This paper aims to highlight the acceptance of the Russian Empire style in the first half of the ... more This paper aims to highlight the acceptance of the Russian Empire style in the first half of the 20th century in Belgrade. The occurrence of the Empire style in Belgrade is unusual in relation to the time and spatial distance and the fact that the style was not present in Serbian cultural environment in the period of its flourishing during 19th century. The elements of the Empire style in public and private buildings are the evocation of the cultural memory of the Russian Empire, which was abolished at the time of the formation of capital of the Kingdom of SHS.This paper aims to highlight the acceptance of the Russian Empire style in the first half of the 20th century in Belgrade. The occurrence of the Empire style in Belgrade is unusual in relation to the time and spatial distance and the fact that the style was not present in Serbian cultural environment in the period of its flourishing during 19th century. The elements of the Empire style in public and private buildings are the e...
Vladimir Pavlovich Zagorodnjuk (Odessa, 1889 — Sydney, 1976) is one of many Russian artists who a... more Vladimir Pavlovich Zagorodnjuk (Odessa, 1889 — Sydney, 1976) is one of many Russian artists who arrived in Yugoslavia in the early 1920s, in the first wave of emigration, and contributed to the visual culture of Belgrade in the period between the two world wars. This period is marked by the development in all areas of art and was so fruitful that even today, a century later, it has still not been fully researched and presented, demanding a deeper introspection of authorial contributions and stylistic trends, especially in the field of applied art. With the experience he gained while studying at the Ecole Nationale des Beaux Arts in Paris, he began his work in Belgrade in 1921 as a painter-scenographer of the National Theater. In the period 1923–1940, as an independent set designer for the National Theater, he staged 19 plays and 12 operas and about 20 plays in the period 1945–1950. Along with his scenographic work, in the period 1927–1939, he was noticed as a prolific sculptor, and created reliefs and facade sculptures of numerous public and private buildings in the capital and in other large centers of the kingdom. He cooperated with eminent architects of the period, often in favor of the Art Deco style, and contributed to its reception in Yugoslavia. He exhibited with the Society of Russian Artists (1928), with the group Krug (1929, 1930), at the Salon of Architecture (1931), at The first exhibition of theatrical painting (1938), as well as at the Salon of Russian Artists (1942 and 1943). He was awarded with Diploma de Medaille d’Or at The Exhibition of Industrial Decorative Modern Art 1925 in Paris, high State Decoration of Saint Sava in 1926 and The Medal for Labor Merits of III in 1949. In 1950, he immigrated to Australia, where he continued his artistic work to a lesser extent until his death in 1976 in Sydney. His three prolific decades of work in Belgrade left a considerable contribution, highly praised by contemporaries, but not entirely researched and evaluated by present historiography. Regarding previous researches, preserved edifices and documentation of the artist’s private legacy preserved in his family, as well as parts of his legacy donated to the Theater Museum of Serbia, this article tends to present the artistic oeuvre of V.P.Zagorodnjuk and to initiate its further consideration.
Actual Problems of Theory and History of Art, 2022
Vladimir Pavlovich Zagorodnjuk (Odessa, 1889 — Sydney, 1976) is one of many Russian artists who a... more Vladimir Pavlovich Zagorodnjuk (Odessa, 1889 — Sydney, 1976) is one of many Russian artists who arrived in Yugoslavia in the early 1920s, in the first wave of emigration, and contributed to the visual culture of Belgrade in the period between the two world wars. This period is marked by the development in all areas of art and was so fruitful that even today, a century later, it has still not been fully researched and presented, demanding a deeper introspection of authorial contributions and stylistic trends, especially in the field of applied art. With the experience he gained while studying at the Ecole Nationale des Beaux Arts in Paris, he began his work in Belgrade in 1921 as a painter-scenographer of the National Theater. In the period 1923–1940, as an independent set designer for the National Theater, he staged 19 plays and 12 operas and about 20 plays in the period 1945–1950. Along with his scenographic work, in the period 1927–1939, he was noticed as a prolific sculptor, and created reliefs and facade sculptures of numerous public and private buildings in the capital and in other large centers of the kingdom. He cooperated with eminent architects of the period, often in favor of the Art Deco style, and contributed to its reception in Yugoslavia. He exhibited with the Society of Russian Artists (1928), with the group Krug (1929, 1930), at the Salon of Architecture (1931), at The first exhibition of theatrical painting (1938), as well as at the Salon of Russian Artists (1942 and 1943). He was awarded with Diploma de Medaille d’Or at The Exhibition of Industrial Decorative Modern Art 1925 in Paris, high State Decoration of Saint Sava in 1926 and The Medal for Labor Merits of III in 1949. In 1950, he immigrated to Australia, where he continued his artistic work to a lesser extent until his death in 1976 in Sydney. His three prolific decades of work in Belgrade left a considerable contribution, highly praised by contemporaries, but not entirely researched and evaluated by present historiography. Regarding previous researches, preserved edifices and documentation of the artist’s private legacy preserved in his family, as well as parts of his legacy donated to the Theater Museum of Serbia, this article tends to present the artistic oeuvre of V.P.Zagorodnjuk and to initiate its further consideration.
Као градитељска појава ар деко је уочен у историографији 1966. године, поводом прве ретроспективе... more Као градитељска појава ар деко је уочен у историографији 1966. године, поводом прве ретроспективе Међународне изложбе савремених декоративних и индустријских уметности, одржане у Паризу 1925. Појава интересовања историографије за ар деко подударила се са слабљењем модернистичке доминације, чији су критеријуми били засновани на утилитарној, рационалној и социјално оправданој архитектури. Српска историографија покушала је да укаже на ар деко у српској архитектури 1990. године, али је до почетка новог миленијума тумачење овог стила било маргинализовано. Тек 2001. феномен ар декоа дефинисан је у оквирима националне градитељске баштине, а 2013. године је представљањем иностраној јавности био постављен у шири међународни оквир. Овај рад има за циљ да на основу проучавања релевантне и доступне архивске, музејске, хемеротечке и фототечке грађе, као и документације из приватних збирки, уз анализе неизведених пројеката и објеката на терену, шире дефинише појаву ар декоа у српској архитектури,...
Пружајући на увид стваралачки опус и животни пут код нас мало познатог руског архитекте Николаја ... more Пружајући на увид стваралачки опус и животни пут код нас мало познатог руског архитекте Николаја Васиљевича Васиљева, који је током свог кратког боравка у Београду (1921-1923), остварио мањи али веома значајан уметнички опус-циљ нам је био да, поред расветљавања његове делатности у нашој средини, укажемо на значај који је овај градитељ имао у интернационалним токовима архитектуре. Истичући важност његовог до сада маргинализованог опуса, указано је на потребу даљих историографских тумачења његовог рада, као и његово укључивање у будућа разматрања међуратне архитектуре у Србији.
... године архитекта Иван Здравковић.7 Послератна борба са буржоаском архитектуром, и њеном тежњо... more ... године архитекта Иван Здравковић.7 Послератна борба са буржоаском архитектуром, и њеном тежњом да се оствари индивидуалност, посебност и јединственост, истакла је у први план неопходност остваривања визије целовитости и уједначености нове ...
As a stylistic definition, the term ' Art Deco' appeared in 1966, in the exhibition Les Années 25... more As a stylistic definition, the term ' Art Deco' appeared in 1966, in the exhibition Les Années 25: Art Déco/ Bauhaus/Stijl/Esprit Nouveau, dedicated to the art of the year 1925 [33, p. 10]. 2 The term ' Art Deco' was first used by Le Corbusier in a pejorative critical comment describing decorative tendencies in architecture that marked the exhibition of 1925, driven by Loos's treatise Ornament and Crime, which Le Corbusier translated into French in 1920.
Aleksandar Đorđevic (1890-1952) is placed among the most famous Serbian architects of the period ... more Aleksandar Đorđevic (1890-1952) is placed among the most famous Serbian architects of the period between the two Wars. While working for the elite of the pre-war Belgrade, for King Aleksandar I, Prince Pavle Karađorđevic merchants, industrialists and members of Parliament, he created, in his architectural opus, many remarkable works, such as building of Belgrade Stock Exchange, White Palace and Golf Club in Kosutnjak, and numerous private residencies in capital and out of it, as well. He was educated in the most prestigious schools in Germany and France, during his creative period he reflected the influences of the style of academism inspired by French architecture of 17th and 18th century. His approach to the architectural design, was not exclusively the reflection of his education and explicit demands of the environment, but it was also the reflection of the cultural milieu which he belonged to. While working for the pre-war capital elite, Đorđevic made influence on the taste form...
The influx of modern ideas and modernization of life marking the 1930s encouraged the generation ... more The influx of modern ideas and modernization of life marking the 1930s encouraged the generation of young architects, fresh from university, to embark on a career in designing. Among them was Jovan Bjelovic (1903-1977) whose work has been neglected in the surveys of Belgrade interwar architecture. Having joined the studio of Đura Borosic who was a member of a group of modern movement architects, Bjelovic hurl-self adopted the style which was increasingly gaining ground. Having set up a studio of his own in 1934, he designed a number of residential buildings in the city centre thereby giving his contribution to the present-day cityscape. His work reflects the stages that modern architecture went through in the process of its maturation during the 1930s. His early projects show an early modernist approach with some measure of decorativism which, in 1935-37, was expressed in the spirit of Art De-co. Going through the phase of mature modernism, he distilled his forms and came closer to ...
УДК 725.24(497.11) P Сажетак: Циљ овог рада је да анализом и компарацијом конкурсних и изведеног ... more УДК 725.24(497.11) P Сажетак: Циљ овог рада је да анализом и компарацијом конкурсних и изведеног решења за Палату Привилеговане аграрне банке у Београду (1932)(1933)(1934) допринесе сагледавању токова српске међуратне архитектуре и укаже на стилску некохерентност и варијабилност градитељских идеја неимара, те наклоњеност средине да кроз укус инвеститора укаже на жељени градитељски модел као слику сопственог идентитета. Наклоњеност инвеститора ка модерној али декоративној концепцији, уз инсистирање на употреби класичног стилског предлошка, довело је до превођења класичних мотива у модерно конципирану архитектуру остварену кроз ар деко стил. Иако је њен оригинални изглед измењен обновом након Другог светског рата, Палата Аграрне банке задржала је сва својства репрезентативног урбаног маркера централног градског језгра и учествовала у формирању Трга Маркса и Енгелса и простора испред зграде Народне скупштине. Као најзначајније остварење архитеката Петра и Бранка Крстића одражава однос инвеститора и пројектанта и има изузетан значај за историографска тумачења српске међуратне епохе и њене архитектуре.
Proceedings of the international conference SmartArt2019, 2020
The aim of this paper is to present a complex relationship between applied arts and architectural... more The aim of this paper is to present a complex relationship between applied arts and architectural design, made through the development of styles in the Serbian architecture of the second half of the 19th and the first half of the 20th century. It is based on previous conclusions and new perspectives arising from research of archival material and legacies of builders and applied artists, as well as present observations and conclusions. Observing the parallel development of architecture with the economic , political, social and cultural phenomena of the period, one can notice qualitative and quantitative rise of the applied arts, which in their various forms are a reflection of the time. The bond between applied arts and architecture had shown a significant role in shaping the styles of the Serbian architecture prevalently in Belgrade, largest Serbian city and the capital of The Principality of Serbia (1830–1882) and The Kingdom of Serbia (1882–1918) and The Kingdom of Yugoslavia (1918–1945), as well as The Federal People’s Republic of Yugoslavia (1945–1963), through developing stylistic flows of Academicism, Secession, Art Deco, Modern and Socialistic realism, as well as many transient stylistic phenomena depending on local and foreign influences. Although it was not widely open to constructive experiments, the architecture of Serbia embraced the spirit of contemporary aestheticism adapting it to the local taste, expressing it with various sophisticatedly designed stylistic elements of applied arts. Stained glass, mosaic, wall painting, sculpture and relief, modern locksmith work, furniture and interior design, as well as the concept of facade composition in relation to the personal creative sensibilities of the author, taste and wishes of the clients, were given particular motifs and characteristics that determined the identity of the building in terms of style. Despite the importance of applied art and its significance for the development of the Serbian architecture of the noted period, insufficient knowledge of its opulent corpus, its authors and tendencies, conditioned by poorly preserved and rarely presented documentary material, puts to historiography the conclusion of the need for more thorough research and of publication of the knowledge about applied art in Serbia. Pointing to this specific collaborative practice of applied arts with architectural design is an attempt to contribute to this aim.
This paper aims to highlight the acceptance of the Russian Empire style in the first half of the ... more This paper aims to highlight the acceptance of the Russian Empire style in the first half of the 20th century in Belgrade. The occurrence of the Empire style in Belgrade is unusual in relation to the time and spatial distance and the fact that the style was not present in Serbian cultural environment in the period of its flourishing during 19th century. The elements of the Empire style in public and private buildings are the evocation of the cultural memory of the Russian Empire, which was abolished at the time of the formation of capital of the Kingdom of SHS.This paper aims to highlight the acceptance of the Russian Empire style in the first half of the 20th century in Belgrade. The occurrence of the Empire style in Belgrade is unusual in relation to the time and spatial distance and the fact that the style was not present in Serbian cultural environment in the period of its flourishing during 19th century. The elements of the Empire style in public and private buildings are the e...
Vladimir Pavlovich Zagorodnjuk (Odessa, 1889 — Sydney, 1976) is one of many Russian artists who a... more Vladimir Pavlovich Zagorodnjuk (Odessa, 1889 — Sydney, 1976) is one of many Russian artists who arrived in Yugoslavia in the early 1920s, in the first wave of emigration, and contributed to the visual culture of Belgrade in the period between the two world wars. This period is marked by the development in all areas of art and was so fruitful that even today, a century later, it has still not been fully researched and presented, demanding a deeper introspection of authorial contributions and stylistic trends, especially in the field of applied art. With the experience he gained while studying at the Ecole Nationale des Beaux Arts in Paris, he began his work in Belgrade in 1921 as a painter-scenographer of the National Theater. In the period 1923–1940, as an independent set designer for the National Theater, he staged 19 plays and 12 operas and about 20 plays in the period 1945–1950. Along with his scenographic work, in the period 1927–1939, he was noticed as a prolific sculptor, and created reliefs and facade sculptures of numerous public and private buildings in the capital and in other large centers of the kingdom. He cooperated with eminent architects of the period, often in favor of the Art Deco style, and contributed to its reception in Yugoslavia. He exhibited with the Society of Russian Artists (1928), with the group Krug (1929, 1930), at the Salon of Architecture (1931), at The first exhibition of theatrical painting (1938), as well as at the Salon of Russian Artists (1942 and 1943). He was awarded with Diploma de Medaille d’Or at The Exhibition of Industrial Decorative Modern Art 1925 in Paris, high State Decoration of Saint Sava in 1926 and The Medal for Labor Merits of III in 1949. In 1950, he immigrated to Australia, where he continued his artistic work to a lesser extent until his death in 1976 in Sydney. His three prolific decades of work in Belgrade left a considerable contribution, highly praised by contemporaries, but not entirely researched and evaluated by present historiography. Regarding previous researches, preserved edifices and documentation of the artist’s private legacy preserved in his family, as well as parts of his legacy donated to the Theater Museum of Serbia, this article tends to present the artistic oeuvre of V.P.Zagorodnjuk and to initiate its further consideration.
Actual Problems of Theory and History of Art, 2022
Vladimir Pavlovich Zagorodnjuk (Odessa, 1889 — Sydney, 1976) is one of many Russian artists who a... more Vladimir Pavlovich Zagorodnjuk (Odessa, 1889 — Sydney, 1976) is one of many Russian artists who arrived in Yugoslavia in the early 1920s, in the first wave of emigration, and contributed to the visual culture of Belgrade in the period between the two world wars. This period is marked by the development in all areas of art and was so fruitful that even today, a century later, it has still not been fully researched and presented, demanding a deeper introspection of authorial contributions and stylistic trends, especially in the field of applied art. With the experience he gained while studying at the Ecole Nationale des Beaux Arts in Paris, he began his work in Belgrade in 1921 as a painter-scenographer of the National Theater. In the period 1923–1940, as an independent set designer for the National Theater, he staged 19 plays and 12 operas and about 20 plays in the period 1945–1950. Along with his scenographic work, in the period 1927–1939, he was noticed as a prolific sculptor, and created reliefs and facade sculptures of numerous public and private buildings in the capital and in other large centers of the kingdom. He cooperated with eminent architects of the period, often in favor of the Art Deco style, and contributed to its reception in Yugoslavia. He exhibited with the Society of Russian Artists (1928), with the group Krug (1929, 1930), at the Salon of Architecture (1931), at The first exhibition of theatrical painting (1938), as well as at the Salon of Russian Artists (1942 and 1943). He was awarded with Diploma de Medaille d’Or at The Exhibition of Industrial Decorative Modern Art 1925 in Paris, high State Decoration of Saint Sava in 1926 and The Medal for Labor Merits of III in 1949. In 1950, he immigrated to Australia, where he continued his artistic work to a lesser extent until his death in 1976 in Sydney. His three prolific decades of work in Belgrade left a considerable contribution, highly praised by contemporaries, but not entirely researched and evaluated by present historiography. Regarding previous researches, preserved edifices and documentation of the artist’s private legacy preserved in his family, as well as parts of his legacy donated to the Theater Museum of Serbia, this article tends to present the artistic oeuvre of V.P.Zagorodnjuk and to initiate its further consideration.
Као градитељска појава ар деко је уочен у историографији 1966. године, поводом прве ретроспективе... more Као градитељска појава ар деко је уочен у историографији 1966. године, поводом прве ретроспективе Међународне изложбе савремених декоративних и индустријских уметности, одржане у Паризу 1925. Појава интересовања историографије за ар деко подударила се са слабљењем модернистичке доминације, чији су критеријуми били засновани на утилитарној, рационалној и социјално оправданој архитектури. Српска историографија покушала је да укаже на ар деко у српској архитектури 1990. године, али је до почетка новог миленијума тумачење овог стила било маргинализовано. Тек 2001. феномен ар декоа дефинисан је у оквирима националне градитељске баштине, а 2013. године је представљањем иностраној јавности био постављен у шири међународни оквир. Овај рад има за циљ да на основу проучавања релевантне и доступне архивске, музејске, хемеротечке и фототечке грађе, као и документације из приватних збирки, уз анализе неизведених пројеката и објеката на терену, шире дефинише појаву ар декоа у српској архитектури,...
Пружајући на увид стваралачки опус и животни пут код нас мало познатог руског архитекте Николаја ... more Пружајући на увид стваралачки опус и животни пут код нас мало познатог руског архитекте Николаја Васиљевича Васиљева, који је током свог кратког боравка у Београду (1921-1923), остварио мањи али веома значајан уметнички опус-циљ нам је био да, поред расветљавања његове делатности у нашој средини, укажемо на значај који је овај градитељ имао у интернационалним токовима архитектуре. Истичући важност његовог до сада маргинализованог опуса, указано је на потребу даљих историографских тумачења његовог рада, као и његово укључивање у будућа разматрања међуратне архитектуре у Србији.
... године архитекта Иван Здравковић.7 Послератна борба са буржоаском архитектуром, и њеном тежњо... more ... године архитекта Иван Здравковић.7 Послератна борба са буржоаском архитектуром, и њеном тежњом да се оствари индивидуалност, посебност и јединственост, истакла је у први план неопходност остваривања визије целовитости и уједначености нове ...
As a stylistic definition, the term ' Art Deco' appeared in 1966, in the exhibition Les Années 25... more As a stylistic definition, the term ' Art Deco' appeared in 1966, in the exhibition Les Années 25: Art Déco/ Bauhaus/Stijl/Esprit Nouveau, dedicated to the art of the year 1925 [33, p. 10]. 2 The term ' Art Deco' was first used by Le Corbusier in a pejorative critical comment describing decorative tendencies in architecture that marked the exhibition of 1925, driven by Loos's treatise Ornament and Crime, which Le Corbusier translated into French in 1920.
Aleksandar Đorđevic (1890-1952) is placed among the most famous Serbian architects of the period ... more Aleksandar Đorđevic (1890-1952) is placed among the most famous Serbian architects of the period between the two Wars. While working for the elite of the pre-war Belgrade, for King Aleksandar I, Prince Pavle Karađorđevic merchants, industrialists and members of Parliament, he created, in his architectural opus, many remarkable works, such as building of Belgrade Stock Exchange, White Palace and Golf Club in Kosutnjak, and numerous private residencies in capital and out of it, as well. He was educated in the most prestigious schools in Germany and France, during his creative period he reflected the influences of the style of academism inspired by French architecture of 17th and 18th century. His approach to the architectural design, was not exclusively the reflection of his education and explicit demands of the environment, but it was also the reflection of the cultural milieu which he belonged to. While working for the pre-war capital elite, Đorđevic made influence on the taste form...
The influx of modern ideas and modernization of life marking the 1930s encouraged the generation ... more The influx of modern ideas and modernization of life marking the 1930s encouraged the generation of young architects, fresh from university, to embark on a career in designing. Among them was Jovan Bjelovic (1903-1977) whose work has been neglected in the surveys of Belgrade interwar architecture. Having joined the studio of Đura Borosic who was a member of a group of modern movement architects, Bjelovic hurl-self adopted the style which was increasingly gaining ground. Having set up a studio of his own in 1934, he designed a number of residential buildings in the city centre thereby giving his contribution to the present-day cityscape. His work reflects the stages that modern architecture went through in the process of its maturation during the 1930s. His early projects show an early modernist approach with some measure of decorativism which, in 1935-37, was expressed in the spirit of Art De-co. Going through the phase of mature modernism, he distilled his forms and came closer to ...
УДК 725.24(497.11) P Сажетак: Циљ овог рада је да анализом и компарацијом конкурсних и изведеног ... more УДК 725.24(497.11) P Сажетак: Циљ овог рада је да анализом и компарацијом конкурсних и изведеног решења за Палату Привилеговане аграрне банке у Београду (1932)(1933)(1934) допринесе сагледавању токова српске међуратне архитектуре и укаже на стилску некохерентност и варијабилност градитељских идеја неимара, те наклоњеност средине да кроз укус инвеститора укаже на жељени градитељски модел као слику сопственог идентитета. Наклоњеност инвеститора ка модерној али декоративној концепцији, уз инсистирање на употреби класичног стилског предлошка, довело је до превођења класичних мотива у модерно конципирану архитектуру остварену кроз ар деко стил. Иако је њен оригинални изглед измењен обновом након Другог светског рата, Палата Аграрне банке задржала је сва својства репрезентативног урбаног маркера централног градског језгра и учествовала у формирању Трга Маркса и Енгелса и простора испред зграде Народне скупштине. Као најзначајније остварење архитеката Петра и Бранка Крстића одражава однос инвеститора и пројектанта и има изузетан значај за историографска тумачења српске међуратне епохе и њене архитектуре.
Proceedings of the international conference SmartArt2019, 2020
The aim of this paper is to present a complex relationship between applied arts and architectural... more The aim of this paper is to present a complex relationship between applied arts and architectural design, made through the development of styles in the Serbian architecture of the second half of the 19th and the first half of the 20th century. It is based on previous conclusions and new perspectives arising from research of archival material and legacies of builders and applied artists, as well as present observations and conclusions. Observing the parallel development of architecture with the economic , political, social and cultural phenomena of the period, one can notice qualitative and quantitative rise of the applied arts, which in their various forms are a reflection of the time. The bond between applied arts and architecture had shown a significant role in shaping the styles of the Serbian architecture prevalently in Belgrade, largest Serbian city and the capital of The Principality of Serbia (1830–1882) and The Kingdom of Serbia (1882–1918) and The Kingdom of Yugoslavia (1918–1945), as well as The Federal People’s Republic of Yugoslavia (1945–1963), through developing stylistic flows of Academicism, Secession, Art Deco, Modern and Socialistic realism, as well as many transient stylistic phenomena depending on local and foreign influences. Although it was not widely open to constructive experiments, the architecture of Serbia embraced the spirit of contemporary aestheticism adapting it to the local taste, expressing it with various sophisticatedly designed stylistic elements of applied arts. Stained glass, mosaic, wall painting, sculpture and relief, modern locksmith work, furniture and interior design, as well as the concept of facade composition in relation to the personal creative sensibilities of the author, taste and wishes of the clients, were given particular motifs and characteristics that determined the identity of the building in terms of style. Despite the importance of applied art and its significance for the development of the Serbian architecture of the noted period, insufficient knowledge of its opulent corpus, its authors and tendencies, conditioned by poorly preserved and rarely presented documentary material, puts to historiography the conclusion of the need for more thorough research and of publication of the knowledge about applied art in Serbia. Pointing to this specific collaborative practice of applied arts with architectural design is an attempt to contribute to this aim.
The palace of the Adriatic-Danubian Bank is a masterpiece of the Serbian architecture and sculptu... more The palace of the Adriatic-Danubian Bank is a masterpiece of the Serbian architecture and sculpture, which summarizes the best heritage of the Central European academism with the Art Deco style at the moment of its penetration into global artistic trends. It has an extreme cultural-historical significance and special urban and architectural qualities, as it participates in forming the main city crossroads and, thanks to the inclined ground, it dominates the surrounding urban space. Due to its precious cladding with natural stone and extremely rich, artistically studied, carved façade sculptures, the façade and interior of today’s Alpha Bank still represent a real rarity. Only in the years that came after construction of the Adriatic-Danubian Bank, Belgrade got such a luxurious building with the palace of the Royal Court at Dedinje (1929) and with the building of the French Embassy (1933). The architecture of this bank influenced the conceptual ideas and realisations of the Serbian architects during the interwar period. The palace of the Adriatic-Danubian Bank is an important work of the comprehensive artistic creativity realised in the synergy of architectural form and the works of visual and applied arts. Besides the foreign builder, the most significant sculptors and painters of Belgrade in the period of its greatest progress found their expression in it.
BOOK OF ABSTRACTS: INTERNATIONAL CONFERENCE SMARTART – ART AND SCIENCE APPLIED. “Experience and Vision” (2021) ISBN 978-86-80245-44-7, 2021
The second international conference of the Faculty of Applied Arts in Belgrade, SmartArt 2021 – A... more The second international conference of the Faculty of Applied Arts in Belgrade, SmartArt 2021 – Art and Science Applied: “Experience and Vision” was held from 23 to 25 September 2021. The main idea behind the conference is to provide an international forum for the exchange of experiences and visions originating in the mutual connection and interaction of applied art and science, which in modern times is becoming more intense and opens new paths of artistic and scientific development. The conference attracted the attention of domestic and foreign public, and despite the difficult conditions caused by the pandemic, 126 authors from 13 countries participated in the conference.
BOOK OF ABSTRACTS: INTERNATIONAL CONFERENCE SMARTART – ART AND SCIENCE APPLIED. “From Inspiration to Interaction”, Faculty of Applied Arts, University of Arts in Belgrade, 2019, 2019
International Conference of the Faculty of Applied Arts in Belgrade
SmartArt – Art and Science Ap... more International Conference of the Faculty of Applied Arts in Belgrade SmartArt – Art and Science Applied “From Inspiration to Interaction” Serbian Academy of Sciences and Arts, Belgrade, 28–30 November 2019 This year’s theme of the conference “From Inspiration to Interaction” is based on the interdisciplinary and transdisciplinary connections between applied art, social sciences & humanities, technical-technological sciences, as well as other applied sciences influencing applied art. The conference focuses on all aspects of mutual inspiration and interaction between science and fields of applied art: Animation, Ceramic Art and Design, Costume Design, Fashion Design, Graphic Design, Illustration, Industrial Design, Interior & Furniture Design, Painting, Photography, Printmaking, Sculpture, Scenography, Film and TV Production Design, Textile Design, Urban Design, and other, including the interaction between science and art in Conservation & Restoration.
Curatorial Practices and Training Strategies in Contemporary Art Studies, 2019
В задачи научно-практической конференции входит: обсудить пересечения дисциплинарных и институцио... more В задачи научно-практической конференции входит: обсудить пересечения дисциплинарных и институциональных границ кураторской деятельности; «подобрать ключи» к всестороннему изучению кураторской теории и практики; обмен идеями, методиками и опытом, как положительным, так и отрицательным. В конференции участвуют художники, независимые кураторы, галеристы, музейные кураторы, студенты, преподаватели и руководители образовательных программ ведущих профильных институций Москвы и Петербурга.
Организаторы: Санкт-Петербургский Государственный университет. Факультет свободных искусств и наук. Фонд содействия развитию образованию, науки и искусства «Новое искусствознание».
Оргкомитет конференции:
Глеб Юрьевич Ершов, кандидат искусствоведения, доцент Кафедры междисциплинарных исследований и практик в области искусств СПбГУ; Екатерина Юрьевна Станюкович-Денисова, старший научный сотрудник НИИ ТИАГ (Москва); старший преподаватель Кафедры истории русского искусства СПбГУ; Кристина Олеговна Сасонко, директор Фонда «Новое искусствознание»; Дарья Андреевна Пыркина, кандидат искусствоведения, зав.отделом образовательных программ ГТГ (Москва); Светлана Владиславовна Мальцева, кандидат искусствоведения, старший преподаватель Кафедры истории русского искусства СПбГУ, старший научный сотрудник НИИ ТИАГ (Москва); Милан Просен, Ph. D., зав. кафедрой социальных и гуманитарных наук Университета искусств (Белград, Сербия).
Matica srpska Journal for Fine arts 47 Novi Sad 2019 ed.A.Kadijević WoS-ESCI ERIHPLUS, 2019
Марина Павловић, Никола Несторовић, Ори он арт, Бе о град 2017. Књи га о ар хи тек ти Ни ко ли... more Марина Павловић, Никола Несторовић, Ори он арт, Бе о град 2017. Књи га о ар хи тек ти Ни ко ли Не сто ро ви ћу пр ва је це ло ви та мо но граф ска сту ди ја о јед ном од нај зна чај ни јих про та го ни ста срп ске ар хи тек ту ре но ви јег до ба. На ста ла је као до пу ње на и пре ра ђе на док тор ска ди сер та ци ја која је од бра ње на на Фи ло-зоф ском фа кул те те ту Уни вер зи те та у Бе о гра ду 2014. го ди не под на сло вом Жи вот и де ло ар хи тек те Ни ко ле Не сто ро ви-ћа-1868-1957. Зна чај Ни ко ле Не сто ро ви ћа, ау то ра бли зу пе де сет ре а ли зо ва них обје ка та, од ко јих се ше сна ест на ла зи на ли сти по је ди нач них за шти ће них кул тур них до ба ра, не за-о би ла зно је ис ти цан у до са да шњој исто ри о гра фи ји ко ја се ба ви ла ње го вим нај зна чај ни јим оства ре њи ма, при ка за ним мо но граф ски или у пре глед ним члан ци ма по све ће ним срп ској ар хи тек ту ри. Не сто ро ви ћев рад био је пред ста вљен у лек си-ко граф ским и кра ћим мо но граф ским при ка зи ма овог не и ма-ра и по ка зао се не из о ста ван у на уч ним при ка зи ма раз вој них то ко ва стил ских пра ва ца ака де ми зма и се це си је. Ње гов зна-ча јан пе да го шки и на уч ни рад, жи во то пис, као и дру штве не окол но сти, кул тур ни и умет нич ки кон тест ње го вог че ти ри де це ни је ду гог ства ра ла штва до по ја ве ове сту ди је ни су би ли у до вољ ној ме ри ана ли зи ра ни. Ис тра жи вач ки рад ау тор ке ба зи рао се на очу ва ним објек-ти ма, ар хив ској гра ђи, са чу ва ној за о став шти ни као и пу бли-ко ва ним и нео бја вље ним спи си ма гра ди те ља, чи ји су рад пра ти ле пе ри о ди ка, са вре ме на кри ти ка и струч не пу бли ка ци је из вре ме на ње го ве ак тив но сти, ко је су омо гу ћи ле да ти ра ње и иден ти фи ка ци ју по је ди них обје ка та, као и ре кон струк ци ју окол но сти њи хо вог на стан ка. Усло вље но ста њем и очу ва-но шћу из во ра ко ја ва ри ра у од но су на објек те и пе ри о де њи хо вог на стан ка, ау тор ки но ис тра жи ва ње укљу чи ло је и кри тич ки са гле да ну до са да шњу исто ри о граф ску ми сао ко ја се ба ви ла Не сто ро ви ће-вим ра дом. Сво је ре зул та те Па вло ви ће ва је пред ста ви ла кроз по гла вља о Би о гра фи ји, Ства ра ла штву, Дру штве ном и по слов ном кру гу и Пи са ним де ли ма. У свом освр ту на на уч но де ло Ни ко ле Не сто-ро ви ћа ау тор ка при ме ћу је да је он об ја вив ши 1937 књи гу Гра ђе ви не и ар хи тек ти у Бе о гра ду про шлог сто ле ћа дао основ ка сни јим ис тра жи ва чи ма ар хи тек ту ре Бе о гра да, и под сти цај мла ђим ко ле га ма да да ју до при нос исто ри ја ту раз вит ка ар хи тек тон ске стру ке. Мо но гра фи ју на кон за кључ них раз ма-тра ња до пу ња вају ре зи ме на ен гле ском, ка та лог де ла, спи сак из во ра и ли те ра ту ре и ин декс име на, ули ца и де ла ко ја се у ра ду по ми њу. Ука зи ва њем на ка рак тер и лич ност гра ди те ља кроз пред ста ву и ана ли зу ње го вог жи во та од од ра ста ња, шко ло ва ња на Тех нич ком фа кул те ту Ве ли ке шко ле у Бе о гра ду а по том на Кра љев ској ви со кој тех нич кој шко ли у Бер ли ну, ис ку ста ва и до га ђа ја ко ји су од ре ди ли смер ње го вог ства ра ла штва ау тор ка нас уво ди у Не сто ро ви ћев опус. Сме шта њем у дру штве ни кон текст ра све тља ва ње го ву ви-со ку по зи ци ју у дру штву и по слов ном све ту у ко ме се кре тао и ства рао.
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Papers by Milan Prosen
With the experience he gained while studying at the Ecole Nationale des Beaux Arts in Paris, he began his work in Belgrade in 1921 as a painter-scenographer of the National Theater. In the period 1923–1940, as an
independent set designer for the National Theater, he staged 19 plays and 12 operas and about 20 plays in the period 1945–1950. Along with his scenographic work, in the period 1927–1939, he was noticed as a prolific
sculptor, and created reliefs and facade sculptures of numerous public and private buildings in the capital and in other large centers of the kingdom. He cooperated with eminent architects of the period, often in favor of the Art Deco style, and contributed to its reception in Yugoslavia. He exhibited with the Society of Russian Artists (1928), with the group Krug (1929, 1930), at the Salon of Architecture (1931), at The first exhibition of theatrical painting (1938), as well as at the Salon of Russian Artists (1942 and 1943). He was awarded with Diploma de Medaille d’Or at The Exhibition of Industrial Decorative Modern Art 1925 in Paris, high State Decoration of Saint Sava in 1926 and The Medal for Labor Merits of III in 1949. In 1950, he immigrated to Australia, where he continued his artistic work to a lesser extent until his death in 1976 in Sydney.
His three prolific decades of work in Belgrade left a considerable contribution, highly praised by contemporaries, but not entirely researched and evaluated by present historiography. Regarding previous researches, preserved edifices and documentation of the artist’s private legacy preserved in his family, as well as parts of his legacy donated to the Theater Museum of Serbia, this article tends to present the artistic oeuvre of V.P.Zagorodnjuk and to initiate its further consideration.
Kingdom of Serbia (1882–1918) and The Kingdom of Yugoslavia (1918–1945), as well as The Federal People’s Republic of Yugoslavia (1945–1963), through developing stylistic flows of Academicism, Secession, Art Deco, Modern and Socialistic realism, as well as many transient stylistic phenomena depending on local and foreign influences. Although it was not widely open to constructive experiments, the architecture of Serbia embraced the spirit of contemporary aestheticism adapting it to the local taste, expressing it with various sophisticatedly designed stylistic elements of applied arts. Stained glass, mosaic, wall painting, sculpture and relief, modern locksmith work, furniture and interior design, as well as the concept of facade composition in relation to the personal creative sensibilities of the author, taste and wishes of the clients, were given particular motifs and characteristics that determined the identity of the building in terms of style. Despite the importance of applied art and its significance for the development of the Serbian architecture of the noted period, insufficient knowledge of its opulent corpus, its authors and tendencies, conditioned by poorly preserved and rarely presented documentary material, puts to historiography the conclusion of the
need for more thorough research and of publication of the knowledge about applied art in Serbia. Pointing to this specific collaborative practice of applied arts with architectural design is an attempt to contribute to this aim.
With the experience he gained while studying at the Ecole Nationale des Beaux Arts in Paris, he began his work in Belgrade in 1921 as a painter-scenographer of the National Theater. In the period 1923–1940, as an
independent set designer for the National Theater, he staged 19 plays and 12 operas and about 20 plays in the period 1945–1950. Along with his scenographic work, in the period 1927–1939, he was noticed as a prolific
sculptor, and created reliefs and facade sculptures of numerous public and private buildings in the capital and in other large centers of the kingdom. He cooperated with eminent architects of the period, often in favor of the Art Deco style, and contributed to its reception in Yugoslavia. He exhibited with the Society of Russian Artists (1928), with the group Krug (1929, 1930), at the Salon of Architecture (1931), at The first exhibition of theatrical painting (1938), as well as at the Salon of Russian Artists (1942 and 1943). He was awarded with Diploma de Medaille d’Or at The Exhibition of Industrial Decorative Modern Art 1925 in Paris, high State Decoration of Saint Sava in 1926 and The Medal for Labor Merits of III in 1949. In 1950, he immigrated to Australia, where he continued his artistic work to a lesser extent until his death in 1976 in Sydney.
His three prolific decades of work in Belgrade left a considerable contribution, highly praised by contemporaries, but not entirely researched and evaluated by present historiography. Regarding previous researches, preserved edifices and documentation of the artist’s private legacy preserved in his family, as well as parts of his legacy donated to the Theater Museum of Serbia, this article tends to present the artistic oeuvre of V.P.Zagorodnjuk and to initiate its further consideration.
Kingdom of Serbia (1882–1918) and The Kingdom of Yugoslavia (1918–1945), as well as The Federal People’s Republic of Yugoslavia (1945–1963), through developing stylistic flows of Academicism, Secession, Art Deco, Modern and Socialistic realism, as well as many transient stylistic phenomena depending on local and foreign influences. Although it was not widely open to constructive experiments, the architecture of Serbia embraced the spirit of contemporary aestheticism adapting it to the local taste, expressing it with various sophisticatedly designed stylistic elements of applied arts. Stained glass, mosaic, wall painting, sculpture and relief, modern locksmith work, furniture and interior design, as well as the concept of facade composition in relation to the personal creative sensibilities of the author, taste and wishes of the clients, were given particular motifs and characteristics that determined the identity of the building in terms of style. Despite the importance of applied art and its significance for the development of the Serbian architecture of the noted period, insufficient knowledge of its opulent corpus, its authors and tendencies, conditioned by poorly preserved and rarely presented documentary material, puts to historiography the conclusion of the
need for more thorough research and of publication of the knowledge about applied art in Serbia. Pointing to this specific collaborative practice of applied arts with architectural design is an attempt to contribute to this aim.
artistically studied, carved façade sculptures, the façade and interior of today’s Alpha Bank still represent a real rarity. Only in the years that came after construction of the Adriatic-Danubian Bank, Belgrade got such a luxurious building with the palace of the Royal Court at Dedinje (1929) and with the building of the French Embassy (1933). The architecture of this bank influenced the conceptual ideas and realisations of the Serbian architects during the interwar period. The palace of the Adriatic-Danubian Bank is an important work of the comprehensive artistic creativity realised in the synergy of architectural form and the works of visual and applied arts. Besides the foreign builder, the most significant sculptors and painters of Belgrade in the period of its greatest progress found their expression in it.
SmartArt – Art and Science Applied “From Inspiration to Interaction”
Serbian Academy of Sciences and Arts, Belgrade, 28–30 November 2019
This year’s theme of the conference “From Inspiration to Interaction” is based on the interdisciplinary and transdisciplinary connections between applied art, social sciences & humanities, technical-technological sciences, as well as other applied sciences influencing applied art. The conference focuses on all aspects of mutual inspiration and interaction between science and fields of applied art: Animation, Ceramic Art and Design, Costume Design, Fashion Design, Graphic Design, Illustration, Industrial Design, Interior & Furniture Design, Painting, Photography, Printmaking, Sculpture, Scenography, Film and TV Production Design, Textile Design, Urban Design, and other, including the interaction between science and art in Conservation & Restoration.
В конференции участвуют художники, независимые кураторы, галеристы, музейные кураторы, студенты, преподаватели и руководители образовательных программ ведущих профильных институций Москвы и Петербурга.
Организаторы:
Санкт-Петербургский Государственный университет. Факультет свободных искусств и наук.
Фонд содействия развитию образованию, науки и искусства «Новое искусствознание».
Оргкомитет конференции:
Глеб Юрьевич Ершов, кандидат искусствоведения, доцент Кафедры междисциплинарных исследований и практик в области искусств СПбГУ;
Екатерина Юрьевна Станюкович-Денисова, старший научный сотрудник НИИ ТИАГ (Москва); старший преподаватель Кафедры истории русского искусства СПбГУ;
Кристина Олеговна Сасонко, директор Фонда «Новое искусствознание»;
Дарья Андреевна Пыркина, кандидат искусствоведения, зав.отделом образовательных программ ГТГ (Москва);
Светлана Владиславовна Мальцева, кандидат искусствоведения, старший преподаватель Кафедры истории русского искусства СПбГУ, старший научный сотрудник НИИ ТИАГ (Москва);
Милан Просен, Ph. D., зав. кафедрой социальных и гуманитарных наук Университета искусств (Белград, Сербия).