Papers by dalibor prancevic
Radovi Instituta za povijest umjetnosti, Dec 1, 2003
Radovi Instituta za povijest umjetnosti, 2021
Osobit fokus teksta reprezentativni su slavoluci podizani kao sastavni dijelovi urbane scenografi... more Osobit fokus teksta reprezentativni su slavoluci podizani kao sastavni dijelovi urbane scenografije posjeta cara Franje Josipa I. Dalmaciji i Kvarneru 1875. godine, a koji se sagledavaju kao efemerni oblici graditeljske i arhitektonske prakse Europe u 19. stoljeću. Tema se dosad u povijesti umjetnosti nije obrađivala, pa se većina materijala donosi i interpretira prvi put. Temeljni izvori istraživanju sačuvani su fotografski materijali koji zorno dokumentiraju carske slavoluke, dnevnički i putopisni zapisi koji ih spominju i sažeto opisuju, odnosno arhivski materijali koji pojašnjavaju njihovu strukturu i materijale od kojih su sazdani. Nadalje, tekst razmatra i pojavu carevih spomenika, ponajprije njegovih poprsja u javnom prostoru koji su se mogli postaviti kao generički tvornički artikli (tvornica Gilardi–Bettiza u Splitu) ili umjetnička djela renomiranih autora (Ivan Rendić), ali ukazuje i na portretne biste koje se donose kao ilustrativni prilozi putopisnih zapisa. Djela koja s...
IKON, 2015
The primary focus of this text is a detailed examination of the two crucifixes created by the Cro... more The primary focus of this text is a detailed examination of the two crucifixes created by the Croatian sculptor Ivan Mestrovic (1883-1962) in different periods of his artistic career. The first crucifix, created in Geneva in 1916, provoked great interest from the public, both during the time the artist showed it at exhibition and when he introduced it into the space of liturgy. Texts published in The New Age magazine by Ezra Pound are particularly significant because he was an ardent advocate of the avant-garde tendencies in art, and he resolutely attacked this work by Mestrovic. The second example relates to the complex iconographic arrangement of the Eternally Crucified, which Ivan Mestrovic installed above the main altar of the Church of the Most Holy Redeemer in Otavice (which is also the Mestrovic family mausoleum). The artist would exhibit the plaster model of this work at important exhibitions and would also introduce it into his own living space - his family home in Zagreb. In addition to the West...
Catalogue if Riot! exhibition presented at Salon Galić HULU, Split Croatia. May 2016. Text Dalibo... more Catalogue if Riot! exhibition presented at Salon Galić HULU, Split Croatia. May 2016. Text Dalibor Prančević.
Sculpture and Nakedness: Corporeality and Eroticism in the Works of Ivan Mestrovic, Jan 2016
The naked body has always fascinated visual artists and great thinkers. On this occasion it would... more The naked body has always fascinated visual artists and great thinkers. On this occasion it would be a good idea to follow the path of contemporary philosopher Giorgio Agamben, who approaches the theme from a very interesting angle. In his book Nudities, he raises a whole series of questions about the phenomenon and interpretations of nudity, referring to many theological exegeses as well as commenting on the universal misbalance between pure physical phenomenality and the many-sidedness of spiritual life. What is the status of nudity in general and what is its meaning in the individual contexts? Is it a condition or an event? Is it a tautological fact reduced to the mere level of description? A sphere of pure phenomenality? Or a cognitive possibility? Reading Agamben’s lines the question is analysed: with what actually is the body clad, and what is revealed by its baring?
Along this discursive line it is necessary to pay attention to the basic problems that Ruth Barcan articulates and analyses in her book Nudity: A cultural anatomy, starting off from the hypothesis of clothing as the first human hypocrisy, followed by numbers of others, like property, wealth, classes and war. “In brief, clothing is part of the sad story of ‘civilisation’”, avers Barcan. She identifies nudity as an immanently human category, as metaphor of “our common humanity”. She reconstructs the connection of body, cognition and the categories of humanity such as, for example, gender, social position, biological age.
One whole theme in the artistic oeuvre of Ivan Meštrović is the body, especially the naked body, shot through with its various meanings and contents. This text will focus on the whole on the earlier works of Meštrović that depart from the traditional models of the depictions of naked bodies and that are marked with a profound symbolism. In fact they are a platform for discussion of various current themes mainly related to the social sphere and the constraints by which it is marked. The morphological patterns to which the artist had recourse could be found in the setting of Vienna in which he was primarily formed.
Other by dalibor prancevic
Public lectures: Elke Katharina Wittich Defining Borderlines of Power and Impact – Maps of the Fo... more Public lectures: Elke Katharina Wittich Defining Borderlines of Power and Impact – Maps of the Former Habsburg Empire With a Focus on Dalmatia After 1918 Irena Šimić and Ana Šverko Unboxing Gattin International Conference: DISCOVERING DALMATIA VII Travel Stories: The Grand Tour, Travellers, Travel Itineraries, Travelogues Dealing with Bandits in Early Modern Travelogues: Mobility and Brigandage on the Land Routes in the Adriatic and Black Sea Regions Alexandr Osipian The Urban Form of Dubrovnik as Seen by Pilgrims and Travellers Vedran Stojanović Pieter Coecke van Aelst on the Dubrovnik Caravan Route David Kabalin Pierre Lescalopier’s Diary (1574) from the Bibliothèque Universitaire Historique de Médecine Helena Belamarić Fra Paul Pelizzer and Dalmatia in the 17th Century Ivan Alduk Discovering Wallachia Through the Eyes of Foreign Travellers in the 17th Century Daniela Calciu Sir John Soane’s Lecture Drawings: A Virtual Grand Tour Frances Sands Souvenirs d’un Voyage en Dalmatie (1811?): Travel, Ethnography and Empire in the Early Nineteenth-Century Adriatic David McCallam The Amphitheater of Dyrrachium – A Landmark on the Route From Rome to Byzantium Dominik Lengyel and Catherine Toulouse Rome and Pompeii — Two Main Grand Tour Sites in the Collection of the Department of Prints and Drawings of the CASA Ana Petković Basletić The Works of Adam, Clérisseau, and Cassas in a Photographer's Research: Deconstructing Nenad Gattin’s Portrait of Diocletian’s Palace Ana Šverko British Travellers in Dalmatia During the 19th Century: Themes and Perspectives Mateo Bratanić The Balkan Letters by Erno ̋ Foerk A Travelogue Mapping the Architectural Trajectories of Ottoman Heritage Eszter Baldavári and Boris Dundović Travels or Expeditions? Bureaucratic Journeys in Early Habsburg Dalmatia Konrad Clewing Presenting Dalmatia: Emperor Francis Joseph I’s Travels Through Dalmatia in 1875 Sanja Žaja Vrbica A Photographic Album with a Description of His Majesty Emperor and King Francis Joseph I's Tour Through Dalmatia in 1875 Ante Orlović "It was difficult for me to part with Split..." Iso Kršnjavi's journey to Dalmatia in 1900 Irena Kraševac "Ivan Meštrović and his reflections from his travels in the Middle East" Dalibor Prančević and Barbara Vujanović To Narrate, Animate, Turn into Text – Photographs of Refugees in El Shatt from the Croatian State Archives Sandra Križić Roban
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Papers by dalibor prancevic
Along this discursive line it is necessary to pay attention to the basic problems that Ruth Barcan articulates and analyses in her book Nudity: A cultural anatomy, starting off from the hypothesis of clothing as the first human hypocrisy, followed by numbers of others, like property, wealth, classes and war. “In brief, clothing is part of the sad story of ‘civilisation’”, avers Barcan. She identifies nudity as an immanently human category, as metaphor of “our common humanity”. She reconstructs the connection of body, cognition and the categories of humanity such as, for example, gender, social position, biological age.
One whole theme in the artistic oeuvre of Ivan Meštrović is the body, especially the naked body, shot through with its various meanings and contents. This text will focus on the whole on the earlier works of Meštrović that depart from the traditional models of the depictions of naked bodies and that are marked with a profound symbolism. In fact they are a platform for discussion of various current themes mainly related to the social sphere and the constraints by which it is marked. The morphological patterns to which the artist had recourse could be found in the setting of Vienna in which he was primarily formed.
Other by dalibor prancevic
Along this discursive line it is necessary to pay attention to the basic problems that Ruth Barcan articulates and analyses in her book Nudity: A cultural anatomy, starting off from the hypothesis of clothing as the first human hypocrisy, followed by numbers of others, like property, wealth, classes and war. “In brief, clothing is part of the sad story of ‘civilisation’”, avers Barcan. She identifies nudity as an immanently human category, as metaphor of “our common humanity”. She reconstructs the connection of body, cognition and the categories of humanity such as, for example, gender, social position, biological age.
One whole theme in the artistic oeuvre of Ivan Meštrović is the body, especially the naked body, shot through with its various meanings and contents. This text will focus on the whole on the earlier works of Meštrović that depart from the traditional models of the depictions of naked bodies and that are marked with a profound symbolism. In fact they are a platform for discussion of various current themes mainly related to the social sphere and the constraints by which it is marked. The morphological patterns to which the artist had recourse could be found in the setting of Vienna in which he was primarily formed.