Zarka Vujic
Žarka Vujić was born in 1959 in North Croatia. In 1988 she graduated from the Faculty of Humanities and Social Sciences, University of Zagreb by defending the thesis at the Art History Department. After completing the graduate programme of information sciences at the Faculty of Organization and Informatics in Varaždin in 1992, she obtained an MA degree in Museology and a PhD degree in the same field in 1998 at the Department of Information and Communication Sciences at the Faculty where she is currently employed as professor.
In 1985, Ž. Vujić was employed as a museum technician and librarian at the Strossmayer Gallery of Old Master in Zagreb. At the end of 1988 she took up a position of a head librarian and researcher at the Institute of Art History in Zagreb. In 1993 she started working as an assistant researcher at the Museology Sub-Department where she advanced to the position of full professor in 2012.
She has published several book chapters and numerous scientific and professional papers. Also, she participated in numerous international and Croatian scientific and professional conferences. She authored two books both of which were awarded. Origins of Museums in Croatia received the Annual Award of the Croatian Museum Association in 2007, and the second book, The Ullrich Salon on its Centenary, which was based on an interdisciplinary research, received the Annual Award of the Faculty of Humanities and Social Sciences in 2011. Her editorial work includes the book In the Memory of Ivo Maroević published in 2009. as well as Heritage visitors research in 2014.
In the period from 1991 to this day, Ž. Vujić has participated in eight research projects with various degrees of involvement and assuming different roles. Taken as a whole, her interests have since the very beginning of her scientific work been focused on three research areas – historical museology (history of museums and collecting in Croatia), theoretical museology (collecting and collection formation, ascribing meaning and creating heritage, visitor research) and the interdisciplinary field combining museology and art history.
In 1985, Ž. Vujić was employed as a museum technician and librarian at the Strossmayer Gallery of Old Master in Zagreb. At the end of 1988 she took up a position of a head librarian and researcher at the Institute of Art History in Zagreb. In 1993 she started working as an assistant researcher at the Museology Sub-Department where she advanced to the position of full professor in 2012.
She has published several book chapters and numerous scientific and professional papers. Also, she participated in numerous international and Croatian scientific and professional conferences. She authored two books both of which were awarded. Origins of Museums in Croatia received the Annual Award of the Croatian Museum Association in 2007, and the second book, The Ullrich Salon on its Centenary, which was based on an interdisciplinary research, received the Annual Award of the Faculty of Humanities and Social Sciences in 2011. Her editorial work includes the book In the Memory of Ivo Maroević published in 2009. as well as Heritage visitors research in 2014.
In the period from 1991 to this day, Ž. Vujić has participated in eight research projects with various degrees of involvement and assuming different roles. Taken as a whole, her interests have since the very beginning of her scientific work been focused on three research areas – historical museology (history of museums and collecting in Croatia), theoretical museology (collecting and collection formation, ascribing meaning and creating heritage, visitor research) and the interdisciplinary field combining museology and art history.
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The first part of the paper examines the theoretical texts of Dr Antun Bauer in which he explored his internationally renowned thesis that a museum exhibition can be both subject and object, a means of cognition or documentation.
This thesis was influenced by the Soviet byzantologist, art theorist, and museologist Fedor Ivanovich Shmit (1877–1937) and his text on museums in the Soviet Union, that was published in the collection “Musées, enquête internationale sur la réforme des galeries publiques dirigée,” during the so-called Paris revolution in museology in 1931. Bauer encountered this publication during his stay in Paris between 1949 and 1950. At that time, and later, he was unaware that Ivanovich Shmit creatively operated within the intellectual circles of Kharkiv and Kyiv in the early 20th century, and served as the director of the renowned
Institute of Art in what is now St. Petersburg from 1924 onwards. The second part of the contribution focuses on the publication “Through the Halls of Art Museums” – a guide for museum visitors by Soviet art and literary critic, and museum professional Lazar Vladimirovich Rosenthal (1894–1990), considered a pioneer in researching museum visitors in the Soviet Union. The guide was created in 1929 to facilitate the viewing and understanding of artworks for mass visitors, primarily laborers. Bauer had it translated into Croatian during his work on the permanent exhibition of the Gypsotheque in Zagreb after World War II. By exploring and analyzing both texts, the paper provides a look at the Soviet museology during the Cultural Revolution period (1928–1933), demonstrating its participation in international museological movements and its indirect influence on those in Croatia.
The first part of the paper examines the theoretical texts of Dr Antun Bauer in which he explored his internationally renowned thesis that a museum exhibition can be both subject and object, a means of cognition or documentation.
This thesis was influenced by the Soviet byzantologist, art theorist, and museologist Fedor Ivanovich Shmit (1877–1937) and his text on museums in the Soviet Union, that was published in the collection “Musées, enquête internationale sur la réforme des galeries publiques dirigée,” during the so-called Paris revolution in museology in 1931. Bauer encountered this publication during his stay in Paris between 1949 and 1950. At that time, and later, he was unaware that Ivanovich Shmit creatively operated within the intellectual circles of Kharkiv and Kyiv in the early 20th century, and served as the director of the renowned
Institute of Art in what is now St. Petersburg from 1924 onwards. The second part of the contribution focuses on the publication “Through the Halls of Art Museums” – a guide for museum visitors by Soviet art and literary critic, and museum professional Lazar Vladimirovich Rosenthal (1894–1990), considered a pioneer in researching museum visitors in the Soviet Union. The guide was created in 1929 to facilitate the viewing and understanding of artworks for mass visitors, primarily laborers. Bauer had it translated into Croatian during his work on the permanent exhibition of the Gypsotheque in Zagreb after World War II. By exploring and analyzing both texts, the paper provides a look at the Soviet museology during the Cultural Revolution period (1928–1933), demonstrating its participation in international museological movements and its indirect influence on those in Croatia.