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Exhibitions 2018THE BEST IN HERITAGE - THE PROJECTS OF INFLUENCE 2018Meštrović Gallery, SplitORGANIZATION OF THE EXHIBITION: VESNA BULIĆ BAKETIĆ IN COOPERATION WITH THE ORGANIZERS OF THE CONFERENCE "THE BEST IN HERITAGE"CONFERENCE LIKE NO OTHER The Best in Heritage is a specific conference. It selects the best, awarded projects from the heritage sector in the preceding year and does so on the global level. It therefore offers unique panorama of quality achievements. Forty-one laureates awarded in 2017 were featured in a packed, three-day programme, representing almost all aspects of best and, indeed, awarded, practices from some 50 prestigious award schemes and their juries. The presenters came from 32 countries. Since the beginning in 2002, the strategy was simple: same time, same place, one-track conference with an intimate atmosphere and imperceptible organization. PROJECTS OF INFLUENCE To further affirm the excellence of featured projects, we designed our own recognition for the projects that made the best impact on the international professional audience. Therefore, our moderators, the last year's winners and the audience (all acting as a Jury), cast their votes to choose one project (in each of the two sessions) as the Project of Influence for the current year. The implied claim is that such projects have a potential to produce change and advance professional practices by their power of inspiration. 2018AN ARTIST AT MEŠTROVIĆ'S: Frano MissiaMeštrović Gallery, SplitExhibition created and catalogue written by Vesna Bulić Baketić Essays in the catalogue Guido Quien Vesna Bulić Baketić Exhibition visual design Vesna Bulić Baketić Graphic design of the exhibition Josip Rajević, Studio 9 Technical team Marko Borović Marko Bradarić Nediljko Pleić Graphic design and pre-press Josip Rajević, Studio 9 Photographs Zoran Alajbeg The exhibition An Artist at Meštrović’s: Frano Missia gives an insight into part of the oeuvre of Frano Missia, a painter who also tried his hand at sculpture. His guest appearance in the little space of the Clay Studio in the Meštrović Gallery is focused on just two segments of the different idioms that Missia touched on during his journey in life and art. With these colourist landscapes, most often of his native region, and his later turn towards the modelling of sensuous women of the kind that he had previously depicted in acrylic paint on his large canvases, the exhibition is a peep, a cracking of the door, into a world full of colourist expression, of known and unknown scenes often informed with human presence. It is an invitation into Frano’s world, which, with all its latent melancholy and thoughts of dissent, has, above all, an ineffable joy in life and unfailing emotions when faced with beauty. “The landscapes shown at the exhibition An Artist at Meštrović’s 2018are mainly productions from the new millennium, created after 2002. His older landscapes painted during the sixties and seventies have a geometrical treatment inclining towards an abstract poetics, founded on American Abstract Expressionism, but the more time passed, the more the scenes departed from abstract forms and ranged towards colourist expression and softer forms. In spite of his skill in drawing and his strong conviction that the drawing was at the base of everything, Frano did not go off into landscape realism. He retained the fairytale mystery of his places, thus provoking the curiosity of the viewer who constantly asks whether this is Frano’s impression or the unreality of some Caribbean twilight. In spite of the attractiveness of foreign vistas and the ever present need for movement and exploration of the world, the Dalmatian landscapes and the special frames of Split nature are revealed as essential and innate. Showing Dalmatia, Frano combines a depiction of a real landscape with the feeling that is called up in him by the warm Mediterranean air while it flows over the frame of a chosen cove. Although we are in the spheres of the emotional and subjective I feel it reasonable to state that in acrylic he attempts to capture the feeling of the sunbeams, the song of the cicada and the scent of the pine that comes to him while he selects the vista that he will immortalise on the rectangle of canvas. He often decides to enrich his landscape with human presence, whether that of some baigneuse, or several of them, or a mythological creature that sought a moment of relaxation in the landscape of Frano’s childhood. The pines, cypresses and other Dalmatian Mediterranean vegetation are so striking as to set off a powerful colourist palette; controlled, however, and reined in just in time not to get into any Fauvist ardency. In the new millennium he tried his hand at sculpture; his Willendorf Venuses from the canvases acquired a new dimension in clay. Along the lines of the basic prehistoric human aspirations from the earliest attempts at sculptural expression, Frano also sees his female figures as sensual Venuses of marked female attributes related to fecundity. Although he admired Henry Moore, Frano’s sculptures of the naked female body did not turn off in the direction of stylisation, but totally relied on an only slightly enlarged realistic image of rich female proportions. In poses of rest, various emotional states or exercise, woman is not just an object or a study of proportions but is filled with the character of the moment.” Bulić Baketić, from the exhibition catalogue).MORE 2018Ivan Meštrović: Corporeality and eroticism in sculptureCankarjev dom, Ljubljana, SloveniaExhibition organized by: Cankarjev dom, Ljubljana Ivan Meštrović Museums Exhibition conception devised by: Zorana Jurić Šabić Dalibor Prančević Barbara Vujanović Curators: Zorana Jurić Šabić Barbara Vujanović Nina Pirnat Spahić Exhibition design and spatial conception devised by: Filip Beusan After the exceptionally successful exhibition “Sculpture and Nudity – Corporeality and Eroticism in the Works of Ivan Meštrović” organized by Ivan Meštrović Museums in 2016 in the Glyptotheque of the Croatian Academy of Sciences and Arts in Zagreb, an exhibition named “Ivan Meštrović – telesnost in erotika v kiparstvu” is presented to the Slovenian audience in Cankarjev dom in Ljubljana. More than fifty works, sculptures and drawings from private and public Croatian collections were gathered for the exhibition. Within the exhibition, Meštrović’s output is viewed through the prism of significance of the nude body and erotic readings, and the theme development can be followed in sculptures and drawings from the period between 1903 and 1946. According to the motif, as well as the period, the subject of nudity and eroticism in the works of Ivan Meštrović can be viewed through three readings, intertwined with the exhibition narrative. The unit called “Uneasiness in the Body” (Dalibor Prančević) encompasses a wide time contingent of the first two decades of the 20th century, and includes works with various issues of nudity, aesthetics of “the ugly” and affirmation of the other. Chapter “Between Two Eroses and Two Aphrodites” (Barbara Vujanović) deals with the works of Meštrović’s so-called “Zagreb period”, as well as earlier and later periods, from which it is possible to read the closeness to the ancient concept of the body, in accordance with the contemporary tendencies of European neoclassicism and other stylistic tendencies. The third unit, “Conflagration of the Senses” (Zorana Jurić Šabić), approaches the topic from a biographical perspective and observes the female nudes (sculptures and drawings) from the 1920s. This part of Meštrović’s output is saturated with intimate details and can be substantively interpreted by knowing the specific circumstances and emotional turmoil in which the artist was, thusly revealing his personal perception of sexuality. „It is an indisputable fact that throughout his prolific artistic career Meštrović masterfully chiselled some of the finest female nudes of twentieth-century sculpture, figures that stand as ultimate expressions of his luscious Mediterranean sensuality. Considering the sculptor from a contemporary angle and unburdened by his fame, three younger Croatian art historians have explored the subjects of corporeality and eroticism in the works of Ivan Meštrović. Their valuable insight is a meaningful contribution to the scientific study of this subject as Meštrović’s output has rarely been approached from the perspective of nudity and its erotic readings. The treatises explore various formal and iconological aspects of Meštrović’s nudes, both male and female, examining multiple connotations of the naked body and erotic elements of sculptures as well as drawings made over a longer period of time; from the artist’s student days in Vienna until the post-WWII era (between 1903 and 1946).” (Nina Pirnat Spahić, from the foreword of the exhibition catalogue) More about the exhibition: https://www.cd-cc.si/en/culture/art-exhibitions/corporeality-and-eroticism-in-sculptureMORE 2018Ivan Meštrović and the native landMeštrović Gallery, Split(After the exhibition in the Meštrović Gallery, it will be presented at the elementary school in Otavice from 17 to 18 March 2018) Author of the exhibition: Zorana Jurić Šabić Graphic design and exhibition equipment: Josip Rajević, Studio 9 Video-animation: Dragan Đokić, Studio Baranda The exhibition "Ivan Meštrović and the Native Land" explores and documents the artist's connection with the native Otavice and his artistic work in the native land, with emphasis and comprehensive elaboration of the masterpiece of Meštrović's sacral architecture: the Church of the Most Holy Redeemer – the Meštrović Family Mausoleum. Meštrović completed the church in December 1930, and archives of construction, architectural drawings, drawings for the decoration of the dome and plaster models for the portraits on the bronze doors of the building are kept in the Ivan Meštrović Museums. Meštrović’s connection with his native land can be observed and interpreted at several interpretative levels, primarily by following the artist’s biography, but also by looking at the artistic accomplishments created in Otavice (sculptures, paintings and architecture). In addition, within the theme we explore the sources of the artist’s worldview conditioned by the circumstances and the environment in which he grew up. Also, we point to the two-way permeation of the influence (and incentive) between the artist and his native land, which thanks to Meštrović and his architectural accomplishments (family house, elementary school, antimalaria dispensary and family mausoleum) experienced significant change of appearance and improved infrastructure in this small village in the Dalmatian Zagora. That is why the exhibition places emphasis on Meštrović’s architectural legacy and affirms his work as an architect, while using modern presentation methods: film and video-animation. Overall, the exhibition includes 14 sculptures in stone, bronze and plaster, two paintings and two drawings. The works come from the collections of the Meštrović Gallery in Split, Meštrović Atelier in Zagreb, Drniš City Museum, as well as Ivan Meštrović’s heirs. In addition to the Meštrović Gallery in Split, the exhibition will also be shown at Otavice, in the newly-renovated complex of the former elementary school, a building built in 1931 with the dedication and determination of Ivan Meštrović in accordance with his conceptual design.MORE 2017Ivan Meštrović: Adriatic EpopeeInternational Cultural Centre, Krakow, PolandIn cooperation with the Ivan Meštrović Museums the Meštrović Atelier, Zagreb / the Meštrović Gallery, Split Under the auspices of the President of the Republic of Poland, Andrzej Duda, and the President of the Republic of Croatia, Kolinda Grabar Kitarović Authors and curators of the exhibition Barbara Vujanović, Higher Curator of the Meštrović Atelier Łukasz Galusek, Head of the Publishing House of the International Cultural Centre Authors of texts in the catalogue: Maciej Czerwiński, Łukasz Galusek, Dalibor Prančević, Barbara Vujanović The exhibition Ivan Meštrović: Adriatic Epopee is the first presentation of the Croatian sculptor to the Polish public. Also, it is the first presentation of Croatian art in Poland on such a large scale. The retrospective will give insight into the life and works of Ivan Meštrović, from his student, Viennese creations to the works he sculpted shortly after the experience of World War II. The exhibition presents the artist’s sculptural, drawing, graphical and architectural opuses, as well as his participation in the dramatic events in his homeland and Europe in the first half of the 20th century. Fifty works of art selected for the exhibition were collected from the Meštrović Gallery in Split and from the Meštrović Atelier and Glyptotheque of the Croatian Academy of Sciences and Arts in Zagreb. Works owned by Ivan Meštrović’s heirs were also borrowed. The selection of works attests the wide spectrum of materials the artist used, as well as the main thematic and style features that marked his works. Particular emphasis is put on his role in the deliberation of public space in which he realized numerous monumental projects which are also presented at this exhibition (the Equestrian Indians, the Gregory of Nin, the History of the Croats). A connection with Polish historical and cultural milieu is accomplished by exhibiting the materials associated with the unrealized project of the Marshall Piłsudski Monument for Warsaw, the realization of which was prevented by the World War II. The exhibition is accompanied by an extensive catalogue in Polish and English languages, and lectures on Ivan Meštrović, Croatian culture and history will be organized. We apologize for the incompleteness of the permanent exhibitions both in Meštrović Gallery and Meštrović Atelier. Due to the borrowing of works for this exhibition, certain sculptures are missing in the permanent display, which is indicated by the enlarged legends at corresponding places.MORE 2017UMJETNIK KOD MEŠTROVIĆA: Enca KovačevićGalerija Meštrović, SplitAUTHOR OF THE EXHIBITION: Vesna Bulić Baketić EXHIBITION REVIEWERS: Marin Ivanović Biserka Rauter Plančić AUTHOR OF THE PHOTOS: Zoran Alajbeg CATALOGUE, INVITATION AND POSTER DESIGN: Tin Burić, Lucian Kovačević VIDEO PRODUCTION: Televizija Kanal 5 TECHNICAL LAYOUT: Marko Borović, Marko Bradarić, Nediljko PleićPainter Enca Kovačević was born on October 15, 1953, in Split, into a family that had island roots. Her father was from Stari Grad, Hvar; her mother from Sutivan, Brač. After elementary school she enrolled in the School of Applied Art in Split. She went on with her study of painting in her native city, at the College of Education, where she was taught by Ante Kaštelančić, from whose class she graduated in 1976. She was received into the Association of Croatian Artists, Split branch, in 1980. Today she is leader of free activities in Maestral, a children’s home, where she also founded and ran an art colony that brought together local and foreign artists. Her early works reveal the Mediterranean origins, and the influence of the teacher from whose class she set off. Later endeavours to discover her own visual speech brought her to a very individualised palette and a specific form of lyrical figuration, with elements of abstraction. “So it is precisely the Split painter Enca Kovačević who, with her gentle and yet again powerful visual expression, recalling some other times that measured talent by the innate capacity to express emotions, reality, dreams and imagination with the help of subtle and delicate artistic techniques, has won the opportunity to make a guest appearance at Meštrović’s. Just like him, who went on with his classical figurative artistic expression irrespective of various avant-garde styles and directions that appeared and took hold during the 20th century, so Enca Kovačević has remained loyal to her romantic figurality. The counterpoint of Enca and Meštrović is particularly interesting, for it brings out the key characteristics of two, on the surface, totally different artists, opposing them so much that at the end they in fact come close together. Meštrović is primarily a sculptor and Enca a painter. Even when he did try his hand at painting, Meštrović’s palette was dark, his figures were robust; Enca cultivates pastel. Meštrović addressed woman as son, husband, lover and father, but Enca approaches woman as woman to woman. Meštrović models from the model, Enca paints from memory. Meštrović was a powerful, obstinate participant in the cultural and political events of his time, while Enca is retiring in both her social role and her art.” (Vesna Bulić Baketić, from the exhibition catalogue)MORE The year 2017 was marked by the centenary of death of the French sculptor Auguste Rodin (1840 - 1917). The most important event is certainly the Centennial Exhibition, opened in late March at the Grand Palais in Paris. The team of experts, led by the Director of Musée Rodin, Catherine Chevillot, and the retired Director of the French Institute of Art History, Antoinette Le Nornand-Romain, designed a large exhibition and a publishing project with a focus on Rodin’s influence on modern sculpture and other artistic media in France and the rest of the world from the end of the 19th century to the beginning of the 21st century. The extensive exhibition is set across two floors, bringing together about three hundred of Rodin’s works, as well as works of authors such as Antoine Bourdelle, Georges Braque, Pablo Picasso, Henri Matisse, Jean-Baptiste Carpeaux, Constantin Brâncuşi, Käthe Kollwitz, and Georges Baselite and Tracey Emin. The fact that two works of Ivan Meštrović – the sculptures The Fountain of Life (Vienna, 1905) and The Old Woman (Paris, 1908), both from the holdings of Meštrović Atelier in Zagreb, were also exhibited is especially important for Croatian art history. It is a result of the collaboration between Musée Rodin and the Ivan Meštrović Museums which began in the 1960s with Meštrović’s exhibition in Paris and Rodin’s in Zagreb, and re-updated with the presentation of the Croatian sculptor at Musée Rodin (2012 – 2013), Rodin’s retrospective at the Art Pavilion in Zagreb and a small exhibition at the Meštrović Gallery in Split (2015).MORE 2017ART DECO. THE ROARING TWENTIES IN ITALY. San Domenico Museum, ForlÌ, ItalySculptures by Ivan Meštrović are on show at the exhibition “ART DECO. The Roaring Twenties in Italy” in Forlì, San Domenico Museum (11 February - 18 June 2017). The exhibition is dedicated to the international style of Art Deco, focusing on the 3rd decade of the 20th century, which influenced all aspects of art, from architecture, visual arts, motion picture, theatre, literature, fashion and music. Such a comprehensive cultural exhibition, including masterpieces of the period, from sculpture and painting to applied design, is organized and presented in Italy for the first time, including the works of Croatian sculptor Ivan Meštrović and his masterpieces Vestal Virgin (1917), Girl with Violin (1922) and Contemplation (1924). 2017THE CHALLENGE OF MODERNITY. ZAGREB - VIENNA AROUND 1900Klovićevi Dvori Gallery, ZagrebThe works of Ivan Meštrović from the holdings of the Meštrović Gallery in Split and Atelier Meštrović in Zagreb can be seen at the exhibition “The Challenge of Modernity. Zagreb - Vienna around 1900” at the museum Klovićevi Dvori Gallery in Zagreb from 9 February to 7 May 2017. The exhibition presents about one hundred key works of Austrian and Croatian artists who formed a new artistic expression in painting, sculpture and architecture within the European fin de siècla at the turn of the 19th century. In this overview, the early work of Ivan Meštrović, who made some of his most important masterpieces during his studies at the Vienna Academy, is imperative. The exhibition “The Challenge of Modernity: Zagreb – Vienna around 1900” will present the works of protagonists of the Secession from Zagreb and Vienna in the field of painting, sculpture and architecture for the first time. The exhibition will also allow a comparison of the works of Gustav Klimt, Koloman Moser, Karl Moll with the works of Vlaho Bukovac, Tomislav Krizman, Ivan Meštrović and many others. The comparisons between Vienna and Zagreb architecture through the achievements of Otto Wagner, Josef Hofmann, Adolf Loos and Vjekoslav Bastl, Aladar Baranyai or Viktor Kovačić will be eloquent. The exhibition will show the rise of a new generation of women painters who become equal participants in modern change. Antonija Krasnik and Nasta Rojc learned to paint in Vienna, while Slava Raškaj also worked under the influence of the Viennese Secession. Themes common to Viennese and Zagreb culture at the turn of the century were discussed through the aforementioned art branches: themes about the meaning of man’s existence, landscapes intertwined with the artist’s subjective experience of nature, coffee houses as new forums for exchanging ideas, and the theme of women as the ultimate motif of the period. The gesamtkunstwerk period is characterized by a way of life that is permeated with art that unites all segments of man’s life: from the interior in which he dwells to the exterior surrounding him.” (Vugrinec, P., www.gkd.hr)MORE 2016MEŠTART: TANJA RAVLIĆ – “ARRIVAL”Atelier Meštrović, ZagrebProject author, exhibition curator: Barbara Vujanović Artistic designers: Tanja Ravlić, Barbara Vujanović Graphic design: Viktor Popović The MEŠTART programme started in 2009 at Atelier Meštrović in Zagreb with the aim of updating and re-reading the works of Ivan Meštrović through contemporary art expressions. We note changes in art and in life by identifying them with phases. They delimit the individual time segments, highlighting the beginning, as the starting point of a new period, and the end, as a kind of summary and conclusion. Just as when we look at a certain piece of art, looking back on our own life, we tend to evaluate and analyse it. Sometimes we can even conserve it, sometimes we tend to expose it to others, or store it in the hidden rooms of inner “depots”. Artists often have partially overlapping or completely intertwined life and creative periods, and their experiences materialize in their works. For example, Ivan Meštrović’s “Zagreb Period”, an exceptionally fertile period of creativity, captured by the postwar situation of the Great War and the spreading of World War II, coincides with certain intimate events such as the artist’s founding of his family with Olga Kesterčanek. Tanja Ravlić very consciously marks the underscoring lines under one life period with two presentations in Meštrović’s museums. In 2003, when the curator Dalibor Prančević started the practice of exhibiting contemporary artists at the Ivan Meštrović Foundation, today’s Ivan Meštrović Museums, with the project called Ivan Bura – Ivan Meštrović – Tanja Ravlić – Kristina Restović , the artist presented herself with her video Outofflander at the Meštrović Gallery in Split. Thirteen years later, at Meštrović’s Zagreb address, in his studio, Ravlić exhibits videos once again, but visually and semantically complemented by delicately positioned objects, some of which appear in works. In this exhibition, Tanja Ravlić deals with different aspects of the topic of arrival at the starting point, as well as her attitude towards the areas which formed her. In her works the author only partly, but totally consistently, overlaps with certain Meštrović’s themes. Using free concatenation, she emphasizes the importance of the cyclical renewal of a life and a creative phase. As only some artists and individuals, Meštrović accepted the challenges and risks of turbulent life and historical periods, giving them an indelible stamp with his inexhaustible art. (From the foreword by Barbara Vujanović) Tanja Ravlić was born in Split in 1977. She graduated from the Academy of Fine Arts in Rome in 1999. She works as an associate professor at the Academy of Fine Arts in Split. From 2002 to 2005 she attended postgraduate studies at the Institute of Art in Context of the Academy of Fine Arts in Berlin.MORE 2016ARTIST AT MEŠTROVIĆ’S: KAŽIMIR HRASTEMeštrović Gallery, SplitExhibition curator: Vesna Bulić Author of texts in the catalogue: Vesna Bulić Photographs: Zoran Alajbeg Catalogue design: Vojin Hraste Graphical equipment for the exhibition: Josip Rajević, Studio 9 Production of the film: TV Akademija, Split Lighting: Zoran Mihanović Technical realization: Marko Borović, Marko Bradarić, Nediljko Pleić Kažimir HRASTE was born on 2 February 1954 in Supetar on Brač Island. He graduated from the School of Applied Arts in Split. He graduated in sculpture in 1978 at the Academy of Fine Arts in Zagreb, in the class of Professor Valerio Michieli. In 1984 he completed his postgraduate studies in sculpture in Ljubljana, and as a scholar of the Italian government he spent one semester on professional education in Rome. He was one of the founders of the Art Academy in Split, where he is currently employed as a full-time professor of sculpture. He has participated in more than a hundred exhibitions at home and abroad. He has had around 30 solo exhibitions since 1974. He is the author of numerous public monuments and sculptures (Visovac, Risen Christ, 1988; Solin, Don Frane Bulić, 1991; Vrgorac, Statue of Tin Ujević, 1993; Miljevci, Statue of King Petar Svačić, 2002; Zagreb, Concert Hall V. Lisinski – Omiš, Elementary Music School, Bust of Lovre Matačić, 2009; Zadar, University, Bust of Miroslav Krleža, 2010; Šibenik, Statue of Dražen Petrović, 2011). For his work in which he combines traditional experiences and contemporary art practice, he has received numerous awards and recognitions and state decorations. He has been associate member of the Croatian Academy of Sciences and Arts since 10 May 2012. Inviting the academic sculptor Kažimir Hraste to be a guest-artist in the garden of the Meštrović Gallery is special for the exceptional respect the artist feels towards the heritage of Ivan Meštrović and the space of the Meštrović Gallery, and because the guest at Meštrović’s is not exhibiting his existing works this time, but creates works conditioned by the scenery of Meštrović’s space. He creates them under the impression of the artist and his space. This does not mean an interpretation of Meštrović, or a new reading. This is an artistic and creative impulse driven by the invitation to be exhibited along the side of Meštrović. Hraste’s art is truly a “guest” at Meštrović’s, thus affecting the very core and the idea behind the cycle, which is that art is like a living man – it has the need to be compared, shown, contextualized, defined and appeared.MORE 2016POSTERS - WITNESSES OF MEŠTROVIĆ’S TIMEGallery Dulčić-Masle-Pulitika of Art Gallery DubrovnikAuthor of the exhibition: Lana Majdančić Associate at the exhibition: Tončika Cukrov Organization of the exhibition: Vesna Delić Gozze, Vesna Bulić Author of setting: Lana Majdančić Photography: Tanja Budimir Bekan Graphic design of the catalogue: Motiv dizajn Zagreb Graphic design of the invitation and banner: Marin Gozze The exhibition of Posters started at Atelier Meštrović in 2013. It was then called Posters from the Atelier Meštrović Holdings. The next venue was the Memorial Gallery of Ivan Meštrović in Vrpolje, and at the Split Photoclub during the same year (2014). The name of the exhibition was then changed into Posters: Witnesses of Meštrović’s Time. A jumbo-poster for the exhibition Ivan Meštrović: l'expression croate designed for Meštrović’s 2012 exhibition at Rodin Museum in Paris was posted for the first and only time in Split. The exhibition sequence was continued by exhibitions at Gallery Dulčić-Masle-Pulitika of Art Gallery Dubrovnik and in the Town Museum of Virovitica, both in 2016. 2016SCULPTURE AND NAKEDNESS – CORPOREALITY AND EROTICISM IN THE WORKS OF IVAN MEŠTROVIĆGlyptothek HAZU, Gallery I., Medvedgradska 2, ZagrebExhibition conception devised by: Zorana Jurić Šabić, Dalibor Prančević, Barbara Vujanović Exhibition curators: Zorana Jurić Šabić, Barbara Vujanović Exhibition design and spatial conception by: Filip Beusan Graphic design of the exhibition and catalogue equipment: Viktor Popović Author of the photography: Zoran Alajbeg It is seldom that Meštrović's works are observed through the prism of the meaning of naked body and erotic readings. The theme development can be traced through sculptures and drawings dating in the range from 1903 – 1946, and according to the motif and the period, the theme of melancholy and eroticism in the work of Ivan Meštrović can be observed through three readings, which will be intertwined in the exhibition narrative, whereas in the catalogue these will be presented separately, through three texts: - UNEASINESS IN THE BODY (TENSIONS IN REPRESENTATION: OLD AGE, EROTISICED PATHOS, DIFFERENT SEXUALITY, IMMEDIATE SENSUALITY) (Dalibor Prančević) – a whole that covers the wider time contingent of the first two decades of the 20th century, the selection includes works with various issues of nudity, aesthetic of the “ugly” and affirmation of the other. - BETWEEN TWO EROSES AND TWO AFRODITES – CLASSICAL CONCEPTION OF CORPOREALITY (Barbara Vujanović): this chapter deals with the works of Meštrović’s so-called “Zagreb period”, but also the earlier and later periods, in which it is possible to read the closeness to the ancient notion of the body, in accordance with the contemporary tendencies of European neoclassicism and other stylistic tendencies. - CONFLAGRATION OF THE SENSES (Zorana Jurić Šabić): statues of women (sculptures and drawings) from the 1920s, as well as many works dealing with mythological themes, are part of Meštrović’s opus saturated with intimate information and can be interpreted in substance by knowing the specific circumstances and emotional turmoil which the artist experienced, revealing thus his personal perception of sexuality. „All in all, this exhibition, this catalogue, with the three excellent contributions in which the numerous formal and iconological aspects of Meštrović’s nudes are considered da capo, are an important contribution to the understanding of one of the crucial places in the artist’s overall oeuvre. The huge range of different idioms in which the artist described the male and the female body might give us the right to claim that during his long career he did not change his styles, rather the manners of stylisation. The result of the fresh thinking of the authors of the exhibition is best expressed by the final sentence of the essay of Barbara Vujanović: ‘The idea that man represents the absolute measure of the world and the reality in which he lives, suggests the right to doubt, re-examine and relativise the truth that determines them.’ Nothing can better sum up the feelings and thoughts that we take away after carefully looking at the seventy-seven artworks included in this major exhibition.” (From Joško Belamarić’s review)MORE 2016IVAN MEŠTROVIĆ: STATUE OF BISHOP GREGORY OF NINMeštrović Gallery, Studio for Clay Modelling, SplitAuthor of exhibition concept, curator: Maja Šeparović Palada Artistic designer: Renata Waldgoni Graphic design of the exhibition and catalogue equipment: Rafaela Dražić The statue of the old-Croatian bishop Gregory of Nin (10th century) is the most famous public monument of Split, as well as the most famous Meštrović's public monument and the greatest in his opus. It is 7.58 meters tall and is masterly crafted and cast in bronze, and according to the author's wish it was placed at the Peristyle of Diocletian's Palace in 1929, for which the space was conceived as site-specific. Within the exhibition “Ivan Meštrović: Statue of Gregory of Nin in Split”, as well as the accompanying catalogue, we talk about the emergence and development of the idea of the monument (1919 – 1927), we cite the conceptual and political context of implementation that will dominate the artistic and visual performance from the very beginning, we present the circumstances of the installation of the monument (1929), its dismantling and removal (1941) and its re-placing at a different location (1954), we assume the reasons why Ivan Meštrović decided to give up the first variant of the monument whose bronze casts are in the public spaces of Varaždin and Nin. In the exhibition catalogue we synthesize the present knowledge and bring new knowledge. Through the used literature, archive materials, sketches and studies, as well as drawings and architectural drawings for the monument as well as photographic materials, this paper provides a comprehensive overview of the topic – primarily from the optics of the time in which the monument was created, and through the standpoint of Ivan Meštrović. Likewise, we provide data on the relationship between Meštrović and his contemporaries who were engaged around the statue of Gregory of Nin (dr. Ivo Tartaglia, Don Frane Bulic, dr. Ljubo Karaman and others). Within the exhibition “Ivan Meštrović: Statue of Gregory of Nin in Split”, five studies of the first and second version of the monument, in bronze and in plaster, are presented. The referential architectural and other drawings are presented as reproductions. The exhibits are from the collection of Meštrović Atelier in Zagreb and the Meštrović Gallery in Split, the Drniš City Museum, Ilok Town Museum and the Museum of Fine Arts in Split. Most of the museum material has so far not been presented to the public. The photographs used are in the City Museum of Split, the Conservation Department in Split, the Glyptotheque and the Archives of Fine Arts of HAZU in Zagreb, the Meštrović Gallery and Meštrović Atelier, and archival materials are stored at the University Library in Split, the Conservation Department in Split, Notre Dame University in the USA, the Meštrović Gallery and Meštrović Atelier, as well as in the State Archives and the “Karlo Grenc” Foundation in Split. During the exhibition, a screening of the film The Revealing of the Statue of Gregory of Nin by Radovan Ivančević (Filmoteka 16, Zagreb, 1976) takes place.MORE 2015THE BEST IN HERITAGE – INFLUENTIAL PROJECTSMeštrović Gallery, SplitOrganization of the exhibition: Vesna Bulić In cooperation with the organizers of the conference "The Best in Heritage" For 14 years in Dubrovnik, the international "The Best in Heritage" event, under the guidance of prof. Tomislav Šola, has been presenting the best in heritage – world examples of museum excellence. The last weekend in September, at inspirational locations in Dubrovnik, is reserved for the best of the world's best in the museum world – a presentation of projects awarded by a national or international vocational quality award in the previous year. Since 2015, the event is accompanied by the exhibition “The Projects of Influence”, and for the first time it presented authors and their projects that had the greatest influence and echo outside the conference in the space of Rector’s Palace. Throughout the year, around the world hundreds of prizes were awarded for outstanding museum, heritage and conservation projects. With this exhibition, valuable projects are approaching the professional audience, as well as the general public and heritage enthusiasts. Good projects are the best way to awaken creativity and stimulate new ideas. We hope that this exhibition will inspire creativity and new ideas, and perhaps lead to an award-winning project that will be presented at the event “The Best in Heritage” in the coming years. The exhibition “The Projects of Influence” was set up in the Studio for Clay Modelling of the Meštrović Gallery, and was open from 11 November to 11 December 2015.MORE 2015RODIN’S “MEDITATION” IN SPLITMeštrović Gallery, SplitProject authors: Catherine Chevillot, Andro Krstulović Opara Author and curator of the exhibition, professional set-up concept: Andro Krstulović Opara Artistic designer: Andro Krstulović Opara Text authors: Andro Krstulović Opara, Barbara Vujanović, Olja Jelaska Organization of the exhibition project: Sandra Grčić Budimir, Vesna Bulić, Andro Krstulović Opara Spatial concept and set-up design: Lea Aviani One of the most influential Rodin’s works – Meditation will be exhibited at the Meštrović Gallery in Split. The piece inspired Ivan Meštrović to create the marble Psyche in 1927, the central exhibit of his Gallery in Split. The two pieces, as well as a wealth of significant insights of the curatorial team that will point to the deep friendship between Rodin and Meštrović will be presented to the public. After the successful Meštrović exhibition at Musée Rodin in 2012, the lost letter from Rodin to Meštrović (which was purchased by the Ivan Meštrović Museums) in which he grants Meštrović’s request to give him a plaster cast of Meditation came to light. Because of the war and the death of Auguste Rodin the handing over of this important gift to Meštrović was not realized. A hundred years later, the piece in bronze is in Meštrović’s home. The aforementioned letter is displayed, and multimedia presentations and music rounded off this very important project.MORE 2015RODIN IN MEŠTROVIĆ’S ZAGREBAtelier Meštrović - Art Pavillion, ZagrebProject authors: Catherine Chevillot, Andro Krstulović Opara Authors and curators of the exhibition, professional set-up concept: Véronique Mattiussi, Barbara Vujanović Artistic designers: Andro Krstulović Opara, Jasmina Poklečki Stošić Organization of the exhibition project: Andro Krstulović Opara, Jasmina Poklečki Stošić, Sandra Grčić Budimir, Sanja Balentović, Vesna Bulić Spatial concept and set-up design: Mario Beusan In 2012, as part of the festival Croatie, la voici announcing Croatia’s joining the European Union in France, the exhibition Ivan Meštrović at Rodin’s: Croatian Expression (September 2012 - January 2013) was held at Musée Rodin in Paris. It was the second presentation of the Croatian sculptor in this eminent museum after the monographic exhibition in 1969. Following this successful collaboration, the Paris Museum offers its continuation – the second exhibition of Auguste Rodin after the one of 1968 at the Art Pavilion in Zagreb. The curators of Musée Rodin and the Ivan Meštrović Museums continue to explore the influence of Auguste Rodin on modern sculpture in Croatia, and thef works for this exhibition to be presented at the 2015 Exhibition at the Art Pavilion were chosen accordingly. It is about sixty sculptures, twenty drawings and twenty photographs. This selection includes the most famous works, masterpieces, such as Kiss, Thinker and others, with special attention being given to the links between the French sculptor and Croatian artists, among which Ivan Meštrović succeeded in establishing the most prominent relationship. In addition to the Art Pavilion, where the exhibition is set up, one of the pieces will be exhibited in the atrium of Atelier Meštrović. The piece is Rodin’s Monument to Victor Hugo (1890). Rodin has joined two muses to the sitting figure of the poet – Tragic Muse and Inner Voice, or Meditation. Meštrović asked Rodin to give him the latter, and the older artist agreed to, but the giving was not realized. Meditation will be exhibited at the Meštrović Gallery in Split as part of the exhibition Rodin’s “Meditation” in Split. This project, specifically designed for Zagreb, the true centre of sculpture art in this part of Europe, would confirm the importance of the Croatian metropolis as the European cultural centre through cooperation of the Ivan Meštrović Museums and the Art Pavilion with the French partner. The exhibition itself will surely attract a very large number of national and international visitors due to the artist’s popularity.MORE 2015DECODING MEŠTROVIĆMeštrović Gallery, Studio for Clay Modelling, SplitExhibition author and curator: Zorana Jurić Šabić Graphic design of the exhibition and catalogue: Josip Rajević Video animation: Dragan Đokić Within Meštrović architectural opus which counts more than ten architectural achievements, the Church of the Most Holy Redeemer is a building of intimate character that stands out with its unique iconography that reveals very personal beliefs of its builder. Meštrović's peculiar viewpoint can be seen from the dome decoration sketches, whose painting was unfortunately not realized and their complete iconographic study was missing. So far, we only knew that he wanted to pay tribute to the founders of the great world religions in painting the dome. Since the early Christianity, the dome was reserved for displaying the celestial vault, and its base being supported by the evangelists, apostles, or prophets – the foundations of religion. Meštrović adheres to the metaphorical representation of the heavens, but goes beyond the boundaries of one religion. The exhibition of drawings – sketches for decorating the dome and their iconological study show that it is not just about prophets, but also about ancient wise men, writers and artists, even his own character. Meštrović’s reflection on art as a reflection of divine inspiration and the artist as a prophet led him to set up his own self-portrait on the vault of the Meštrović Family Mausoleum in Otavice among the characters representing some of the most important bearers of world cultures and religions. Meštrović’s humanism and tolerance are the key to reading this complex programme. It is well known that Meštrović deeply contemplated complex systems of beliefs seeking all that connects them. The proof can be found in the contents of his library, which is in large part devoted to different cultures and religions, and numerous volumes on whose margins he often made a record of his comments. Just as his iconographic choice unites different cultures and religions, the artistic design of interior reliefs and plastics reveals unexpected artistic role models, such as ancient Egyptian art (in the reliefs of the Evangelists) or Buddhist sculptures (Eternally Crucified). Meštrović drew his inspiration directly on his journey to Egypt, Greece and Jerusalem (1927), at the time when he contemplated the shaping of the church in Otavice. The exhibition Decoding Meštrović reveals the artist’s unrealized ideas and gives new insights into the Meštrović Family Mausoleum in Otavice which is not envisioned just as the place of eternal serenity of his family, but also as a tribute to the greatest spiritual and art teachers that goes beyond geographical, cultural and religious boundaries and becomes a temple of art, religion and tolerance. Zorana Jurić Šabić is the author of the exhibition, texts in the catalogue and the art exhibition. The author of photographs is Zoran Alajbeg, and the graphic design of the exhibition and the exhibition catalogue is signed by Josip Rajević (Studio 9). The video animation with a reconstruction of Meštrović’s unfinished project is an integral part of the exhibition, and the author, editor and cameraman of the video piece is Dragan Đokić (Studio Baranda).MORE 2015MEŠTART: ANA KUZMANIĆ – DIALOGUE I, II AND IIIAtelier Meštrović, ZagrebProject author, exhibition curator: Barbara Vujanović Artistic designers: Ana Kuzmanić, Barbara Vujanović Graphic design: Viktor Popović The MEŠTART programme started in 2009 at Atelier Meštrović in Zagreb with the aim of updating and re-reading the works of Ivan Meštrović through contemporary art expressions. The creativity of Ivan Meštrović can not be experienced without the prism of personal experience: his, but also of the person who interacts with him. Different experiences of the artist are materialized in the works and the power of their expression reaches the observer irrespective of his knowledge of certain life, social and other circumstances that caused them. One of the most prominent and most common experiences reflected in all of Meštrović’s phases is the experience of motherhood, the relationship between mother and child – whether he is contemplating it through the image of his own mother, the mother of his children or the Mother of God. Ana Kuzmanić, by vocation academic painter, by interest author of a wide range of media, recognized a universal and deeply personal closeness to this aspect of the sculptor’s work through direct experience of herself as a new mother. Intrigued by Meštrović’s projections of motherhood, she decided to awaken the concatenation of these experiences, which are both eternal and the same, but at the same time ephemeral, unrepeatable. She depicted her own moments on that trace, emphasizing it with the aspect of immateriality. Her dialogue with the artist of a different generation, media and gender is realized in the diametrical contrast of her videos, light and sound works, and women’s experience and its solid matter, figurative form and male position. Ivan Meštrović transformed the real women in his surroundings into Madonnas, mythical beings and extensive concepts like the notion of homeland or history. Ana Kuzmanić enters into a dialogue with the contours of religious, ideological, gender and other constructions of motherhood reflected in Meštrović’s work and puts them in the context of modernity. (From the foreword by Barbara Vujanović) Ana Kuzmanić was born in 1980 in Split. In 1999 she enrolled in Restoration and Preservation of Art at the Academy of Fine Arts, University of Zagreb. In 2001 she enrolled in Painting at the same Academy. In 2006 she graduated under the mentorship of prof. Igor Rončević. In 2007 she enrolled in postgraduate studies at the University of Edinburgh, the Edinburgh College of Art. Since 2011, he has acted as co-founder and member of the Eastern Surf international group. Since 2009 she has been employed as an assistant at the Faculty of Civil Engineering, Architecture and Geodesy, University of Split.MORE 2014POSTERS - WITNESSES OF MEŠTROVIĆ’S TIMEFotoklub, SplitAuthors of the exhibition: Lana Majdančić, Curator at Atelier Meštrović in Zagreb Tončika Cukrov, Curator at the Museum Documentation Centre With this exhibition, the Ivan Meštrović Museums and Fotoklub Split, under the auspices of the Ministry of Culture of the Republic of Croatia and the City of Split, present the best achievements of designers and photographers who have informed the public about the art of Ivan Meštrović and the events that promoted it to the audience in Split. The popularization of the posters began just over a hundred years ago, but the need for transmitting a short and clear message to the public has existed since antiquity when such notices were written on wooden boards or walls. The role of targeted and concise promotional messages is taken over by these pieces of paper whose basic task is to display a product or announce an event using essential information reduced to stylized and reduced elements with impressive colour effects. Museum posters inform the public about an event at the museum, most of the time aboout exhibitions, and depending on content they are adapted to the need to promote a specific cultural matter. Museum posters develop awareness of artistic, historical, aesthetic, social and technical elements of artistic events. They are especially superior in the quality of their artwork. The exhibition about posters, which will have its own poster, shows the valuable accomplishments of great designers and photographers focused on the art of Ivan Meštrović, and points out to another role of the posters – the role of witnesses of time. Among the designers who displayed the works of Meštrović on their posters and shaped the visual identities of both individual exhibitions and institutions themselves, the ones that need emphasizing are certainly Ivan Picelj and Boris Ljubičić for Atelier Meštrović, and Žana Siminiati, Gorki Žuvela and Viktor Popović for the Meštrović Gallery. The exhibition also includes authors Jure Amižić, Libor Fára, Mitja Koman and Slavoljub Lacković. This exhibition certainly opens the question of new needs that arise in communication with the audience and the new requirements put before the poster as a medium by the media culture. Graphic design of catalogues, posters and invitations is signed by the studio Motiv dizajn. The texts were written by the authors of the exhibition, Lana Majdančić and Tončika Cukrov.MORE 2014MARIJA UJEVIĆ GALETOVIĆ AT MEŠTROVIĆ’SMeštrović Gallery, SplitExhibition curator, author of set-up and film: Andro Krstulović Opara Co-author of exhibition set-up: Vesna Bulić Cameraman and film editor: Milan Latković Renowned artist Marija Ujević Galetović, an academic sculptor and a retired professor of the Academy of Fine Arts, a regular member of HAZU, exhibits her sculpture and painting works at the Meštrović Gallery in Split. The exhibition "Marija Ujević Galetović at Meštrović’s" was organized as part of the 60th Split Summer. After previous successful exhibitions of Zlatko Bourek in 2010 and Matko Trebotić in 2011, Dalibor Stošić in 2012 and Vasko Lipovac in 2013, this year the Meštrović Gallery continues with the cycle “Artist at Meštrović’s” by displaying works of Croatian sculptors who establish a kind of a dialogue in the museum of a sculptor, Ivan Meštrović, testing their opus with Meštrović’s aesthetics and at the same time exposing the preoccupations of contemporary sculpture in the context of the present to the public. Once again the garden of the Meštrović Gallery became the meeting place for two arts whose concordances blend in a miraculous playfulness of shapes, shadows, reflections … This anticipated joy that arises through dialogue of the two arts was an incentive for this challenging project. The significance of this exhibition also lies in the fact that this is the first solo exhibition of Marija Ujević Galetović before the Split audience. The complex task of recognizing and facilitating the dialogue between the art of two artists, and especially between the restrained academic excellence of Meštrović’s work and the playful and witty art of Marija Ujević Galetović, is the biggest challenge for the curator, as well as for the visitors who are offered a critical approach and analysis of the demanding setting in the Garden of the Gallery and Meštrović’s Clay Studio. The slimness and elegance of her “Cats” corresponds to Meštrović’s elongated columns and gracefulness of “Distant Chords”. The voluminosity of acts, such as “Avocado” or “Act” – dancer and Mary’s wittiness that is so expressly retained in them, fit perfectly into the company of Meštrović’s “Persephone”. The monumentality of the “Wave”, the largest exposed composition in the central plateau of the garden, is especially manifested by gradually raising the point of view of spectators who are climbing the front staircase when a beautiful view of the garden and on the grid of the main staircase in the background of the “Wave” opens. The fragile porcelain “Franz Kafka” and exquisitely evocative bronze portrait of “Matoš” testify of her skill of modelling in a variety of materials, but even more about the artist’s preoccupations and the subtleties that adorns her work. Her paintings are particularly interesting because she took up painting only recently. She depicts the sea in three of her paintings, and does not attempt to confront it, but rather approaches it with great respect, again as a result of her experiences in the open sea where she spent almost half of her life. It is no wonder that, finishing the work on her “Self-portrait” in glittering carrara, she borrowed two dark pebbles that rested on the beach and inserted them as eyes in her character. Marija painted her sea motifs in Zagreb, far from the sea, but the wavy sea surface and the deep blue that she brought to the canvas were vigorously preserved in her “eyes of the sea.” The exhibition is accompanied by a catalogue designed by Viktor Popović, and the person behind the master photographs is the art photographer Zoran Alajbeg. The texts were written by art historians Vesna Bulić and Andro Krstulović Opara, who is the author and producer of the film that forms an integral part of the exhibition, and which presents the work of Marija Ujević Galetović, as well as the creation of this exhibition. The cameraman and editor of the film is Milan Latković, award-winning designer of visual communications from “Kreativna agencija”.MORE 2013MEŠTROVIĆ AND MILLESAtelijer Meštrović, ZagrebInternational project of museum cooperation Project authors: Andro Krstulović Opara, Director of the Ivan Meštrović Museums Onita Wass, Director of the Millesgården MuseumThe Croatian-Swedish project Meštrović-Milles, organized by the Ivan Meštrović Museums and Millesgården Museum, is based on the exchange of exhibitions of the works of two great modern European sculptors and contemporaries Ivan Meštrović (1883 - 1962) and Carl Milles (1875 - 1955). The two contemporaries, working on opposite sides of the European continent, marked the European sculpture of the first half of the 20th century, keeping a consistent figurative expression. In the similar life and artistic path of the two artists, we notice stops in the same European and American cities, similar thematic and stylistic preoccupations. Both are responsible for shaping the public spaces of many cities, primarily in their own countries, Croatia and Sweden, but also beyond the borders of their common continent, particularly in the USA. The authors of the project are Andro Krstulović Opara, Director of the Ivan Meštrović Museums and Onita Wass, Director of Millesgården Museum. The project was started on 16 April 2013 with a Milles exhibition at Meštrović’s, prepared by author Evelina Berglung, Curator at the Swedish Millesgården Museum, in the artist’s former home and work space, Atelier Meštrović in Zagreb. The opening ceremony was held in the presence of His Majesty, King Carl XVI Gustaf and Queen Silvia, and Mr. Ivo Josipović, President of the Republic of Croatia and prof. Tatjana Josipović, PhD. For the wider public, the exhibition opened a day later by a lecture prepared by Onita Wass. The exhibition, which closed on 16 June, showed a great interest of the media and positive reactions of the expert public. The project was continued with a Meštrović exhibition at Milles’ (18 June – 18 August 2013), i.e. at the Millesgården Museum in Stockholm, the Swedish artist’s former life and work space. The authors of the exhibition, Zorana Jurić Šabić, Curator at the Meštrović Gallery in Split, and Barbara Vujanović, Curator at the Meštrović Atelier, selected ten sculptures, five from each museum, which give an overview of Ivan Meštrović’s art through various stages of the artist’s creation, starting from student works (1906) to later examples from 1946. The emphasis was on the speciality of Meštrović’s artistic expression and sovereign mastery over various materials (bronze, stone, wood). Stylistic and thematic links that can be followed in all phases of the works of the two sculptors were highlighted, especially the theme of music and dance. Both exhibitions were accompanied by bilingual catalogues, designed by Viktor Popović.MORE
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Izložbe 17. 07. 2018. -9. 09. 2018UMJETNIK KOD MEŠTROVIĆA: Frano MissiaGalerija Meštrović, SplitAutorica izložbe i kataloga Vesna Bulić Baketić Tekstovi u katalogu Guido Quien Vesna Bulić Baketić Likovni postav izložbe Vesna Bulić Baketić Grafičko opremanje izložbe Josip Rajević, Studio 9 Tehnička realizacija Marko Borović Marko Bradarić Nediljko Pleić Grafičko oblikovanje i priprema za tisak Josip Rajević, Studio 9 Fotografije Zoran Alajbeg Izložba Umjetnik kod Meštrovića: Frano Missia uvid je u dio opusa Frane Missije, slikara koji se okušao i kao kipar. Gostovanje u malom prostoru Atelijera za glinu u Galeriji Meštrović fokusiranje je na samo dva segmenta među različitim izričajima kojih se Missia dotakao tijekom svog umjetničkog i životnog puta. Koloristički pejzaži, najčešće rodnoga kraja, te kasno okretanje prema modeliranju putenih žena kakve je do tada prikazivao akrilikom na svojim platnima velikih dimenzija. Izložba je poput zavirivanja, tek laganog djelomičnog otvaranja vrata u jedan svijet pun kolorističke ekspresije, poznatih nam i nepoznatih veduta često taknutih ljudskom prisutnošću. Pozivnica u Franin svijet koji uz latentne melankolije i promišljanja o neprihvaćanju, prije svega nosi neopisivu životnu radost i nepresušne emocije prema lijepome. „Pejzaži predstavljeni na izložbi Umjetnik kod Meštrovića 2018. mahom su ostvareni u novome mileniju, nastali nakon 2002. godine. Njegovi stariji pejzaži nastajali tijekom šezdesetih i sedamdesetih nose geometrizam usmjeren apstraktnoj poetici temeljenoj na američkom apstraktnom ekspresionizmu, ali kako je vrijeme više odmicalo i vedute su se sve više odmicale od apstraktnih formi te se kretale prema kolorističkoj ekspresiji i mekanim formama. Unatoč crtačkoj vještini i snažnom uvjerenju da je crtež u osnovi svega, Frano neće otići u pejzažni realizam. Zadržat će mističnost i bajkovitost svojih mjesta utječući tako na znatiželju promatrača koji se konstantno pita radi li se tu o Franinu dojmu ili nestvarnosti karipskoga sutona. Unatoč privlačnosti stranih veduta i sveprisutne potrebe za kretanjem i istraživanjem svijeta, dalmatinski pejzaži i posebni kadrovi splitske prirode otkrivaju se kao esencijalni i prirođeni. Prikazujući Dalmaciju Frano kombinira prikaz stvarnog krajolika s osjećajem koji u njemu evocira topli mediteranski zrak dok struji nad kadrom odabrane uvale. Iako smo u sferama emocionalnog i subjektivnog s nevjerojatnom sigurnošću mogu ustvrditi da akrilom pokušava uhvatiti osjećaj sunčevih zraka, pjev cvrčaka i miris borovine koji do njega dopire dok selektira vedutu koju će ovjekovječiti na platnenom kvadratu. Često odlučuje svoj krajolik obogatiti i ljudskom prisutnošću bilo da je riječ o kupačici, više njih ili mitološkom biću koje je svoj trenutak predaha potražilo upravo u krajoliku Franina djetinjstva. Borovi, čempresi i drugo dalmatinsko raslinje svojom upečatljivošću provocira snažnu kolorističku paletu, ali ipak kontroliranu i zaustavljenu na vrijeme da ne zadre u fovistički žar. Novi milenij donio je i okušavanje u skulpturi gdje su njegove Willendorfske Venere s platna dobile novu dimenziju u glini. Na tragu bazičnih prethistorijskih ljudskih stremljena još od najranijih pokušaja izražavanja u skulpturi, Frano također svoje ženske likove vidi kao putene Venere izraženih ženskih atributa vezanih uz plodnost. Iako se divio Henryju Mooreu, Franine skulpture nagog ženskog tijela nisu skrenule prema stiliziranju, nego su u potpunosti nalijegale na samo ponešto uvećanu realnu sliku bogatih ženskih proporcija. U pozama odmaranja, raznih emocionalnih stanja ili vježbanja, žena nije samo objekt ili studija proporcija nego je ispunjena karakterom trenutka.“ (V. Bulić Baketić, iz kataloga izložbe)VIŠE 13. 02. 2018. -20. 05. 2018Ivan Meštrović: Telesnost in erotika v kiparstvuCankarjev dom, Ljubljana, SlovenijaOrganizacija izložbe: Cankarjev dom, Ljubljana Muzeji Ivana Meštrovića Autori izložbene koncepcije: Zorana Jurić Šabić Dalibor Prančević Barbara Vujanović Kustosi izložbe: Zorana Jurić Šabić Barbara Vujanović Nina Pirnat Spahić Autor likovnog postava: Filip Beusan Nakon iznimno uspješne izložbe “Skulptura i nagost – tjelesnost i erotika u djelima Ivana Meštrovića“ koju su Muzeji Ivana Meštrovića priredili 2016. godine u Gliptoteci HAZU u Zagrebu, izložba pod nazivom „Ivan Meštrović – telesnost in erotika v kiparstvu“ predstavljena je slovenskoj publici u Cankarjevom domu u Ljubljani. Na izložbi je prikupljeno više od pedeset djela, skulptura i crteža iz privatnih i javnih hrvatskih zbirki. Meštrovićev opus je u sklopu izložbe promatran kroz prizmu značenja nagoga tijela i erotskih čitanja, a razvoj teme moguće je pratiti na skulpturi i crtežu u rasponu 1903. – 1946. godine. Prema motivu, kao i razdoblju, temu nagosti i erotike u djelu Ivana Meštrovića možemo promatrati kroz tri čitanja, isprepletena u izložbenom narativu. Cjelina pod nazivom „Nelagoda tijela“ (Dalibor Prančević) obuhvaća širi vremenski kontingent prva dva desetljeća 20. stoljeća, te uključuje radove s različitim problematikama nagosti, estetike „ružnoga“ i afirmacije drugoga. Poglavlje „Između dva Erosa i dvije Afrodite“ (Barbara Vujanović) obrađuje djela Meštrovićeva tzv. zagrebačkog razdoblja, ali i ranija te kasnija razdoblja, u kojima je moguće iščitati bliskost s antičkim poimanjem tijela, a sukladno suvremenim tendencijama europskoga neoklasicizma i ostalih stilskih tendencija. Treća cjelina „Požar čula“ (Zorana Jurić Šabić) pristupa temi iz biografskog aspekta te promatra ženske aktove (skulpture i crteže) iz 2. i 3. desetljeća. Ovaj dio Meštrovićeva opusa zasićen je intimnim podacima te se može sadržajno interpretirati poznavanjem specifičnih okolnosti i emocionalnih previranja unutar kojih se umjetnik našao, otkrivajući tako njegovo osobno poimanje spolnosti. „Danas, trideset i pet godina nakon manje izložbe kojom se obilježila stogodišnjica rođenja Ivana Meštrovića, umjetnik se opet vraća u ljubljanski Cankarjev dom – izložbom aktova s novim pogledom na jednu od prevladavajućih tema njegove umjetnosti. Neosporna je činjenica da je tijekom svoje plodne umjetničke karijere Meštrović majstorski isklesao neke od najljepših ženskih aktova u kiparstvu dvadesetog stoljeća, kojima je izrazio svu raskoš svoje mediteranske čulnosti. Promatrajući kipara iz suvremenog kuta i neopterećeni njegovom slavom, trojica hrvatskih povjesničara umjetnosti nove generacije istražili su teme tjelesnosti i erotike u djelima Ivana Meštrovića. Njihov vrijedan uvid značajan je doprinos znanstvenom istraživanju ove teme, jer se Meštrovićevim djelima rijetko prilazilo iz perspektive nagoga tijela i njegovih erotskih čitanja. U raspravama se istražuju razni formalni i ikonološki aspekti Meštrovićevih aktova, kako muških tako i ženskih, ispitujući višestruke konotacije golog tijela i erotskih elemenata u skulpturi i crtežu, nastalima u duljem vremenskom razdoblju: od umjetnikovih studentskih dana u Beču do razdoblja nakon Drugog svjetskog rata.“ (Nina Pirnat Spahić, iz predgovora izložbenog kataloga) Više o izložbi: https://www.cd-cc.si/sl/kultura/razstave/telesnost-in-erotika-v-kiparstvuVIŠE 26. 01. 2018. -14. 03. 2018Ivan Meštrović i zavičajGalerija Meštrović, Split(Nakon izlaganja u Galeriji Meštrović, izložba će biti predstavljena u osnovnoj školi u Otavicama od 17. do 18. ožujka 2018.) Autorica izložbe: Zorana Jurić Šabić Grafičko oblikovanje i opremanje izložbe: Josip Rajević, Studio 9 Video-animacija: Dragan Đokić, Studio Baranda Izložba „Ivan Meštrović i zavičaj“ istražuje i dokumentira umjetnikovu povezanost sa zavičajnim Otavicama i njegovo umjetničko djelovanje u rodnom kraju, s naglaskom i sveobuhvatnom obradom remek-djela Meštrovićeve sakralne arhitekture: Crkve Presvetog Otkupitelja – grobnice obitelji Meštrović. Crkvu je Meštrović dovršio u prosincu 1930. godine, a arhiv o izgradnji, arhitektonski nacrti, crteži za dekoraciju kupole te gipsani portreti za vratnice objekta čuvaju se u Muzejima Ivana Meštrovića. Meštrovićevu povezanost sa zavičajem možemo promatrati i tumačiti na više interpretacijskih razina, ponajprije slijedeći umjetnikovu biografiju, ali i sagledavajući umjetnička ostvarenja nastala u zavičajnim Otavicama (skulpture, slike i arhitektura). Osim toga, unutar teme istražujemo izvore umjetnikova svjetonazora uvjetovana prilikama i okruženjem u kojemu je odrastao. Isto tako, ukazujemo na dvostrano prožimanje utjecaja (i poticaja) između umjetnika i njegova zavičaja, kojemu je upravo zahvaljujući Meštroviću i njegovim graditeljskim ostvarenjima (obiteljska kuća, osnovna škola, antimalarična stanica i obiteljska grobnica) značajno izmijenjen izgled te unaprijeđena infrastruktura tog malenog sela u Dalmatinskoj zagori. Zato se izložbom stavlja naglasak na Meštrovićevu arhitektonsku ostavštinu te afirmira njegovo djelovanje kao arhitekta, ujedno koristeći suvremene metode prezentacije: film i video-animaciju. Sveukupno, izložba obuhvaća 14 skulptura u kamenu, bronci i gipsu te dvije slike i dva crteža. Djela dolaze iz fundusa Galerije Meštrović u Splitu, Atelijera Meštrović u Zagrebu i Gradskog muzeja Drniš, kao i iz vlasništva nasljednika Ivana Meštrovića. Osim u splitskoj Galeriji Meštrović, izložba će biti prikazana i u Otavicama, u novobnovljenom prostoru nekadašnje osnovne škole, objektu izgrađenom 1931. godine zalaganjem i marom Ivana Meštrovića te prema njegovim idejnim osnovama.VIŠE 24. 07. 2017. -5. 11. 2017Ivan Meštrović: Jadranska epopejaMeđunarodni kulturni centar, Krakow, PoljskaU suradnji s Muzejima Ivana Meštrovića Atelijer Meštrović, Zagreb Galerija Meštrović, Split Pod pokroviteljstvom predsjednika Republike Poljske, Andrzeja Dude, i predsjednice Republike Hrvatske, Kolinde Grabar Kitarović Autori i kustosi izložbe Barbara Vujanović, viša kustosica Atelijera Meštrović Łukasz Galusek, voditelj Izdavačke kuće Međunarodnog kulturnog centra Autori tekstova u katalogu: Maciej Czerwiński, Łukasz Galusek, Dalibor Prančević, Barbara Vujanović Izložba Ivan Meštrović: Jadranska epopeja prvo je predstavljanje hrvatskoga kipara poljskoj javnosti. Također, riječ je o prvom predstavljanju hrvatske umjetnosti u Poljskoj u tim razmjerima. Retrospektivom će se dati uvid u život i djelo Ivana Meštrovića od njegovih studentskih, bečkih ostvarenja do djela koje je oblikovao netom nakon iskustva Drugoga svjetskog rata. Izložba predstavlja kiparski, crtački, grafički i arhitektonski opus, kao i sudjelovanje umjetnika u dramatičnim događajima u domovini i Europi u prvoj polovici prošloga stoljeća. Pedeset umjetničkih djela odabranih za izložbu sabrana su iz Galerije Meštrović u Splitu, te Atelijera Meštrović i Gliptoteke HAZU iz Zagreba. Posuđena su i djela u vlasništvu nasljednika Ivana Meštrovića. Izbor djela svjedoči široki spektar materijala u kojima je stvarao, kao i glavne tematske i stilske značajke koje su obilježile Meštrovićev rad. Poseban se naglasak stavlja na njegovu ulogu u promišljanju javnoga prostora, u kojem je ostvario brojne spomeničke projekte koji su predstavljaju i na ovoj izložbi (čikaški Indijanci, splitski Grgur Ninski, Povijest Hrvata). Poveznica s poljskom povijesnom i kulturnom sredinom ostvaruje se izlaganjem građe vezane uz neostvaren projekt za Spomenik maršalu Piłsudskom za Varšavu, čiju je realizaciju onemogućio Drugi svjetski rat. Izložbu prati obimni katalog na poljskom i engleskom jeziku, a njezinim povodom priredit će se i predavanja na temu Ivana Meštrovića, hrvatske kulture i povijesti. Ispričavamo se zbog nepotpunosti postava. Zbog posudbe djela za ovu izložbu u stalnom postavu nedostaju pojedine skulpture, što je naznačeno uvećanim legendama na pripadajućim mjestima.VIŠE 18. 07. 2017. -30. 09. 2017UMJETNIK KOD MEŠTROVIĆA: Enca KovačevićGalerija Meštrović, SplitAutorica izložbe: Vesna Bulić Baketić Recenzenti: Marin Ivanović Biserka Rauter Plančić Autor fotografije: Zoran Alajbeg Grafičko oblikovanje kataloga, pozivnice i plakata: Tin Burić, Lucian Kovačević Produkcija, videa: Televizija Kanal 5 Tehnička realizacija: Marko Borović, Marko Bradarić, Nediljko PleićSlikarica Enca Kovačević rođena je 15. X.1953. godine u Splitu, u obitelji otočnih korijena. Otac joj je bio iz Staroga Grada na Hvaru, a majka iz Sutivana na Braču. Nakon završene osnovne škole upisuje se na splitsku Školu primijenjene umjetnosti. Studij slikarstva nastavlja u rodnom gradu, na Pedagoškoj akademiji, u klasi profesora Ante Kaštelančića, gdje je diplomirala 1976. godine. U članstvo Hrvatskog društva likovnih umjetnika - Split primljena je 1980. godine. Danas je voditeljica slobodnih aktivnosti u dječjem domu Maestral, gdje je također osnovala i vodila likovnu koloniju koja je okupljala domaće i inozemne umjetnike. Rani radovi odaju mediteransku bazu njezina podrijetla i utjecaj profesora iz čije je klase krenula. Kasnije nastojanje za otkrivanjem vlastita likovnoga govora dovodi je do vrlo individualizirane palete i specifične lirske figuracije s elementima apstrakcije. “Upravo je splitska slikarica Enca Kovačević svojim nježnim, ali opet snažnim likovnim izrazom, podsjećanjem na neka druga vremena koja su talent mjerila urođenom sposobnošću izražavanja emocija, stvarnosti, snova i mašte pomoću istančanih likovnih tehnika, zavrijedila priliku da gostuje kod Meštrovića. Baš poput njega koji je svoj klasični figurativni likovni izraz nastavio slijediti bez obzira na različite avangardne stilove i pravce koji su se pojavili i zaživjeli tijekom 20. stoljeća, tako i Enca Kovačević ostaje vjerna svojoj romantičnoj figuralnosti. Kontrapunkt Ence i Meštrovića posebno je zanimljiv jer ističe ključne osobine dviju na prvi pogled potpuno različitih umjetnosti, suprotstavljajući ih toliko da se na kraju zapravo približavaju. Meštrović je prvenstveno kipar, Enca je slikarica. I kad se okušava u slikarstvu, Meštrovićeva je paleta tamna, a likovi robusni; Enca njeguje nježne pastelne premaze. Meštrović ženi prilazi kao sin, suprug, ljubavnik i otac, Enca ženi prilazi kao žena ženi. Meštrović modelira prema modelu, Enca slika iz svoje memorije. Meštrović je snažni, tvrdoglavi sudionik kulturnih i političkih zbivanja svoga vremena, Enca samozatajno živi svoju društvenu ulogu i svoju umjetnost.” (V. Bulić Baketić, iz kataloga izložbe).VIŠE Cijela 2017. protječe u znaku obilježavanja stote godišnjice smrti francuskoga kipara Augustea Rodina (1840. Najvažniji događaj svakako je Stogodišnja izložba, koncem ožujka otvorena u pariškom Grand Palaisu. Ekipa stručnjaka, predvođena ravnateljicom Musée Rodin Catherine Chevillot i umirovljenom ravnateljicom francuskog Instituta za povijest umjetnosti Antoinette Le Nornand-Romain, osmislila je veliki izložbeni i izdavački projekt u čijem je žarištu Rodinov utjecaj na moderno kiparstvo te na druge umjetničke medije, u Francuskoj te u ostatku svijeta, od konca 19. pa sve do početka 21. stoljeća. Na dva kata postavljena je opsežna izložba koja objedinjuje tristotinjak Rodinovih djela, ali i autora kao što su Antoine Bourdelle, Georges Braque, Pablo Picasso, Henri Matisse, Jean-Baptiste Carpeaux, Constantin Brâncuși, Käthe Kollwitz, pa sve do Georga Baselitza i Tracey Emin. Za hrvatsku je povijest umjetnosti posebno bitna činjenica da su izložena i dva djela Ivana Meštrovića – skulpture Zdenac života (Beč, 1905) i Starica (Pariz, 1908), obje iz fundusa zagrebačkoga Atelijera Meštrović. Rezultat je to suradnje Musée Rodin i Muzeja Ivana Meštrovića, započete još 1960-ih s Meštrovićevom izložbom u Parizu te Rodinovom u Zagrebu, a ponovno aktualizirane predstavljanjem hrvatskoga kipara u Musée Rodin (2012. – 2013.), Rodinovom retrospektivom u Umjetničkom paviljonu u Zagrebu te malom izložbom u splitskoj Galeriji Meštrović (2015.).VIŠE The Roaring Twenties in Italy.“Muzej San Domenico, Forlì, ItalijaDjela Ivana Meštrovića bit će izložena na izložbi „ART DECO. The Roaring Twenties in Italy.“ koja će se održati u muzeju San Domenico, Forlì, u Italiji u razdoblju od 11. veljače do 18. lipnja 2017. godine. Izložba je posvećena stilskom razdoblju 3. desetljeća prošlog stoljeća, internacionalnom stilu Art deco, koji je svoju primjenu pronašao u različitim umjetničkim pojavama - arhitekturi, vizualnim umjetnostima, filmu, kazalištu, književnosti, modi i glazbi. Ovakva sveobuhvatna kulturološka izložba, koja uključuje remek-djela razdoblja, od skulpture i slikarstva do primijenjenog dizajna, po prvi puta je priređena i predstavljena u Italiji, uključujući remek-djela hrvatskog kipara Ivana Meštrovića, kao što su Vestalka (1917.), Djevojka s violinom (1922.) i Kontemplacija (1924.). Djela Ivana Meštrovića iz fundusa Galerije Meštrović u Splitu i Atelijera Meštrović u Zagrebu mogu se vidjeti na izložbi „Izazov moderne. Zagreb – Beč oko 1900.“ koja se održava u muzeju Galerija Klovićevi dvori u Zagrebu od 9. veljače do 7. svibnja 2017. Izložba prikazuje stotinjak ključnih djela austrijskih i hrvatskih umjetnika koji su na prijelazu iz 19. u 20. stoljeće formirali novi umjetnički izričaj u slikarstvu, kiparstvu i arhitekturi u okviru europskog fin de siècla. U ovome pregledu neizostavan je rani opus Ivana Meštrovića koji je neka od svojih najvažnijih remek-djela ostvario za vrijeme studija na bečkoj Akademiji. „Izložba Izazov moderne: Zagreb – Beč oko 1900.“ predstavit će po prvi put istodobno djela zagrebačkih i bečkih protagonista secesije na području slikarstva, skulpture i arhitekture. Na izložbi će se tako moći usporediti djela Gustava Klimta, Kolomana Mosera, Karla Molla s djelima Vlahe Bukovca, Tomislava Krizmana, Ivana Meštrovića i mnogih drugih. Rječite će biti usporedbe bečke i zagrebačke arhitekture kroz ostvarenja Otta Wagnera, Josefa Hofmanna, Adolfa Loosa te Vjekoslava Bastla, Aladara Baraniaya ili Viktora Kovačića. Izložba će pokazati uspon nove generacije slikarica koje postaju ravnopravni sudionici modernih promjena. Antonija Krasnik i Nasta Rojc učile su slikati u Beču, dok je Slava Raškaj također stvarala pod uplivom bečke secesije. Kroz navedene umjetničke grane obrađene su teme zajedničke bečkoj i zagrebačkoj kulturi na prijelazu stoljeća: teme o smislu čovjekova postojanja, krajolici prožeti umjetnikovim subjektivnim doživljajem prirode, kavane kao novi forumi razmjena ideja te tema žene kao ultimativnog motiva razdoblja. Razdoblje gesamtkunstwerka karakterizira način života prožetog umjetnošću koja objedinjuje sve segmente čovjekova života: od interijera u kojem boravi do eksterijera koji ga okružuje.“ (Vugrinec, P., www.gkd.hr)VIŠE 17. 10. 2016. -31. 12. 2016MEŠTART: Tanja Ravlić -' Dolazak'Atelijer Meštrović, ZagrebAutorica projekta, kustosica izložbe: Barbara Vujanović Autorice likovnog postava:  Tanja Ravlić, Barbara Vujanović Grafičko oblikovanje: Viktor PopovićProgram MEŠTART započet je 2009. godine u Atelijeru Meštrović u Zagrebu u cilju aktualizacije i novoga čitanja opusa Ivana Meštrovića kroz suvremene umjetničke izričaje. I u umjetnosti i u životu promjene i mijene bilježimo poistovjećujući ih s fazama. Njima omeđujemo pojedine vremenske segmente, naglašavajući početak, kao ishodište novoga razdoblja, odnosno kraj, kao njegov svojevrsni rezime i zaključak. Kao i kada sagledavamo pojedino umjetničko djelo, osvrćući se na vlastiti život, skloni smo ga valorizirati te analizirati. Ponekad ćemo ga čak i konzervirati, nekad smo ga skloni izložiti na uvid drugima, ili pak pohraniti u skrivene prostorije unutarnjih „depoa“. Umjetnicima se vrlo često djelomično preklapaju ili potpuno isprepliću životna i kreativna razdoblja, a iskustva se materijaliziraju u njihovim djelima. Na primjer, „zagrebačko razdoblje“ Ivana Meštrovića, iznimno plodan period stvaralaštva, oivičen poslijeratnom situacijom Velikoga rata, i rasplamsavanjem Drugoga svjetskog rata, poklapa se s određenim intimnim događajima, poput umjetnikova zasnivanja obitelji s Olgom Kesterčanek. Tanja Ravlić, vrlo svjesno, podvlačenje crte ispod jednoga životnog razdoblja markira dvama izlaganjima u Meštrovićevim muzejima. Godine 2003., kada je kustos Dalibor Prančević projektom naslovljenim Ivan Bura – Ivan Meštrović – Tanja Ravlić – Kristina Restović, započeo s praksom izlaganja suvremenih umjetnika u Fundaciji Ivana Meštrovića, današnjim Muzejima Ivana Meštrovića, umjetnica se u splitskoj Galeriji Meštrović predstavila videoradom Outofflander. Trinaest godina kasnije, na Meštrovićevoj zagrebačkoj adresi, u njegovu atelijeru, Ravlićeva ponovno izlaže videoradove, koje sada vizualno i semantički nadopunjava delikatno postavljenim predmetima, od kojih se neki javljaju u djelima. Tanja Ravlić bavi se na ovoj izložbi različitim aspektima teme dolaska na mjesto ishodišta, kao i svojim odnosom prema prostorima koji su je formirali. Svojim se ostvarenjima autorica tek mjestimično, ali posvema dosljedno, preklapa s određenim Meštrovićevim temama. Upravo slobodnim nadovezivanjem ona naglašava bitnost cikličkog obnavljanja životne i kreativne faze. Kao rijetko koji umjetnik i pojedinac, Meštrović je prihvaćao izazove i rizike turbulentnih životnih i povijesnih razdoblja, dajući im neizbrisivi pečat svojom neiscrpnom umjetnošću. (Iz predgovora Barbare Vujanović) Tanja Ravlić rođena je u Splitu 1977. godine. Diplomirala je 1999. na Akademiji likovnih umjetnosti u Rimu. Radi kao vanjska suradnica u zvanju izvanredne profesorice na Umjetničkoj akademiji Sveučilišta u Splitu. Od 2002. do 2005. godine pohađala je poslijediplomski studij na Institutu za umjetnost u kontekstu pri Akademiji likovnih umjetnosti u Berlinu.VIŠE 27. 07. 2016. -11. 09. 2016UMJETNIK KOD MEŠTOVIĆA: Kažimir HrasteGalerija Meštrović, SplitKustosica izložbe: Vesna Bulić Autorica teksta u katalogu: Vesna Bulić Fotografije: Zoran Alajbeg Oblikovanje kataloga: Vojin Hraste Grafičko opremanje izložbe: Josip Rajević, Studio 9 Produkcija filma: TV Akademija, Split Rasvjeta: Zoran Mihanović Tehnička realizacija: Marko Borović, Marko Bradarić, Nediljko PleićKažimir HRASTE rođen je 2. veljače 1954. u Supetru na otoku Braču. U Splitu je završio Školu primijenjenih umjetnosti. Kiparstvo je diplomirao 1978. na Akademiji za likovne umjetnosti u Zagrebu, u klasi profesora Valerija Michielija. Godine 1984. završio je poslijediplomski studij kiparstva u Ljubljani, a kao stipendist talijanske vlade proveo je jedan semestar na stručnom usavršavanju u Rimu. Bio je jedan od osnivača Umjetničke akademije u Splitu, gdje je danas i zaposlen kao redovni profesor kiparstva. Sudjelovao je na više od stotinu skupnih izložbi u zemlji i u inozemstvu. Samostalno je izlagao tridesetak puta od 1974. godine. Autor je brojnih javnih spomenika i skulptura (Visovac, Uskrsli Krist, 1988.; Solin, Don Frane Bulić, 1991.; Vrgorac, Spomenik Tinu Ujeviću, 1993.; Miljevci, Spomenik kralju Petru Svačiću, 2002.; Zagreb, Koncertna dvorana V. Lisinski – Omiš, Osnovna glazbena škola, Poprsje Lovre Matačića, 2009.; Zadar, Sveučilište, Poprsje Miroslava Krleže, 2010.; Šibenik, Spomenik Draženu Petroviću, 2011.). Za svoj rad, u kojemu spaja tradicijska iskustva i suvremenu likovnu praksu, dobio je brojne nagrade i priznanja te državna odlikovanja. Član suradnik je Hrvatske akademije znanosti i umjetnosti od 10. svibnja 2012. godine. Pozivanje akademskog kipara Kažimira Hraste da bude umjetnik – gost u vrtu Galerije Meštrović, osim zbog iznimnog poštovanja koju umjetnik osjeća prema nasljeđu Ivana Meštrovića i prostoru Galerije Meštrović, posebno je i po tome što gost kod Meštrovića ovoga puta ne izlaže svoja postojeća djela nego ih stvara uvjetovana scenografijom Meštrovićeva prostora. Stvara ih, potaknut dojmom umjetnika i njegovog prostora. Ovdje se ne radi o interpretaciji Meštrovića, niti o novom čitanju. Ovdje se radi o umjetničkom i stvaralačkom impulsu potaknutom pozivom da se izlaže uz bok Meštroviću. Hrastina umjetnost u pravom smislu riječi „gostuje“ kod Meštrovića pogađajući tako u samu srž i ideju nositeljicu ciklusa, a to je da je umjetnost kao živi čovjek, ima potrebu usporediti se, pokazati se, kontekstualizirati se, definirati se i pojaviti se.VIŠE 16. 03. 2016. -1. 05. 2016PLAKATI MEŠTROVIĆEVA VREMENAGalerija Dulčić Masle Pulitika, DubrovnikAutorica izložbe: Lana Majdančić Suradnica na izložbi: Tončika Cukrov Organizacija izložbe: Vesna Delić Gozze, Vesna Bulić Autorica postava: Lana Majdančić Fotografija: Tanja Budimir Bekan Grafičko oblikovanje kataloga: Motiv dizajn Zagreb Grafičko oblikovanje pozivnice i banera: Marin Gozze Izložba Plakata započela je u Atelijeru Meštrović 2013. godine. Tada je nazvana Plakati iz fonda Atelijera Meštrović. Sljedeće mjesto izlaganja bilo je u Spomen Galeriji Ivana Meštrovića u Vrpolju, a iste 2014. godine izložena je u Fotoklubu Split. Tada se ime mijenja u Plakati : svjedoci Meštrovićeva vremena. U Splitu je prvi, i jedini put, izložen jumbo-plakat izložbe Ivan Meštrović : l'expression croate oblikovan za Meštrovićevu izložbu u Muzeju Rodin u Parizu koja je održana 2012. godine. Sljedeće u nizu bile su izložbe u Galeriji Dulčić-Masle-Pulitika Umjetničke galerije Dubrovnik i Gradskom muzeju Virovitice, obje održane 2016. 26. 01. 2016. -26. 02. 2017SKULPTURA I NAGOST - TJELESNOST I EROTIKA U DJELIMA IVANA MEŠTROVIĆAGliptoteka HAZU, Galerija I., Medvedgradska 2, ZagrebAutori izložbene koncepcije: Zorana Jurić Šabić, Dalibor Prančević, Barbara Vujanović Kustosice izložbe: Zorana Jurić Šabić, Barbara Vujanović Autor likovnog postava i prostorne koncepcije: Filip Beusan Grafičko oblikovanje opreme izložbe i kataloga: Viktor Popović Autor fotografije: Zoran AlajbegRijetko je kada Meštrovićev opus promatran kroz prizmu značenja nagoga tijela i erotskih čitanja. Razvoj teme moguće je pratiti na skulpturi i crtežu u rasponu 1903. – 1946. godine, a prema motivu, kao i razdoblju, temu nagosti i erotike u djelu Ivana Meštrovića možemo promatrati kroz tri čitanja, koja će se u izložbenom narativu ispreplitati, dok će u katalogu biti predstavljeni zasebno, kroz tri teksta: NELAGODA TIJELA (TENZIJE U PRIKAZU: STAROST, EROTIZIRANI PATHOS, DRUGAČIJA SPOLNOST, NEPOSREDNA PUTENOST) (Dalibor Prančević) – cjelina koja obuhvaća širi vremenski kontingent prva dva desetljeća 20. stoljeća, odabir uključuje radove s različitim problematikama nagosti, estetike „’ružnoga“’ i afirmacije drugoga. IZMEĐU DVA EROSA I DVIJE AFRODITE – KLASIČNO POIMANJE TJELESNOSTI (Barbara Vujanović): poglavlje obrađuje djela Meštrovićeva tzv. zagrebačkog razdoblja, ali i ranija te kasnija razdoblja, u kojima je moguće iščitati bliskost s antičkim poimanjem tijela, a sukladno suvremenim tendencijama europskoga neoklasicizma i ostalih stilskih tendencija. POŽAR ČULA (Zorana Jurić Šabić): ženski aktovi (skulpture i crteži) iz 20-ih godina, kao i brojni radovi koji obrađuju mitološke teme, dio su Meštrovićeva opusa zasićena intimnim podacima te se mogu sadržajno interpretirati poznavanjem specifičnih okolnosti i emocionalnih previranja unutar kojih se umjetnik našao, otkrivajući tako njegovo osobno poimanje spolnosti. „Sve u svemu, ova izložba i ovaj katalog, s tri vrsna priloga u kojima se da capo razmatraju brojni formalni i ikonološki aspekti Meštrovićevih aktova, značajan su doprinos poznavanju jednog od ključnih mjesta umjetnikova ukupnog opusa. Golem raspon različitih izraza kojima je umjetnik opisivao muško i žensko tijelo možda bi nam dao za pravo ustvrditi da on tijekom svog dugog djelovanja nije mijenjao stilove nego načine stilizacije. Rezultantu svježih promišljanja autorā izložbe najbolje iznosi završna rečenica eseja Barbare Vujanović: ‘Ideja da čovjek predstavlja apsolutno mjerilo svijeta i stvarnosti u kojima živi, sugerira pravo na sumnju, preispitivanje i relativiziranje istine koja ih određuje.’ Ništa bolje ne sažima osjećaje i misli koje nosimo nakon što pažljivo pogledamo sedamdeset umjetnina donesenih na ovoj kapitalnoj izložbi.“ (Iz recenzije Joška Belamarića)VIŠE 20. 01. 2016. -20. 02. 2016IVAN MEŠTROVIĆ: SPOMENIK GRGURU NINSKOM U SPLITUGalerija Meštrović, Atelijer za modeliranje gline, SplitAutorica koncepcije izložbe, kustosica: Maja Šeparović Palada Autorica likovnog postava izložbe: Renata Waldgoni Oblikovanje opreme izložbe i kataloga: Rafaela DražićSpomenik starohrvatskom biskupu Grguru Ninskom (X. stoljeće) najpoznatiji je splitski, ali i Meštrovićev javni spomenik te najveći u njegovom opusu. Visok je 7,58 metara, vrsno je i zanatski zahtjevno modeliran i odliven u broncu te je prema autorovoj želji postavljen na Peristil Dioklecijanove palače 1929. godine za koji je prostor i zamišljen kao site-specific. U sklopu izložbe „Ivan Meštrović: Spomenik Grguru Ninskom u Splitu“, kao i pripadajućem katalogu, govorimo o nastanku i razvoju ideje spomenika (1919. – 1927.), navodimo idejno-politički kontekst provedbe izvedbe koji će od samog početka dominirati nad umjetničkom i likovnom izvedbom, donosimo okolnosti postavljanja spomenika (1929.), razmontiranja i uklanjanja (1941.) te ponovnog smještanja na drugu lokaciju (1954.), pretpostavljamo razloge zbog kojih je Ivan Meštrović odlučio odustati od prve inačice spomenika čiji se brončani odljevi nalaze u javnim prostorima gradova Varaždina i Nina. U katalogu izložbe sintetiziramo dosadašnje spoznaje i donosimo nova saznanja. Preko korištene literature, arhivske građe, skica i studija te crteža i arhitektonskih nacrta za spomenik, kao i fototečne građe, ovaj rad pruža cjelovit pregled teme – ponajprije iz optike vremena u kojemu je spomenik nastao i kroz stajalište Ivana Meštrovića. Isto tako, donosimo podatke o odnosima Meštrovića i njegovih suvremenika koji su bili angažirani oko spomenika Grguru Ninskom (dr. Ivo Tartaglia, don Frane Bulić, dr. Ljubo Karaman i drugi). Na izložbi „Ivan Meštrović: Spomenik Grguru Ninskom u Splitu“ izloženo je pet studija prve i druge inačice spomenika, u bronci i u gipsu. Referentni arhitektonski nacrti i crteži predstavljeni su reprodukcijama. Izlošci su iz fundusa Atelijera Meštrović u Zagrebu i Galerije Meštrović u Splitu, Muzeja grada Drniša, Muzeja grada Iloka i Galerije umjetnina u Splitu. Većina muzejske građe do sada nije bila predstavljena javnosti. Korištene fotografije nalaze se u Muzeju grada Splita, Konzervatorskom odjelu u Splitu, Gliptoteci i Arhivu za likovne umjetnosti HAZU u Zagrebu, Galeriji Meštrović i Atelijeru Meštrović, a arhivska građa pohranjena je u Sveučilišnoj knjižnici u Splitu, Konzervatorskom odjelu u Splitu, Sveučilištu Notre Dame u SAD-u, Galeriji Meštrović i Atelijeru Meštrović te Državnom arhivu i Zakladi „Karlo Grenc“ u Splitu. Tijekom izložbe odvija se projekcija filma Otkrivanje spomenika Grguru Ninskom autora Radovana Ivančevića (Filmoteka 16, Zagreb, 1976.).VIŠE 11. 11. 2015. -11. 12. 2015THE BEST IN HERITAGE - UTJECAJNI PROJEKTIGalerija Meštrović, SplitOrganizatorica izložbe: Vesna Bulić U suradnji s organizatorima konferencije „The Best in Heritage“Međunarodna manifestacija "The Best in Heritage", pod ravnateljstvom prof. Tomislava Šole, već 14 godina u Dubrovniku predstavlja najbolje u baštini – svjetske primjere muzealske izvrsnosti. Zadnji vikend u rujnu na inspirativnim dubrovačkim lokacijama rezerviran je za najbolje od najboljeg u muzejskom svijetu – prezentacija projekata nagrađenih nekom nacionalnom ili međunarodnom nagradom za strukovnu kvalitetu u prošloj godini. Od 2015. godine manifestaciju prati i izložba „The Projects of Influence – Utjecajni projekti“ koja je po prvi puta izvan konferencije, u prostoru Kneževog dvora, prezentirala autore i njihove projekte koji su imali najveći utjecaj i odjek. Tijekom godine diljem svijeta dodijeli se na stotine nagrada za iznimne muzejske, baštinske i konzervatorske projekte. Ovom izložbom vrijedni projekti približavaju se stručnoj publici, ali i široj javnosti te ljubiteljima baštine. Dobri projekti najbolji su način buđenja kreativnosti i poticaj novim idejama. Nadamo se da će ova izložba potaknuti i kreativnost i nove ideje pa možda dovesti i do nagrađenog projekta, koji će u nekoj od narednih godina biti predstavljen na manifestaciji “The Best in Heritage”. Izložba „The Projects of Influence – Utjecajni projekti“ postavljena je u Atelijeru za glinu u vrtu Galerije Meštrović i otvorena od 11. studenog do 11. prosinca 2015.VIŠE 09. 05. 2015. -20. 09. 2015RODINOVA 'MEDITACIJA' U SPLITUGalerija Meštrović, SplitAutori projekta: Catherine Chevillot, Andro Krstulović Opara Autor i kustos izložbe, stručna koncepcija postava: Andro Krstulović Opara Autor likovnog postava: Andro Krstulović Opara Autori tekstova: Andro Krstulović Opara, Barbara Vujanović, Olja Jelaska Organizacija izložbenog projekta: Sandra Grčić Budimir, Vesna Bulić, Andro Krstulović Opara Prostorna koncepcija i oblikovanje postava: Lea AvianiU splitskoj Galeriji Meštrović postavlja se izložba jednog od najznačajnijih Rodinovih djela – Meditacije, koje je inspiriralo Ivana Meštrovića za izradu mramorne Psihe, 1927. godine, središnjeg izloška u njegovoj Galeriji u Splitu. Publici će se predstaviti dva spomenuta djela te podastrijeti mnoštvo značajnih spoznaja kustoskog tima kojim će se ukazati na duboko prijateljstvo između Rodina i Meštrovića. Nakon uspješne Meštrovićeve izložbe u Musée Rodin 2012. godine na svjetlo dana izašlo je izgubljeno pismo Rodina Meštroviću (koje su Muzeji Ivana Meštrovića otkupili) u kojemu udovoljava Meštrovićevoj zamolbi da mu pokloni gipsani odljev Meditacije. Zbog rata i smrti Augustea Rodina do predaje tog značajnog dara Meštroviću nije došlo. Sto godina nakon ovo djelo u bronci je u Meštrovićevom domu. Prikazano je spomenuto pismo, a putem multimedijske prezentacije i glazbom zaokružio se ovaj značajan projekt.VIŠE 06. 05. 2015. -20. 09. 2015RODIN U MEŠTROVIĆEVOM ZAGREBUAtelijer Meštrović - Umjetnički paviljon, ZagrebAutori projekta: Catherine Chevillot, Andro Krstulović Opara Autorice i kustosice izložbe, stručna koncepcija postava: Véronique Mattiussi, Barbara Vujanović Autori likovnog postava: Andro Krstulović Opara, Jasmina Poklečki Stošić Organizacija izložbenog projekta: Andro Krstulović Opara, Jasmina Poklečki Stošić, Sandra Grčić Budimir, Sanja Balentović, Vesna Bulić Prostorna koncepcija i oblikovanje postava: Mario BeusanGodine 2012. u sklopu festivala Croatie, la voici kojim se u Francuskoj najavljivao skori ulazak Hrvatske u Europsku uniju, u Musée Rodin u Parizu održana je izložba Ivan Meštrović kod Rodina: Hrvatska ekspresija (rujan 2012. – siječanj 2013.). Riječ je o drugom predstavljanju hrvatskoga kipara u ovom eminentnom muzeju, nakon monografske izložbe iz 1969. godine. Slijedom te uspješne suradnje, pariški muzej nudi njezin nastavak – drugu izložbu Augustea Rodina, nakon one iz 1968. u zagrebačkom Umjetničkom paviljonu. Kustosi Musée Rodin i Muzeja Ivana Meštrovića nastavljaju istraživanje utjecaja koje je izvršio Auguste Rodin na moderno hrvatsko kiparstvo, i na tom tragu nastao je izbor djela koji će se prikazati na izložbi 2015. godine u Umjetničkom paviljonu. Riječ je o šezdesetak skulptura, dvadeset crteža i dvadeset fotografija. Taj izbor uključuje najpoznatija djela, remek-djela, poput Poljupca, Mislioca i drugih, a posebna se pažnja pridaje sponama između francuskoga kipara i hrvatskih umjetnika, među kojima je najprisniji odnos uspio uspostaviti upravo Ivan Meštrović. Osim u Umjetničkom paviljonu, u kojem je izložba postavljena, jedno će se djelo moći vidjeti u atriju Atelijera Meštrović. Riječ je o Rodinovom Spomeniku Victoru Hugou (1890.). Sjedećoj figuri pjesnika Rodin je pridružio dvije muze – Tragičnu muzu i Unutarnji glas, odnosno Meditaciju. Meštrović je zamolio Rodina da mu pokloni potonju, na što je stariji umjetnik pristao no darivanje nije bilo ostvareno. Meditacija će biti izložena u Galeriji Meštrović u Splitu na izložbi Rodinova „Meditacija“ u Splitu. Ovakav projekt, specifično osmišljen za Zagreb, istinsko središte kiparske umjetnosti u ovom dijelu Europe, potvrdio bi preko suradnje institucija Muzeja Ivana Meštrovića i Umjetničkoga paviljona s francuskim partnerom, važnost hrvatske metropole kao europskoga kulturnog središta. Sama izložba zbog umjetnikove popularnosti zasigurno će privući iznimno veliki broj domaćih i stranih posjetitelja.VIŠE 30. 01. 2015. -29. 03. 2015DEKODIRANJE MEŠTROVIĆAGalerija Meštrović, Atelijer za modeliranje gline, SplitAutorica i kustosica izložbe: Zorana Jurić Šabić Grafičko oblikovanje izložbe i kataloga: Josip Rajević Video animacija: Dragan Đokić Unutar Meštrovićeva arhitektonskog opusa koji broji više od deset arhitektonskih ostvarenja, crkva Presvetog Otkupitelja zdanje je intimnog karaktera koje se izdvaja jedinstvenom ikonografijom koja otkriva sasvim osobno vjerovanje njenog graditelja. Meštrovićev osebujan svjetonazor može se iščitati iz skica za dekoraciju kupole čije oslikavanje, nažalost, nije realizirano, a njihova potpuna ikonografska studija je izostala. Dosad nam je bilo poznato samo to da je oslikavanjem kupole namjeravao odati počast utemeljiteljima velikih svjetskih religija. Kupola je još od ranog kršćanstva bila rezervirana za prikaz nebeskog svoda, a njezinu su bazu pridržavali evanđelisti, apostoli ili proroci – temelji vjere. Meštrović se pridržava metaforičkog prikaza nebesa, ali ide i dalje od granica jedne religije. Izložba crteža – skica za dekoraciju kupole i njihova ikonološka studija pokazuje da se ne radi samo o prorocima nego i o drevnim mudracima, književnicima i umjetnicima, pa i vlastitu liku. Meštrovićevo razmišljanje o umjetnosti kao odrazu božanskog nadahnuća, a o umjetniku kao proroku nagnalo ga je da na svodu obiteljske grobnice u Otavicama među likove koji predstavljaju neke od najvažnijih nositelja svjetskih kultura i religija postavi i vlastiti autoportret. Meštrovićev humanizam i tolerancija glavni su ključ iščitavanja ovog složenog programa. Poznato nam je da je Meštrović duboko promišljao kompleksne sustave vjerovanja tražeći sve ono što ih povezuje. Dokaz je tome i sadržaj njegove biblioteke, velikim dijelom posvećen različitim kulturama i religijama te brojnim svescima na čijim je marginama nerijetko bilježio svoje primjedbe. Jednako kao što ikonografskim izborom sjedinjuje različite kulture i religije, tako i umjetničko oblikovanje unutrašnjih reljefa i plastike otkriva neočekivane umjetničke uzore, poput drevne egipatske umjetnosti (u reljefima Evanđelista) ili budističke skulpture (Vječno raspeti). Meštrović je inspiraciju crpio neposredno na putovanju Egiptom, Grčkom i Jeruzalemom (1927.), upravo u vrijeme kada promišlja oblikovanje crkvice u Otavicama. Izložba Dekodiranje Meštrovića razotkriva umjetnikove neostvarene ideje i daje nova saznanja o obiteljskoj grobnici u Otavicama koju nije namijenio samo vječnom spokoju svoje obitelji već ju je zamislio kao posvetu najvećim, duhovnim i umjetničkim učiteljima koja nadilazi zemljopisne, kulturne i vjerske granice i postaje hram umjetnosti, vjere i tolerancije. Zorana Jurić Šabić autorica je izložbe, tekstova u katalogu i likovnog postava. Autor fotografija je Zoran Alajbeg, a grafičko opremanje izložbe i oblikovanje kataloga izložbe potpisuje Josip Rajević (Studio 9). Video-animacija s rekonstrukcijom Meštrovićevog nedovršenog projekta sastavni je dio izložbe, a autor videouratka, montažer i snimatelj je Dragan Đokić (Studio Baranda).VIŠE 20. 12. 2014. -1. 02. 2015MEŠTART: Ana Kuzmanić - 'Dijalog I, II i III'Atelijer Meštrović, ZagrebAutorica projekta, kustosica izložbe: Barbara Vujanović Autorice likovnog postava: Ana Kuzmanić, Barbara Vujanović Grafičko oblikovanje: Viktor PopovićProgram MEŠTART započet je 2009. godine u Atelijeru Meštrović u Zagrebu u cilju aktualizacije i novoga čitanja opusa Ivana Meštrovića kroz suvremene umjetničke izričaje. Stvaralaštvo Ivana Meštrovića nemoguće je doživjeti bez prizme osobnog iskustva: njegova, ali i onoga koji s njime ulazi u interakciju. Različita su umjetnikova iskustva materijalizirana u djelima te snaga njihove ekspresije dopire do promatrača neovisno o njegovu poznavanju određenih životnih, društvenih i drugih okolnosti koje su ih uvjetovale. Jedno od najizraženijih i najčešćih iskustava koje se reflektira u svim Meštrovićevim fazama jest iskustvo majčinstva, odnos majke i djeteta – bilo da ga promišlja kroz predodžbu vlastite majke, majke svoje djece ili Bogorodice. Ana Kuzmanić, po vokaciji akademska slikarica, po interesu autorica širokoga medijskog dijapazona, prepoznala je, upravo kroz neposredno iskustvo sebe kao nove majke, bliskost s tim aspektom kipareva djela, univerzalnim i duboko osobnim. Zaintrigirana Meštrovićevim prikazima majčinstva, odlučila je osvijestiti ulančanost tih iskustva, koja su ujedno vječna i ista, ali i efemerna, neponovljiva. Vlastite je trenutke prikazala na tom tragu, naglašavajući ga aspektom nematerijalnosti. Njezin se dijalog s umjetnikom različite generacije, medija i spola ostvaruje u dijametralnoj suprotnosti njezinih videa, svjetlosnih i zvučnih radova te ženskoga iskustva i njegove čvrste materije, figurativne forme i muške pozicije. Ivan Meštrović stvarne je žene iz svoje okoline pretvarao u Bogorodice, mitska bića i opsežne pojmove poput pojma domovine ili povijesti. Ana Kuzmanić stupa u dijalog s obrisima religijskih, ideoloških, rodnih i drugih konstrukcija majčinstva reflektiranih u Meštrovićevu radu i stavlja ih u kontekst suvremenosti. (Iz predgovora Barbare Vujanović) Ana Kuzmanić rođena je 1980. u Splitu. godine 1999. upisala je smjer Restauriranje i konzerviranje umjetnina na Akademiji likovnih umjetnosti na Sveučilištu u Zagrebu. Godine 2001. na istoj Akademiji upisala je smjer Slikarstvo. Godine 2006. diplomirala je pod mentorstvom prof. Igora Rončevića. Godine 2007. upisala je poslijediplomski studij na The University of Edinburgh, Edinburgh College of Art. Od godine 2011. djeluje kao suosnivač i član međunarodnog kolektiva Eastern Surf. Od 2009. zaposlena je kao asistent na Fakultetu građevinarstva, arhitekture i geodezije na Sveučilištu u Splitu.VIŠE 13. 11. 2014. -29. 11. 2014PLAKATI - SVJEDOCI MEŠTROVIĆEVA VREMENAFotoklub, SplitAutorica izložbe: Lana Majdančić Suradnica na izložbi: Tončika Cukrov, kustosica Muzejskog dokumentacijskog centra Autorica postava: Lana Majdančić i Tončika Cukrov Fotografija: Tanja Budimir Bekan Grafičko oblikovanje kataloga: Motiv dizajn ZagrebMuzeji Ivana Meštrovića i Fotoklub Split, pod pokroviteljstvom Ministarstva kulture RH i Grada Splita, postavljanjem izložbe Plakati – svjedoci Meštrovićeva vremena splitskoj publici donose najbolja dostignuća dizajnera i fotografa koji su od 60-ih godina prošlog stoljeća pa do danas, kroz medij plakata, informirali javnost o umjetnosti Ivana Meštrovića i događanjima koja su je promovirala. Medijska popularizacija plakata započela je tek prije nešto više od stotinu godina, međutim, potreba za prenošenjem kratke i jasne poruke javnosti postoji još od antike kada su se takve obavijesti pisale na drvene ploče ili na zidove. Ulogu prenošenja ciljanih i konciznih promotivnih poruka preuzimaju upravo ti komadi papira, čija je osnovna zadaća prikazati proizvod ili najaviti događaj koristeći bitne informacije svedene na stilizirane i reducirane elemente s dojmljivim kolorističkim efektima. Muzejski plakati informiraju javnost o događanju u muzeju, u najvećem broju slučajeva o izložbama, pa se uvjetovani sadržajem prilagođavaju potrebi da se promovira točno određena kulturna materija. Muzejski plakati razvijaju svijest o umjetničkim, povijesnim, estetskim, društvenim i tehničkim elementima umjetničkog događaja. Oni posebno prednjače u visini kvalitete svoje likovnosti. Upravo izložba o plakatu, koja će i sama proizvesti svoj plakat, na jednom mjestu pokazuje vrijedna ostvarenja vrsnih dizajnera i fotografa usredotočenih na umjetnost Ivana Meštrovića, te ukazuje na još jednu ulogu plakata, a to da je on svjedok vremena. Među dizajnerima koji su na svojim plakatima prikazivali Meštrovićeva djela i oblikovali vizualne identitete kako pojedinih izložbi tako i same ustanove, svakako treba istaknuti Ivana Picelja i Borisa Ljubičića za Atelijer Meštrović, a za Galeriju Meštrović to su Žana Siminiati, Gorki Žuvela i Viktor Popović. Na ovoj izložbi također su zastupljeni autori Jure Amižić, Libor Fára, Mitja Koman i Slavoljub Lacković. Ova izložba zasigurno otvara pitanje novih potreba koje se javljaju u komunikaciji s publikom i novih zahtjeva koje medijska kultura stavlja pred plakat kao medij. Grafičko oblikovanje kataloga, plakata i pozivnice potpisuje studio Motiv dizajn. Tekstove su napisale autorice izložbe Lana Majdančić i Tončika Cukrov.VIŠE 17. 07. 2014. -14. 09. 2014MARIJA UJEVIĆ GALETOVIĆ KOD MEŠTROVIĆAGalerija Meštrović, SplitKustos izložbe, autor postava i filma: Andro Krstulović Opara Koautorica postava izložbe: Vesna Bulić Snimatelj i montažer filma: Milan LatkovićPriznata umjetnica gđa Marija Ujević Galetović, akademska kiparica i umirovljena profesorica ALU-a, redovna članica HAZU-a, izlaže svoje kiparske i slikarske radove u Galeriji Meštrović na splitskim Mejama. Izložba „Marija Ujević Galetović kod Meštrovića“ organizirana je pod okriljem 60. splitskog ljeta. Nakon prethodnih uspješnih izložbi Zlatka Boureka 2010. godine i Matka Trebotića 2011., Dalibora Stošića 2012., te Vaska Lipovca 2013. godine, Galerija Meštrović ove godine nastavlja s ciklusom „Umjetnik kod Meštrovića“ prikazivanjem radova hrvatskih kipara koji u muzeju jednog kipara, Ivana Meštrovića, uspostavljaju svojevrsni dijalog, testirajući pritom svoj opus s Meštrovićevom estetikom i istovremeno publici približavaju preokupacije suvremenog kiparstva u kontekstu sadašnjosti. Vrt Galerije Meštrović i ovaj put je postao mjesto susreta dviju umjetnosti čije se podudarnosti stapaju u začudnoj razigranosti oblika, sjena, odsjaja… Ta očekivana radost koja nastaje dijalogom dviju umjetnosti bila je poticaj za ovaj izazovni projekt. Ova izložba je značajna i zbog činjenice da je ovo ujedno i prva samostalna izložba Marije Ujević Galetović pred splitskom publikom. Kompleksni zadatak prepoznavanja i omogućavanja dijaloga između umjetnosti dvoje umjetnika, a pogotovu između suzdržane akademske uzvišenosti Meštrovićeva djela i razigrane i duhovite umjetnosti Marije Ujević Galetović, najveći je izazov za kustosa, ali i za posjetitelje kojima je ponuđen kritički pristup i analiza zahtjevnog postava u vrtu Galerije te u Meštrovome Atelijeru za glinu. Vitkost i elegancija njezinih „Mački“ korespondira s Meštrovićevim izduženim stupovljem i gracioznošću „Dalekih akorda“. Voluminoznost aktova, poput „Avokada“ ili „Akta“ – plesačice te Marijina duhovitost koja je tako izražajno zadržana u njima, savršeno se uklapaju u društvo s Meštrovićevom „Perzefonom“. Monumentalnost „Vala“, najveće izložene kompozicije na središnjem platou vrta, posebno se očituje postupnim podizanjem očišta gledatelja koji se uspinje ulaznim stubištem kada se otvara prekrasan pogled na vrt i na raster glavnog stubišta u pozadini „Vala“. Fragilni porculanski „Franz Kafka“ i izvrsno sugestivni brončani portret „Matoša“ svjedoče o njezinoj vještini oblikovanja u raznim materijalima, ali još više o umjetničinim preokupacijama, te o suptilnosti koja krasi njezin opus. Njezina slikarska ostvarenja posebno su zanimljiva budući da se slikanjem počela baviti nedavno. Moru, koje prikazuje na tri svoja slikarska djela, ona se i ne pokušava suprotstaviti nego mu prilazi s velikim poštovanjem, opet kao posljedica njezinih doživljaja na otvorenome moru uz koje je provela gotovo polovinu svog života. Nije ni čudo da, dovršavajući rad na svojem „Autoportretu“ u svjetlucavoj carrari, od mora posuđuje dva tamna oblutka koja su se odmarala na žalu te ih umeće kao oči u svoj lik. Marija je svoje morske motive naslikala u Zagrebu, daleko od mora, no tu uzbibanu morsku površinu i duboku modrinu koje nam donosi na platnu snažno je sačuvala u svojim „očima od mora“. Izložbu prati i katalog kojega je oblikovao Viktor Popović, u kojemu majstorske fotografije potpisuje umjetnički fotograf Zoran Alajbeg. Tekstove su napisali povjesničari umjetnosti Vesna Bulić i Andro Krstulović Opara koji je autor i producent filma koji je sastavni dio izložbe i koji prikazuje Mariju Ujević Galetović pri radu, kao i nastajanje ove izložbe. Snimatelj i montažer filma je Milan Latković, nagrađivani dizajner vizualnih komunikacija iz “Kreativne agencije”.VIŠE 16. 04. 2013. -16. 06. 2013MEŠTROVIĆ I MILLESAtelijer Meštrović, ZagrebHRVATSKO - ŠVEDSKI PROJEKT RAZMJENE IZLOŽBI Autori projekta: Andro Krstulović Opara, Onita WassHrvatsko - švedski projekt Meštrović - Milles u organizaciji Muzeja Ivana Meštrovića i Millesgårdena temelji se na razmjeni izložbi dvaju velikana modernog europskog kiparstva, ujedno i suvremenika, Ivana Meštrovića (1883. - 1962.) i Carla Millesa (1875. Kipari suvremenici, djelujući na suprotnim krajevima europskog kontinenta, obilježili su europsko kiprastvo prve polovine 20. stoljeća, ostavši dosljedni figurativnom izričaju. U sličnoj životnoj i umjetničkoj putanji dvojice umjetnika primjećujemo zaustavljanje u istim europskim i američkim gradovima, slične tematske i stilske preokupacije. Obojica su zaslužni za oblikovanje javnih prostora mnogih gradova, ponajprije u vlastitim zemljama, Hrvatskoj i Švedskoj, ali i izvan granica zajedničkog kontineta, posebice u SAD-u. Autori projekta su Andro Krstulović Opara, ravnatelj Muzeja Ivana Meštrovića i Onita Wass, ravnateljica Muzeja Millesgården. Projekt je otpočet izložbom Milles kod Meštrovića autorice kustosice švedskog muzeja Millesgården, Eveline Berglund, otvorenom 16. travnja 2013. u nekadašnjem umjetnikovom domu i radnom prostoru, Atelijeru Meštrović u Zagrebu. Svečanost otvorenja priređena je u nazočnosti Nj. V. kralja Carla XVI. Gustafa i kraljice Silvije, te g. Ive Josipovića, predsjednika Republike Hrvatske i prof. dr. sc. Tatjane Josipović. Za širu javnost izložba se otvorila dan kasnije predavanjem Onite Wass. Izložba koja je zatvorena 16. lipnja, polučila je velik interes medija i pozitivne reakcije stručne javnosti. Nastavak projekta jest izložba Meštrović kod Millesa (18. lipnja – 18. kolovoza 2013.) priređena u muzeju Millesgården u Stockholmu, nekadašnjem životnom i radnom prostoru švedskoga kipara. Autorice izložbe, Zorana Jurić Šabić, kustosica splitske Galerije Meštrović i Barbara Vujanović, kustosica Atelijera Meštrović, odabrale su deset skulptura, po pet iz svakoga muzeja, kojima se daje pregled umjetnosti Ivana Meštrovića kroz različite faze umjetnikova stvaralaštva, počevši od studentskih radova (1906.) do kasnijih primjera iz 1946. godine. Istaknuta je posebitost Meštrovićeva umjetničkog izražaja i suvereno vladanje različitim materijalima (bronca, kamen, drvo). Naglašene su stilske i tematske poveznice koje se mogu pratiti u svim fazama opusa dvojice kipara, osobito tema glazbe i plesa. Obje izložbe prate dvojezični katalozi, koje je dizajnirao Viktor Popović.VIŠE