DOCSLIB.ORG

Izbrana Bibliografija in Kronološki Presek / Selected Bibliography and Chronological Overview

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Izbrana Bibliografija in Kronološki Presek / Selected Bibliography and Chronological Overview DOKUMENTACIJA IZBRANA BIBLIOGRAFIJA IN KRONOLOŠKI PRESEK / SELECTED BIBLIOGRAPHY AND CHRONOLOGICAL OVERVIEW in the fne arts and art history during the Kingdom of javnosti predstavil na posebni razstavi v Salonu 1929 Barcelona Universal Exposition / Svetovna samoukoma Ivanom Generalićem (1914–1992) in uredniški odbor. Pavle Bihali in Oto Bihali sta leta 1928 Izbrana bibliografja in Yugoslavia, encompassing the period between 6 January Skočajić v Sarajevu leta 1931. V mapi so predstavljene razstava, Barcelona, maj–oktober. Organizacija Franjem Mrazem (1910–1981) iz vasi Hlebine, katerih ustanovila založbo Izdavačko preduzeće Nolit, ki je 1929 (Dictatorship) and the beginning of World War II geografske, zgodovinske, urbane, ruralne in jugoslovanske likovne predstavitve je bila zaupana dela so bila vključena v razstave skupine. Kot skupina poleg časopisa izdajala knjige socialno orientirane kronološki presek on Yugoslav soil in April 1941. The overview excludes etnografske specifčnosti Bosne in Hercegovine. Udruženju jugoslovanskih oblikujočih umetnikov. so razstavili šestkrat, po predstavitvi v Salonu Ulrich književnosti. Avtorji iz kroga Nolita so se v tridesetih architecture and flm. Each year is divided into three Zaradi sporov pri pripravah na razstavo je nacionalne še: Galerie Billet, Pariz 1931, Umjetnički paviljon letih zapletli v več polemik, mdr. z nekdanjimi Kraljevina Jugoslavija: likovna umetnost chronologically arranged parts: Gjuro Szabo [Đuro Sabo]: Umjetnost u našim ladanjskim žirije za izbor del imenovala vlada. Jugoslovanski Zagreb 1932 in 1934, Sofja, v sodelovanju z bolgarskim avantgardisti (nadrealisti), z Milošem Crnjanskim v 1929 – april 1941 crkvama, Zagreb, [s. n.], 1929 (IV, 76 str.; 2. izdaja 1930). razstavni paviljon je bil delo arhitekta Dragiše društvom Novi Hudožnici, in Umetnički paviljon časopisu Ideje (1934–1935) in Miroslavom Krležom v Selected bibliography is mostly focused on books and Đuro Sabo (1875–1943) je bil zgodovinar, restavrator Brašovana in je zanj prejel drugo nagrado. Dragiša Beograd 1935. Sedmo razstavo Zemlje, ki bi morala biti književni reviji Danas (1934; zadnja, peta številka je collections in alphabetical order according to authors in muzeolog, med letoma 1928–1943 ravnatelj Muzeja Brašovan (1887–1965) je projektiral tudi jugoslovanska v Umjetničkom paviljonu v Zagrebu, skupaj z Novimi bila zaplenjena). and titles. The then newly established or already defunct grada Zagreba. paviljona za svetovni razstavi v Milanu (1931) in v Hudožnici in Radničko slikarsko školo Petra Dobrovića Uvodno pojasnilo newspapers and magazines follow the alphabetical order Solunu (1932). iz Beograda, so policijsko prepovedali. Poleg tega so Beograd: almanah Nemoguće / L‘Impossible (Beograd, of the places of their publication. Jubilarni almanah Kluba hrvatskih književnika i posamezni člani skupine razstavili tudi na skupinskih Društvo nadrealista / Nadrealistička grupa / Kronološki popis zajema dogajanje na področju umjetnika u Osijeku, [Osijek], Tisak Ferde Kittera, OSEBE, INSTITUCIJE IN UMETNOST V JAVNEM razstavah v Barceloni, Londonu in Ljubljani. V Ljubljani Publikum), 1930 (reprint 2002). V njem je afrmirana likovne umetnosti in umetnostne zgodovine v Selected exhibitions consist of traveling survey 1929 (218 str.). Iz vsebine: Radoslav Bačić: »Likovna PROSTORU je bila skupinska razstava Četrte generacije z gostoma revolucionarna tendenca književno-umetniške obdobju Kraljevine Jugoslavije, od uvedbe diktature exhibitions, either foreign or Yugoslav. Special attention umjetnost u Osijeku«, str.126–132. Francetom in Tonetom Kraljem in člani društva Zemlja skupine srbskega nadrealizma, njegove druge faze; do začetka druge svetovne vojne. Arhitektura in was given to the beginnings of exhibition series and to Kraljevina Jugoslavija (1929–1941 / formalno v Jakopičevem paviljonu maja 1930 (Razstava sodobne med drugim je objavljen manifest s trinajstimi flm nista vključena. Gre za obsežen sklop podatkov, breakthrough exhibitions of certain artist groups. The Zbornik u čast Bogdana Popovića, Beograd, IK Geca ukinjena 1945) in umetnost: kralj Aleksandar grafke; katalog uredil Miha Maleš). podpisniki. V almanahu so objavljene fotografje ki sva jih zbrali iz nama dosegljive literature in z chronology here follows the opening dates. Kon, 1929 (426 str.). Karađorđević in knez Pavle Karađorđević sta se Nikole Vuča (1902–1993) in Vaneta Živadinovića Bora dodatnim iskanjem po spletu. Ohranili sva večino zavedala reprezentativne in propagandne vloge Aleksandar Šafranski (1889–?): v obdobju 1929–1939 (1908–1993). Svoja prepričanja so nadrealisti izražali še originalnih imen, naslovov publikacij in razstav, z Beograd: marca je začel izhajati časopis Radio Beograd. umetnosti. Jugoslovanski dvor je bil poleg Ministrstva je objavil večje število tekstov in knjig o fotografski v časopisu Nadrealizam danas i ovde, izšle so tri številke željo, da imajo raziskovalci na voljo tiste ključne Notable people, institutions, and art in public Nedeljni ilustrovani časopis (1929–1940). za prosveto pomemben pokrovitelj in kupec domače tehniki in tehnologiji. V Beogradu so mdr. izdali: Osnovi 1931–1932. Več članov gibanja je policija preganjala, besede, za katere meniva, da bodo najučinkovitejše space mostly includes events that were connected to in tuje umetnosti, ustvarjali so tudi Državno umetniško fotografje. Sa preko 600 slika u tekstu i 2 u boji (1929, njegovo delovanje je zastalo. S polemikami so za iskanje v arhivih in po drugih virih. Zaradi the formation and anniversaries of artist groups and Berlin: januarja 1929 je izšla posebna, deseta zbirko, ki ni bila javna. Knez Pavle je sodeloval in z Aleksandrom Đ. Kostićem), Kako treba fotografsati. sodelovali v tako imenovanem spopadu na levici količine podatkov sva se odločili za omejitev vsebin. institutions, inaugurations of monuments, publications številka revije Der Sturm (Junge slovenische Kunst), prijateljeval z nekaterimi svetovnimi avtoritetami na Sa 32 slike (1934), Opšta upustva za fotografju (1935), med umetniškim (avantgardističnim, liberalnim) Kot dokumentalistki sva obravnavali gradivo, of print portfolios, and certain polemics and appeals. This pri kateri je sodeloval Ferdo Delak. Uvodni članek področju likovne umetnosti: Bernard Berenson (1865– Leicagrafja. Nova era u fotografji. Sa 157 slika, 5 tablica in kolektivnim (partijskim) pogledom levičarjev na ki nama je blizu in ima »odtis« v obliki časovno segment is arranged alphabetically according to places o revolucioniranju umetnosti v Sloveniji je sprožil 1959), Kenneth Clark (1903–1983) in Joseph Duveen u tekstu i 8 tablica kao prilog (1938) in Snimanje pomoću revolucijo. Del polemik je potekal v beograjskem opredeljenega zapisa. Na osnovi teh zapisov sva and people. polemiko v slovenskem časopisju. Istega leta je v (1869–1939). Julija 1929 je ustanovil Muzej savremene infracrvenih zrakova. Sa 120 slika u tekstu, 3 šeme u boji i mesečniku za književnost in umetnost Stožer (1930– raziskovali strokovno (umetnostnozgodovinsko) prvem letniku beograjske revije Nova literatura izšel umetnosti v Beogradu z namenom, da sooči XIII slika priloga (1939, s Sibin V. Todorović). 1935), med Pavlom Bihalijem (I. Merin), št. 7–8 (1931), in publicistiko obdobja, razstavno dejavnost in 1929 Delakov članek »Slovenačka umetnička avantgarda«, moderno evropsko likovno umetnost z ustvarjanjem v Markom Ristićem, št. 1 (1932). dejavnost na področju (formiranja) skupin, institucij v isti številki, 7–8, so objavili še članek Bratka Krefta Jugoslaviji od konca 19. stoletja naprej. Velik privatni Ivana Tomljenović Meller (1906–1988): leta 1929 se je in izstopajočih posameznikov. Pri izboru podatkov za IZ BIBLIOGRAFIJE »Fragmenti iz Slovenije«. zbiratelj je bil še Pavle Beljanski (1892–1965), ki je vpisala v šolo za umetnost, oblikovanje in arhitekturo Vršac: novembra 1930 je pričela izhajati revija objavo nama je bilo vodilo pojavnost imen, skupin, pripadal sloju politične državne elite. Staatliche Bauhaus v Dessau, naslednji semester se je Jugoslovenska fotografja. Časopis za umetničku i publikacij, dogodkov. Pri nekaterih zelo izstopajočih Lioubo Babitch [Ljubo Babić]: Les peintres croates de Ljubljana: Umetniška matica je v Zbirki del slovenske pridružila novemu oddelku za fotografjo, ki ga je vodil naučnu fotografju (1930–1931; izšlo je pet številk). imenih, naslovih, skupinah ali dogodkih sva zaradi l‘impressionisme jusqu‘à nos jours, Zagreb, Zaklada likovne umetnosti izdala monografje: I. zvezek Tine Beograd: novoustanovljeni Beogradski fotoklub prof. Walter Peterhans. V tem obdobju je oblikovala Urednik je bil Milorad Radović (1892–1934), zavzemal racionalizacije podatke strnili v gesla. Spet druge tiskare Narodnih novina, 1929 (24 str., [9] listov s Kos (1929; predgovor Tone Seliškar); II. zvezek Drago (ustanovljen 4. decembra 1928), je leta 1929 politično fotomontažo Diktatura kralja Aleksandra, ki je se je za ustanovitev skupne jugoslovanske amaterske sva predstavili, da bi prek njih vnesli neko posebno tablami). Objavljen tekst v hrvaščini Hrvatski slikari od Vidmar, Nande Vidmar (1930; predgovor Tone Seliškar); priredil prvo razstavo, na kateri so razstavljali člani bila mdr. objavljena na naslovnici publikacije Diktatur fotografske zveze. vsebino, značilnost časa ali preprosto prisotnost. impresionizma do danas, naslovna stran v francoščini. Ponatis iz revije Hrvatsko kolo. Naučno-književni i III. zvezek Božidar Jakac (1932; predgovor Karel fotokluba in gostje iz Sombora. Široko koncipiran in Jugoslawien. Ko so leta 1930
Load more

Recommended publications
  • (2019), the Vardar River As a Border of Semiosphere – Paradox Of
    Geographia Polonica 2019, Volume 92, Issue 1, pp. 83-102 https://doi.org/10.7163/GPol.0138 INSTITUTE OF GEOGRAPHY AND SPATIAL ORGANIZATION POLISH ACADEMY OF SCIENCES www.igipz.pan.pl www.geographiapolonica.pl THE VARDAR RIVER AS A BORDER OF SEMIOSPHERE – PARADOX OF SKOPJE REGENERATION Armina Kapusta Urban Regeneration Laboratory Institute of Urban Geography and Tourism Studies Faculty of Geographical Sciences University of Łódź Kopcińskiego 31, 90-142 Łódź: Poland e-mail: [email protected] Abstract As suggested by its etymology, regeneration usually carries positive connotations while its negative aspects tend to be belittled. However, any renewal results in major morphological, physiognomic, functional or social changes, which imply changes in the meanings encoded in space. These transformations are not always welcome and they may lead to public discussions and conflicts. Skopje 2014 is a project within which such controversial transformations have been taking place. The area surrounding the Vardar River and its banks plays a major role here. On the river banks monumental buildings were erected, bridges over the river were modernised and new ones, decorated with monuments, were built for pedestrians. Bridges can be considered a valuable component of any urban infrastructure as they link different parts of a settlement unit (in the case of Skopje – left (northern) bank and the right (southern) bank; Albanian and Macedonian), improve transport, facilitate trade and cultural exchange. In this context, referring to Lotman’s semiosphere theory, they may become borders of semiotic space, which acts as a filter that facilitates the penetration of codes and cultural texts. Yet, in multicultural Skopje meanings attached to bridges seem to lead to social inequalities as they glorify what is Macedonian and degrade the Albanian element.
    [Show full text]
  • Pavle Beljanski
    S. MILETIĆA L. TELEČKOG DUNAVSKA NJEGOŠEVA ZMAJ JOVINA USPENSKA TRG SLOBODE MODENE DUNAVSKI POZORIŠNITRG PARK I. PAVLASA KRALJA ALEKSANDRA JEVREJSKA MIHAJLA PUPINA BULEVAR TRG GALERIJA VLADIKE PLATONA ĐORĐEVIĆAJ. M. ANTIĆA STEVANA MUSIĆA VASE STAJIĆA ŽELEZNIČKA VOJVOĐANSKIH BRIGADA MAKSIMA GORKOG PAVLE Working hours: Wednesday – Sunday: 10–18h • Thursdays: 13–21h Fees: BELJANSKI 100 RSD – single ticket 50 RSD – ticket for privileged visitors (children, students, pensioners) Pavle Beljanski (19th June, 1892, Veliko Gradište – 14th July 1965, 50 RSD – group ticket without curatorial guidance Belgrade), a lawyer and diplomat, art lover and great connoisseur, col- (min 7 people) lector who acquired the most complete collection of Serbian paintings 100 RSD – group ticket with curatorial guidance in Serbian from the first half of the 20th century, and by giving it to the people (min 7 people) of Serbia, became one of its greatest contributors. He attended high 250 RSD – group ticket with curatorial guidance in English school in Belgrade, where he also studied law until the beginning of (min 7 people) World War I, when he left for Paris. He graduated at the Sorbonne and 500 RSD – single ticket with curatorial guidance in Serbian began his diplomatic career in Stockholm, and continued it in Warsaw, 1000 RSD – single ticket with curatorial guidance in English Berlin, Vienna, Paris, Rome and Belgrade. Residing in European capitals The guiding tour for planned individual and group visits lasts between between the World Wars, he was able to study the greatest works of 35 and 45 minutes. • The maximum group size is 25 people. art and to meet famous writers such as Jovan Dučić, Ivo Andrić, Rastko On Thursdays, the admission is free for individual visits.
    [Show full text]
  • Timeline / 1890 to Before 1800 / REPUBLIC of MACEDONIA (FYROM)
    Timeline / 1890 to Before 1800 / REPUBLIC OF MACEDONIA (FYROM) Date Country Theme 1901 Republic of Macedonia Fine And Applied Arts (FYROM) One of the founders of Macedonian modern art, Lazar Lichenoski (d. 1964) is born in Galichnik. After graduating from Belgrade Art School he attended prestigeous art schools in Paris. He is best known for his landscapes, which reveal the harmonious beauty of nature through endless views from the peak of Bistra Mountain. Lichenoski introduced expressionism in Macedonian art. 1902 Republic of Macedonia Music, Literature, Dance And Fashion (FYROM) Birth of writer Stale Popov in Melnca, Mariovo Region. He began writing early immortalising tales from Macedonian folk tradition about Itar Pejo (Smart Pejo). He achieved eminence after publication of his first novel Patchwork Life. His talent lay in introducing themes from social life. His other well-known novels are Kalesh Angja and Tole Pasha. 1903 Republic of Macedonia Fine And Applied Arts (FYROM) A founder of contemporary Macedonian art, Nikola Martinoski is born in Krushevo (d. 1973). He learned painting in the Skopje workshop of the icon painter Dimitar Andonov, and in Bucharest and Paris. His distinctive expressionist style depicts social themes and portraits, influenced by Macedonian frescos and the modern Parisian school. His outstanding work is the painting "Mother and Child". 1903 Republic of Macedonia Migrations (FYROM) The Slav-Macedonian Scientific Literary Society, also known as the St Petersburg Colony, is established. It plays an important role in the national awakening of Macedonians and raising the issue of the independence of Macedonia within the international community. 1903 Republic of Macedonia Migrations (FYROM) Publication in Sofia of On Macedonian Matters by Krste Petkov Misirkov (1874– 1926).
    [Show full text]
  • 14 Godina Gradske Galerije Bihać / 14 Years of City Gallery Bihać
    14 godina Gradske galerije Bihać / 14 years of City Gallery Bihać 14. 06. - 30. 06. 2012. Gradska galerija Bihać 05. 07. - 21. 07. 2012. Collegium Artisticum Sarajevo Skulpture Realizaciju izložbe Alem Korkut. Skulpture omogućili su: Gradska galerija u Bihaću, Općina Bihać i Gradska galerija Collegium Artisticum u Sarajevu // Realization of this exhibition Alem Korkut. Sculptures was enabled by: City Gallery Bihać, Municipality Bihać and City Gallery Collegium Artisticum Sarajevo CIP - Katalogizacija u publikaciji Nacionalna i univerzitetska biblioteka Bosne i Hercegovine, Sarajevo 75.038(497.6)”1950/1960” HOŠIĆ, Irfan Šta je to apstrakcija? : umjetnost u BiH pedesetih i šesdesetih = What is the abstrction? : art in Bosnia and Herzegovina in fifties and sixties / [koncepcija izložbe i predgovor Irfan Hošić ; fotografije, slides Hamdija Dizdar ... [et al.] ; prijevod na engleski, English translation Ferid Avdić]. - Bihać : Gradska galerija, 2007. - 54 str. : ilustr. ; 24 cm Tekst na bos. i engl. jeziku ISBN 978-9958-9416-1-0 COBISS.BH-ID 15843334 Organizator izložbe i izdavač kataloga / Exhibition organised and catalogue published by Gradska galerija Bihać, Bosanska 15 Za izdavača / For the publisher Adnan Dupanović Partner organizatora / Co-organized by Collegium Artisticum Sarajevo, Centar Skenderija Predgovor i koncept kataloga / Foreword and catalogue concept Irfan Hošić Likovni postav / Exhibition design Adnan Dupanović Nermin Delić Alem Korkut Grafičko oblikovanje kataloga / Catalogue design labvisual.de Lektor i korektor / Proof-reading Fikret Felić Prijevod na engleski / English translation Merima Zulić Priprema i štampa / Photolythos and print Grafičar Bihać Tiraž / Copies 300 primjeraka www.ggbihac.ba www.collegium.ba Irfan Hošić Skulpture Uvod Uvod Alem Korkut jedan je od značajnijih kipara na hrvatskoj Alem Korkut jedan je od značajnijih kipara na hrvatskoj umjetničkoj sceni danas.
    [Show full text]
  • Redatelj Koji Vlada Scenom Branko Gavella I Modernizacija Slovenskog Kazališta
    REDATELJ KOJI VLADA SCENOM BRANKO GAVELLA I MODERNIZACIJA SLOVENSKOG KAZALIŠTA Primož Jesenko Uloga Branka Gavelle (1885. – 1962.) na prostoru nekadašnje Jugo­ slavije, u Ljubljani, Zagrebu i u Beogradu, glavnim kazališnim središtima u tadašnjoj zajedničkoj državi, velika je, i bila je u zapisima Dušana Moravca i Filipa Kalana, Nikole Batušića i Georgija Para, već i znanstveno objašnjena. U godinama između 1920. i 1926., prijelaznim godinama između amaterskih nastojanja i umjetničkog kazališta, umjetnička razina slovenskog kazališta nije bila zavidna. Publika je tražila svoje i ako to nije dobila, u sve se većoj mjeri otuđivala, piše Moravec. Tako danas znamo da je Gavellin sistem režije bio ključan za idejno-estetsku i stilsku europeizaciju jugoslavenskog kazališta, za »prijelom iz romantičnog klasicizma u plemeniti realizam«.1 U Ljubljani je, u međuratnom razdoblju, utjecaj na stil slovenskog kazališta i njegov repertoar kao izvedbeni uzor imao Narodni divadlo iz Praga, a slabije su tragove ostavila kazališta iz 1 Lojze Filipič, Doktor Branko Gavella (Spominske reminiscence njegovega učenca). GL Drama SNG Ljubljana 1961/62, str. 36­38. 384 prijestolnice zajedničke države ili iz Zagreba. U to je doba Gavella isprva bio gostujući redatelj u Narodnom gledališču u Ljubljani, zatim redovni član redateljskog zbora, a poslije oslobođenja nakratko i pedagog za režiju na ljubljanskoj Akademiji za igralsko umetnost (AIU). Odobrenje Ministarstva za prosvjetu u Beogradu 1930. godine, koje se odnosilo na Gavellino »povremeno« režiranje u Ljubljani, osigurao je dopis Otona Župančiča, ondašnjeg ravnatelja Drame i Opere Narodnog kazališta u Ljubljani. (Zbog šestojanuarske diktature 1929. Gavella napušta Beograd.) Razlog za Župančičev prijedlog bio je manjak redatelja u Narodnom kazalištu u Ljubljani, jednako kao i stagnirajući estetski monopol dotadašnjih nositelja dramske režije Osipa Šesta, Cirila Debevca ili Milana Skrbinšeka, što je dovelo do inflacije raznovrsnosti u repertoaru.
    [Show full text]
  • MONITORISH Xvii/1 • 2015
    00 - Zacetek 3.9.2015 15:59 Page 1 MONITORISH xvii/1 • 2015 Revija za humanistične in družbene vede Journal for the Humanities and Social Sciences Izdaja: Alma Mater Europaea – Institutum Studiorum Humanitatis, Fakulteta za podiplomski humanistični študij, Ljubljana Published by: Alma Mater Europaea – Institutum Studiorum Humanitatis, Ljubljana Graduate School of the Humanities 00 - Zacetek 3.9.2015 15:59 Page 2 Monitor ISH Revija za humanistične in družbene vede / Journal for the Humanities and Social Sciences ISSN 1580-688X, e-ISSN 1580-7118, številka vpisa v razvid medijev: 272 Uredniški odbor / Editorial Board Nada Grošelj (jezikoslovje), Matej Hriberšek (antični študiji), Karmen Medica (socialna antropologija), Jure Mikuž (zgodovinska antropologija), Tadej Praprotnik (teorija družbene komunikacije), Tone Smolej (primerjalna književnost), Jože Vogrinc (medijski študiji), Gita Zadnikar (kulturologija) Mednarodni uredniški svet / International Advisory Board Rosi Braidotti (University Utrecht), Maria-Cecilia D'Ercole (Université de Paris I – Sorbonne, Pariz), Marie-Élizabeth Ducroux (EHESS, Pariz), Daša Duhaček (Centar za ženske studije, FPN, Beograd), François Lissarrague (EHESS, Centre Louis Gernet, Pariz), Lisa Parks (UC Santa Barbara) Revija je vključena v bazo dLib.si – Digitalna knjižnica Slovenije. Revija je vključena v mednarodni bazi / Abstracting and indexing Anthropology Plus, IBZ - Internationale Bibliographie der Zeitschriftenliteratur Glavna urednica / Editor-in-Chief Maja Sunčič Lektorja za slovenščino / Readers for Slovene
    [Show full text]
  • Pkn 2012 3.Pdf
    1 Marko Juvan: Darku Dolinarju, sedemdesetletniku POGOVOR 7 Tu smo v prvi vrsti zaradi literature. Pogovor z Darkom Dolinarjem RAZPRAVE 35 Janko Kos: Sociologija slovenske literature: izhodišča in metode 53 Marko Juvan: Darwin preneseno in dobesedno: žanri in znanosti v boju za obstanek 71 Marijan Dović: Model kanonizacije evropskih kulturnih svetnikov 87 Majda Stanovnik: Prevod – literarnozgodovinska stalnica in spremenljivka 103 Vlasta Pacheiner Klander: Stanko Petrič, prvi slovenski prevajalec in komentator Savitri 121 Katarina Bogataj Gradišnik: Rousseaujeva kurtizana s plemenitim srcem – predhodnica Dame s kamelijami 139 Vid Snoj: Duša v Kafkovi »Preobrazbi« 161 Andrej Leben: Avstrijska slovenistika in slovenska literarna veda 179 Ivo Pospíšil: Nekaj razmišljanj o filoloških konceptih Matije Murka: trajnost in minljivost 193 Anna Zelenková: Komparativistika in literarna zgodovina v korespondenci dveh slovanskih filologov (Matija Murko in Frank Wollman) 209 Miloš Zelenka: Matija Murko in Jan Jakubec v razpravi o češkem narodnem prerodu (pozitivistični koncept literarne zgodovine v korespondenci dveh slovanskih filologov) 223 Monika Deželak Trojar: Skalarjev Eksemplar od svetiga Bonaventura: predstavitev nekaterih tekstnokritičnih vprašanj 243 Erwin Köstler: K problematiki hrepenenja v slovenskem cankarjeslovju 261 Janez Vrečko: Barbarogenij, barbarsko in fašizem 271 France Bernik: Odčarani svet Boža Voduška 283 Tomo Virk: Bartolov Al Araf in »nacionalno vprašanje« 301 Darja Pavlič: Jože Udovič in moderno podobje 317 Andraž Jež: Globalizacija
    [Show full text]
  • Timeline / 1860 to After 1930 / FINE and APPLIED ARTS
    Timeline / 1860 to After 1930 / FINE AND APPLIED ARTS Date Country Theme 1860 - 1910 Germany Fine And Applied Arts Realism (a backlash to both Classicism and Romanticism) is exemplified by French artist Gustave Courbet’s Die Steinklopfer (1849), although long before then Albrecht Dürer had painted his highly realistic Junger Feldhase (1502). 1860 Romania Fine And Applied Arts 7 November: on the initiative of painter Gheorghe Panaitescu-Bardasare, a School of Fine Arts and an art gallery are founded in Ia#i. 1860 Republic of Macedonia Fine And Applied Arts (FYROM) The icon “Seven Holy Teachers” (Sedmochislenitzi) is painted by the most significant representative of Christian religious art in Macedonia, Dicho Krstevic Zograph, at the peak of his creativity. It represents the Slav missionaries Sts Cyril and Methodius and their disciples Clement, Nahum, Gorazd, Sabbas and Angelarij in a solo composition. His icons are distinguished by bright colour and baroque features. 1860 Spain Fine And Applied Arts The Manises pottery begins to produce objects in lustreware. 1860 - 1918 Jordan Fine And Applied Arts Newcomers to Transjordan, whether from neighbouring Arab countries such as Syria, Palestine and Hijaz or from further afield such as Caucasus, bring with them not only artefacts of their home culture, including personal ornaments, weapons, costumes and treasured items, but also the necessary skills and social habits that help them to adapt in their new homeland. 1860 - 1870 Italy Fine And Applied Arts In opposition to academic painting, the Macchiaioli movement (Telemaco Signorini, Vincenzo Cabianca and Silvestro Lega) experiments with “spot painting”, based on the strong contrast between light and shadow.
    [Show full text]
  • Pavle Beljanski
    S. MILETIĆA L. TELEČKOG DUNAVSKA NJEGOŠEVA ZMAJ JOVINA USPENSKA TRG SLOBODE MODENE DUNAVSKI POZORIŠNITRG PARK I. PAVLASA KRALJA ALEKSANDRA JEVREJSKA MIHAJLA PUPINA BULEVAR TRG GALERIJA VLADIKE PLATONA ĐORĐEVIĆAJ. M. ANTIĆA STEVANA MUSIĆA VASE STAJIĆA ŽELEZNIČKA VOJVOĐANSKIH BRIGADA MAKSIMA GORKOG PAVLE Working hours: Wednesday – Sunday: 10–18h • Thursdays: 13–21h Fees: BELJANSKI 100 RSD – single ticket 50 RSD – ticket for privileged visitors (children, students, pensioners) Pavle Beljanski (19th June, 1892, Veliko Gradište – 14th July 1965, 50 RSD – group ticket without curatorial guidance Belgrade), a lawyer and diplomat, art lover and great connoisseur, col- (min 7 people) lector who acquired the most complete collection of Serbian paintings 100 RSD – group ticket with curatorial guidance in Serbian from the first half of the 20th century, and by giving it to the people (min 7 people) of Serbia, became one of its greatest contributors. He attended high 250 RSD – group ticket with curatorial guidance in English school in Belgrade, where he also studied law until the beginning of (min 7 people) World War I, when he left for Paris. He graduated at the Sorbonne and 500 RSD – single ticket with curatorial guidance in Serbian began his diplomatic career in Stockholm, and continued it in Warsaw, 1000 RSD – single ticket with curatorial guidance in English Berlin, Vienna, Paris, Rome and Belgrade. Residing in European capitals The guiding tour for planned individual and group visits lasts between between the World Wars, he was able to study the greatest works of 35 and 45 minutes. • The maximum group size is 25 people. art and to meet famous writers such as Jovan Dučić, Ivo Andrić, Rastko On Thursdays, the admission is free for individual visits.
    [Show full text]
  • THREE PILGRIMAGES of SERBIAN ARTISTS in the 1930S. UDC 75.071.1(497.11)”19”
    FACTA UNIVERSITATIS Series: Visual Arts and Music Vol. 5, No 1, 2019, pp. 59 - 72 https://doi.org/10.22190/FUVAM1901059M Review Paper MEMORIES FROM PARIS: THREE PILGRIMAGES OF SERBIAN ARTISTS IN THE 1930s. UDC 75.071.1(497.11)”19” Ana Milošević Indipendant researcher, Smederevska Palanka, Serbia Abstract. The aim of this paper is to reveal some of the not so well known aspects about studying in Paris of the Serbian painters Ljubomir Ivanović, Mihailo S. Petrov and Svetolik Lukić during the 1930s. A large number of painters travelled to Paris to learn about the contemporary trends in art, museums and galleries. Serbian/Yugoslav painters formed small colonies in Montparnase and Malakoffand, and they were actively involved in the bohemian art life.Those who could not afford to study or to live in Paris would go there for short “intensive” study trips that resembled pilgrimages. For a relatively short time they had to see all the wonders, visit the sites, absorb the atmosphere, history and culture of the French capital and to take home the impressions in their drawings and paintings. Ljubomir Ivanović, Mihailo S. Petrov and Svetolik Lukić among many faces of Paris chose to represent the identity of the city and their own identity. Key words: Paris in 1930s, Ljubomir Ivanović, Mihailo S. Petrov, Svetolik Lukić, art pilgrimage. During the Belle Époque (from the 1870s to the beginning of the World War I) and the time of peace, the widespread optimism and economic prosperity, Paris was the center of the artists from the whole world as it was the centre of contemporary artistic production, trade, and collecting (Argan & Oliva 2005, 62).
    [Show full text]
  • (Uumm))Ppoossssiibbiilliittyy Ffoorr Hhiissttoorriicciizziinngg
    Irina Genova Modernism(UU andmm )Modernity)PPoossss -iibbiilliittyy (Im)Possibility for Historicizing ffoorr HHiissttoorriicciizziinngg Art in Bulgaria and Artistic Exchanges with Balkan Countries Ñîôèÿ / Sofia 2003 Êíèãàòà ñå èçäàâà ñúñ ñúäåéñòâèåòî íà Íàöèîíàëåí ôîíä êóëòóðà ÍÀÖÈÎÍÀËÅÍ This book has been published following a competition organized by The National Culture Fund ÔÎÍÄ ÊÓËÒÓÐÀ This book is the result of a project on modernisms on the Balkans, whose realization began in 1995 thanks to a fellowship from the Paul Getty Foundation, California. A stimulating continuation for me was the Summer Institute in Visual and Cultural Studies, 1998, organized by the Paul Getty Foundation in the University of Rochester, New York. A possibility for presenting some of my research as a text was the three-year project in the Institute of Art Studies, Bulgarian Academy of Sciences. The study about the women artists was accomplished in the frame of a collective research project, financed by the Research Support Scheme of the Open Society Institute (RSS / OSI / HESP), Prague. The courses in visual arts in the Summer School of the Central European University in Budapest, in 2002 and 2003, gave me a golden opportunity for professional contacts with foreign colleagues as well as the chance to use the rich information resources of the University. Last but not least, my work on the project was intellectually stimulated by courses on similar topics at the New Bulgarian University, Sofia and by dealing with motivated students. I thank all the organizations with whose support I realized the offered book. I am extremely grateful to the colleagues from the Central State Archives, Sofia, National Library “St.
    [Show full text]
  • Registro Topografico Analitico
    SebinaOpenLibrary 3.1 04-04-2017 16:23:14 BI BIB. STATALE ISONTINA - GORIZIA Pag. 1 di 238 Patrizia Birri Registro topografico analitico Numero inventario da: 1 a: 999999999 Sezione da SLAVICA a SLAVICA Inventari: Collocati Disponibilità: Tutti Ordinamento: Topografico Sezione SLAVICA Opere in lingue slave, formato e n. di catena 16475 SLAVICA A.00 00001 Tipo circolazione: NO Lo stato della copia non consente il prestito 1 v., escluso dalla consultazione 380994 TSA0488507 *Vodnik-Album : mit Beiträgen von 86 Verfassern und vier lithographirten Beilagen / herausgegeben von Ethbin Hein. Costa. - Laibach : I. v. Kleinmayr & F. Bamberg, 1859. - XI, 268 p., c. di tav. : ill., mus. ; 29 cm. ((Front. anche in sloveno. HA PER ALTRO TITOLO 1084320 TSA0488511 *Vodnikov spomenik. 66433 SLAVICA A.00 00002 Tipo circolazione: INTERNA 1 v. 2140308 PUV0860644 *Rihard Jakopič v besedi. - V Ljubljani : Pri Slovenskem knjižnem zavodu, 1947. - XXI, 186 p., [24] c. di tav. : ill. ; 28 cm. 71482 SLAVICA A.00 00003 Tipo circolazione: INTERNA 1 v. 2140309 TSA1436081 *Sto pesmi Otona Župančiča / Oton Župančič ; [uredil Janez Logar ; uvod je napisal Josip Vidmar ; slovarček je sestavil Mirko Rupel ; prevod uvoda je oskrbel Ljubo Jurković]. - Beograd : Jugoslovenska knjiga, 1948. - XXII, 206 p., [1] c. di tav. : ritr. ; 28 cm. 75003 SLAVICA A.00 00004 Tipo circolazione: INTERNA 1 v. 2140310 SBL0015437 *Prešernov album / [uredil in opombe napisal Francè] Kidrič ; [z uporabo Kidričevega gradiva dokončala Alfonz Gspan in Mirko Rupel]. - Ljubljana : Državna založba Slovenije, 1949-1950. - VIII, 338 p. : ill. ; 29 cm + 1 c. ripieg. 119024 SLAVICA A.00 00005 Tipo circolazione: LIBERA 1 op. 2140316 TSA1436084 *Primorski založniški signeti / Marijan Brecelj.
    [Show full text]