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Journal articles on the topic 'Ivan Meštrović'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Trusted, Marjorie. "Introduction: Ivan Meštrović." Sculpture Journal 25, no. 2 (2016): 159–60. http://dx.doi.org/10.3828/sj.2016.25.2.2.

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2

Srhoj, Vinko. "Ivan Meštrović i politika kao prostor ahistorijskog idealizma." Ars Adriatica, no. 4 (January 1, 2014): 369. http://dx.doi.org/10.15291/ars.509.

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Meštrović’s political activity, reflected in his sculpture and architecture, was closely tied to the idea of a political union of the South Slavs which culminated on the eve of and during the First World War. As a political idealist and a person who always emphasized that he was first and foremost an artist, Meštrović had no inclination for classic political activism which meant that he was not interested in belonging to any contemporary political faction. Since his political activism was not tied to a specific political party and since, unlike the politicians with whom he socialized, he did n

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3

Stamp, Gavin, and Roger Bowdler. "Ivan Meštrović and architecture." Sculpture Journal 25, no. 2 (2016): 235–50. http://dx.doi.org/10.3828/sj.2016.25.2.8.

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4

Grujić, Vera. "The Vidovdan Temple of Ivan Meštrović." Napredak 1, no. 2 (2020): 17–40. http://dx.doi.org/10.5937/napredak2001017g.

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The sculptures of Ivan Meštrović (1883-1962) known as the Kosovo Cycle, Vidovdan Cycle or Vidovdan Fragments, sculpturally shaped to become part of the monumental Vidovdan Temple that was to be erected in Kosovo, along with a wood model of the building, represent the only material trace of this ambitiously conceived but unrealized project.

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5

Prančević, Dalibor, and Barbara Vujanović. "Ivan Meštrović: Crucifix and the Space of Liturgy." IKON 8 (June 2015): 205–18. http://dx.doi.org/10.1484/j.ikon.5.107805.

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6

Bubrin, Vladimir. "Ivan Meštrović chez Rodin: l’expression croate; Rodin u Meštrovćevu Zagrebu / Rodin in Meštrović’s Zagreb." Journal of Croatian Studies 49 (2017): 157–60. http://dx.doi.org/10.5840/jcroatstud20174914.

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7

Vujanović, Barbara. "Auguste Rodin and Ivan Meštrović – French connections in Croatian sculpture." Sculpture Journal 25, no. 2 (2016): 203–16. http://dx.doi.org/10.3828/sj.2016.25.2.6.

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8

Prančević, Dalibor. "Sculpture by Ivan Meštrović at the Grafton Galleries in 1917: critical and social contexts." Sculpture Journal 25, no. 2 (2016): 177–92. http://dx.doi.org/10.3828/sj.2016.25.2.4.

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9

Srhoj, Vinko. "Između originalnosti i epigonstva - slučaj Šime Dujmovića, kipara u Meštrovićevoj sjeni." Ars Adriatica, no. 2 (January 1, 2012): 225. http://dx.doi.org/10.15291/ars.451.

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Šime Dujmović (1887 - 1968), a sculptor from Hvar, is an almost unknown and unrecognized artist in the sphere of Croatian art. If one is aware that he created most of his ‘oeuvre’ as the executor of numerous statues conceived by Ivan Meštrović, and that he considered himself merely a technical assistant to the great master, the silence surrounding Dujmović’s name can be seen to be partly his fault, due to the fact that he never emphasized his share in this work, and did not attempt to ‘bring into question’ Meštrović’s art by individuating his own style. By abstaining from a personal style and

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10

Deyrup, Marta Meštrović. "Reflections on Ivan Meštrović and the two Chesterton Conferences held in Zagreb, Croatia, 1993 and 2019." Chesterton Review 45, no. 3 (2019): 351–54. http://dx.doi.org/10.5840/chesterton2019453/466.

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11

Compton, Ann. "Some reflections on the 1915 Ivan Meštrović exhibition and the emergence of one-person shows for sculptors in Britain." Sculpture Journal 25, no. 2 (2016): 269–74. http://dx.doi.org/10.3828/sj.2016.25.2.11.

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12

Kraševac, Irena. "Prva tri djela u fundusu Moderne galerije Društva umjetnosti." Radovi Instituta za povijest umjetnosti, no. 43 (December 31, 2019): 243–55. http://dx.doi.org/10.31664/ripu.2019.43.19.

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Članak se bavi počecima osnutka Moderne galerije u Zagrebu i stvaranja njenog fundusa. Preispituju se uvriježeni podaci o prva tri djela za zbirku, slici Pred vratima smrti Mirka Račkoga, skulpturi Timor Dei Ivana Meštrovića i reljefu Isus i Marija Magdalena Františeka Bíleka, te se na osnovi arhivskoga gradiva i kataloga izložaba Društva umjetnosti predlaže preciznija kronologija i slijed okolnosti njihove nabave. Djela Meštrovića i Račkoga danas su u stalnom postavu Gliptoteke HAZU, odnosno Moderne galerije, dok je Bílekov drveni reljef u vlasništvu Moderne galerije, na temelju Ugovora izmeđ

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13

Ignjatović, Aleksandar. "Images of the Nation Foreseen: Ivan Meštrović's Vidovdan Temple and Primordial Yugoslavism." Slavic Review 73, no. 4 (2014): 828–58. http://dx.doi.org/10.5612/slavicreview.73.4.828.

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This article is an interdisciplinary study of the Vidovdan Temple (c. 1906-13), a sculptural-architectural whole that was Ivan Meštrović's most controversial and most widely interpreted work. I analyze visual culture and intellectual history to show how this particular artwork became highly instrumental in creating and strengthening Yugoslavism's primordialist dimension, which sharply marked the South Slavic territories’ political landscape in the decade preceding the first Yugoslav state's creation. Not only did Meštrović's artwork epitomize the idea of a South Slavic primeval unity, dismissi

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14

Komatina, Dragan, and Ema Alihodžić Jašarović. "Projekti Ivana Meštrovića i Harolda Bilinića na Lovćenu u tadašnjem političkom i ideološkom kontekstu." Prostor 26, no. 2 (56) (2018): 320–31. http://dx.doi.org/10.31522/p.26.2(56).9.

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Rad kronološki identificira promjene u političkom i identitetskom smislu koje su utjecale na arhitektonske koncepte na području povijesno važnog lokaliteta Lovćena, a koji su ostavili vrlo autentičan arhitektonski izraz iz razdoblja od 19. stoljeća do danas, mijenjajući svoj oblik, funkciju i simbolizam. Rad istražuje četiri povijesna i arhitektonska ciklusa, s naglaskom na umjetnički diskurs Ivana Meštrovića i Harolda Bilinića.

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15

Bulimbašić, Sandi. "Korespondencija Emanuela Vidovića." Peristil 62, no. 1 (2020): 57–70. http://dx.doi.org/10.17685/peristil.62.4.

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U tekstu se na temelju arhivskih izvora, ponajprije korespondencije Emanuela Vidovića, odnosno pisama koje je u razdoblju od 1903. do 1916. pisao književnom kritičaru don Anti Petraviću i kiparu Ivanu Meštroviću, pobliže rasvjetljava Vidovićeva uloga i svestrani doprinos organizaciji umjetničkog života u Splitu početkom 20. stoljeća. Pisma otkrivaju i nepoznate detalje o Vidovićevim razmišljanjima o izložbama, umjetnosti i vlastitom umjetničkom stvaralaštvu.

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16

Srhoj, Vinko. "Ivan Meštorović i problematika nacionalnog stila u umjetnosti." Radovi. Razdio povijesnih znanosti 26, no. 13 (2018). http://dx.doi.org/10.15291/radovipov.2075.

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Razmatrajući pojavu tzv. nacionalnog stila u umjetnosti u razdoblju pred prvi svjetski rat, vezanu za buđenje romantičkog jugonacionalizma i uz ideju umjetnosti rasnih obilježja, autor posebnu pažnju poklanja monumentalnom graditeljsko-kiparskom projektu Vidovdanskog hrama i Ivanu Meštroviću u svjetlu nationalno-romantičkog programa južnoslavenskog ujedinjenja. Uočavajući paradoksalnu situaciju ostvarenja našeg nacionalnog i rasnog izraza u umjetnosti čiji se stilski radijus nalazi u gravitacijskom polju tadašnje austrijske i njemačke struje monumentalizma i secesije, ističe se imanentna nesam

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17

Aras, Tereza Ganza. "Sudjelovanje hrvatskih umjetnika na svjetskoj izložbi u Rimu 1911. u svjetlu Supilove politike." Radovi. Razdio povijesnih znanosti 33, no. 20 (2018). http://dx.doi.org/10.15291/radovipov.2267.

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Autorica se osvrće na politički i publicistički rad Supila u razdoblju zadnjeg decenija pred Prvi svjetski rat, pokazujući svu težinu hrvatskog položaja u Austro-Ugarskoj. Supilo je svoj politički angažman usmjerio na afirmaciju hrvatskog prava na državnu cjelovitost i suverenitet. U želji da pred svijetom predstavi Hrvate kao narod visoke kulture, nastojao je da hrvatski umjetnici, slikari i kipari, među kojima i Ivan Meštrović, nastupe zajednički na svjetskoj izložbi u Rimu 1911., organiziranoj u povodu 50. obljetnice ujedinjenja Italije. Taj cilj nije uspio postići kod austrijskih i ugarski

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