dc.creator | Brajović, Saša | |
dc.date.accessioned | 2023-05-15T13:28:40Z | |
dc.date.available | 2023-05-15T13:28:40Z | |
dc.date.issued | 2017 | |
dc.identifier.issn | 0021-2652 | |
dc.identifier.uri | http://reff.f.bg.ac.rs/handle/123456789/4462 | |
dc.description.abstract | Presentations of Montenegrins created during the seventh decade of the 19
th
century by the French artist Théodore Valério should be perceived in the context of
the Orientalist discourse. They were created based on direct observation, however,
at the same time, in accordance with the established notions the west had about the
so called Orient. In Valério’s album Le Monténégro, created in 1864 after his visit
to Montenegro, there is a copper etching Famille monténégrine pleurant ses morts
après un combat à l’entrée du monastère de Cettigne. The initiation of Lamentationwas the background of the first developed drawing and copper etching printed
according to it – presentation of a young woman conducting the Montenegrin female
multitasking of the time – Gardeuse d’armes, de pipes et de berceaux à l’entrée du
monastère de Cettigne Monténégro. The display of lamentation in the background
of the Gardeusewas distinguished as a topic to which special attention was given
both in the conceptual and in the artistic sense. Valério developed this topic in the
most representative and most praised technique of oil on canvas. He displayed the
canvas at the biggest public artistic arena of the time – the Paris Salon in 1865. The
answer to the question of why he distinguished Valério’s topic as being special and
especially suitable for public presentation is at the same time the answer to the question of professor Andrija Lainović from 1940: did Valério really see Montenegrins
lamenting against the wall of the Cetinje monastery or should this be explained as
“a curiosity which can be compared to Jewish lamentation against the wailing wall
in Jerusalem”. Valério certainly saw Montenegrins lament and wail for those who
died in battle. However, he did not see them do that against the wall of the Cetinje
monastery. Lamentation, a great topic of the European myth, epic and Christian iconography gained extraordinary popularity during the 19
th
century and went through
outstanding aesthetisation. The west was mesmerised by presentations of lamentation of ancient and distant peoples because they shaped the desired image of a
paternalistic society whose rituals offer security and bring catharsis. Valério did not
directly copy the presentations of Jews in front of the wall of Solomon’s Temple.
However, these helped him in creating the presentation of Lamentation because this
Jewish custom was one of the exotic topics the west had discovered. This is why it
can be argued that Valério created a unique construct while being lead by direct sights, romantic sentiment, established academic codes and Orientalist imaginations.
The situation is similar with copper etchings Les Monténégrins se rendant
au marché de Kotor – where differences between gender roles are overemphasised,
and Le prêtre monténégrin en uniforme de combat, portant le drapeau de l’eglisé–
where precision and imagination are also combined.
Valério’s documentary and physiognomic approach – which brought him the
reputation of an artist-ethnographer – was processed through the perception prism
of the time of a Arcadian simple, durable and chivalrous “race”. Hence, his presentations are composites of reality and imagination, a truthful display of representatives
of the Montenegrin people, but also their Orientalist re-presentation. | sr |
dc.description.abstract | Special attention was given to the presentations Famille
monténégrine pleurant ses morts après un combat à l’entrée du monastère
de Cettigne, Les Monténégrins se rendant au marché de Kotor and Le prêtre
monténégrin en uniforme de combat, portant le drapeau de l’eglisé, created during the seventh decade of 19th century by the French artist Théodore
Valério. Valério’s drawings and copper etchings modelled after them, as well
as aquarelles, paintings on canvas and illustrations published in popular
European magazines, display Montenegrins in a truthful manner, but also
in accordance with concepts shaped within the Orientalist discourse. This is
why it is emphasised that these presentations must be perceived as constructions unifying the documentary precision and imagination of the Western
European understanding of the so called Orient. The analysed presentations,
said in the language of contemporary literary and visual theories, are representations, i.e. representations expressing a complex relation between the
observed and the observer, the connection between the truthful, the presented and what is expected from the presented. Within such a methodological
framework, this text strives to answer the question asked already in 1940 by
a professor and once the Director of the Historical Institute of Montenegro,
Andrija Lainović: did Valério really see what he presented or are these “exotic” curiosities? | sr |
dc.language.iso | sr | sr |
dc.publisher | Историско друштво НРЦГ | sr |
dc.rights | openAccess | sr |
dc.source | Историјски записи | sr |
dc.subject | representations of Montenegrins | sr |
dc.subject | Orientalism | sr |
dc.subject | Théodore Valério | sr |
dc.subject | Charles Yriarte | sr |
dc.subject | lamentation | sr |
dc.subject | gender roles | sr |
dc.title | Re-prezentacije Crnogoraca Teodora Valerioa | sr |
dc.type | article | sr |
dc.rights.license | ARR | sr |
dc.rights.holder | Историско друштво НРЦГ | sr |
dc.citation.epage | 82 | |
dc.citation.issue | 1-2 | |
dc.citation.spage | 69 | |
dc.citation.volume | 90 | |
dc.identifier.fulltext | http://reff.f.bg.ac.rs/bitstream/id/10841/bitstream_10841.pdf | |
dc.identifier.rcub | https://hdl.handle.net/21.15107/rcub_reff_4462 | |
dc.type.version | publishedVersion | sr |