ACTA HISTORIAE ARTIS SLOVENICA 18|2 2013 UMETNOSTNOZGODOVINSKI INŠTITUT FRANCETA STELETA ZRC SAZU 2013 2 | 18 Vsebina • Contents Damjan Prelovšek, Monuments by the Architect Jože Plečnik • Plečnikovi spomeniki Vuk Dautović, A Monument to Fallen Jewish Soldiers in the Wars Fought between 1912 and 1919 at the Sephardic Cemetery in Belgrade • Spomenik judovskim vojakom, padlim med letoma 1912 in 1919, na sefardskem pokopališču v Beogradu The Victory Monument, Jasmina Čubrilo, Two Monuments by Sreten Stojanović. Continuity in Discontinuity • Dva spomenika Sretena Stojanovića. Trg zmage/Victory Square, Kontinuiteta v diskontinuiteti Murska Sobota Renata Komić Marn, Men on Horseback. The Role and Reception of the Equestrian Monument in Slovenia • Možje na konjih. Vloga in recepcija konjeniškega spomenika na Slovenskem Katarina Mohar, “Freedom is a Monument”. The Victory Monument in Murska Sobota – Its Erection, Destiny and Context • »Svoboda je spomenik«. Spomenik zmage v Murski Soboti – nastanek, usoda, kontekst Barbara Murovec, The Statue of the Communist Revolutionary Boris Kidrič (1912–1953). Art, Ideology and Ethics in the Public Space • Kip slovenskega komunističnega revolucionarja Borisa Kidriča (1912–1953). Umetnost, ACTA HISTORIAE ARTIS SLOVENICA ideologija in etika v javnem prostoru Tanja Zimmermann, „Skopje 2014“: Erinnerungsexzesse in der Republik Makedonien • »Skopje 2014«: Spominski ekscesi v Republiki Makedoniji ACTA HISTORIAE ARTIS SLOVENICA Visualizing Memory and Making History Public Monuments in Former Yugoslav Space in the Twentieth Century 25 � 18|2 2013 http://uifs1.zrc-sazu.si AHAS_18_2_ovitek.indd 1 20. 12. 13 15:02 xxxxxxxxxxxxxxxxxx Umetnostnozgodovinski inštitut Franceta Steleta ZRC SAZU France Stele Institute of Art History ZRC SAZU ACTA HISTORIAE ARTIS SLOVENICA 18|2• 2013 Visualizing Memory and Making History Public Monuments in Former Yugoslav Space in the Twentieth Century LJUBLJANA 2013 xxxxxxx xxxxxxxxxx Acta historiae artis Slovenica ISSN 1408-0419 Znanstvena revija za umetnostno zgodovino / Scholarly Journal for Art History Visualizing Memory and Making History Public Monuments in Former Yugoslav Space in the Twentieth Century Izdaja / Published by Umetnostnozgodovinski inštitut Franceta Steleta ZRC SAZU / France Stele Institute of Art History ZRC SAZU Glavna urednica / Editor-in-chief Barbara Murovec Vabljeni sourednik / Invited Co-editor Nenad Makuljević Uredniški odbor / Editorial board Tina Košak, Ana Lavrič, Barbara Murovec, Mija Oter Gorenčič, Blaž Resman, Helena Seražin Mednarodni svetovalni odbor / International advisory board Günter Brucher (Salzburg), Jaromir Homolka (Praha), Iris Lauterbach (München), Hellmut Lorenz (Wien), Milan Pelc (Zagreb), Paola Rossi (Venezia), Sergio Tavano (Gorizia-Trieste) Lektoriranje / Language editing Jesse Gardiner, Kirsten Hempkin, Mija Oter Gorenčič, Anke Schlecht Prevodi povzetkov in izvlečkov / Translations of summaries and abstracts Renata Komić Marn (srbskih in angleških v slovenski jezik), Tina Košak (slovenskih v angleški jezik) Oblikovna zasnova in prelom / Design and layout by Andrej Furlan Naslov uredništva / Editorial office address Acta historiae artis Slovenica Novi trg 2, p.p. 306, SI-1001 Ljubljana, Slovenija E-pošta / E-mail: [email protected] Spletna stran / Web site: http://uifs1.zrc-sazu.si Revija je indeksirana v / Journal is indexed in BHA, FRANCIS, IBZ, ERIH, EBSCO Publishing, Scopus Letna naročnina / Annual subscription: 35 € Posamezna enojna številka / Single issue: 25 € Letna naročnina za študente in dijake: 25 € Letna naročnina za tujino in ustanove / Annual Subscription outside Slovenia, institutions: 48 € Naročila sprejema / Orders should be sent to Založba ZRC / ZRC Publishing Novi trg 2, p. p. 306, SI-1001, Slovenija E-pošta / E-mail: [email protected] AHAS izhaja s podporo Agencije za raziskovalno dejavnost Republike Slovenije. AHAS is published with the support of the Slovenian Research Agency. © 2013, ZRC SAZU, Ljubljana Tisk / Printed by Cicero d. o. o., Begunje Naklada / Print run: 400 ACTA hISTORIAE ARTIS SLOVENICA 18|2 ∙ 2013, 75–94 Men on Horseback Role and Reception of the Equestrian Monument in Slovenia Renata Komić Marn The equestrian monument is a special form of public monument, which represents a rider mounted on a horse. As an efficient medium for glorifying a deserving individual, as well as propagating a state or a nation, it typically represents rulers and military commanders.1 General Rudolf Maister (1874−1934) is the only Slovene to have been visualised in such a monumental way and the two monu- ments of him, erected about fifteen years ago in Ljubljana, are the only extant examples of equestrian statues in Slovenia. Prior to that, two royal equestrian monuments were raised in Ljubljana, repre- senting the most important members of the Karađorđević dynasty, Peter I of Serbia (1844−1921) and Alexander I of Yugoslavia (1888−1934), but were destroyed in 1941. The four equestrian monuments that were erected in Slovenia2 have been barely discussed in scienti- fic literature. The circumstances regarding the origin and erection of both royal monuments were, among other public monuments in Slovenia, described by Špelca Čopič in her doctoral dissertation of 1977, pub- lished in 2000.3 Together with the idea of an equestrian statue for the monument of general Maister,4 inter- est in the two demolished royal monuments was also raised. The subject was often presented by Božidar Jezernik5 and this interest was echoed sporadically in the Slovene daily press and periodicals, and at least once in Serbian literature.6 The equestrian monuments of Rudolf Maister and the circumstances regard- ing their erection have been discussed in the daily press and described in two diploma theses.7 In addi- tion to other representations of Rudolf Maister, they were also treated in a paper by Marjeta Ciglenečki. 8 1 Reiterstandbild, Lexikon der Kunst, 6, München 1996, p. 96. 2 Based on some rare findings, it can be supposed that the Romans raised the equestrian monuments on the Slovene territory, too; see Irena LAZAR, Celejski forum in njegov okras, Annales. Anali za istrske in mediteranske študije. Series historia et sociologia, 18/2, 2008, p. 352. 3 Špelca ČOPIČ, Javni spomeniki v slovenskem kiparstvu prve polovice 20. stoletja, Ljubljana 1977 (unpublished doctoral thesis); Špelca ČOPIČ, Javni spomeniki v slovenskem kiparstvu prve polovice 20. stoletja, Ljubljana 2000. 4 The call for tenders was published in 1997; see Delo, 39/224, 27. 9. 1997, p. 26. 5 Božidar JEZERNIK, Spomeniki v vetru sprememb, Glasnik Slovenskega etnološkega društva, 37/3, 1997, p. 8; Božidar JEZERNIK, Power of Remembrance, Supremacy of Oblivion. History of the National “Monuments” in Ljubljana, Hypercity. The Symbolic Side of Urbanism (ed. Peter Nas, Annemarie Samuels), London-New York 2006, pp. 101−104; Božidar JEZERNIK, Na konju je sedel samo deset mesecev, Delo, 52/175, 31. 7. 2010, p. 10; Božidar JEZERNIK, No Monuments, no History, no Past. Monuments and Memory, After Yugoslavia. Identities and Politics Within the Successor States, Houndmills-New York 2012, pp. 188−189. 6 Alenka PUHAR, Konji, kralji, kipi, Delo, 41/151, 3. 7. 1999, p. 40; Miklavž KOMELJ, Konjeniški spomeniki in Ljubljana, Ljubljana. Glasilo Mestne občine Ljubljana, 5/1−2, 2000, p. 53; Uglješa RAJČEVIĆ, Zatirano i zatrto. Oskrnavljeni i uništeni srpski spomenici na tlu prethodne Jugoslavije, Novi Sad 2001, pp. 180−181, 186−187. 7 Milček KOMELJ, Polet v sanjano svobodo, Ljubljana. Glasilo Mestne občine Ljubljana, 5/1−2, 2000, p. 55; Tina PLEŠKO, Jakov Brdar, Ljubljana 2001 (unpublished diploma thesis); Dejan PRŠA, Ikonografija konjenika v slovenski umetnosti novega veka, Ljubljana 2007 (unpublished diploma thesis). 8 Marjeta CIGLENEČKI, Upodobitve generala Maistra, Časopis za zgodovino in narodopisje, 82/2‒3, 2011, pp. 156−179. 75 RENATA KOMIć MARN This paper discusses all four monuments in order to answer the question of how the intentions of the project’s initiators, in determining the roles and functions of these monuments, affected their final image. In every case, special attention is paid to the then established idea of raising an equestrian monument in Slovene public space. Furthermore, the paper attempts to determine what impact this idea had on the form and iconography of the monuments in question. After the First World War, the Slovene territory became part of the Kingdom of Serbs, Croats and Slovenes. The Slovene nation came under the reign of Peter I Karađorđević, who was the king of Serbia from 1903.9 Peter’s reign in the new kingdom was short and purely nominal. From 1918 to Peter’s death in 1921, the acting sovereign was his son Alexander, regent of Serbia from 1914 and now regent of the new kingdom.10 After 1921, two monuments were raised to the dead king. Ambitiously designed, they have a special place in Slovene post-war monument production, which was restricted to war memorials and busts of worthy individuals. The first monument, which was erected in 1926 in Kranj, was a monumental obelisk with the king’s portrait in a medallion and an “ideal figure of a hero.”11 The sculptor Tine Kos, who received the commission for this monu- ment, never worked on an equestrian statue.12 Therefore, it can be assumed that the monument committee did not consider representing the king as a horseman, although at least two eques- trian monuments had already been erected in neighbouring Croatia and Serbia.13 By the end of the year 1926, however, a public initiative for erecting a monument