibition The Exhibition of Yugoslav Artists The Exhibition of Yugoslav aim of the exhibition, stating that the idea of a Yugoslav community, promoted promoted community, stating that the idea of a Yugoslav aim of the exhibition, has finally come to at their exhibitions, Meštrović of artists around the circle by be realized came to if the national aim of the Split exhibition Tartaglia, fruition. For have Medulić Association would ‘the and Dalmatia became a part of Yugoslavia, who em- Meštrović, Ivan its founder fulfilled its national duty and paid its dues to and will of the entire as the tendencies, strength bodied the artistic as well aims fury"’. of Marko’s in the "Ghost believes nation, which still Yugoslav Although the exhibition introduced the younger generation of artists that had generation the younger introduced Although the exhibition Jerolim Foretić, (Vinko members of older ‘Medulić’ under the patronage matured indications of futur stylistic trends: and suggested new Marino Tartaglia…) Miše, painting; in line with its national and politi- and metaphysical ism, Fragments the Vidovdan to given priority was exhibition, at the Paris cal aim, like art. embodying the idea of national Yugoslav Prince Marko, of and the Cycle The aims of the exhibition, which was organized in haste and haste in organized was which exhibition, the of aims The the catalog to preface in Tartaglia’s explained are preparations, without extensive the preface as his opening speech. In as well and French, published in Croatian Dalmatia and its place in nation- of artistic writes about the rich tradition Tartaglia art al Yugoslav 1919) was the last joint exhibition of the members of the ‘Medulić’ Association, ‘Medulić’ of the members of the exhibition the last joint was 1919) year. that being active stopped which formally from Dalmatia Dalmatia from state, the Kingdom of Serbs, Croats and Slovenes, under its new name – the name – the new under its and Slovenes, of Serbs, Croats the Kingdom state, notably political and national It was Artists ‘Medulić’. Association of Yugoslav decide if to which was Conference, Peace of the Paris On the eve in character. the meant prevent to it was part become of Italy or Yugoslavia, Dalmatia would Allies and the with its rich the world Italian occupation of Dalmatia and familiarize Meštrović, Ivan by conceived was The exhibition and artistic tradition. cultural that time. around Association the ‘Medulić’ the chairman of appointed who was Exhi- relevant more even the politically with organizing preoccupied As he was in Split was of the exhibition the organization Artists in Paris, bition of Yugoslav of Split. and the mayor secretary the Association’s Tartaglia, Ivo by over taken -

42 Although disappointed by the failure to erect erect to the failure by Although disappointed 41 (Zagreb: Školska knjiga, 2009), 428. For the purchased the purchased For 428. knjiga, 2009), Školska (Zagreb: –1932 (Beograd: Udruženje za društvenu istoriju, 2014). 2014). istoriju, za društvenu Udruženje (Beograd: Spomenik 1928), (The Victor, include: Pobjednik Notable monuments in Belgrade , 1.–2002) svezak 1883 – (1883 Meštrovića Ivana Život Kečkemet, scandal, see: Duško the purchase For –1989 By its promotion and protection of class interests, demands for the demands for of class interests, and protection its promotion By 41 — 1962 or francs of 36,000 annual remuneration a lifelong receive to was Meštrović sculptures his be paid to to per month; in the case of his death, the same sum was francs 3,000 concerning arose and controversies disagreements various However, legatees until 1950. to and the sum seems never he had signed with the Serbian government the contract been paid in full. have 42 — Spomenik 1930), à la France, (Monument de la reconnaissance Francuskoj zahvalnosti details see: more For 1938). Hero, the Unknown (Monument to in Avala junaku neznanom Građevinska (Beograd, 1904–1941 u arhitekturi Jugoslovenstvo Ignjatović, Aleksandar u Srbiji Arheologija sećanja. Spomenici i identiteti Pintar, Olga Manojlović knjiga, 2007); 1918 Members of the ‘Medulić’ Association in Association the ‘Medulić’ of Members with the for- fruition come to seen its political objectives Having CONCLUSION of artistic expression, and freedom standards of high professional introduction and the region, of Croatia enhanced the artistic Association life the ‘Medulić’ at the apparent This impetus was quality. and diversity scope, its improving and frequent Association, which became increasingly ‘Medulić’ of the exhibitions regional landscapes, national cus- distinctive depictions of appealing, offering language and fresh with their spontaneous approach and local traditions, toms and the periphery. centers major cultural between the differences alleviating region and abroad contributions in the The affirmation of national with an important forward, step Association marked the ‘Medulić’ by achieved their the most deserving being for Meštrović of Ivan and role the example - of the Cro the liberation of the struggle for as the symbol Temple the Vidovdan he remained years ten following the over unification, atian people and Yugoslav public large commissions for and received the leading sculptor state-endorsed and efforts. embody his original views monuments which continued to ly thereafter, its rector (1923). In February 1919 Meštrović offered the Serbian the offered Meštrović 1919 In February (1923). its rector ly thereafter, the monumental the construction of Vidovdan design the for government the Vidovdan purchase as the option to as well sculptures, and granite Temple scandal a cultural in 1923 However, temple. and his model of the Fragments out; construction broke Fragments of the Vidovdan concerning the purchase moral, heavy suffered and Meštrović abandoned; were the temple plans for and artisticmaterial accusations. the New State the New the the joint state, as Slovenes and Croats the Kingdom of Serbs, mation of ended its ac- which Artists ‘Medulić’, of Croatian of the Association members of their profession: the primary tasks to apply themselves could tivities in 1919, production. creative of his works Owing to grow. continued to reputation Meštrović’s he endurance, and stimulating symbolical unique voluminosity classical clarity, and, short (1922) Arts in Zagreb of Fine at the Academy became a professor

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century th century and century and th

- Notable memory points of and signs in space include: archi , vol. 2, ed. Žarko ed. Žarko 2, , vol. enciklopedija Jugoslavije in: Likovna Ivan“, „Meštrović, Gagro, Božidar 43 century. ‘On the whole Meštrović was one of the major figures one of the major figures was the whole Meštrović ‘On century. th THE SYMBOLICAL DYNAMISM OF DYNAMISM SYMBOLICAL THE 43 — 316. 315–317, 1987), Krleža“, „Miroslav zavod leksikografski Jugoslavenski Domljan (Zagreb: IP- though its project Science Foundation the Croatian co-funded by ** This paper was [Art and State in do danas 2018-01-9364 od prosvjetiteljstva u Hrvatskoj i država Umjetnost Modern Times]. to of Enlightenment the Age from Croatia century.’ th on the historical stage of Yugoslav peoples in the first half of the 20 half peoples in the first stage of Yugoslav on the historical - ema heroic style, sculptural of Meštrović’s The self-awareness achievements. their masterful us with still impress of form condensation tectonic nation and Tomislav Vidović, Emanuel painters contributions of along with the effects, and Ivan Jakopič Rihard impressionists Slovene Rački; and Mirko Krizman, her untimely death, and before War Great during the and particularly, Grohar; as the themselves all of whom affirmed Petrović, Nadežda painter the Serbian and intellectual Their enthusiasm, motivational, of visual expression. restorers its patterns, and acceptance spirit and inclusivity the new of artistic maturity, Association the ‘Medulić’ for the status project of an important cultural secured generations. future to and legacy forward as a step IVAN MEŠTROVIĆ IVAN and monograph of the topic context chronological the Aside from Art, I would and Politics Artists Croatian of (1908-1919): Medulić, the Association catalog with a short overview the exhibition to contribution supplement my to like edu- and activities Medulić period on the artistic, after the work of Meštrović’s in the first figure him a central which make cational and constructional level, half of the 20 one of the few local artists whose works received international recognition. […] recognition. international received local artists whose works one of the few of his talent, and his skillful shaping of material power the primeval Owing to almost a thousand sculp- produce him to that allowed endurance remarkable of half visual artists in the first among the most renowned ranks Meštrović tures, the 20 - Meštro However, of his time. the controversies not spared and hence he was 20 of the sculptor unquestionably leading the Yugoslav vić was - Meštro Mausoleum in Cavtat (1920–1923); – Račić Family monuments tectural Hero the Unknown Monument to (1926–1932); in Otavice Mausoleum vić Family public (1934–1938); Artists in Zagreb Home of Croatian (1938); Belgrade in Avala, Marulić Marko (1905); in Zagreb Life of – Well monuments at home and abroad and The The Bowman (1926), in Zagreb Štrosmajer Juraj Josip in Split (1925), Indians) in Chicago (1928); as Equestrian collectively Spearman (also known (1930). in Belgrade France to Gratitude of Monument Gregory Nin in Split (1929); of

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