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Bukovac1918.
Bukovac,V.,Mojivot,Zagreb:Knjievnijug,1918.
1925.
,.,,:,1925.
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DictionnaireVron,.,OrganedelInstituteuniverseldessciences,deslettresetdesartsduXIXesicle,Section
desbeauxarts:Salonde1882.,sv.VIIIParis:M.Bazin,92.
Vuleti1879.
Vuleti,V.,VlahuBukovcu,Slovinskomuslikaru,Slovinac,god.II,br.17,Dubrovnik:1.septembar1879,262.
2009.
,.,,-,:,2009.
Krui-Uchytil2005.
KruiUchytil,V.,VlahoBukovac,ivotidjelo1855.1922,Zagreb:NakldnizavodGlobus,2005.
1891.
,.,,:.,1891.

30

Car1881.
Car,M.,VlahoBukovac(biogranecrte),Slovinac,god.IV,br.6,Dubrovnik:16.mart1881,104.
Car1884.
Car,M.,LaGrandeIza,Slovinac,god.VII,br.8,Dubrovnik:11.mart1884,123.

31

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34

La grande Iza 1882.

1882.,LagrandeIza
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 La grande Iza

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:
Borozan2012.
Borozan,I.,Trajanjelepog:PavleBeljanskiiVelikaIza,:ZbornikradovaNaunogskupaposveenogPavlu
Beljanskom(18921965),NoviSad:SpomenzbirkaPavlaBeljanskog,2013.
1925.
,.,,:,1925.
Gottler2008.
GottlerC.,VapoursandVeils:TheEdgeofUnseen,SpiritsUnseen.TheRepresentationofsubtleBodiesinEarly
ModernEuropeanCulture,Ed.byC.Gottler,W.Neuber,Leiden,Boston2008,XVXXV,:.
,,,2009,179.
Eisenman2007.
Eisenman,S.F.,NineteenthCenturyArt:ACriticalHistory,London:Thames&Hudson,2007.
2009.
,.,,-,:,2009.
1973.
,.,,5,II,1973.
1993.
,.,,,.LII,16611,,,27.1993..1.
2009.
,.,,:(.),,:
,2009.
Said2000.
Said,E.,Orijentalizam,Beograd:igojatampa,2000.
2010.
,.,,
,,,:2010.
elebonovi1974.
elebonovi,A.,Ulepanisvet:slikarstvoburoaskogrealizmaod1860do1914,Beograd:Jugoslavija,1974.

55

57


,,1968.
.1882.,
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Bouvier)LaLanterne.1879.
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LaLanterne,
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(A.Denis),.
,je,
.
8 O(J2009:44;Borozan2012:101112;Borozan2013:8191).
9 ,EEchoduPacique(1852.1865),LeCourrierde
SanFrancisco,,.
1885..

59

 La Grande Iza (1879)

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62

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119).
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64

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1879),
(Malheur aux pauvres, 1880),
(LeMouchard,1880),

(Mademoiselle Beau-Sourire,
1881),,(Iza,
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(La petite
duchesse, 1883),
(LeBelAlphonse,1883),
(Iza la ruine, 1885),
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1885), (Le femme
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(LesChansonsdupeuple,1891).



1884.1897.

Cycle La Grande Iza,
: ;
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Les Hommes d
Aujourdhui, XIX

65

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1863.,(LaCanaille),
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BonBock

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74

 La Grande Iza, Thtre des Nations

( Thtre de la Ville), XIX

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76

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:
1.

,169,5208cm(1882)
:.Bukovac./Paris1882
..182
2.

,6481cm(1916)
:Bukovac,Praha1916
.
3. AlexisBouvier,LaGrandeIza(,1879)
,26,317cm(2717,5cm)
..337(3799)
4. ExpositiondesBeauxArts/Salonde1882.
(1882)
(,1882)
,2818,5cm(2919cm)
..338(3800)
5. CatalogueIllustrduSalon,1882.quatrimeannecontenatenviron400reproductionsDapresles
dessinsoriginauxdesartistespublisousladirectiondeF.-G.Dumas
(1882.400,,F.G.Dumas)
,22,814,2cm(24,315,5cm)
..340(4096)
6. Socitdesartistesfranaispour
LexpositiondesBeaux-Artsde1882.
Salonde1882

79

99Exposition,depuislanne1673.
(
1882.
1882,99.1673.)
,17,410,4cm(18,311,5cm)
..142
7. TableuxAnciens/EtModerns/DessinsAquareles/Pastels/
(/,18.1929)
,2416cm
..336(3798)
8.

,9x14cm
..A2390(3586)

9.
,26.11.1948.2108/48.

,29,520,5cm
..687(1535)
10.(EduarGiard)

(,1.1929)
,2112cm
..690(1538)
9. (MauricePardo),

(,28.1929)
,2721cm
..691(1539)

80

10.
,
7645,5cm
..2613(3801)
11.
19.
,,
150x105cm

..17338

81

Summary
AsoneofthemostfamouspaintingsbyBukovac,LaGrandeIzaistheartworkfromwhichallbegan,
andtowhomartistscontemporariesdevotedalotofspace.TheFrenchpresshailedthepaintingasa
sensationoftheSalonanddevotedsixreviews,criticsandpolemicalviews.TheCroatianpresssparedno
praise,especiallybyDubrovniknewspaperSlovinac.Fromthebeginningthispaintinghadaspecialplace
amongtheworksofVlahoBukovac,andaecteditscharismaticsignicance,whichwasalsocontributed
bythepainterhimself.Boththepaintinganditsauthorweregloriedinverses.Paintingwaspresented
to the wide audience thanks to a reproduction/postcard, as well as biographical and autobiographical
texts appearing in magazines and as independent issues, following every Bukovacs success. Besides
theBouviersnovelof1879,thepaintinghadarolemodelinthetwodecadesolder,ManetsOlympia.
Sensualitythatemanatesfromthepainting,provocativepostureofafemalenudewhodirectlylooksat
the observers eyes, soft modelling, distinguishes it from the mass of conventional nudes which could
usuallybeseeninSalons.BukovacpaintedfemalenudeslikeIzalatertoo,nudesininteriorsfullofheavy
drapery,orinaromanticlandscape,whereheusedthedanceofsunlightlteringthroughthevegetation
asamediumofmodelling.HeusedaParisiancourtesanasamodelforhismasterpiecewhoposedforhim
onsubsequentoccasionsaswell,butheusedothermodelsforthedetailsofLaGrandeIza.Thepainter
wasinspiredbythecriticismofhisteacherCabanello,duetowhichhewasforcedtoscrapeotheoriginal

82

versionofthenude.TravelofthepaintingfromtheSalontotheapartmentofPavleBeljanskiinBelgrade
lastedforvedecades:aftersellingoutthecollectionofanindustrialistfromLiverpool,RichardLeDoux,
itwasinthepossessionofanunknownBritishcollectorforsometime,andin1929theDruotauction
houseoeredforsale.CuriosityofthecollectorBeljanskiwassatisedonlyafterheacquired,inaddition
tothepainting,thecatalogueoftheSalon,originaleditionofthenovelbyAlexisBouvierpublishedinthe
ParisianboulevardnewspaperLaLanterneandalreadymentionedpostcard.ItarrivedinBelgradealong
withotherbaggagepictures,books,oldfurniturewhenBeljanskireturnedfromParisin1932.When
paintingwasplacedonthesalonswallatBeljanskiapartmentin1948,itwasdeclaredforthecultural
monument. It didnt leave the salon of Pavle Beljanski in Gospodar Jevremova Street in Belgrade until
1957,whenitwasexhibitedinZagreb,andin1965founditsnalplaceinthePavleBeljanskiMemorial
Hall,inhisMemorialCollection.Justlikeitscreationanditsrstpresentation,anyeventrelatedtothe
paintingisanoteworthyevent,whetheritisapresentation,restoration,orjustcommentsaboutit.Inthis
sense,itsmovementthroughtheartcollectionsintheUK,viaParisandBelgradetoNoviSad,aswellas
themovementtoanexhibitioninBelgrade,wherepaintingwaspresentedforthersttime,isanevent
parexcellenceandanoccasiontohighlightthewidepossibilityofreadingandinterpretationthatpainting
provides,inthecontextofthetimeofitscreation,itscolourfullife,ourtime,andtheplacesthatoccupies
intheartworld.

83

, 19
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1822

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