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Prilog Poznavanju Geneze Proljetnog Salona

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Prilog Poznavanju Geneze Proljetnog Salona Rad. Inst. povij. umjet. 27/2003. (255–263) P. Prelog: Prilog poznavanju geneze Proljetnog salona Petar Prelog Institut za povijest umjetnosti, Zagreb Prilog poznavanju geneze Proljetnog salona Izvorni znanstveni rad – Original scientific paper predan 25. 8. 2003. Sa‘etak Autor analizira ~imbenike koji su uvjetovali nastanak Proljetnog salo- umjetnosti. Govori se i o izravnom povodu osnivanja Proljetnog salo- na, izlo‘bene manifestacije koja je izme|u 1916. i 1928. godine bila na te o prvoj izlo‘bi 1916. godine, koja je, usprkos tomu {to izlo‘ena va‘no mjesto sabiranja i apsorbiranja utjecaja suvremene europske djela nisu ponudila svje‘a umjetni~ka dostignu}a, proklamirala um- umjetnosti. Posebna pozornost posve}ena je razdoblju koje je pret- jetni~ku slobodu, svijest o nu‘nosti napretka u umjetnosti i potrebu hodilo Proljetnom salonu i pojavama koje su definirale njegov umjet- suradnje na {irem kulturnom planu, {to mo‘emo dovesti u vezu s ni~ki identitet. U tom kontekstu isti~u se izlo‘ba Hrvatskog salona temeljnim modernisti~kim postavkama. Upravo je takva otvorena kon- 1898. godine kao po~etna to~ka odvajanja od tradicionalnih likovnih cepcija omogu}ila za‘ivljavanje specifi~nih ina~ica ekspresionizma, shva}anja, zatim umjetni~ko naslije|e Dru{tva Meduli} i slikara Min- sezanizma, postkubizma i raznolikih varijanata realizama, zbog ko- henskoga kruga, ali i kulturna i dru{tvena previranja u onim europ- jih su Proljetnom salonu pripisivane zasluge za kontinuitet razvitka skim sredinama koje su imale presudne utjecaje na razvoj hrvatske hrvatske umjetnosti 20. stolje}a. Klju~ne rije~i: Hrvatski salon, Minhenski krug, Dru{tvo Meduli}, Proljetni salon, modernizam, 1. polovica 20. stolje}a Proljetni salon izlo‘bena je manifestacija koja je za svoga nade umjetni~kom razvitku. Ipak, unato~ nepovoljnim okol- trajanja, od 1916. do 1928. godine, obuhvatila mnoga va‘na nostima, upravo tu godinu, zahvaljuju}i nastanku Proljet- stilska kretanja u hrvatskoj umjetnosti. Na dvadeset i {est nog salona, mo‘emo smatrati po~etnom to~kom korpusa hr- odr‘anih izlo‘aba s redovitom numeracijom Proljetni je sa- vatske me|uratne umjetnosti. lon okupio velik broj umjetnika, afirmiraju}i raznolike stil- Kako je, dakle, u Zagrebu, kulturnom sredi{tu tradicionalne ske tendencije u slikarstvu, kiparstvu i grafici. Hrvatska um- sredine, upravo u ratno doba, kada je umjetni~ki segment jetni~ka historiografija prepoznala ga je kao mjesto sabira- dru{tvenoga ‘ivota bio zasigurno zapostavljen, bilo mogu}e nja i apsorbiranja utjecaja onovremne europske umjetnosti i za~eti jednu naprednu umjetni~ku manifestaciju, koja }e stvo- smatrala svojevrsnim okvirom unutar kojega je ostvaren kva- riti uvjete za prihva}anje raznolikih modernisti~kih polazi{- litativni uzlet hrvatske umjetnosti te mu je pripisala op}u ta? Odgovor svakako valja potra‘iti u pa‘ljivijem promatra- afirmativnu ocjenu.1 nju razdoblja koje je prethodilo Proljetnom salonu i detekti- Upravo zbog otvorenosti razli~itim likovnim pogledima i ranju ~imbenika koji su uvjetovali njegov nastanak, defini- poetikama i afirmacije koju su umjetnici mla|e generacije rali njegov umjetni~ki identitet u prvim godinama postoja- postizali izla‘u}i na njegovim izlo‘bama te zbog zasluga za nja, te omogu}ili izrazito jak modernisti~ki uzlet u godina- za‘ivljavanje modernizma u hrvatskoj umjetnosti, ali i mo- ma nakon svr{etka rata. gu}eg prepoznavanja veza i srodnosti s umjetno{}u {ireg eu- ropskog prostora, nastanak Proljetnog salona poseban je prob- * * * lem, koji nudi mogu}nost vi{eslojnog tuma~enja, posebice Razdoblje koje je prethodilo Proljetnom salonu bilo je vri- imamo li na umu slo‘ene dru{tvene i umjetni~ke prilike koje jeme koje je na dru{tvenom planu donijelo svojevrsnu insti- su tada vladale. Proljetni salon, naime, nastaje, kako je zak- tucionalizaciju likovnih umjetnosti: ‘ivost na umjetni~kom lju~io Bo‘idar Gagro, u trenutku kada »u fizi~koj i duhovnoj planu je zamjetna, pojavljuju se prostori za izlaganje te se razbijenosti epohe ne razabiremo ni{ta nalik na generaciju, formiraju umjetni~ka udru‘enja i grupacije s manje ili vi{e na frontalnu {irinu skupine pojedinaca, istaknutih po uvjere- definiranim pogledima na umjetnost. To nu‘no dovodi do nju, povezanih elementarnim afinitetom«.2 Prva izlo‘ba od- intenziviranja samostalnih i skupnih nastupa umjetnika i do r‘ana je 1916. godine, u ratnom ozra~ju, koje nije davalo stvaranja kulturnog okvira unutar kojega likovna umjetnost 255 P. Prelog: Prilog poznavanju geneze Proljetnog salona Rad. Inst. povij. umjet. 27/2003. (255–263) T. Krizman, plakat za izlo‘bu Hrvatskog proljetnog salona, 1916. T. Krizman, Croatian Spring Salon exhibition poster, 1916 postaje sve va‘nijom dru{tvenom ~injenicom. Naj~e{}e su gu}ila glasovitu »eksploziju u vrtu«, dakle kona~no uru{a- granice toga razdoblja postavljane na 1898. godinu, kao go- vanje tradicionalnoga kulturnog poretka i stvaranje novo- dinu izlo‘be Hrvatskog salona, te na 1914. godinu, kao »ne- ga.6 Kako je tijekom prvog desetlje}a dvadesetog stolje}a i u pobitnu cezuru« zbog po~etka Prvoga svjetskog rata.3 Ovim na{oj sredini sazrijevala svijest o pripadnosti europskom kul- se vremenskim rasponom – uz opasku da bi, zbog kontinui- turnom prostoru, jasno je da modernisti~ke ideje u likovnoj ranog djelovanja umjetnika koji osnivaju Proljetni salon, umjetnosti, odre|ene stalnom eksperimentalno{}u likovnih kraj toga razdoblja, kao i po~etak novoga, trebalo ozna~iti tehnika i stilskih izraza i uvjetovane dru{tvenim procesima godinom 1916. – obuhva}aju i one umjetni~ke te‘nje i sta- obilje‘enima brzim tehnolo{kim razvitkom i intenzivnim po- vovi koji }e zna~iti prethodnicu na koju se najve}im dijelom liti~kim promjenama, nisu mogle pro}i potpuno nezapa‘e- oslanja i umjetnost razdoblja Proljetnog salona. no. Taj je »dijalog« s inovativnim umjetni~kim postavkama Posebno je va‘no istaknuti umjetni~ka previranja u onim ovisio ponajprije o pojedincima, umjetnicima koji su puto- sredinama s kojima su postojale kulturne ili druge veze uvje- vali u europska sredi{ta ili se tamo {kolovali, i njihovim mo- tovane politi~kim faktorima. To se odnosi ponajprije na kul- gu}nostima i interesima, ali i razli~itim publikacijama (prije turna sredi{ta Austro-Ugarske Monarhije, Be~, Prag i Budim- svega, umjetni~kim ~asopisima) koje su bile dostupne us- pe{tu,4 ali i München, te naposljetku Pariz, kao kulturnu pri- kom krugu zainteresiranih. Sustavnijeg povezivanja s um- jestolnicu Europe. Be~ }e se pokazati kao jedno od najva‘ni- jetni~kim sredi{tima, u smislu intenzivne razmjene izlo‘aba jih mjesta preko kojega su klju~ni elementi suvremene kul- ili institucionalnih kontakata, u vremenu prije Prvoga svjet- ture stizali u na{u sredinu,5 {to je i razumljivo, posebice uz- skog rata kod nas gotovo da i nije bilo. Stoga na{i umjetnici memo li u obzir sna‘nu koheziju be~ke kulturne stvarnosti {kolovani u inozemstvu nisu mogli u potpunosti prihvatiti na prijelazu devetnaestog u dvadeseto stolje}e, koja je omo- korjenite promjene umjetni~kog jezika, novu estetiku i nov 256 Rad. Inst. povij. umjet. 27/2003. (255–263) P. Prelog: Prilog poznavanju geneze Proljetnog salona T. Krizman, naslovnica kataloga izlo‘be Hrvatskog proljetnog salona, 1916. (Ar- hiv za likovne umjetnosti HAZU, Zagreb, foto: M. Drmi}) T. Krizman, front cover of the Croatian Spring Salon catalogue, 1916 na~in promatranja umjetni~kog djela, ponajprije zbog ogra- ne«) umjetnosti, ali su, pod utjecajem ostalih europskih um- ni~avaju}eg djelovanja sredine iz koje su potekli, kao i tra- jetni~kih zbivanja te me|usobno se nadopunjavaju}i i raz- dicionalisti~kih pogleda akademija i umjetni~kih {kola u mjenjuju}i ideje, postala va‘nim mjestima umjetni~kih ino- kojima su se u inozemstvu obrazovali. Tako je ritam promje- vacija. Tako je tada{nja umjetnost bila regionalno odre|ena na u na{oj umjetnosti bio bitno sporiji u odnosu na zapad- svojim posebnostima i razli~itostima, ali je ujedno posjedova- noeuropske uzore, a obrasci radikalno novih konvencija ni- la i me|unarodni karakter. Zagreb se tako|er (i Proljetni salon su bili doslovno prihva}ani, ve} su prilago|avani doma}em kao jedan od najreprezentativnijih uzoraka likovnog ‘ivota u »konzumentu« umjetnosti, dakle publici, te razvijani u stil- Hrvatskoj), u odre|enoj mjeri, mo‘e uklopiti u tu srednjoeu- ske ina~ice prihvatljive sredini. Zahtjevi i o~ekivanja publi- ropsku mre‘u umjetni~kih kretanja, obilje‘enih u isto vrijeme ke bili su, tako, va‘an ograni~avaju}i ~imbenik. Drugim rije- tradicijom i regionalno prilago|nim inovacijama. ~ima, iako doslovne usporedbe umjetnosti tzv. rubnih sredi- Izlo‘ba Hrvatskog salona 1898. godine name}e se kao po- na s onom jakih umjetni~kih sredi{ta nisu mogu}e, me|u- ~etna to~ka takvih modernisti~kih procesa u hrvatskoj li- sobne veze i fluktuacija ideja u tom su razdoblju bile ipak kovnoj umjetnosti.8 Tada je velika grupa umjetnika obilje‘i- dovoljno jake, pa je na likovnom planu to bilo vidljivo u la po~etak modernih tendencija upravo odmakom od usta- prilago|avanju pojedinih elemenata stila i razvijanju speci- ljene tradicije akademskog slikarstva. To odvajanje od tradi- fi~nih stilskih izri~aja. Dru{tveno i politi~ko okru‘je u sred- cionalnih umjetni~kih shva}anja, predvo|eno Vlahom Bu- njoj Europi, za ~iju se umjetnost prve polovice dvadesetog kovcem, donijelo je – kao i svaka antitradicionalisti~ka ori- stolje}a u proteklih desetak godina pokazuje izuzetno zani- jentacija – svojevrsnu ‘ivost na {irem kulturnom planu s jed- manje,7 uvjetovalo je razvitak mnogih kulturnih sredi{ta ko- ne, a izrazitu polemi~nost s druge strane, poput Proljetnog ja su posjedovala bogato naslije|e tradicionalne (»slu‘be- salona dvadesetak godina kasnije. Ipak, Bukovac, Crn~i}, 257 P. Prelog: Prilog poznavanju geneze Proljetnog salona Rad. Inst. povij. umjet. 27/2003. (255–263) Predgovor kataloga izlo‘be Hrvatskog proljetnog salona, 1916. (Arhiv za likovne umjetnosti HAZU, Zagreb, foto: M.
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