Razvoj državničkog portreta u Crnoj Gori 1851-1910

Abstract

The article aims to shed light on the evolution of the state portrait in Montenegro during the period in which several problems were being addressed, such as resolving Montenegrin borders issues, confirming its status of an autonomous state, building and strengthening its institutions as well as its economy and culture. The development of the Montenegrin state was, as elsewhere in Europe, personalized and embodied by portraits of rulers thus providing visual evidence of dynastic and state consolidation. The representation of Montenegrin, as well as European monarchs of that time, was based predominantly on the national idea expressed by the national costume. Metropolitan Petar II Petrović Njegoš wore such a costume while posing for several of his portraits from 1847 to 1851. This type of presentation was established in the 1860s, during the reign of Prince Danilo I Petrović Njegoš. At the same time, in the context of change in state structures, reforms and military successes, Danilo I wished to be portrayed as a military leader. Reforming institutions, legislation, international recognition, were all expressed in the depiction of head of state working in his office, the idea being more frequent since the coming to power of Prince (and later) King Nikola I Petrovic Njegos in 1860. Consistent with the European practice at the time, in addition to representing a ruler as a statesman and military leader working tirelessly for the benefit of his country, in the time of Nikola I the image of a ruler in ceremonial and everyday activities, as well as with his family, was a recurring one. Different codes of the representation of Montenegrin statesmen were carried out through the work of photographers, lithographers, painters and sculptors, especially Anastas Jovanović, Johan Bes, Domenico Failutti. Changes in the structure of representation were also accompanied by stylistic ones - from solid Biedermeier and academic, to more spontaneous and plein air forms