Akvarel | Aquarelle · aquarelle in the Renaissance was contributed to by German artists, Albrecht...

NARODNI MUZEJ CRNE GORE ATELJE DADO

Akvarel | AquarelleIz fonda Umjetničkog muzeja Crne Gore

From the collections of the Art Museum of Montenegro

Suptilan u izrazu, čist, lazuran, često lirskog, a nekad i dramatničnog karaktera, akvarel je prilagodljiv kako tradicionalnim, tako i savremenim formama likovnog izraza. Njegove fenomenološke karakteristike zasnovane na kolorističkim orkestracijama, svjetlosnim efe- ktima i subjektivnim osjećajima umjetnika u doživljaju date teme i motiva, čak i u kombi-naciji sa drugim materijalima i tehnikama zadržavaju navedene osobenosti. Smatra se jed-nom od najtežih i najzahtjevnijih slikarskih tehnika, ali to ne bi trebalo da bude razlog što duže vrijeme nemamo više mladih stvaralaca koji nam se prezentuju kroz likovno-esteske mogućnosti ove umjetničke discipline. Zbog toga ću dozvoliti sebi konstataciju da akvarel u crnogorskoj savremenoj umjetnosti nije adekvatno zastupljen.

Osvrt kroz istoriju...Ako pratimo najveće domete umjetničkog izraza u čitavom civilizacijskom toku, ne

možemo zaobići akvarel koji je makar u jednom vremenskom razdoblju dostigao svoj vrhu-nac. Velikoj popularizaciji akvarela, u periodu Renesanse, doprinjeli su njemački umjetnici, prije svih Albreht Direr, koji akvarelom oživljavaju crtež načinjem olovkom. Do tog vremena, iako je tehnika rada vodenim bojama bila poznata u starom Egiptu, i Kini gdje se slikalo na svili, akvarel je najviše korišćen za izradu skica, studija, bilješki, zbog karakteristike brzog sušenja vodene boje. Svoju punu valorizaciju doživljava u XVIII v. u Engleskoj gdje je, u Lon-donu, 1805. godine formiran salon akvarela od strane udruženja akvarelista, da bi ga 1831. godine Kraljevska akademija priznala za tehniku ravnu slikama u ulju. Najveću zaslugu za to je imao Vilijam Tarner, koji je u periodu svog stvaralaštva uradio oko 20 000 akvarela, kako navodi Metka Kraigher-Hozo u svojoj enciklopediji Slikarstvo, metode slikanja i materijali.

Akvarel, prisutan ovdje...Primarne osobenosti tehnike akvarela karakterišu radove zastupljene na izložbi, a mani-

festuju se kroz izražajnost podloge, mekoću i spontanost izraza, čak i kod umjetnika čijem stvaralačkom senzibilitetu nije odgovarao ovaj slikarski postupak. Na izložbi su zastupljena značajna imena jugoslovenskog i crnogorskog slikarstva: Petar Lubarda, Zora Petrović, Milo Milunović, Miloš Vušković, Peđa Milosavljević, Milorad Ćirić, Pivo Karamatijević, Nikola Ko- lja Milunović, Milo Pavlović, Ljudmila Đurović, Refik Adrović i Branislava Burzan. Na prezen-tovanim djelima možemo evidentirati različite pristupe u njihovoj realizaciji, od onih koje su korišćeni kao predlošci za kompozicije koje će se ostvariti u nekim drugim tehnikama, do radova u kojima akvarel predstavlja samostalni slikarski entitet. Lazurnost i prozračnost akvarela nije pogodna samo za slikanje pejzaža, portreta, odnosno djela koja pripadaju figu- ralnoj provenijenciji, već i za djela koja imaju apstraktno značenje. Prezentovani autori nam donose suštinu prikazanog, a u velikom broju radova prisutno je razbijanje forme što je svo-jstveno ovoj tehnici. U predstavljenim radovima naći će se utemeljenje da kroz ovu tehniku može doći do ozbiljnih rezultata i danas, u vremenu velikih tehnoloških dostignuća koja se široko primjenjuju u savremenoj umjetnosti. Radovi predstavljeni na izložbi pripadaju fondu Umjetničkog i dijelom Istorijskog muzeja. Pored likovnih kvaliteta, ova djela nam se pred-stavljaju i kroz prizmu muzejskog predmeta što ih čini materijalnim dokumentima određenih umjetničkih realnosti i istorijskih okolnosti. Svaki posjetilac, bio on laik ili pripadao stručnom segmentu publike, može da doživi izložbu na sebi svojstven način. Ipak, kao autor ekspozicije sugerisaću samo toliko da se ne posmatra kao cjelina koja stoji sama za sebe, već kao pod-sticaj za njegovanje odnosa prema ovoj relativno zapostavljenoj tehnici koja zaslužuje svoju punu revitalizaciju.

Miloš Marjanovićistoričar umjetnosti

Petar Lubarda | Ljubotinj, 1907 – Beograd, 1974. | Glava, 1943. | The Head, 1943akvarel i olovka u boji na papiru | watercolour and colour pencil on paper34 x 24,3 cm

Milo Milunović | Cetinje, 1897 – Beograd, 1967. | Portret M.S., 1960. | The Portrait of M.S., ca. 1960akvarel na papiru | watercolour on paper23,5 x 16,5 cm

Subtle in expression, pure, transparent, often lyrical and sometimes dramatic in character, aquarelle lends itself well both to traditional and to contemporary forms of art expression. Its phenomenological features based upon the orchestration of colour, light effects and the artists’ subjective feelings in their treatment of the given theme and motive, keep the listed qualities even when combined with other materials and techniques. Aquarelle is deemed to be among the most difficult and most demanding painting techniques; nevertheless, this should not be the reason why for quite a long time here there have not been any new young artists expressing themselves through the visual and aesthetic possibilities of this art dis-cipline. This is why I dare say that aquarelle is not adequately represented in Montenegrin contemporary art.

A look at history...If we trace the greatest artistic achievements throughout history, we cannot avoid

aquarelle, which reached its peak at least in one period. The tremendous popularization of aquarelle in the Renaissance was contributed to by German artists, Albrecht Dürer in the first place, who enlivened pencil drawings. Even though the watercolour technique had not been unfamiliar in ancient Egypt or in China where paintings were done on silk, until this period aquarelle had mostly been used for sketches, studies or notes, because of the rapid drying time of watercolours. It was finally fully recognized and appreciated in the 18th century in England, where in 1805 London saw the foundation of an aquarelle salon by the association of aquarellists, after which in 1831 this technique was granted by the Royal Academy the same status as oil painting. The person to be credited with this was William Turner, who cre-ated around 20,000 aquarelles during his lifetime, as stated by Metka Kraigher-Hozo in her encyclopaedia Painting: Methods and Materials.

Aquarelle, present here...The works displayed in the exhibition are characterized by the primary features of

aquarelle, manifested in the expressiveness of the surface and soft and spontaneous expres-sion, even in artists whose creative sensibility was not quite in tune with this painting pro-cedure. The exhibition encompasses famous names in Yugoslav and Montenegrin painting including: Petar Lubarda, Zora Petrović, Milo Milunović, Miloš Vušković, Peđa Milosavljević, Milorad Ćirić, Pivo Karamatijević, Nikola Kolja Milunović, Milo Pavlović, Ljudmila Đurović, Re-fik Adrović and Branislava Burzan. The works on display show different approaches, ranging from those used as templates for compositions produced in other techniques to those in which aquarelle is an independent artistic entity. The transparency and airiness of aquarelle are not suitable only for landscapes, portraits or figural works, but it also lends itself well to abstract pieces. The presented artists bring the very essence of the depicted objects, with a large number of works exhibiting the breaking of the form, which is typical of this technique. The selection of works demonstrates that aquarelle can produce enviable results even to-day, in a time of great technological achievements widely applied in contemporary art. The works mostly belong to the Artistic Museum and partly to the Historical Museum. In addition to their artistic qualities, these works are presented through the prism of museum objects, which turns them into material documents of certain realities in art and historic circumstanc-es. Each viewer, whether a layperson or an expert, may experience the exhibition in their own way. Nevertheless, as the author of the exhibition, I will just invite the audience not to view it as a self-standing whole, but as an impetus for nurturing an attitude towards this relatively neglected technique which deserves full revitalization.

Miloš Marjanovićart historian

Zora Petrović | Dubica, Ali Bunar, 1894 – Beograd, 1962. | Ženski akt, početak druge polovine XX vijeka Female Nude, beginning of the 2nd half of the 20th centuryakvarel i olovka na papiru | watercolour and pencil on paper16,4 x 11,3 cm

Miloš Vušković | Cetinje, 1900 – 1975. | Ribarske mreže, 1960. | Fishing Nets, 1960akvarel na papiru | watercolour on paper68 x 76 cm

Prvoslav Pivo Karamatijević | Nova Varoš, 1902 – Rijeka, 1962. | Motiv iz Polimlja, 1948. | A Motive from Polimlje, 1948akvarel na papiru | watercolour on paper27 x 39 cm

Branislava Branka Burzan | Danilovgrad, 1933. | Pred oluju, 1971. | Before the Storm, 1971akvarel na papiru | watercolour on paper41 x 58 cm

Akvarel | Aquarelle · aquarelle in the Renaissance was contributed to by German artists, Albrecht...

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