@article{
author = "Борозан, Игор",
year = "2022",
abstract = "Године 1956. југословенски председник Јосип Броз Тито је посетио
Париз. Том приликом је спроведен кроз дворац Версај, некадашњи центар француске
апсолутистичке монархије. Камера фото-апарата је, између осталог, забележила моменат
када се Тито нашао пред рељефним коњаничким портретом Луја XIV, дело Антоана
Коизвоа из 1681. године. Стратегије пропаганде које су несумњиво условиле изрежирани кадар, условиле су разматрање о структуралним основама апсолутистичке власти оба
суверена. Фотографија схваћена као студија случаја, и визуелни пример идеолошке пропаганде, материјализовала је процес визуелног креирања имагинације о (по)злаћеном
добу као особеном периоду у политичком и културном хабитусу југословенског суверена и његове државе., In 1956, Yugoslav president Josip Broz Tito visited Paris. On that occasion, he was escorted
through the Palace of Versailles, the former centre of the French absolutist monarchy. The camera
recorded, among other things, the moment when Tito found himself in front of the relief with the
equestrian portrait of Louis XIV, the work of Antoine Coysevox from 1681. At the time of the establishment of Josip Broz Tito’s personal rule and Yugoslavia’s balancing between opposing ideological
blocs, the photo from Versailles confirmed the formation of a stable socialist sovereign. The scene was
undoubtedly staged by propaganda strategy that conditioned the consideration of the structural
foundations of the absolutist rule. The contact between the two rulers, the absolutist sovereign, on
the one hand, and the informal Yugoslav monarch, on the other hand, made it possible to consider
the framework of the visual representation of the two rulers. Finding a parallel between the two
rulers, in seemingly different political systems, confirmed Tito’s structural decadence. Appearance,
suit, attitude, as well as several other manifestations of sophisticated taste, confirmed the congruence
of the two rulers. Within the timeless and ceremonial power, Louis XIV and Tito are defined as the
mirror and reflection of unlimited power. The photography, considered a case study of ideological
propaganda, materialized the process of creating an imagination about the gilded age in the political and cultural habitus of the Yugoslav sovereign and his state. The ancient (antique) political
concept of the golden age and the modern, social, and cultural concept of the gilded age are
intertwined in the silent dialogue of the two rulers in Versailles. The ideological construction of the
age of happiness and grace is recreated in Tito’s political body having its reflection in the relief of
the most powerful baroque ruler. Therefore, the studied photograph represents a visual tribute to
the resemblance of the two rulers in the baroque space of power, where the stagy performance of
the two rulers sublimates the concept of absolute and unlimited power.",
publisher = "Нови Сад : Матица српска, Одељење за ликовне уметности",
journal = "Зборник Матице српске за ликовне уметности = Recherches sur l'art",
title = "Позлаћено доба и репрезентација владара : Луј XIV и Тито у Версају, The Gilded Age and the Representation of Rulers: Louis XIV and Tito at Versailles",
pages = "362-343",
number = "50",
doi = "10.18485/ms_zmslu.2022.50.19"
}
