Портрети Петра II Петровића Његоша Анастаса Јовановића

Abstract

Текст је посвећен портретима Петра II Петровића Његоша (1813– 1851), црногорског владике, владара и песника, које је од 1846. до 1851. у Бечу створио Анастас Јовановић. Његош је у Бечу импресионирао својом аполонском лепотом, величанственом фигуром и црногорским оделом које је стално носио. Упознат са изгледом и функцијом владарских портрета, до тада представљан углавном у архијерејском орнату, Његош је желео да буде представљен у народној одећи и тако запамћен. Тако Анастас Јовановић, прво на цртежу и потом на литографијама, у складу са Његошевим тежњама и националном идејом која је уобличила владарску презентацију у Европи током 19. века, креира портрет Његоша као националног владара. Истовремено, приказао га је и у складу са кодовима традиционалне владарске презентације и идеализације. Сарадња Његоша и Јовановића прати се до јесени 1851, када настаје талботипски портрет и, према њему, литографија. И ови портрети приказују Његоша у црногорској ношњи и деловима европског грађанског одела, чиме се потврђују различити културни обрасци које је заступао у својој презентацији, као и у укупном деловању. Јовановић је заслужан и за концептуално креирање репрезентативног Његошевог портрета који је начинио бечки сликар Јохан Бес

At the end of 1846 and begining of 1847, the Montenegrin prince-bishop and poet, Petar II Petrović Njegoš (183–1851) resided in Vienna. Those years were quite difficult for Montenegro and her ruler, but at the same time, the most productive for Njegoš. Among his other work, this is when he created his works The Ray of the Microcosm and The Mountain Wreath. In Vienna, Njegoš socialized with the most prominent South Slavic and Slavic intellectuals, as well as some of the important representatives of the Austrian elite. He spent his time conversing, walking and visiting various balls. He published his most famous work, The Mountain Wreath, in February 1847. He made a strong impression with his looks, posture, attitude and knowledge. Partly based on reality and partly a romantic poetics of the sublime, his contemporaries described him as a man of Apolonic beauty and majestic physique. A special focus was on his Montenegrin outfit, which according to documents, Njegoš wore constantly while in Vienna. Notes made by Anastas Jovanović’s family bear witness to the fact that Njegoš and Jovanović met daily, suggesting that Njegoš had complete insight into the creation of his portraits, which also allowed Jovanović time to properly plan the presentation of the Montenegrin prince-bishop. Insisting on always presenting himself in his Montenegrin outfit, testifies to the fact that Njegoš cared deeply about being perceived and remembered as the Montenegrin ruler. Aware of the appearance and purpose of ruler portraits, Njegoš, formerly always shown in the archbishop outfit, now insisted on being shown in his national outfit. Njegoš’ reputation contributed to Montenegrin outfit becoming a symbol of the nation in Europe. At the end of 1846, Anastas Jovanović created a sketch that became a foundation of the entire creative process, and later in 1847, two lithographs. These portraits, in accordance with his appearance and the national image, present Njegoš as the nation’s ruler. It is safe to say that Anastas Jovanović was the one who created Njegoš’ portrait as the ruler of Montenegro. At the same time, he presented Njegoš in line with the traditional ruler representation codes. Njegoš’ heroism is emphasized in the star and cross of the Order of Saint Anna, 1st class, awarded to him in 1841 by the Ruissan tzar Nikolai I, Medal for Bravery, established by him in 1839, the warrior uniform and the sabre, an old symbol of rulership. A shirt and a silk red tie is visible under the Montenegrin outfit, and over it a cape. These symbols of a modern european man clearly portray Njegoš as traditional and modern, implying that there are different cultural models in his presentation and work. Due to the attention that Njegoš was attracting in Vienna at the time, the excelent quality of the lithographs and the artist’s reputation, the portraits were publicly displayed and sold at the prestige atelier in hotel Müller in Graben. The collaboration between Njegoš and Anastas Jovanović continued, most likely, on the design of the Order of Obilic for Bravery, instituted by Njegoš in 1847. Their mutual passion for history and its romantic mythologisation influenced its appearance. After the Grand Tour, his great journey across Italy, Njegoš returned to Vienna in the summer of 1851. He was long since interested in daguerreotype and was responsible for introducing it in Montenegro as early as 1845. Finally, Njegoš poses in front of Jovanović’s camera for the first time, in traditional Montenegrin outfit and hat. The talbotype shows Njegoš as strong, confident, focused and very present. It is by this talbotype that Jovanović had created the lithograph in 1852 that presented Njegoš in accordance with the aesthetic norms of the time. This is the lithograph used by the Viennese painter Johann Böss to paint the large oil on canvas portrait which established Njegoš’ image as an iconic form in the nation’s conciousness. However, the conceptual author of this portrait is in fact Anastas Jovanović.