Портрети Данила I Петровића Његоша Анастаса Јовановића

Abstract

Текст изучава портрете црногорског књаза Данила I Петровића Његоша (1826–1860) које је створио Анастас Јовановић. Њихова сарадња почела је у Бечу 1851. и трајала до смрти књаза 1860. Јовановићеви талботипски и литографски портрети сведоче о развоју једне изузетне владарске личности. Књаз Данило је био потпуно свестан значаја владарске представе и њеног пласирања путем нових медија, а Анастас Јовановић је умео да препозна књажеве циљеве и пажљиво изгради његову визуелну презентацију. Уметник креира представе Данила као младог Његошевог наследника, затим као потврђеног књаза и, потом, као међународно признатог и угледног владара Црне Горе. Приказује га у црногорској одећи и у војној униформи, са одликовањима које је добио од руског и аустријског цара. Књаз се представља као ратник са истакнутом сабљом, али и са спуштеним оружјем, чиме исказује своју мирнодопску политику и реформе. Приказује се и са свитком папира у рукама, чиме се представља као законодавац. Концептуални креатор изгледа Ордена за независност Црне Горе, који му је и додељен, Анастас Јовановић је са поштовањем и разумевањем створио јасну и заокружену визуелну презентацију црногорског владара. Комплементарност владара и уметника створила је нека од најбољих дела Анастаса Јовановића и најбоље портрете књаза Данила.

The collaboration between Danilo I Petrović Njegoš (1826–1860) and Anastas Jovanović begun in Vienna in 1851 and lasted until the death of the Montenegrin ruler in 1860. Jovanović’s talbotype and lithographic portraits of the prince, demonstrate, almost entirely on their own, the development of an exquisite ruler and leader. The portraits visually complement our understanding of the transformation that Montenegro underwent in the short period of time from 1851 to 1860, during the reign of their first (after Crnojević) saintly leader, legislator, political and military strategist and reformer of institutional, traditional and everyday life of his people. By the number of the portraits made by Jovanović and other European artists, it is evident that prince Danilo was fully aware of the significance of promotion and it’s distribution through the new media. Through their correspondence, and writings made by Jovanović’s family, it is apparent that Anastas Jovanović was very fond of the young prince. He recognized his efforts as a ruler and was therefore able to carefully plan and execute his presentation. The first talbotype portrait created most likely in fall of 1851, depicts Njegoš’ heir as very young and restless in anticipation of his status as an heir to the throne. The lithography that was created from this talbotype in 1852, was adjusted using different art techniques to give the prince a more mature look. Danilo returned from Petrovgrad to Vienna in July 1852 as the Montenegrin prince, by the Montenegrin Senate’s decision and affirmation by the Russian tsar, Nikolaj I. The talbotypes and lithographs created in that period by Jovanović, depict considerable changes in his representation. The prince is shown in a Russian general’s uniform, with a saber and a star – Order of Saint Stanislaus, 1st class. Behind him are the usual elements of the ruler’s portrait: a drapery, a wall with the Montenegrin crest and a pillar. The landscape shown in the background, fulfills the role of landscapes at this time, which was to illustrate the nation’s territory, depicts a rocky terrain of the prince’s domain, Montenegro, particularly Lovćen, Montenegrin symbol of freedom and independence. By presenting himself as a soldier, the prince continues the tradition of his ancestors, however the formal uniform indicates that his military role will be well organized, a promise that he fulfilled soon after by reorganizing the Montenegrin army. Jovanović carefully illustrated prince’s ambitions and created a representative portrait of a ruler. Simultaneously, he created another talbotype showing Danilo in Montenegrin wear, portraying his adaptation to the political factors and cultural influences, that continued to complement each other in his personality and politics, throughout his reign. After the end of the Montenegrin-Ottoman war in April 1853, by the invitation of the Austrian tsar Franz Joseph I, prince Danilo returns to Vienna. This is when Jovanović created his talbotype portrait in Montenegrin wear, portraying the prince as a successful war strategist, fortifying the international status of Montenegro. However here, his saber is lowered, insinuating that he gravitates toward peace in politics. At the same time, Jovanović created a drawing and from that drawing a luxurious colorful lithography, with prince’s signature in German language. In accordance with the standard symbolisms of ruler’s representation, the emphasis is on the prince’s calm posture, adorned with luxurious clothing and other ruler attributes. At around this time is when Jovanović created his design of the decoration Order of Danilo I for the Independence of Montenegro, which prince Danilo established immediately after. Jovanović was one of the first to receive this decoration and he wore it on his self-portrait. Anastas Jovanović created a lithography of prince Danilo in 1860, signed in French language to commemorate his Francophile politics and presence in Paris in 1857. With this portrait, as well as all of his other portraits of prince Danilo, Jovanović established a model that was used to create the representative portrait of Montenegrin ruler, done in oil on canvas technique, by an unknown artist, probably from the Anastas’ group of associates. The iconographic patterns confirm this, as well as the fact that the talbotype picture of this portrait was found in the artist’s bestowal. On it the prince is shown in Montenegrin wear, with Russian, German and Montenegrin decorations. He’s posing in his workroom holding a paper scroll, portraying his role as the legislator, specifically the planning and realization of the first written legal code in Montenegro. While French writers and photographers created traditional images of the Montenegrin ruler in Orientalist discourse, Anastas Jovanović, due to his knowledge, respect and understanding of the prince’s politics, managed to create a clear and comprehensive visual representation of the prince. Their compatibility helped create some of Anastas Jovanović’s best work and the finest portraits of prince Danilo I Petrović Njegoš.