Мотиви Венеције у сликама Петра Добровића

Abstract

Пејзажи заузимају посебно место у опусу Петра Добровића. Од 1928, па све до изненадне смрти 1942. године, Добровић слика пејзаже, међу којима се нарочито истичу медитерански, пре свега, предели Дубровника и околине, иако ради и холандске мотиве, као и призоре са Азурне обале. За тему овог рада, најзначајнији је Добровићев боравак у Венецији и његово учешће на Венецијанском бијеналу 1938. године, у оквиру новоотвореног Југословенског павиљона. За време боравка у Венецији, Добровић слика најпрепознатљивије градске мотиве: Коње на Цркви св. Марка, Трг Св. Марка, Цркву св. Марка, Двориште Дуждеве палате и Острво св. Ђорђа. У раду се даје кратак осврт на појаву феномена великог путовања, grand toura, као и на одређене славне Добровићеве претходнике који сликају Венецију. Потом се интерпретира значај мотива Венеције у делу Петра Добровића, пореди важност наративних и ликовних елемената слике, анализирају други пејзажи медитеранске тематике који настају нешто раније, посебно мотиви Дубровника и Венеције, са представама најзначајнијих споменика и грађевина ова два града.

Petar Dobrović’s landscapes occupy a very important place in the Serbian painting of the first half of the 20th century. A particularly prominent place among them is held by the Mediterranean-type landscapes he painted while staying on the isle of Hvar and in Dubrovnik. From the perspective of the topic of this paper, of greatest importance are the artist’s depictions of Venice and its main historical sights. In 1938, Dobrović participated, as one of the several representative Yugoslav artists contributing to the First Yugoslav Pavilion, at the Venice Biennial. For that occasion, he painted five pictures depicting the best-known Venetian topoi: The Horses on the Church of Saint Mark, Saint Mark’s Square, The Church of Saint Mark, The Yard of the Doge’s Palace and The Isle of Saint George. The first segment of this paper is made up of a brief overview of the advent of the grand tour phenomenon, dating from the end of the 18th and the first half of the 19th century. Venice became one of the main destinations of aristocratic families, as well as artists, mostly writers and painters. All of them left behind their own images of Venice, presenting it in a way which was often permeated with an authentic and realistic depiction of the city, as well as a personal view of it. Dobrović was no exception to this rule. What characterises his Mediterranean-type landscapes is the same level of significance that he assigns to the painterly and to the formal elements of the picture, and also to the main motif depicted in the painting. His paintings from Venice are dominated by clearly defined historical motifs, situated in the centre of the composition, often enough related and close to the topoi painted by his predecessors (Turner, Renoir, Monet). Also, Dobrović’s idea was to present Venice in an atypical and authentic manner, shifting away from the old masters, especially the local painters from the 18th century, Canaletto and Guardi. The position from which he viewed the main sights of Venice is of exceptional importance. From the balcony of the Church of Saint Mark, he painted the eponymous square. In this way, one gets to see and perceive different views of the main sights of Venice, which thereby gain the epithet of a personal image of the city