Izazov velikih izložbi –  Izložba Izazov moderne: Zagreb – Beč oko 1900.

Izazov velikih izložbi – Izložba Izazov moderne: Zagreb – Beč oko 1900.

Kategorija Osvrti | 21/05/2017 91

 

Nedavno zatvorena izložba u Galeriji Klovićevi dvori Izazov moderne: Zagreb – Beč oko 1900. jedna je od posjećenijih izložbi u Zagrebu, ali i Hrvatskoj u posljednje vrijeme. Zašto? Što najviše pridonosi velikoj posjećenosti izložbi posebice u današnje doba? Marketing, velik interes građana za što boljom kulturnom naobrazbom, kvantiteta i kvaliteta djela, pristupačna cijena ulaznica, ljubaznost osoblja, dugogodišnja tradicija rada izlagačkog prostora?

Je li izložba Izazov moderne: Zagreb – Beč oko 1900. uspješna i što danas čini uspješnu izložbu?

Izložba se održavala od 9. veljače do 7. svibnja 2017. godine u Galeriji Klovićevi dvori, a izložena su djela austrijskih i hrvatskih umjetnika fin de siècla: Gustava Klimta, Vlahe Bukovca, Ivana Meštrovića, Kolomana Mosera, Roberta Auera, Tomislava Krizmana, i mnogih drugih. Ideja je izložbe bila prikazati utjecaj bečkih umjetnika nove moderne umjetnosti na zagrebačke umjetnike, posebice one školovane u Beču te istaknuti kako je hrvatski kulturni život procvao u kratkom periodu prije Prvog svjetskog rata.

 

Marketing i reklama

U Zagrebu je na više lokacija prije otvorenja bilo moguće vidjeti plakate izložbe. Nisu svi plakati bili potpuno isti što je naravno ovisilo o mjestu na kojemu su bili postavljeni. Određene su informacije bile različitog fonta. Tako je ispod natpisa Izazov moderne: Zagreb – Beč oko 1900. na nekim plakatima pisalo i Gustav Klimt, Vlaho Bukovac, Ivan Meštrović. Na pojedinim plakatima natpis Gustav Klimt bio je podebljan i malo većih dimenzija. Komentari na tu pojavu bili su različiti, neki su smatrali da je to loš, propagandni marketing, a neki nisu obraćali preveliku pažnju na takve finese. Zanimljivo je još kazati kako su se sa za vrijeme izložbe u galeriji često čuli komentari posjetitelja da su došli na ‘Klimta’, da idu na ‘Klimta’, čak je bilo i situacija u kojima su rekli da oni nisu ni za kakvu izložbu Izazov moderne, već da su došli vidjeti ‘Klimta’. Što je uzrok tomu?

Osim plakata, za izložbu se moglo saznati i preko članaka na internetskim neumjetničkim portalima i to zanimljivih naslova primjerice: ‘Gustav Klimt dolazi u Zagreb!’, te nezaobilaznim prikazom najpoznatije slike Gustava Klimta Poljubac. Tu valja spomenuti da se manji broj puta na izložbi znalo postaviti pitanje: ‘Gdje je Klimtov Poljubac?’. Poljubac se čuva u Belvedereu u Beču te ga nikako nije bilo moguće posuditi za izložbu, iz jednostavnog razloga što je ta slika, poput Mona Lise u Louvreu, glavni eksponat Belvederea.

Jesu li navedene reakcije pojedinih posjetitelja bile opravdane? Živimo u doba u kojemu se marketing uvukao u sve sfere života. No, je li malo podebljaniji i veći font na nekim plakatima razlog okrivljavanja za propagandu? Pravi ljubitelji umjetnosti, ukoliko nisu vrlo dobro upoznati sa sadržajem bilo koje izložbe, što naravno većina nije, pročitat će na internetskim stranicama galerija, muzeja ili pak na umjetničkim portalima o čemu se radi, a neće suditi po plakatu. Logično je ako dolaze djela tako svjetski poznatog umjetnika kao što je Gustav Klimt da će njegovo ime na plakatu biti izraženije. Naravno da se tu radi o marketingu i prizivanju većeg broja posjetitelja jer je očito da će to rezultirati upravo odlaskom većeg broja ljudi na ‘Klimta’, ali se mora naglasiti kako je naslov itekako dobro vidljiv, a i imena vodećih hrvatskih umjetnika Vlahe Bukovca i Ivana Meštrovića. Također, za one koji su rekli da je ta propaganda označavala da će se raditi o retrospketivi Gustava Klimta, a nisu upoznati s tim (ne)mogućnostima – naslov izložbe bio bi: ‘Gustav Klimt – retrospektiva’. Vrlo je jednostavno za svoju neupućenost kriviti propagandni svijet oko sebe, a jako je teško otvoriti internetsku stranicu galerije, prije hvalisanja kako se otišlo vidjeti ‘Klimta’! Čak nije potrebno niti vidjeti internetsku stranicu, na plakatima i ulaznici piše naziv izložbe…

 

Organizacija postava

Postav izložbe bio je organiziran u dvanaest dvorana u prostoru drugog kata Galerije Klovićevi dvori. Na samom se ulazu na manjoj zidnoj plohi s desne nalazila nalijepljena fotoreprodukcija slike Nuda Veritas (Gola istina) koju je 1898. godine naslikao Gustav Klimt. Prikazana je mlada naga žena bujne duge kose koja joj prekriva grudi. U desnoj ruci drži ogledalo koje je okrenuto prema publici. U gornjem dijelu slike, iznad žene, nalazi se citat na njemačkom jeziku, riječi pisca Friedricha Schillera: ‘Ako se svojim djelima i svojom umjetnošću ne možeš dopasti većini, udovolji manjini, jer dopadati se mnogima loše je.’ Gustav Klimt tim kontroverznim djelom zapravo iskazuje svoje odvajanje, secesiju, od tradicionalnih okvira umjetničke prakse te nam poručuje da umjetnost mora biti autentična, gola istina. Međutim, zanimljivo je primijetiti, vrativši se u današnje vrijeme, kako je status Gustava Klimta u društvu potpuno obrnut – sviđa se većini, njegova se djela najviše odlazi gledati u Beč te je njegovo ime privuklo najveći broj posjetitelja na izložbu Izazov moderne u Klovićeve dvore.

 

klimt-nuda-veritas-1899.thumb.150x0x0x0x100x0x0x0

Gustav Klimt, Nuda Veritas, 1898. 

 

Iduća slika koja plijeni pažnju na samom ulazu u prostor izložbe nalazila se na kraju ulaznog hodnika, tik prije ulaza u prvu dvoranu izložbe. Autor slike je Vlaho Bukovac, a čuva se u Institutu za povijest u Zagrebu. Naziv slike je Živio kralj, no nosi i naziv Mimohod školske mladeži pred Kraljem odnosno Otvorenje Donjogradske gimnazije 1895., a na njoj su prikazani crkveni i politički visokodostojanstvenici u stražnjem planu slike, dok su u prvome planu slike vesela djeca u narodnoj nošnji. Na taj način dolaze na vidjelo Bukovčeva patriotska promišljanja o tadašnjoj vlasti u Austro-Ugarskoj Monarhiji, no na prilično diskretan način. Slika je velikih dimenzija i izgledala je veoma zbijeno na nevelikom prostoru zida čime se izgubila vizualna preglednost monumentalne slike. Naziv autora, djela i godina nastanka nalazili su se bočno od slike koja je bila zaštićena užetom.

Na taj način se odmah pri samom ulazu na izložbu posjetiteljima nagovješćuje kako su protagonisti bečke (Udruženje likovnih umjetnika Austrije – Secesija) i zagrebačke (Društvo hrvatskih umjetnika) grupe modernih umjetnika bili buntovnici koji su na drugačiji stilski i tematski način pristupali umjetnosti.

Dvanaest je dvorana izložbe bilo organizirano kroz tematske cjeline: Povijesni kontekst – razvoj gradova za vrijeme cara Franje Josipa I. i dolazak cara u Zagreb; Protagonisti, programi i izložbe bečkih secesionista i Društva hrvatskih umjetnika, Hrvatski umjetnici školovani u Beču; Edukacija i emancipacija – hrvatske umjetnice u Beču; Vlaho Bukovac i Zagrebačka šarena škola; Gustav Klimt kao uzor bečkim i zagrebačkim umjetnicima; Arhitekti i naručitelji u Zagrebu oko 1900.; Gustav Klimt i njegov utjecaj na ranu Meštrovićevu fazu; Meštrovićeva djela za Karla Wittgensteina; Bolest u secesijskoj epohi; Kultura stanovanja i bit pejsaža u fin de sièclu; Društevni život – kavane i kabarei; Tema žene u slikarstvu – femme fatale/femme fragile. Navedeni nazivi cjelina nisu originalni kao na izložbi, već su slobodna interpretacija autorice članka.

Doba prijelaza 19. u 20. stoljeće bilo je umjetnički vrlo plodno razdoblje. Zagreb je u to doba bujao i na području likovnih umjetnosti i književnosti. U sklopu izložbe bili su spomenuti pojedini promicatelji moderne umjetnosti koji su bili i književnici, poput Milivoja Dežmana i Ksavera Šandora Gjalskog, međutim to nije dovoljno. Hrvatska moderna u književnosti je vrlo značajno razdoblje, a činjenica da dolazi do sinteze tema kroz književna i likovnoumjetnička djela, dovoljan je razlog da sama uloga književnosti i književnika bude malo više zastupljena na ovakvoj izložbi. Bilo je moguće prolistati u digitalnom obliku časopis bečkih secesionista Ver Sacrum, ali i zagrebačkih umjetnika Život u kojemu su zastupljeni mnogi tekstovi naših poznatih književnika hrvatske moderne. Međutim, pitanje je koliko je to posjetitelja primijetilo.

Veliki propust izložbe, iz nepoznatog razloga, je nepisanje tehnika na legendama ispod naziva autora, djela i godine nastanka. Na ponekim legendama bilo je napisano gdje se čuva eksponat. Međutim, nazivi tehnika su bili potpuno nezastupljeni što je rezultiralo vrlo čestim upitima posjetitelja o kojoj se tehnici radi te zašto nisu nigdje napisane.

Dvorana 5 s tematskom cjelinom ‘Gustav Klimt kao uzor bečkim i zagrebačkim umjetnicima’ bila je prostorija u kojoj su se nalazila dva od tri ulja na platnu Gustava Klimta na izložbi: Glava žene na crvenoj pozadini iz 1897./98. godine i Prijateljice (Sestre) iz 1907. godine. Osim Klimtovih, u dvorani su se nalazila mnogobrojna djela hrvatskih i austrijskih umjetnika, od koji su četiri bila pejsaži. Veliki broj pejsaža bio je smješten u dvorani 10 te bi se tamo bolje uklopili nego u dvoranu 5 koja je bila zastupljena portretima. Osim toga, u dvorani 5 bila su smještena i dva kiparska djela, Filozof Roberta Frangeša Mihanovića i Poljubac Ive Kerdića. Dvojica su kipara tematski bila smještena u dvoranu 2 u kojoj je ideja bila iskazati koji su se hrvatski umjetnici školovali u Beču. Osim toga u toj su dvorani bila izložena kiparska djela te bi se po svojoj tematici i stilu ondje bolje uklopila. S obzirom da se u stilovima Bele Čikoša Sesije, Roberta Auera i Tomislava Krizmana najviše nazire secesijski stil u hrvatskom slikarstvu, začudno je kako je broj njihovih djela na izložbi bio relativno malen. Možda bi se pokoje djelo viška navedenih slikara bolje uklopilo u dvoranu 5 umjesto pejsaža. No, uvijek valja podsjetiti kako nije moguće posuditi sva željena djela za izložbe.

 

Izazov moderne: Zagreb – Beč oko 1900 - Galerija Klovićevi dvori -Photo: Deyan Baric @ www.dominionart.com

Gustav Klimt, Prijateljice (Sestre), 1907.

 

Dvorana 10 s tematskom cjelinom ‘Kultura stanovanja i bit pejsaža u fin de sièclu’ bila je teško prohodna kada se u dvorani nalazio veliki broj posjetitelja. Iako je po svojoj površini dvorana 10 najveća, bila je prezastupljena eksponatima. Tako su se u dvorani nalazili mnogobrojne slike pejsaža, od kojih je većina bila velikih dimenzija, plakati, namještaj i vrlo veliki broj staklenih vitrina koje su bile najzastupljenije u središnjem djelu prostorije. Neke su bile toliko blizu da se prilikom većeg broja posjetitelja jedva moglo prolaziti, a da se ne okrzne pojedina vitrina. U vitrinama se nalazilo porculansko posuđe, različite ukrasne figurice i mnogi drugi uporabni predmeti. Dvorana je djelovala nagurano, kao da se zbog najvećih dimenzija u nju smjestilo višak eksponata. Ideja je bila prikazati kulturu stanovanja oko 1900. godine na jednoj strani dvorane, kroz mnogobrojne plakate s prikazom interijera i eksterijera vila te namještajem i posuđem. Kao kontrast, na suprotnoj strani dvorane nalazili su se prikazi krajolika u suton koji su dočaravali unutarnje depresivno stanje duše umjetnika na prijelazu stoljeća tik pred Prvi svjetski rat. Osim toga, u dvorani 10 bili su smješteni portreti djece za koju se navodi da ih je izrazito teško portretirati zbog njihovog teško uhvatljivog pogleda te kako djeluju kao porculanski eksponati koji skrivaju sjetu i tugu. Tim skupom motiva i eksponata, gubi se idejna cjelina dvorane i postiže se dojam nagomilanosti i nekoherentnosti.

Međutim, kritike je najlakše iznijeti. Autori izložbi ograničeni su materijalom i prostorom, a također često nisu u mogućnosti predstaviti sva djela koja su imali u planu. Teško je isplanirati koherentne izložbe, pogotovo velike i medijski izrazito popraćene.

Je li izložba Izazov moderne: Zagreb – Beč oko 1900. uspješna izložba? U prvoj se dvorani na planovima Beča i Zagreba iskazala sličnost u urbanizaciji gradova. U dvoranama 2, 6, 9, 10 i 11, u kojima se se nalazili primjeri zagrebačke i bečke arhitekture, vrlo je promišljeno istaknut utjecaj bečkih motiva i pristup arhitekturi te kako se to odrazilo na arhitekturu Zagreba. U prvim dvjema dvoranama naglasila se politička, obrazovna i kulturna ideja razvoja Austro-Ugarske Monarhije koju je provodio Franjo Josip I. te se istaknulo kako su se paralelno secesionirale bečka i po uzoru na nju zagrebačka grupa umjetnika od svojih tradiciji usmjerenih kolega. U dvoranama 3 i 12 ukazalo se na status žena u društvu te kako se dolaskom modernog doba paralelno mijenjala i svijest o ženama kroz prikaze žena na slikarskim djelima, modu, obrazovanje te ideja žene kao umjetnice koja se iz Beča širi i na naše prostore. Kroz izložbu se na zanimljiv način usporedilo vodećeg predstavnika nove umjetnosti u Beču Gustava Klimta i njegovog pandana u Zagrebu Vlahe Bukovca. Opusi dvojice umjetnika stilski su teško usporedivi, međutim, sličnosti su uočljive u njihovom djelovanju – bili su vodeći umjetnici u svojim sredinama koje su ih nakon odcijepljenja od tradicionalnih okvira umjetnosti odbacile, predsjedali su odcijepljenim društvima umjetnika u svojim sredinama, izlagali su na izložbama Venecijanskog bijenala, godine 1900. na Svjetskoj izložbi u Parizu nagrađeni su za svoja umjetnička djela. Također je istaknuta važnost najpoznatijeg hrvatskog kipara Ivana Meštrovića, umjetnika koji je u Beču onoga doba bio prepoznat kao vodeća kiparska ličnost novog modernog pokreta te jedini hrvatski umjetnik koji je bio redoviti član Udruženja likovnih umjetnika Austrije – Secesija od 1906. do 1914. godine.

 

Otvorenje izložbe Izazov moderne Zagreb-Beč oko 1900. u GKD (16) web

Portreti na izložbi Izazov moderne koje je naslikao Vlaho Bukovac krajem 19. stoljeća

 

Ideja izložbe, vidljiva u samome nazivu, bila je potkrijepljena kompletnim postavom čime se zaključuje da je izložba Izazov moderne uspješna izložba. Ne smije se zaboraviti kako se još mnogo toga moglo nadodati, međutim, u relativno malom prostoru za tako plodonosno umjetničko razdoblje, uspjelo se prikazati kako je zapravo veliki Beč utjecao na mali Zagreb te u niti dva desetljeća promjenio svijest Zagrepčana, ali i ostalih koji su u Zagreb došli i ostali, stvorivši tako ideju Zagreba kao kulturnog, obrazovnog, znanstvenog središta Hrvatske što je ostao i danas.

Fotografije su preuzete s http://gkd.hr/izlozba/izazov-moderne-zagreb-bec-oko-1900/http://www.dominionart.com/2017/02/10/izazov-moderne/, https://www.book-and-more.eu, http://www.klimt.com/

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