Stvaralaštvo Mate Celestina Medovića

Stvaralaštvo Mate Celestina Medovića

Kategorija stručni članci | 06/03/2017 67

 

Mato Celestin Medović jedan je od velikana hrvatske umjetnosti druge polovice 19. stoljeća i početka 20. stoljeća. Svoj izraz pronašao je u različitim slikarskim vrstama od kojih su najznačajnije povijesne kompozicije i pejsaži.

 

Djetinjstvo i mladost

Mato Celestin Medović rođen je 17. studenog 1857. u Kuni na Pelješcu. Odrastao je u obitelji težaka kao jedno od sedmero djece živeći u oskudici. Gvardijan Delorite, samostana i crkve posvećenoj Gospi od Loreta, opat Paulin Majčica, uzeo je Medovića pod svoje okrilje i oko 1866. ga doveo u samostan. Medović je u samostanu učio latinski, talijanski, zemljopis i povijest. Opat Paulin Majčica odveo je mladog Medovića 1868. u Dubrovnik u samostan Male braće gdje ostaje do 1880. godine. U samostanu Male braće naučio je od jednog propovjednika tehniku punktiranja i kopirao glavu Svetog Ivana Leonarda da Vincia. Godine 1879. upoznao se s Bukovcem. Iste je godine samostan posjetio General franjevačkog reda iz Rima koji je bio zadivljen Medovićevim djelima te mu je obećao studij slikarstva u Rimu čim završi bogoslovlje. Prije odlaska u Rim za Deloritu radi oltarnu palu Madona sa sv. Nikolom i sv. Spiridonom te je naslikao manju sliku Sv. Franjo u ekstazi za franjevački samostan u Cavtatu.[1]

U Rimu boravi između 1880. i 1886. godine, ali nekontinuirano jer je putovao i radio za franjevačke samostane po Italiji. Boravio je u samostanu nazarenaca sv. Izidor. Poznati po svojemu slikarskom stvaralaštvu, nazarenci su slikali romantičnim načinom jednostavna likovna izraza, preciznog crteža, ali ne osobito originalnog kolorita i kompozicije. Medovićev učitelj bio je nazarenski epigon Lodovico Seitz koji  je radio freske u Đakovačkoj katedrali. Medovića je razočarala zabrana pohađanja državne Akademije gdje se radilo po živim modelima, ali i sam profesor L. Seitz s kojim se nije slagao. Uskoro je zatražio novog učitelja Giuseppea Grandia kojega je smatrao bližim svojim idealima i ugledao se na njegov slobodniji kolorit U sklopu studijskog putovanja Medović je boravio u Assisiju gdje je proučavao freske Giotta i Cimbaua, Perugi gdje je upoznao djela Perugina i mladog Rafaela te konačno u Firenzi koja je na njega ostavila najznačajniji utisak.

Godine 1882. Medović je na Međunarodnoj proljetnoj izložbi u Rimu izložio sliku Za sprovodom. Prikazane su polifigure dvojice starih fratara koji, eskpresivnih lica, koračaju za lijesom. Medović je ostvario veliki uspjeh, kritika ga je hvalila, a slika je bila prodana na izložbi. Pohvaljen je i od strane antikatoličkog lista La Capitale što je izazvalo zlonamjerna tumačenja kako je povezan s framasonskim krugovima. Ogorčen, odlazi u Fucecchio. Tamo upoznaje Emidia Cardinia koji je poslao Medovića na studij u Firencu u privatnu školu Antonia Ciseria. Pošto je u Firenzi radio na živim modelima, morao se zbog pritužbi vratiti u Rim iz kojega u konačnici odlazi 1886. godine. [2]

 

01

Za sprovodom, 1882.

 

Dubrovnik 1886. – 1888.

U kratkom periodu prije odlaska u München slika oltarnu palu Sv. Franjo klanja se na križu za samostan Male braće, a za kapelu dubrovačke bolnice oltarnu palu Isus pada pod križem. Portret Ruđera Boškovića naručio je za Narodni muzej u Beogradu književnik Matija Ban, a Franjo Rački repliku iste slike za Zagreb.

Na poticaj Franje Račkog, u prosincu 1887. u Zagrebu, održana je mala komorna izložba slika Celestina Medovića u prostorijama Račkove galerije. Izloženo je pet Medovićevih slika: Portret Ruđera Boškovića, Portret Ike Bizzaro, studija Ribar Gruški, studija Abesinac, genre kompozicija Pompejanska obitelj. Izložba je doživjela uspjeh, Medović je dobio pozitivne kritike i oduševio publiku svojim realističkim slikama. [3]

Međutim, kako navodi Vera Kružić Uchytil: „Medović je za svoj Red doista bio problem; kao umjetnik mogao bi jednoga dana biti ponos franjevačkom redu, ali kao redovnik bio je oduvijek tvrdoglav i ne uvijek uzorne poslušnosti koja se u Redu prvenstveno tražila.“ Emil Jakob Schindler, bečki slikar, ukazao je na Medovićeve slikarske kvalitete i nagovorio dubrovačke intelektualce da mu pomognu pri upisu slikarstva na Likovnoj akademiji u Münchenu. Mato Celestin Medović odlazi 1888. godine u München na studij slikarstva.[4]

 

02

Portret Ike Bizzaro, 1887.

 

München 1888. – 1893.

Medoviću su na Akademiji prvotno predavali profesori Gabriel Hackl i Ludwig Löfftz. Zatim je šest semestara polaznik Komponierklasse kod profesora Aleksandera Wagnera i studira isključivo kompoziciju. Posljednje tri godine školovanja kod Wagnera obilježilo je školovanje u duhu dekorativnih povijesnih kompozicija Karla Pilotyja čiji će se utjecaj vidjeti par godina poslije za vrijeme stvaranja Medovićevih velikih kompozicija u Zagrebu. Za svaku kompoziciju bila je tražena temeljita studija, pažnja je bila posvećena svakom detalju i vjerodostojnosti prikazanih komponenata te je iznimno važna bila povijesna točnost djela.

Tijekom studija bio je višestruko nagrađivan. Nakon prve i druge godine dobio je Belobung fur seine Leistung in Malen. Zahvaljujući velikim uspjesima 1890. godine dobio je na Akademiji na raspolaganje atelje za rad. Iste je godine biskupu Strossmayeru poklonio sliku Sv. Bonaventura. U toj ranoj fazi stvaralaštva vidljiv je utjecaj münchenske škole. Medović je napustio talijansku narativnost i široku skalu boja, njegova djela su prožeta sivilom i tamnim tonovima. Slika Sv. Bonaventura prožeta je polumračnom atmosferom, a svjetlost je izražena na licu sveca.

Prilikom posjeta cara Franje Josipa Akademiji, bio je predstavljen caru kao najbolji student monarhije. Godine 1891. u sklopu godišnjih izložbi studentskih radova, izložena je prva Medovićeva samostalno izvedena slika Sv. Magdalena te je bila nagrađena malom srebrnom medaljom. Nakon toga izložena je na Müncher Jahresausstelung u Könglicher Glaspalastu. [5]

Godine 1893. na studentskoj izložbi Medović izlaže jedno od svojih najznačajnijih djela – Bakanal. Bakanal je bio odlikovan velikom srebrnom medaljom uz čestitke princa regenta Bavarske, a na izložbi u Glaspalastu ostvario je ogroman uspjeh koji je ubrzo odjeknuo i u hrvatskim kulturnim krugovima. Medović je bio fasciniran antikom i radio je na Bakanalu tri godine. U središtu dvorane antičkog stila nalazi se Dionizov kip u čijem podnožju svećenik diže ruke nebu, a oko njega leže ubijeni ljudi. Sjedišta oko dvorane ispunjavaju gledatelji. U prvome pojasu nalaze se dvije ženske figure koje su leđima okrenute promatraču. Pažnja svih likova usmjerena je na središte prizora i svećenika. Vrsnoća perspektivno skraćene polukružne dvorane i pokret likova stvaraju dinamiku slike. Likovi i kadar su pomaknuti te je centar udesno što stvara prostornu napetost. Stvara se dojam dinamike, monumentalnosti i dekorativnosti koja je izražena na mozaiku mramornog poda i ružičastom koloritu dvorane. Prevladava sivkast ton koji je, kako je već navedeno, karakterističan za münchensku školu. U stražnjem pojasu vidljiva je zadimljenost prostora. Razbijanje sivih tonova slike uzrokuje boja cvijeća i ružičasti tonovi pilastara i mramorne stube postamenta koje pridaju osvjetljenost djelu.

 

03

Bakanal, 1893.

 

Nakon smrti Generala franjevačkog reda iz Rima, novi General postaje Lugi Canali da Parma koji nije imao razumijevanja za Medovića, navodno potaknut ranijim skandalom i poteškoćama s kojima je Medović bio suočen . Nakon što je dvaput odbio Medulićevu zamolbu za kratkotrajan boravak u Rimu, General mu naređuje da se vrati u domovinu.[6]

 

Stvaralaštvo između 1893. i 1907. godine

Nakon povratka iz Münchena do trajnog odlaska na Pelješac 1907. godine nastaju najznačajnija Medovićeva djela. Prije odlaska u Zagreb 1894. godine naslikao je nekoliko portreta, oltarnih pala i pejsaža. Medovićevi portreti toga razdoblja mogu se podijeliti u dvije skupine: reprezentativne i intimne portrete. Reprezentativni portreti su realistički, namaz je gotovo lazuran, bit je pokazati što realističniji i vjerniji prikaz portretiranog lika. Intimni portreti su lišeni detalja i pažnja je usmjerena na prikaz psihološkoj ekspresiji lica. Namaz je slojeviti impasto, deblji je nanos boje i potez kista je uočljiv za razliku od reprezentativnih portreta. Stvara i nekoliko svojih prvih pejsaža intimnog karaktera sumornih boja, potpuno u suprotnosti od onih koje će slijediti pred kraj njegova života.

Dolaskom u Zagreb 1894. godine Medović se povezuje s Bukovcem koji svojim slikarstvom snažno na njega utječe te Medović postaje jedan od pripadnika „zagrebačke šarene škole“. Bukovac u to vrijeme stvara u francuskom plein airu, slike su prožete živim koloritom, prozračnošću, snažnim osvjetljenjem, negira tamne sjene i sivilo boja te on prosvjetljuje hrvatsku likovnu scenu.

Mato Celestin Medović postaje 1895. član Društva umjetnosti, a kasnije i Društva hrvatskih umjetnika koje je osnovao Vlaho Bukovac 1897. godine. Medović je, sklon sukobima, istupio iz Društva hrvatskih umjetnika 1898. godine. Sve se više povlači na rodni Pelješac. Značajno je naglasiti da je tek nakon šest godina boravka u Zagrebu, 1901. godine, Medović imao prvu izložbu na kojoj je izložio 158 djela.[7]

Medović je dobio narudžbe od J. J. Strossmayera te je radi pripreme otputovao u Italiju gdje je proučavao Rim i Pompeje. Boravak u Italiji ostavio je utjecaj na kolorit njegovih djela. Zbog drugačije klime, većih temperatura i sunčanijeg vremena, Medović je imao mogućnost slikati u plein airu. Novi stil Medovićeva slikarstva nije se svidio biskupu Strossmayeru te je brojna djela u konačnici odbacio što je kulminiralo sudskom parnicom. [8]

Novost u Medovićevu slikarstvu vidljiva je na slici Pompejanke na terasi iz 1896. godine. Prikazana su dva ženska lika koja su promatraču okrenuta leđima, motiv koji je koristio i u Bakanalu. U stražnjem pojasu nazire se prikaz mora i otoka, Medović uvodi prirodu, pejsaž i povezuje ga s antikizirajućom arhitetkurom u kojoj se nalaze ženski likovi. Kao i na slici Bakanal ponovno uvodi i motiv mozaika na podu. Osim detaljiziranoj razradi podnog mozaika, pažnju posvećuje prikazu draperije, kose, ukrasa u kosi i “pokrivača” od lišća. Slika Pompejanka prikazuje lik mlade žene u bijeloj odjeći koji popravlja kosu. U pozadini se, kao u prethodno opisanoj slici, pruža pogled na more. Lik je prikazan u sjedećem položaju u savinutoj liniji, a draperija spiralno pada što postiže dinamiku slike. Ono što je karakteristično za opisane slike je boja i svjetlost. Vidljiv je utjecaj prozračna Bukovčeva slikarstva. Koriste se topliji tonovi, svjetlost je izražena posebice u slici Pompejanke na terasi zbog same tematike koja je smještena na terasu u mediteranskom krajoliku, prostoru tople klime koji treba biti prikazan što prozračnije i osvjetljenije.

 

04

Pompejanke na terasi, 1896.

 

05

Pompejanka 1, do 1901.

 

Izidor Kršnjavi okupio je mnoge umjetnike koji su radili na opremi Zlatne dvorane Odjela za bogoštovlje i nastavu. Jedan od njih bio je i Medović. Naslikao je četiri velike dekorativne povijesne kompozicije koje prikazuju događaje iz povijesti Hrvata: Splitski sabor 925. godine (1897.), Dolazak Hrvata (1903.), Krunidba Ladislava Napuljskog 1403. godine starom hrvatskom krunom (1905.) i Zaruke hrvatskog kralja Zvonimira (1907.). [9] Medović je pažljivo prikazao detalje na slici, posebnu pažnju usmjerio je na prikaz draperije i ekspresiju lica likova, kompozicije su dinamične, scene sadrže mnogo likova u različitim položajima, prostornost je naglašena većim brojem prostornih pojasa i geometrijskom perspektivom, a u prikazima iz kraljevskog dvora, ključna scena postavljena je u središte slike. Kao što je već navedno, Medović je u Münchenu studirao kompoziciju i potpuno je ovladao prikazom povijesnih vjerodostojnih i realnih scena što je vidljivo na spomenutim djelima. Valja još napomenuti na povijesnu sliku Srijemski mučenici iz 1895. i skicu za Bitku na Grobničkom polju iz 1905. godine koje su obje rađene za Zlatnu dvoranu. Slike karaktezira izraženo naglašena dinamika, ponovno je prikazan veliki broj likova smještenih u duboki prostor. Na dinamiku Medovićevih povijesnih kompozicija utječe bogat kolorit i splet boja koje svojom izmjenom naglašavaju dramatičnost prikazanih trenutaka.

Medović u to vrijeme slika i mnogobrojne portrete. Za razliku od reprezentativnih i intimnih portreta nastalih prije Bukovčevog utjecaja na Medovićevo slikarstvo, novonastali portreti prozračniji su i osvjetljeniji.

                                               

06

Splitski sabor, 1897.       

 

07

Krunidba Ladislava Napuljskog, 1905.

 

Kuna na Pelješcu 1907./1908. – 1918./1919.

Učestalo izbivanje iz Zagreba rezultiralo je Medovićevim gubitkom ateljea u Zagrebu i on, razočaran, potpuno napušta Zagreb. Odlazi na rodni Pelješac gdje slika u plein airu uglavnom za vlastiti užitak, a u manjoj mjeri za materijalnu dobit. Medović se potpuno okrenuo slikanju pejsaža i marina većih dimenzija dok su u prijašnjim razdobljima bili slikani u manjim dimenzijama. Često slika i mrtve prirode. [10]

Njegova paleta boja postaje rasvjetljena i pročišćena. Glavna obilježja Medovićevih pejsaža su danjska sunčana osvjetljenost, sitni titravi potezi kista, gust namaz, šarenilost boja. Često se motivi rastvaraju u divizionističkoj tehnici rada. Prikaz mora na Medovićevim slikara iz razdoblja kada je slikao Pompejanke kulminirao je u ovome razdoblju te on sad plavetnilo mora stavlja u prvi, a ne u drugi plan. Pejsaži odlikuju kontrastom toplih boja biljaka, crveno-ljubičaste boje vrijesa, žute boje smilja te plave boje mora. Vrijes iz 1911. godine prikaz je pejsaža koji uokviruje sveukupno znanje koje je slikar stekao za svog umjetničkog života. More je u ovome slučajno u drugom planu, u prednjemu planu je vrijes, naslikan sitnim titravim potezima, izmjenjujućih plavo-ljubičastih nijansi. Slikom dominira kontrast svjetlijih i tamnijih tonova, bjelina oblaka i tamna obojanost mora i planine, zelenilost trave i boja vrijesa. Karakteristična je izrazita perspektivna dubina slike poznata iz ranijih Medovićevih djela.

 

08

Vrijes, 1911.

 

09

Rumeni vrijes, 1914–1916.

 

09

Bonaca, 1908.-1912.

 

Za vrijeme rata Medović teško preživljava u rodnoj Kuni, slika oltarne pale kako bi zaradio. Rat je teško djelovao na njegovo duševno stanje. Godine 1919. na glavnoj godišnjoj skupštini Jugoslavenske akademije znanosti i umjetnosti osnovan je umjetnički razred čijim su počasnim članovima bili imenovani Mato Celestin Medović, Vlaho Bukovac i Ivan Meštrović.

Mato Celestin Medović preminuo je 20. siječnja 1920. godine u Sarajevu.[11] Umjetnik velikog i znamenitog slikarskog opusa ostavio je veliki doprinos hrvatskoj kulturnoj baštini. Od najranijih djela obilježenih tamnim koloritom, naglašene psihološke ekspresivnosti svojih portreta, preko monumentalnih detaljiziranih povijesnih kompozicija, sve do šarenih, prozračnih, “svjetlom okupanih” pejsaža, Mato Celestin Medović jedan je od ključnih protagonista hrvatske umjetničke scene s prijelaza stoljeća.

Popis literature

Fisković, Cvito (1973.), Slikar Medović u zavičaju, Split: Mogućnosti

Gamulin, Grgo (1995.), Hrvatsko slikarstvo XIX. stoljeća, sv. 1, Zagreb: Naprijed

Kružić Uchytil, Vera (1978.), Mato Celestin Medović, Zagreb: Grafički zavod Hrvatske

* Napomena: Slikovni materijal preuzet (skeniran) je iz: Gamulin, Grgo (1995.), Hrvatsko slikarstvo XIX. stoljeća, sv.1, Zagreb: Naprijed, osim dviju slika s prikazom Pompejanki koje su preuzete iz http://galerijavugrinec.hr/

 

Bilješke

[1] Kružić Uchytil, 1978: 11 – 14

[2] Kružić Uchytil, 1978: 15 – 20

[3] Kružić Uchytil, 1978: 21

[4] Kružić Uchytil, 1978: 22

[5]  Kružić Uchytil, 1978: 22 – 24

[6]  Kružić Uchytil, 1978: 23

[7] Kružić Uchytil, 1978: 27 – 29

[8] Kružić Uchytil, 1978: 28

[9] Kružić Uchytil, 1978: 67; 71

[10] Kružić Uchytil, 1978: 114

[11] Kružić Uchytil, 1978: 41 – 43

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