VLADIMIR MARKOVIĆ
art historian, Кragujevac
GROTESKE IVANA TABAKOVIĆA I OTONA POSTRUŽNIKA: OD "GRAFIČKE IZLOŽBE" DO FORMIRANJA GRUPE UMETNIKA "ZEMLJA"
TNE GROTESQUES OF IVAN TABAKOVIĆ AND OTON POSTRUŽNIK : FROM "TNE GRAPHIC EXNIBITION" TO ESABLISHING TNE ARTISTIC GROUP "ZEMLJA"
Journal 6/2010 (Museum of Applied Art), pages 75-80
UDC:
75.071.1:929 Табаковић И.; 75.071.1:929 Посrружник О.
743.049.1(497.5)"19"
Abstract (original language):
U Tabakovićevim i Postružnikovim groteskama, nastalim u periodu održavanja Grafičke izložbe 1926. godine, pa do formiranja grupe „Zemlja“ 1929. godine, mogu se prepoznati osnovne i suštinske linije razvoja hrvatske socijalno angažovane umetnosti. Tabaković i Postružnik sa jedne strane, pripadaju onoj široj grupaciji hrvatskih umetnika koji su još od kraja XIX veka u permanentnoj potrazi za nacionalnim kulturnim identitetom, a sa druge, oni pripadaju miljeu onih još uvek malobrojnih stvaralaca koji vođeni pozitivnim ljudskim vrednostima, etičkim i humanim načelima pokušavaju da se uključe u kritiku aktuelnih društvenih problema realiteta vlastite sredine. Oni su u potrazi za istinom, a ne lepotom; kod njih su dominantni etički stavovi, a ne samo i jedino estetički principi; oni nisu pasivni posmatrači, već aktivni učesnici u beleženju socijalnih činjenica. Grafički predlošci i crteži Tabakovićevih i Postružnikovih groteski, socijalno motivisanih i kritički nastrojenih su se još od Grafičke izložbe suprotstavile ukusu građanske publike i likovne kritike, ukazujući na moguće ideološke sukobe i umetničke polemike koji će se naročito produbiti i aktuelizirati nastankom socijalno angažovane grupe „Zemlja“, tri godine kasnije. Socijalno-kritičke groteske Tabakovića i Postružnika približavaju se vremenski i idejno najmodernijim evropskim, socijalno angažovanim umetničkim strujanjima.
Key words: (original language)
groteske, Ivan Tabaković, Oton Postružnik, grafika, socijalno angažovana umetnost između dva svetska rata, grupa "Zemlja", Zagreb
Summary:
Important encouragement in shaping socially engaged art in Croatia in the mid 1920s came from Ivan Tabaković and Oton Postružnik. Their art production, followed by "The Graphic Exhibition" in 1926, all the way to establishing the ideologically proliferated program based group "Zemlja" was bу no means only and directly burdened bу political dogmatism and art pragmatism. On one hand, Tabaković and Postružnik belonged to а wide group of Croatian artists permanently searching for national and cultural identity at the end of 20th century. On the other hand, they belonged to the milieu of not so numerous artists, who were led by positive human values, ethic and human principles, and who were trying to get actively involved in the critique of current social problems of their own society. Tabaković and Postružnik promoted and / or surpassed art practice of that time bу their awareness of necessity for changing the perspective of observing and recording social factors. Regardless of their status and class, the focal point of these two artists was the "man" presented through their grotesques, and exposed to the last vice, clearly depicting society, and implicitly referring to relationships within Croatian society in the 1920's. Socially motivated and critically directed graphic sketches and drawings of Ivan Tabaković's and Oton Postružnik's grotesques, confronted the taste of bourgeois audience and art critique ever since the Graphic exhibition, pointing towards possible ideological conflict and artistic controversies that would deepen and became а current issue three years later, after establishing socially engaged group "Zemlja". One should mention that their socially criticizing grotesques came very close to the most contemporary tendencies and practices of socially engaged art of German group "Neue Sachlicheit': that established its program in 1925.
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