BOJANA POPOVIĆ
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ENTERIJERI DUŠANA JANKOVIĆA
INTERIORS BY DUŠAN JANKOVIĆ

Zbornik 19/2023 (Muzej primenjene umetnosti), strana 9-19

Kategorija članka: originalni naučni rad

UDK:
73/76.071.1 Јанковић Д.
747:725/728

Apstrakt:
Formiranje na Višoj nacionalnoj školi za dekorativne umetnosti (1918–1921) i podsticajna atmosfera posleratnog Pariza uticali su na to da Dušan Janković (1894–1950) započne i ostvari karijeru dekorativnog umetnika. U njegovom medijski raznovrsnom opusu prisutne su i aktivnosti vezane za opremanje enterijera, kako u Francuskoj tako i u Beogradu. Reč je o desetak projekata koji se odnose na oblikovanje celokupnog unutrašnjeg prostora, pojedinačnih komada nameštaja i tepiha, kao i na, karakteristično za epohu, oslikavanje zidnih površina. Uvek u skladu sa aktuelnim tokovima, dvadesetih godina 20. veka Jankovićev rad je oličenje ar deko stila, dok je u narednoj deceniji, baveći se prevashodno opremanjem stambenog prostora, težio svedenim i višefunkcionalnim rešenjima modernističkog racionalizma. U toj oblasti rada umetnika reprezentuju enterijer male sale beogradskog hotela Kasina izveden za umetnički bal Hiljadu i druga noć (1923), sala Tik-tak pariskog kabarea Mulen ruž (1925) i vila porodice De Faž u Sen Kluu (1932–1934).

Ključne reči:
ar deko, enterijer, Dušan Janković, modernizam, nameštaj

Summary:
Dealing with interior and furniture design, as well as other areas of creativity, Dušan Janković (1894–1950) consistently expressed his modernist sensibility. The styles of the past are not the origin of his work, except for the effort to modernize Yugoslav folk ornamentation, which was in accordance with the taste of the era. His interiors from the twenties are the epitome of Art Deco. Richly painted walls and ceilings, with an abundance of floral and geometric ornamentation, they are characteristic of the author’s entire work during the first decade of his creativity. Figural compositions, and in the spirit of de-radicalized Cubism, he rarely represented (Kasina, 1923; Moulin rouge, 1925). The painting of wall surfaces will remain relevant even during the thirties, when Janković left the previous patterns. The surviving sketches for the villa in Saint- Cloud (1934) show that he devised a discrete geometric ornament of a series of short parallel lines by combining, which achieved dynamism and variety. The furniture designed by Janković, from the very beginning in 1924, is extremely functional, reduced in form and devoid of ornamentation, while decorativeness is achieved by a covering with veneers of an interesting structure and contrasting color. With rare exceptions (the project for Jovan Cvijić’s house, 1925), he will create in this manner in the 1930s, when furniture design will occupy a more important place in his work. Like his contemporaries inclined to modernization trends, Janković thought about the rationalization of space and its functional furnishing, that is, about multi-purpose, easily portable and foldable furniture, in the production of which new materials and technologies have a corresponding importance. It is the furniture that shows how consistent Janković remained with his youthful conviction that the goal of applied art is the harmony of the purpose of the object with the material from which it is made, as well as striving for harmony of the whole and details, whereby decorative elements are unnecessary.

Translated by Tatjana Nišić

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