Simbolistički opus Mihe Marinkovića i njegova recepcija u srpskoj sredini
The Symbolist Works of Miho Marinković and Their Reception in Serbia
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U radu se analizira simbolistički opus nedovoljno istraženog djela slikara Mihe Marinkovića. Školovan na Akademiji
likovnih umjetnosti u Münchenu, poglavito je poznat kao slikar zaumnih tema, koje se mogu svrstati u korpus simbolističkih tema krajem devetnaestog stoljeća. Od 1904. godine nastanjen u Beogradu, bio je aktivni sudionik kulturne
scene srpske prijestolnice. Marinkovićeve su slike izlagane u Paviljonu Kraljevine Srbije na Međunarodnoj izložbi u
Rimu 1911. godine. Njegov simbolisitički opus obuhvaća standardne teme simbolističkog slikarstva: Meduza, Lucifer,
Grešnik, koje upućuju na umjetnikovu ličnost i na kompozitno doba na razmeđu vjekova. Simbolizam u Marinkovićevu opusu odražavaju njegove pouke stečene u Münchenu, koji je krajem 19. i početkom 20. stoljeća bio europski centar somnambulnih tema i umjetničkih eksperimenata. Marinkovićev je opus promatran u skladu s općim strukturama
simbolizma, s posebnim osvrtom na münchenski simbolizam. Upućeno je na pojedine likovn...e kritike Marinkovićevih
simbolističkih slika, koje svjedoče o povijesti recepcije njegova djela u kulturi Kraljevine Srbije početkom dvadesetog
stoljeća. Pozitivno prihvaćanje Marinkovićevih slika u srpskoj sredini potvrđuje skladištenje trideset i pet njegovih
djela u fundusu Narodnog muzeja u Beogradu.
The paper analyses the symbolist works in the under-researched opus of painter Miho Marinković. Trained at the Munich
Academy of Fine Arts, he is primarily known as a painter of intricate themes that can be categorized as late 19th-century
symbolism. In 1904, he settled in Belgrade and became an active participant in the cultural scene of the Serbian capital.
In 1911, Marinković’s paintings were exhibited in the Pavilion of the Kingdom of Serbia at the International Exhibition
in Rome. His symbolist oeuvre covers the standard themes of symbolist painting, such as Medusa, Lucifer, or The Sinner,
which speaks both of the artist’s personality and of the eclectic turn of the century. Symbolism in Marinković’s work
reflects his training in Munich, which in the late 19th and early 20th centuries was the European centre of somnambular
themes and artistic experiments. In this paper, his oeuvre has been considered in the context of general symbolist structures, with particular references... to the Munich symbolism. Some reviews of Marinković’s symbolist paintings have been
pointed out, which testify to the history of the reception of his work in the Kingdom of Serbia in the early 20th century.
The positive reception of Marinković’s paintings in the Serbian setting is evident from the fact that as many as thirty-five
of his works have been included in the holdings of the National Museum in Belgrade.
Кључне речи:
Miho Marinković / simbolizam / slikarstvo / München / Beograd / likovna kritika / symbolism / painting / Munich / Belgrade / art criticismИзвор:
Ars Adriatica, 2019, 9, 133-150Издавач:
- Zadar : Odjel za povijest umjetnosti Sveučilišta u Zadru
Финансирање / пројекти:
- Министарство науке, технолошког развоја и иновација Републике Србије, институционално финансирање - 200163 (Универзитет у Београду, Филозофски факултет) (RS-MESTD-inst-2020-200163)
Институција/група
Istorija umetnosti / History of ArtTY - JOUR AU - Borozan, Igor PY - 2019 UR - http://reff.f.bg.ac.rs/handle/123456789/6208 AB - U radu se analizira simbolistički opus nedovoljno istraženog djela slikara Mihe Marinkovića. Školovan na Akademiji likovnih umjetnosti u Münchenu, poglavito je poznat kao slikar zaumnih tema, koje se mogu svrstati u korpus simbolističkih tema krajem devetnaestog stoljeća. Od 1904. godine nastanjen u Beogradu, bio je aktivni sudionik kulturne scene srpske prijestolnice. Marinkovićeve su slike izlagane u Paviljonu Kraljevine Srbije na Međunarodnoj izložbi u Rimu 1911. godine. Njegov simbolisitički opus obuhvaća standardne teme simbolističkog slikarstva: Meduza, Lucifer, Grešnik, koje upućuju na umjetnikovu ličnost i na kompozitno doba na razmeđu vjekova. Simbolizam u Marinkovićevu opusu odražavaju njegove pouke stečene u Münchenu, koji je krajem 19. i početkom 20. stoljeća bio europski centar somnambulnih tema i umjetničkih eksperimenata. Marinkovićev je opus promatran u skladu s općim strukturama simbolizma, s posebnim osvrtom na münchenski simbolizam. Upućeno je na pojedine likovne kritike Marinkovićevih simbolističkih slika, koje svjedoče o povijesti recepcije njegova djela u kulturi Kraljevine Srbije početkom dvadesetog stoljeća. Pozitivno prihvaćanje Marinkovićevih slika u srpskoj sredini potvrđuje skladištenje trideset i pet njegovih djela u fundusu Narodnog muzeja u Beogradu. AB - The paper analyses the symbolist works in the under-researched opus of painter Miho Marinković. Trained at the Munich Academy of Fine Arts, he is primarily known as a painter of intricate themes that can be categorized as late 19th-century symbolism. In 1904, he settled in Belgrade and became an active participant in the cultural scene of the Serbian capital. In 1911, Marinković’s paintings were exhibited in the Pavilion of the Kingdom of Serbia at the International Exhibition in Rome. His symbolist oeuvre covers the standard themes of symbolist painting, such as Medusa, Lucifer, or The Sinner, which speaks both of the artist’s personality and of the eclectic turn of the century. Symbolism in Marinković’s work reflects his training in Munich, which in the late 19th and early 20th centuries was the European centre of somnambular themes and artistic experiments. In this paper, his oeuvre has been considered in the context of general symbolist structures, with particular references to the Munich symbolism. Some reviews of Marinković’s symbolist paintings have been pointed out, which testify to the history of the reception of his work in the Kingdom of Serbia in the early 20th century. The positive reception of Marinković’s paintings in the Serbian setting is evident from the fact that as many as thirty-five of his works have been included in the holdings of the National Museum in Belgrade. PB - Zadar : Odjel za povijest umjetnosti Sveučilišta u Zadru T2 - Ars Adriatica T1 - Simbolistički opus Mihe Marinkovića i njegova recepcija u srpskoj sredini T1 - The Symbolist Works of Miho Marinković and Their Reception in Serbia EP - 150 IS - 9 SP - 133 DO - 10.15291/ars.2928 ER -
@article{ author = "Borozan, Igor", year = "2019", abstract = "U radu se analizira simbolistički opus nedovoljno istraženog djela slikara Mihe Marinkovića. Školovan na Akademiji likovnih umjetnosti u Münchenu, poglavito je poznat kao slikar zaumnih tema, koje se mogu svrstati u korpus simbolističkih tema krajem devetnaestog stoljeća. Od 1904. godine nastanjen u Beogradu, bio je aktivni sudionik kulturne scene srpske prijestolnice. Marinkovićeve su slike izlagane u Paviljonu Kraljevine Srbije na Međunarodnoj izložbi u Rimu 1911. godine. Njegov simbolisitički opus obuhvaća standardne teme simbolističkog slikarstva: Meduza, Lucifer, Grešnik, koje upućuju na umjetnikovu ličnost i na kompozitno doba na razmeđu vjekova. Simbolizam u Marinkovićevu opusu odražavaju njegove pouke stečene u Münchenu, koji je krajem 19. i početkom 20. stoljeća bio europski centar somnambulnih tema i umjetničkih eksperimenata. Marinkovićev je opus promatran u skladu s općim strukturama simbolizma, s posebnim osvrtom na münchenski simbolizam. Upućeno je na pojedine likovne kritike Marinkovićevih simbolističkih slika, koje svjedoče o povijesti recepcije njegova djela u kulturi Kraljevine Srbije početkom dvadesetog stoljeća. Pozitivno prihvaćanje Marinkovićevih slika u srpskoj sredini potvrđuje skladištenje trideset i pet njegovih djela u fundusu Narodnog muzeja u Beogradu., The paper analyses the symbolist works in the under-researched opus of painter Miho Marinković. Trained at the Munich Academy of Fine Arts, he is primarily known as a painter of intricate themes that can be categorized as late 19th-century symbolism. In 1904, he settled in Belgrade and became an active participant in the cultural scene of the Serbian capital. In 1911, Marinković’s paintings were exhibited in the Pavilion of the Kingdom of Serbia at the International Exhibition in Rome. His symbolist oeuvre covers the standard themes of symbolist painting, such as Medusa, Lucifer, or The Sinner, which speaks both of the artist’s personality and of the eclectic turn of the century. Symbolism in Marinković’s work reflects his training in Munich, which in the late 19th and early 20th centuries was the European centre of somnambular themes and artistic experiments. In this paper, his oeuvre has been considered in the context of general symbolist structures, with particular references to the Munich symbolism. Some reviews of Marinković’s symbolist paintings have been pointed out, which testify to the history of the reception of his work in the Kingdom of Serbia in the early 20th century. The positive reception of Marinković’s paintings in the Serbian setting is evident from the fact that as many as thirty-five of his works have been included in the holdings of the National Museum in Belgrade.", publisher = "Zadar : Odjel za povijest umjetnosti Sveučilišta u Zadru", journal = "Ars Adriatica", title = "Simbolistički opus Mihe Marinkovića i njegova recepcija u srpskoj sredini, The Symbolist Works of Miho Marinković and Their Reception in Serbia", pages = "150-133", number = "9", doi = "10.15291/ars.2928" }
Borozan, I.. (2019). Simbolistički opus Mihe Marinkovića i njegova recepcija u srpskoj sredini. in Ars Adriatica Zadar : Odjel za povijest umjetnosti Sveučilišta u Zadru.(9), 133-150. https://doi.org/10.15291/ars.2928
Borozan I. Simbolistički opus Mihe Marinkovića i njegova recepcija u srpskoj sredini. in Ars Adriatica. 2019;(9):133-150. doi:10.15291/ars.2928 .
Borozan, Igor, "Simbolistički opus Mihe Marinkovića i njegova recepcija u srpskoj sredini" in Ars Adriatica, no. 9 (2019):133-150, https://doi.org/10.15291/ars.2928 . .