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Marko Murat, painter of the turn. Creating the modern: from historical composition to plain air painting

dc.creatorMerenik, Sofija
dc.date.accessioned2023-03-06T11:53:55Z
dc.date.available2023-03-06T11:53:55Z
dc.date.issued2023
dc.identifier.issn2217-3951
dc.identifier.urihttp://reff.f.bg.ac.rs/handle/123456789/4275
dc.description.abstractStvaralaštvo Marka Murata može se podeliti na pet faza. Za temu ovog rada najznačajnija su dela koja nastaju u okviru druge faze (plenerističko slikarstvo sa elementima impresionizma, secesije i simbolizma), iz poslednje decenije XIX i prve decenije XX veka. Muratova dela na prelazu dvaju vekova, predstavljaju prve i najbolje primere napuštanja tamnih tonova i veštačkog osvetljenja u korist dnevne, prirodne svetlosti na temama vezanim kako za istorijsko slikarstvo, tako i za motive i elemente koji pripadaju žanr, alegorijskom i pejzažnom slikarstvu. Pejzaž zauzima bitno mesto u opusu Marka Murata. On je često uklopljen u okvire istorijske ili simbolističke slike, kao i na portretima i žanr-scenama, ali postaje i samostalna tema u okviru njegovog ciklusa Dubrovačkih obala (Orae ragusanae). Cilj rada bio bi da ukaže na ovaj izuzetno značajan momenat u srpskoj likovnoj umetnosti na prelazu iz XIX u XX vek i da se naglasi uticaj umetnosti plenerizma i donekle impresionizma u delima Marka Murata, slikara preokreta. Motiv Dubrovnika, koji je zastupljen u većini Muratovih slika, takođe je značajan segment rada. Slike različite tematike koje radi Murat, a koje su urađene u plenerističkom duhu i koje u sebi najčešće inkorporiraju pejzaž, glavna su tema rada.sr
dc.description.abstractMarko Murat’s creative oeuvre can be divided into five phases. For the topic of this paper, the most important works are those created within the second phase (plein air painting with elements of impressionism, secession and symbolism), from the last decade of the 19th and the first decade of the 20th century. Murat’s works at the turn of the centuries represent the first and best examples of abandoning dark tones and artificial lighting in favor of daylight, natural light on subjects related to historical painting, as well as motifs and elements belonging to the genre, allegorical and landscape painting. The landscape occupies an important place in Marko Murat’s oeuvre. It is often incorporated into the frames of historical or symbolist paintings, as well as in portraits and genre scenes. It also becomes an independent subject within his cycle Dubrovnik Coasts (Orae ragusanae). The aim of this paper is to point out this extremely significant moment in Serbian art at the turn of the 19th to the 20th century, to emphasize the influence of the plein air painting, and to some extent of impressionism in the works of Marko Murat, the painter of the sharp turn toward modern painting. The motif of Dubrovnik, which is represented in most of Murat’s paintings, is also a significant segment of this paper. Murat’s paintings of different subject metter, which are made in the spirit of plein air and most often incorporate the landscape, will be the most represented in the paper.sr
dc.language.isosrsr
dc.publisherUniverzitet u Beogradu-Filozofski fakultetsr
dc.relationProjekat „Čovek i društvo u vreme krize“, finansiran od strane Filozofskog fakulteta Univerziteta u Beogradusr
dc.rightsopenAccesssr
dc.rights.urihttps://creativecommons.org/licenses/by/4.0/
dc.sourceZbornik Seminara za studije moderne umetnosti Filozofskog fakulteta Univerziteta u Beogradusr
dc.subjectMarko Muratsr
dc.subjectplenerizamsr
dc.subjectimpresionizamsr
dc.subjectpejzažsr
dc.subjectistorijska kompozicijasr
dc.subjectDubrovniksr
dc.subjectplein air paintingsr
dc.subjectimpressionismsr
dc.subjectlandscapesr
dc.subjecthistorical compositionsr
dc.titleMarko Murat: od istorijske kompozicije ka plenerizmusr
dc.titleMarko Murat, painter of the turn. Creating the modern: from historical composition to plain air paintingsr
dc.typearticlesr
dc.rights.licenseBYsr
dc.citation.epage97
dc.citation.issue19
dc.citation.rankM24
dc.citation.spage77
dc.identifier.doi10.18485/f_zsmu.2023.19.6
dc.identifier.fulltexthttp://reff.f.bg.ac.rs/bitstream/id/10403/bitstream_10403.pdf
dc.type.versionpublishedVersionsr


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