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Radovi Instituta Za Povijest Umjetnosti 37 Rad Radovi Instituta za povijest umjetnosti 37 Rad. Inst. povij. umjet. 37/2013. (159–166) Irena Kraševac: Alegorijske slike Franza Matscha u riječkom kazalištu Irena Kraševac Institut za povijest umjetnosti, Zagreb Alegorijske slike Franza Matscha u riječkom kazalištu Izvorni znanstveni rad − Original scientific paper Predan 30. 9. 2013. − Prihvaćen 15. 11. 2013. UDK: 75 Matsch, F. 75.045/.046(497.5 Rijeka) Sažetak U članku je riječ o austrijskom slikaru Franzu Matschu (1861.–1942.) se stilski, ikonografski i komparativno s Klimtovim djelima u istom koji je zajedno s danas puno poznatijim Gustavom Klimtom radio na prostoru. Franz Matsch je za hrvatsku povijest umjetnosti zanimljiv kao dekorativnom opremanju kazališta u Rijeci. Prema projektu kazališne profesor Robertu Aueru na bečkoj Školi umjetničkog obrta, a članak se zgrade arhitekata Ferdinanda Fellnera i Hermana Helmera, svaki je osvrće i na njegove grafičke predloške iz mape Allegorien und Embleme slikar izradio tri medaljona na svodu gledališta s alegorijskim prikazima koja se čuva u Muzeju za umjetnost i obrt. kazališne i glazbene umjetnosti. Matschove alegorijske slike analiziraju Ključne riječi: slikarstvo, Franz Matsch, Künstler-Compagnie, Fellner i Helmer, kazalište, Rijeka, historicizam, alegorija Nastavljajući dosadašnja istraživanja vezana uz alegorijske učitelja, zahvaljujući preporuci Rudolfa Eitelbergera ostaju na prikaze glazbene i kazališne umjetnosti u riječkom kazalištu, daljnjem usavršavanju u slikarskoj klasi Ferdinanda Juliusa objavljena u prethodim Radovima Instituta za povijest um- Laufbergera, potom kod Juliusa Bergera i već u toj ranoj fazi jetnosti koja su obuhvatila djela znamenitog Gustava Klimta,1 sudjeluju na velikim projektima dekoracije Votivne crkve, ovaj se rad bavi slikama manje poznatog austrijskog slikara Hermesove vile i Povijesno-umjetničkog muzeja,7 što mogu Franza Matscha u istom prostoru. zahvaliti temeljitoj školskoj obuci koja je bila usredotočena na poznavanje različitih metijera s ciljem obučavanja u svim Premda su u doba rada na slikama za riječko kazalište djelo- umjetničko-obrtničkim tehnikama potrebnim na velikim vali pod zajedničkim nazivom »Die Künstler-Compagnie« i projektima historicističke dekoracije prostora.8 Prijateljstvo izradili svaki po tri reprezentativne slike jednakog formata mladićā iz školskih dana temelj je zajedničkog rada koji je u svodu gledališta, slikama Franza Matscha dosad nije pri- trajao petnaestak godina u okviru Künstler-Compagnie, a davana veća važnost. Njegov je lik i umjetnički rad ostao u u kojoj se godinu dana stariji Matsch nametnuo kao »šef« sjeni kasnije poznatijeg Klimta te ga se tek uzgred spominje koji je vodio spise i blagajnu te slovio kao dobar organizator 2 kao autora alegorijskih prikaza Operete, Ljubavi i Plesa. Dok i poslovni pregovarač.9 je danas bibliografija o Klimtu izuzetno brojna, o Matschu postoji tek jedna disertacija i katalog uz izložbu održanu Nakon početnih godina zajedničkog uspješnog rada, koji im je polučio slavu u Beču i diljem Monarhije, koju je pratio i 1981.–1982. godine u Muzeju grada Beča istoga autora.3 Veću financijski uspjeh, zapadaju u krizu nakon nenadane smrti pažnju zadobio je 2007. godine na prvoj izložbi posvećenoj trećeg člana, Klimtova mlađeg brata Ernsta u prosincu 1892. isključivo Klimtovim ranim radovima, Gustav Klimt und die godine. Posljednja velika zajednička narudžba koju dobivaju Künstler-Compagnie.4 početkom 1893. godine za izradu alegorijskih prikaza četiriju Franz Matsch (Beč, 1861.–1942.) Klimtov je kolega iz Škole fakulteta za svod aule bečkog Sveučilišta pridonijela je nji- umjetničkog obrta.5 Iste, 1876. godine polažu prijamni ispit hovu konačnom razilaženju i gašenju »Kompanije«. Premda doslovce u istoj klupi.6 Nakon završetka formalnog školova- su im rani radovi bili vrlo ujednačeni, na fakultetskim sli- nja koje je trajalo tri godine i završilo svjedodžbom risarskog kama njihove stilske suprotnosti dolaze do punog izražaja. 159 Irena Kraševac: Alegorijske slike Franza Matscha u riječkom kazalištu Rad. Inst. povij. umjet. 37/2013. (159–166) Dok Matsch nastavlja »makartovsko« historijsko slikarstvo njem.18 Dekoracija profanih prostora u drugoj polovici 19. naglašene dekorativnosti i pozitivističkog svjetonazora u stoljeća podjednako je zastupljena kako na zgradama javne prikazivanju alegorijskih tema, Klimtove slike svjedoče o namjene tako i na privatnim palačama, a specifično bečko formiranju snažnog individualnog izraza koji je nagovije- slikarstvo toga vremena reprezentira Hans Makart koji pro- stio radikalan otklon od dotadašnjeg stila, a u simbolizmu nalazi uzore u Rubensovu i Veroneseovu slikarstvu.Svojim pronalazi estetiku rasapa, mistike i zagonetnog. Njegove bujnim stilom i lakoćom slikanja izravno je utjecao na slikare slike Medicina, Justicija i Filozofija odmah po izlaganju mlađe generacije, Gustava Klimta i Franza Matscha, koje izazivale su brojne polemike i skandale te i danas pozivaju su nakon Makartove smrti smatrali njegovim ponajboljim na istraživanja i interpretacije,10 dok su Matschove slike za sljedbenicima.19 istu narudžbu, Teologija i Trijumf svjetla nad tamom, gotovo Nakon početnih dekoraterskih radova izvedenih na poticaj i 11 potpuno zaboravljene. preporuku svojih profesora i mentora Laufbergera i Bergera, Nakon višegodišnjeg zajedničkog rada i nerijetko sličnog ostvaruju suradnju s arhitektonskim atelijerom Fellnera i formalnog i stilskog izričaja koji i stručnjacima predstavlja Helmera, zahvaljujući kojima dobivaju i narudžbu za oslik atributivne probleme, umjetnički i životni putevi dvojice riječkog kazališta.20 U slikarskom razvoju trojice umjetnika umjetnika u potpunosti se odvajaju. Matsch se profilirao s važna je narudžba za opremanje ljetne rezidencije rumunj- radovima koji su odgovarali ukusu publike i postaje portre- skog kralja Karla I, dvorca Pelesch u Sinaji.21 12 tist aristokracije i dvora, uzdignut na čast viteza. Za rezi- Najveća pak realizacija trojice mladih umjetnika bila je za denciju kraljice i carice Elizabete Ahilejon na Krfu izrađuje bečki Burgtheater, koji nakon Gottfrieda Sempera dovršava monumentalnu sliku historijskog antičkog žanra Trijumf Carl von Hasenauer. Zanimljiv detalj iz Matschovih auto- Ahileja nad Hektorom, 1892.–1894., a u isto mu je vrijeme biografskih zapisa govori o Hasenauerovu posjetu njihovu dodijeljena profesura na Školi umjetničkog obrta na kojoj atelijeru u proljeće 1885. godine u pratnji Rudolfa Eitelber- 13 je vodio slikarski odjel od 1892. do 1901. godine. Njegovi gera, koji je tom prigodom vidio tek dovršene slike za riječko učenici Kolo Moser, Anton von Kenner i Erwin Puchinger kazalište, nakon čega dobivaju narudžbu za Burgtheater.22 kasnije su se priklonili Klimtovu Udruženju likovnih umjet- U slikarskom razvoju Klimta i Matscha riječke slike imaju nika Austrije – Bečka Secesija i ubrajaju se u rodonačelnike značenje profesionalne zrelosti koja im otvara put prema austrijske secesije koji su znalački vladali različitim umjetnič- zahtjevnijim i složenijim zadacima. Dok su ranija ostvarenja ko-obrtnim metijerima. Franz Matsch nije bio član Klimtova smatrana »zajedničkim radovima«, na riječkim se slikama secesijskog udruženja i nije se priključio onodobnoj bečkoj prvi put pojavljuju signature koje jasno odvajaju Klimtove od umjetničkoj avangardi. Živio je u neoklasicističkoj vili u Matschovih djela, što svjedoči o jačanju umjetničke samo- elitnom bečkom predjelu Hohe Warte, koju je, po njegovim svijesti, a ta se praksa ponovila i na slikama za Burgtheater, zamislima, projektirao »prvi Hasenauerov arhitekt«, gradi- posljednjoj velikoj zajedničkoj izvedbi. teljski savjetnik Otto von Hofer14 1896. godine. Za hrvatsku povijest umjetnosti zanimljiv je podatak da je Matschovu klasu pohađao Robert Auer u razdoblju od 1892. do 1895. godine, u kojoj je također usvojio širinu i vještinu vladanja Matschove riječke kazališne alegorije slikarskim tehnikama i žanrovima.15 Matsch je nadživio Klimta za četvrt stoljeća, ali u povijesnoumjetničkom smislu Postavljene u ovalnim kartušama uokrug raskošnog lustera Klimtovo je djelo nadmašilo Matschovo. u gledalištu kazališta, uz tri Klimtove, nižu se tri Matschove alegorijske slike koje također iziskuju pomniju ikonografsku Bez obzira na stilski tradicionalniji pristup, i kod Franza analizu i interpretaciju. U dosadašnjoj literaturi spominju se Matscha je također razvidan umjetnički prijelaz iz akadem- kao alegorije Ljubavi, Plesa i Operete.23 skog historicizma prema secesijskoj stilizaciji i modernizmu nakon 1900., premda nikada nije dosegao Klimtovu umjet- Alegorija nazvana Ljubav s prikazom zagrljenog para s kri- latim dječačićem (sl. 1.) ponavlja sličan prizor kao Klimtova ničku inovativnost i originalnost. Uz slikarstvo, od 1898. 24 posvetio se i kiparstvu, svjedočeći umjetničku univerzalnost Alegorija poezije. Zaljubljeni par smješten je u prirodni čestu kod umjetnika fin de sièclea.16 okoliš podno stabla, dok se u pozadini desno otvara vidik na morsku pučinu. S lijeve strane, prikazan s leđa, krilati je bog ljubari Eros ili Amor koji svira lutnju, a njegov atribut, luk i tobolac sa strelicama, odložen je na tirkizno plavoj draperiji Unutarnja dekoracija prostora javne namjene na kojoj sjedi. Plavokosi dječačić i mlada žena prikazani su svijetlog inkarnata, dok je pût muškog lika izrazito tamna. Historicistička dekoracija koja povezuje umjetnički obrt s Taj su klišej Matsch i Klimt često ponavljali na svojim ranim monumentalnim slikarskim i kiparskim djelima svoj vrhunac slikama. Horizontalno preko krila prikazanih
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