The Culture of Smoking

Kultura
puenja
od tabua
do tabua
The Culture
of Smoking
From Taboo
To Taboo
Gliptoteka | 7. listopada 11. studenoga 2012.
Gliptoteka | October 7'' November 11'' 2012
Sadraj
Content
Projekt Kultura puenja (Ariana Kralj) 7
The Culture of Smoking project (Ariana Kralj)
Izloenost kulturi (Predrag Grubi) 11
Cultural exposure (Predrag Grubi)
Duhanski put kroz povijest 15
The Road of Tobacco through History
Od povlastice bogova do zadovoljstva ljudi (Kreimir Deba) 16
From the privilege of gods to the pleasure of people (Kreimir Deba)
Kvaliteta dostojna cara: car Franjo Josip I. i uivanje u duhanu (Boo Skoko) 30
Quality t for an emperor: Emperor Frantz Joseph I. and the enjoyment of tobacco (Boo Skoko)
Tvornice u Hrvatskoj izrasle iz austrijske duhanske imperije (Boo Skoko) 38
Factories in Croatia developed from the Austrian tobacco empire (Boo Skoko)
Anno Domini 1872. i poetak povijesti Tbs-a (Kreimir Deba) 44
Anno Domini 1872 and the beginning of the Tbs history (Kreimir Deba)
Plamen, ar, dimovi, pepeo (Igor Zidi) 69
Flame, Ember, Smoke, Ash (Igor Zidi)
Dim u kadru (Fea Vuki) 137
Smoke in the Frame (Fea Vuki)
Od svete do avolje trave (Inoslav Beker) 165
From holy to devils herb (Inoslav Beker)
Smoking Culture | From one taboo to another 7
rrLDcOvOr
Projekt Kultura puenja
Gliptoteka HAzU, svojom povijeu od in-
dustrijskog objekta koare iz doba Austro-
Ugarske do prenamjene 1938. u muzejsku
instituciju, kao da svojom danou para-
lelno slijedi konotacije koje ima i naslov
ovoga vrlo slojevitog projekta Kultura
puenja od tabua do tabua. Izloba prati
kulturu puenja na podruju Hrvatske i
Bosne i Hercegovine od 19. stoljea nadalje
te upuuje na novu kulturu puenja u koor-
dinatama gradskoga ivota koja svoj izvor
nalazi u tradiciji drugih prostora, povlaei
sa sobom simboliku tradicijskoga naina i-
vota, zasebnog okruja, spoja ive komuni-
kacije, kao izrazite kontemplacije. Puenje
je u memoriji vezano uz prostor Orijenta ili
daleke Amerike, velike prostranosti i zaseb-
noga koda ophoenja, koji ritmiziranjem
odreuje posebnu koreograju meuljud-
skih odnosa, s naglaskom na specinosti
pokreta i rijei koja slijedi, kao da je u uda-
hu i izdahu dima cigarete odreena misao-
na dionica donoenja vlastitog iskaza.
Naravno da je tu maginost trebalo oslo-
niti na novu iniciranu industriju Austro-
Ugarske te su obje industrije prerada
duhana, kao i koara u to vrijeme inova-
tivne po svojim postrojenjima, kapaciteti-
ma zapoljavanja, modernosti poslovanja.
Proizvodnja cigareta, kao i koe, do 19.
stoljea praktiki je bila koncentrirana na
male pogone i locirana po malim sredina-
ma za pokrivanje potreba lokalnog okruja.
rOrLwOrD
The Culture of Smoking project
The HAzU Glyptotheque, with its history of
an industrial leather processing facility in
the Austro-Hungarian times to its transfor-
mation into museum space in 1938, seems
to parallel the connotations contained in
the title of the truly multi-layered pro-
ject The Culture of Smoking From Taboo
To Taboo. The exposition presents the
culture of smoking in the area of Croatia
and Bosnia and Herzegovina from the 19''
century onwards, indicating a new culture
of smoking within the coordinates of city
living, drawing from the tradition of other
regions, incorporating the symbolism of the
traditional way of life, a particular environ-
ment, a combination of live communication
and profound contemplation. The origins of
smoking are associated with the Orient or
faraway America, vast spaces and dierent
codes of behaviour, dictating the rhythm of
a distinctive choreography of human inter-
action, stressing the specicities of move-
ments and the ensuing word, as if the inhal-
ing and exhaling of tobacco smoke contains
a thought passage of ones own account.
Naturally, this magic was to be supported
by the newly initiated Austro-Hungarian
industry and both these industries to-
bacco and leather processing were at that
time innovative by their plants, employ-
ment capacities,and by business methods.
Cigareue production, just like leather
factories, remained until the 19'' century
Smoking Culture | From one taboo to another 9 8 Kultura puenja | Od tabua do tabua
kolekcionara, kao neiscrpan izvor grae
koja uvijek nanovo upuuje na dodatno
znaenje, na nov kontekst, vanost konti-
nuiteta prikupljanja, ali i na fascinantnost
izlaganja u totalu u novom znaenju. Ono
to posjetitelju izloaba ostaje u drugom
planu jest struktura muzeja, njihovih
uvaonica, zakona o muzejima kojih se
posljednjih dvadeset godina osnailo
muzejskim zakonom to regulira i siste-
matizira svu grau i ini je dostupnom
korisnicima i ukupnom pregledu i umre-
avanju spoznaja kulturne batine. Vrlo
esto neki materijal sekundarne vanosti
u nekoj tematskoj cjelini postaje dragocjen
podatak. Uz postojanje 265 muzeja i zbirki
u Hrvatskoj, a njihova je evidencija u sklo-
pu Muzejsko-dokumentacijskoga centra
(www.mdc.hr), stalnom edukacijom mu-
zejski djelatnici prolaze dodatne strune
ispite koji ih osposobljavaju za fokusiran
rad na muzejskoj grai kako bi relevantna
kulturna batina, ukljuujui i djela su-
vremene umjetnosti, bila vrsta struktura
korpusa hrvatske kulture. Danas ujedinje-
na Europa proiruje svoj golemi kulturni
potencijal djelima i slijedom razvoja kultu-
re tzv. tranzicijskih zemalja. Obogauje se
novim imenima, autorima koji su stvarali
u matinim zemljama i ostali izvan do-
sadanjih tokova europskih spoznaja. Te
nove spoznaje koje e zadobiti Europa bit
e od evolucijskog znaenja i obogatit e
dosadanje spoznaje.
Tema projekta Kultura puenja od
tabua do tabua opojnou svojega naziva
ujedno je izazov strunjacima razlii-
tih podruja, kao i muzejskoj struci, jer
objedinjuje brojne specinosti i danosti
realizacije takva projekta. Na razmjerno
malom izlobenom prostoru iskazana je
povijest kulture puenja, to znai da je
trebalo koncipirati iskaz u svim dome-
nama; od dokumentacije, funkcioniranja
do sublimacije svih danosti u vrhunskim
likovnim djelima s podruja slikarstva,
fotograje, dizajna, lma, dakle metodolo-
Collecting items not exclusively connect-
ed with the beaux arts is of clear signi-
cance today for many museum collections,
archive documentation and private collec-
tions, as an undying source of inventory
which keeps revealing additional meanings,
new contexts, the importance of the con-
tinuity of collecting, but also the fascina-
tion of exposing everything with a new
meaning. What a visitor to the exhibitions
will disregard is the structure of museums,
their storage rooms, legislation on muse-
ums reinforced in the past twenty years by
the law on museums regulating and organ-
izing all inventory and making it available
to users and for an all-encompassing over-
view and networking of knowledge on cul-
tural heritage. It very oen happens that
an item of secondary importance becomes
valuable information in a given context.
Coming from 265 museums and collections
throughout Croatia, all documented at the
Museum Documentation Centre (www.
mdc.hr), museum sta undergo continuous
education and additional professional ex-
aminations to equip them for focused work
on museum inventory, in order to make the
relevant cultural heritage, including the
works of contemporary art, a solid struc-
ture of the Croatian cultural corpus. Today,
the united Europe is expanding its enor-
mous cultural potential with the works in
line with the development of the so-called
transitional countries culture. It is being
enriched by new names, authors who have
been creating in their countries of origin
and have remained outside of the Euro-
pean developmental currents. These new
discoveries that Europe is about to make
will be of evolutionary signicance and will
enrich the existing knowledge.
The project The Culture of Smoking
From Taboo To Taboo, with its intoxicating
title, is a challenge for experts in dierent
areas, as well as for museum professionals,
because it brings together the numerous
specicities and particularities of the
U 19. stoljeu ti pogoni prerastaju u in-
dustriju kojom se stvara nova vrijednost
nove primjene marketinga, dizajna, urba-
nog identiteta. Puenje, neto to je u svo-
jem nukleusu zapoelo kao ritualno oku-
pljanje, pretvara se u klasikaciju elitnoga
konzumenta, a proizvodi od koe nagla-
avaju kvalitetu i pouzdanost novih pred-
meta i opreme od materijala koji je ve u
svojemu tradicijskom znaenju korjenito
povezan s funkcionalnou. I koara i pro-
izvodnja duhana, odnosno cigareta, imaju
svoja uporita i gabarite tradicije. Rastom
industrijskih pogona i uurbanou sva-
kodnevice istodobno se paradoksalno eli
zadrati spoznaja doivljaja vremena kao
trenutaka oputanja, razmiljanja, donoe-
nja odluka, neku vrstu kontemplativnoga
naboja. Ta simbolika predaha u uurba-
nosti i zahuktalosti novoga industrijskog
razdoblja 19. stoljea bila je sublimirana u
vizualnom kodu puenja, kao to je i miris
koe povezan s prirodnim okrujem.
Koara (osnovana 1869.) pretvara se 1937.
u Gipsoteku (zatim mijenja naziv u Glipto-
teku) kao depo za velike sadrene kiparske
modele, a zatim je od 1950. u sastavu Hr-
vatske akademije znanosti i umjetnosti s
velikim muzejskim fundusom skulptura
uz Kabinet grake HAzU, Hrvatski muzej
arhitekture HAzU, Strossmayerovu galeriju
starih majstora HAzU.
U Gliptoteci HAzU u kontinuitetu smo
svijeu vezani uz nau izvornu namjenu
koja nosi vrlo zaseban naboj, sa zadovolj-
stvom sudjelujemo u ovom projektu jer
izloba upuuje na vrijednosti i znaenje
postojanja raznovrsnih muzejskih fundu-
sa. Takoer ini zadovoljstvo to je prena-
mjena industrijskog objekta u muzejsku
ustanovu ve realizirana prije 75 godina te
je ta vrsta prenamjene bila neto novo na
podruju Europe.
Prikupljanje dijela grae koja nije isklju-
ivo vezana uz lijepe umjetnosti danas je
od neprijeporne vanosti za niz muzejskih
zbirka, arhivske dokumentacije, privatnih
mostly concentrated in small plants and
located in small communities to tend to the
local needs. In the 19'' century, these plants
grow into an industry creating a new value
of the new application, marketing, design,
urban identity. Smoking, something that
initially began as ritual gathering, turns
into the mark of the elite consumer, where-
as leather products stressed the quality
and reliability of the new goods and equip-
ment made of the material whose tradi-
tional signicance was rooted in function-
ality. Both the leather factory and tobacco,
or rather, cigareue production, have their
foundations and capacities in tradition.
With the expansion of industrial plants
and the busy daily life, there is a paradoxi-
cal desire to hold on to the apprehension of
time as a moment of relaxation, pondering,
decision-making, a kind of a contemplative
charge. This symbolism of pause in the
busy, thriving new industrial times of the
19'' century was sublimated in the visual
code of smoking, just as the smell of leath-
er evoked natural environment.
The leather factory (established in 1869)
is turned into the Gypsotheque in 1937 (lat-
er changing the name to Glyptotheque), a
depot for large plaster sculpting casts, and
from 1950, with its large museum holdings
of sculptures, it has been part of the Croa-
tian Academy of Sciences and Arts (HAzU),
together with the HAzU Department of
Prints and Drawings, HAzU Croatian Archi-
tecture Museum, HAzU Strossmayer Gallery
of Old Masters.
At the Croatian Academy Glyptotheque
we have always been aware of our original
intention bearing a very special charge, and
it is our pleasure to take part in this project
because this exposition indicates the val-
ues and the signicance of the existence
of various museum holdings. It is also a
pleasure to see an industrial facility having
been converted into a museum 75 years ago,
when this type of conversion was a new
development in Europe.
realization of such a project. In a relatively
small area, the history of the smoking cul-
ture is presented, meaning that the expres-
sion had to be conceptualized in all domains;
from documentation, the functioning to the
sublimation of all particularities in major
works of art in the area of painting, photog-
raphy, design, lm, with an exact, ecient,
striking methodology of work. This is why,
with authors Igor Zidi and Fea Vuki, this
project has been supported by teamwork
and a demanding set of the presented items.
We are grateful for the cooperation and the
lent material from all 37 institutions, muse-
ums, collections, private owners:
The 1Dr Rovinj archives, Zadar State Ar-
chives, the Branko Dekovi Galley in Bol,
Varadin Town Museum, Croatian Radio
and Television, Croatian State Archives
Agefoto, Matrix Croatica, Modern Gallery,
Zagreb Museum of Contemporary Art, Mu-
seum of Arts and Cras, Zagreb City Muse-
um, National and University Library, Zagreb
City Hall, Dubrovnik Art Gallery, Andrija
tampar School of Public Health, 1Dr Rovinj
collection, Josip Vanita collection, Marinko
Sudac collection, Mio Azinovi collection,
Davor Vugrinec collection, Nikola Gavella
PhD., Hrvoje arini, Marino Para, Carlo
Beltrame, Mira Duli, Nina Ivani, Zlatko
Keser, Vatroslav Kuli, Marta Kuli Aralica,
Zlatan Vrkljan, Zoltan Novak, Goran Pipo
Paveli, Igor Jovi, Fea Vuki, Mira i Davor
Tomii, eljko Stojanovi.
The many layers of the nuances of this
project demonstrate the new possibilities
for studying the many aspects of museum
inventory, as well as an opening of new top-
ics for the future, which will stem from the
respect for the care for keeping and docu-
menting museum inventory, collections and
private collections, because this is a way of
undeniably sustaining our cultural identity.
Ariana Kralj
gija razrade morala je biti tona, ekasna,
efektna. Stoga ovaj projekt, uz autore
Igora Zidia i Feu Vukia, prati timski
rad suradnika i zahtjevan likovni postav.
Zahvalni smo na suradnji sa svih 37
ustanova, muzeja, kolekcija, privatnih
vlasnika i na njihovoj posudbi:
Arhivu 1Dr-a Rovinj, Dravnom arhivu
Zadar, Galeriji Branko Dekovi Bol,
Gradskom muzeju Varadin, Hrvatskoj
radioteleviziji, Hrvatskom dravnom
arhivu Agefoto, Matici hrvatskoj, Moder-
noj galeriji, Muzeju suvremene umjetnosti
Zagreb, Muzeju za umjetnost i obrt, Muze-
ju grada Zagreba, Nacionalnoj sveuilinoj
knjinici, Poglavarstvu grada Zagreba,
Umjetnikoj galeriji Dubrovnik, koli
narodnog zdravlja Andrija tampar,
Zbirci 1Dr-a Rovinj, Zbirci Josipa Vanite,
Zbirci Marinka Sudca, Zbirci Mie Azinovi-
a, Zbirci Davora Vugrineca, dr. Nikoli
Gavelli, Hrvoju ariniu, Marinu Parau,
Carlu Beltrameu, Miri Duli, Nini Ivani,
Zlatku Keseru, Vatroslavu Kuliu, Marti
Kuli Aralica, Zlatanu Vrkljanu, Zoltanu
Novaku, Goranu Pipi Paveliu, Igoru Jovi-
u, Fei Vukiu, Miri i Davoru Tomiiu,
eljku Stojanoviu.
Slojevitost svih konotacija ovoga projekta
pokazuje koliko ima novih mogunosti sa-
gledavanja aspekata muzejske grae, kao i
otvaranje novih sadraja za budunost koji
e imati polog u potovanju skrbi za uva-
nje i evidentiranje fundusa muzeja, zbirki i
privatnih vlasnitava jer time neprijeporno
osnaujemo vlastiti kulturni identitet.
Ariana Kralj
rrLDcOvOr
Izloenost kulturi
Jedno od najteih, ali i najvanijih pitanja
na koje pokuavaju odgovoriti mnogi mi-
saoni sustavi lozofsko-znanstvene,
umjetnike i religijske discipline (etika,
zika, antropologija, psihologija, kulturo-
logija, dogmatika) zacijelo je pitanje to
je ovjek. Unato svim posebnostima i
suprotstavljenostima, ini se najmanje
prijepornim i gotovo opim mjestom odre-
enje kako je ovjek u svojoj esenciji
(s)tvarno, kulturno i transcendentno bie.
Za razliku od ostaloga ivoga svijeta,
ovjek, naime, ima raspon prolosti-sada-
njosti-budunosti, to ponajprije znai da
ima sposobnost kritikog vrednovanja,
usporeivanja i povezivanja onoga stvore-
noga, ovako ili onako dovrenoga i zgotov-
ljenoga, dakle onoga to je bilo s onim to
ini sada i emu se, najposlije, smije nada-
ti; da postavlja (i) sebe kao predmet vlasti-
toga propitivanja. U protimbi pak sa
stvarnim vremenom i dnevnom brbljei,
akula s vjenou njegovo je nastojanje
da razrijei pitanje svoje nesavrenosti,
nerijetko i da otkloni dramatini strah od
svoje konanosti. Umjetnost pritom ima
posebno mjesto. Ona kao da namiruje
nau neprispodobivu potrebu za trajnom
ljepotom, ne marei nipoto je li neto
ispravno i, s dananjeg gledita, zdravstve-
no prihvatljivo ili ne (odvie je drskih pri-
mjera i na ovoj izlobi!). To jednostavno
nije posao umjetnosti
rOrLwOrD
Cultural exposure
One of the most dicult yet the most im-
portant questions intriguing many contem-
plative systems philosophical and scien-
tic, artistic and religious disciplines (ethics,
physics, anthropology, psychology, culturol-
ogy, dogmatics...) must be the question of
what is man. In spite of all particularities
and dierences, the least disputable, almost
a universal truth, is the idea of the man, in
his essence, as a real, material, cultural and
transcendental being. Unlike the rest of
living creatures, man possesses the range of
past-present-future, which primarily means
that he has the ability of critical estimation,
comparison and connecting the created,
the completed and nished in one way or
another, of what was with what he does
now and what he can ultimately hope for;
to take himself (as well) as the subject of his
own questioning. In opposition to real time
and the daily chit-chat with eternity is his
striving to answer the question of his im-
perfection, oentimes to shed the dramatic
fear of his nality. Art has a special place
here. It seems to feed our unparalleled need
for permanent beauty, regardless of wheth-
er or not it is right, and, from todays point
of view, medically acceptable (there are too
many audacious examples in this exposi-
tion!). this is simply not a task for the arts...
Cultural exposure today, as it did in the
past, rearms not only man-individual,
contemporary societies, bigger or smaller
communities, but also contemporary
business systems. What is more, the link
between culture and industry seems to
become a world-wide business trend in
which culture has become an important,
sometimes the decisive communicational
fact but also the measure of success, origi-
nality and sustainability. This is not just a
useful meeting point for the dierent areas
of human activity, spiritual and realistic,
but, if only unconsciously, an integration
of the fragmented, the crumbled into the
unity of our creation. Cultural acceptability
and sustainable development thus become
the decisive criteria of whether what we are
doing and producing is meaningful or not.
Does it contribute to our well-being or not?
The question that always seems reasonable
is: How has man fared through this? Or, in
a paraphrase of Karol Woytila, will our ac-
tions make history ow alongside the cur-
rent of conscience?!
This question seems particularly impor-
tant today, in the coca-cola world in which
we are all the same only for the fact that
we are all consumers, the users of the
same. How much? This is decided by a mi-
nuscule minority. Mondialization does not
only reject traditional economic solutions
but dierent cultural paradigms as well. In
order to increase economic eectiveness
and the competitiveness of companies in
the global market, it exposes us to the risk
of creative economy and to accepting uni-
ed (cultural) smokes in which creativity, in
the widest sense of the word, is important
only as a means of increasing competitive-
ness and adding value to the strongest
companies in the global market.
The ultimate success of this project
should be doubtful not only because of the
dramatic world-wide crisis but because of
the lasting need of peoples and cultures to
remain and survive in their diversity. The
exposition The Culture of Smoking: From
Taboo To Tabboo, sine ira et studio except
in the history of the sin industry in our
Izloenost kulturi i danas, dakle, kao i u
prolosti, potvruje ne samo ovjeka-poje-
dinca, suvremena drutva, vee ili manje
zajednice, nego i suvremene poslovne su-
stave. tovie, povezanost kulture i indu-
strije kao da postaje svjetskim poslovnim
trendom u kojemu je kultura postala va-
na, kadto i odluujua komunikacijska
injenica, ali i mjera uspjenosti, razlikov-
nosti i odrivosti. Posrijedi nije tek korisno
susretite razliitih ovjekovih podruja
djelovanja, duhovnog i (s)tvarnoga ve,
makar i podsvjesno, integriranje fragmen-
tiranog, razmrvljenog, u cjelinu naega
stvaranja. Pritom kulturna prihvaenost
i odrivi razvoj postaju odluujuim kri-
terijem je li to to inimo i proizvodimo
smisleno ili nije, pridonosi li to naem
boljitku ili ne. Pitanje koje se uvijek iznova
ini razlonim postaviti jest kako je u sve-
mu proao ovjek? Ili, da parafraziramo
Karola Woytilu, hoe li naim djelovanjem
povijest potei uza struju savjesti?!
To se pitanje ini posebno vanim po-
staviti danas u cocacoliziranom svijetu u
kojemu smo svi izjednaeni tek u injenici
da smo potroai, konzumenti istoga. Ko-
liko? O tome pak odluuje tek neznatna
manjina. Mondijalizacija ne odbacuje
samo tradicionalna rjeenja u gospodar-
stvu nego i razliite kulturne paradigme.
Radi poveanja ekonomske uinkovitosti
i konkurentnosti tvrtki na globalnom tri-
tu, izlae nas riziku kreativne ekonomije i
prihvaanju jedinstvenih (kulturnih) dimo-
va u kojima je kreativnost, u najirem smi-
slu, bitna tek za poveanje konkurentnosti
i dodavanje vrijednosti najjaim tvrtkama
na globalnom tritu.
U konani uspjeh toga projekta valja
dvojiti ne samo zbog dramatine krize u
koju je svijet zapao nego i zbog trajne po-
trebe naroda i kultura da o(p)stanu u svo-
joj razliitosti. Izloba Kultura puenja: od
tabua do tabua, sine ira et studio, osim o
povijesti industrije grijeha u nas, posvjedo-
uje i kako je, unato zabranama, cigareta
country, demonstrates how, in spite of bans,
the cigareue has become an important
companion, not only in mass culture...
. . .
Adris Grupa, for the most part of its 140
years of corporate history, has inherited
the best from the Croatian culture. With
its patronage of this exposition, it conrms
that our business ideas make sense only in
lasting alliance with culture...
Predrag Grubi
postala vanom popudbinom ne samo
masovne kulture
. . .
Adris grupa u bitnom dijelu svoje 140-go-
dinje korporativne povijesti batini i ono
najbolje u hrvatskoj kulturi. Svojim pokro-
viteljstvom nad ovom izlobom potvruje
da nae poslovne zamisli imaju smisla tek
u trajnom saveznitvu s kulturom
Predrag Grubi
Duhanski
put kroz
povijest
The Road
of Tobacco
through
History
Kreimir Deba
*
, Boo Skoko
*
Prema tekstovima u knjizi: Duhanski put u Rovinj, 115. godina Tvornice duhana Rovinj, 1Dr, 1987. /
Ajer the texts from: Duhanski put u Rovinj, 115. godinaTvornice duhana Rovinj (The Tobacco Road
to Rovinj, 115 Years of the Rovinj Tobacco Factory), TDR, 1987.
From the privilege of gods
to the pleasure of people
In the steps of Christopher Columbus
People knew about smoking before they
knew about tobacco. Herodotus the Greek,
nicknamed the father of history, noted that
in sc 440 the nomadic Scythians used to
throw the seeds of a plant, probably hemp,
on glowing hot stones to then eagerly in-
hale its smoke. But it was only Columbus,
one thousand years later, who discovered
tobacco and the habit of enjoying its
smoke. Fate was generous to Columbus
when it comes to breakthrough discoveries,
but it sometimes deprived him of under-
standing just what he had discovered.
Od povlastice bogova do
zadovoljstva ljudi
Tragom Kristofora Kolumba
Ljudi su znali za puenje prije nego za
duhan. Jo je Grk Herodot, nazvan ocem
historije, zabiljeio da su 440. godine
prije nove ere nomadski Sikti bacali na
uareno kamenje sjemenke neke biljke,
vjerojatno konoplje, da bi poudno
udisali njezin dim. Ali tek je Kolumbo,
1.800 godina kasnije, otkrio duhan i
obiaj uivanja u njegovu dimu.
Sudbina je Kolumba irokogrudno
obdarila epohalnim otkriima, ali mu je
kadto uskratila spoznaju o onome to
je otkrio. Kao to je stigao sa svojim
Parmigianino,
Kristofor Kolumbo
Parmigianino,
Christopher Columbus
Indijanac sa lulom mira
Indian with peace pipe
karavelama do Amerike, vjerujui da
ga je zadani put odveo do Indije, tako
je i prvi vidio duhan, ali, barem u tom
trenutku, nije znao emu slui...
Za ponedjeljak, 15. listopada 1492., u
svojem je brodskom dnevniku zapisao:
Kad sam se nalazio na putu izmeu otoka
Santa Maria i nekog drugog velikog otoka,
koji sam nazvao Fernandina, naiao sam
na kanu u kojemu je bio samo jedan
ovjek. U njemu sam naao malo kruha,
vodom napunjenu tikvu, neto crvene
zemlje od koje je napravio kau i neke
osuene listove, vrlo cijenjene meu
uroenicima, kakve sam ve u San
Salvadoru dobio na poklon...
Zapisujui ove retke, Kolumbo oito nije
znao kakvi su to listovi i emu slue. Ipak,
bio je to prvi zapis o duhanu.
Mudrost Indijanaca i pobjedonosni
put dima
Indijanci su u svojim legendama povezi-
vali puenje duhana s uitkom bogova.
Prema vjerovanju Maja, drevnog naroda
koji je obitavao na podruju Yucatana i
Guatemale, najstrastveniji je pua bio
Balam, boanstvo etiriju vjetrova: kad
bi sijevale munje, za njih je to bio znak da
And just as he had arrived with his
caravels to America, believing that his
route took him to India, also he was
the rst who saw tobacco not knowing
what it was for...
On Monday, 15 October 1492, he wrote in
his ship log: When I found myself between
the island of Santa Maria and another big
island which I named Fernandina, I came
across a canoe with only one man inside. In
the canoe I found some bread, a water-lled
gourd, some red soil beaten into a mash
and some dried leaves, very highly regarded
among the natives, such as I had already
been gijed in San Salvador...
When writing these lines, Columbus was
obviously unaware of what those leafs were
and what they were for. Still, these were the
rst wriuen lines on tobacco.
The wisdom of the Indians and
the victory path of smoke
In their legends, the Indians associated
smoking tobacco with the pleasure of the
gods. In the beliefs of the Maya, an ancient
people who lived in the area of Yucatan
and Guatemala, the most passionate smok-
er was Balam, the god of the four winds:
lightning for them was a sign that he was
upravo kree vatru kako bi pripalio svoj
tabagos. A oblaci na nebu odavali su kada
pui Tlacos, bog kie.
ak i djeca znaju za simbolino znaenje
lule mira za sjevernoamerike Indijance
koju im je podario Veliki Manitu. Kad bi se
ona puila, a dim otpuhivao na sve etiri
strane svijeta, morala se zakopati ratna
sjekira, tomahawk.
U opisu nekog starog bakroreza Isaaca
Taylora stoji: Lula je imala dugaku drku,
ukraenu orlovim perjem. Indijanci su je
cijenili kao Europejci bijelu zastavu
pregovaraa...
Otkrivi Ameriku, Europljani su podi-
jelili s Indijancima zadovoljstvo njihovih
bogova. Uitak puenja lule pokuao
je, poprilino neodreeno, opisati neki
Harriot, jedan od prvih puaa iz zapadnih
zemalja i pionir naselja City of Raleigh na
otoku Roanoke: ...Da bi se opisao osjeaj
koji ovjek osjea pri tome, trebala bi se
ispuniti cijela knjiga.
Brzinom prerijske vatre, puenje je poe-
lo osvajati Europu, postavi od privilegije
bogova sumnjivo zadovoljstvo sve ireg
kruga ljudi.
Kapetan Ralph Lane uao je u kronike
kao ovjek koji je, uz duhan, iz Novog
svijeta donio u London i prve lule. Kad
je 27. srpnja 1586. pristao u luci Plymoutha,
njegovi su mornari demonstrirali razliite,
nikad viene mogunosti uivanja u
duhanu. Samo trinaest godina kasnije
neki je promuurni znalac u Londonu
pruao gospodi zornu nastavu o
umijeu puenja.
striking re to light up his tabagos. The
clouds in the sky would indicate the smok-
ing hours of Tlacos, the god of rain.
Even children know about the North
American Indians symbolic meaning of
the peace pipe given to them by The Great
Manitou. When this pipe was lit and the
smoke blown to the four corners of the
earth, the war hatchet, tomahawk, had
to be buried.
The description of an old copperplate
engraver, Isaac Taylor, reads: The pipe had
a long neck, decorated with eagle feathers.
The Indians honoured it like the Europeans
honoured the white ag of the negotiator...
Aer discovering America, Europeans
shared with the Indians the pleasure of
their gods. The pleasures of smoking a pipe
were depicted in a rather vague auempt by
a certain Harriot, one of the rst western
smokers and a pioneer from the seulement
of the City of Raleigh on the Roanoke
island: ...To describe the feeling one gets,
an entire book should be lled.
At the speed of prairie re, smoking set
out to conquer Europe, transforming from
the privilege of gods to a dubious pleasure
of an ever growing number of users.
Captain Ralph Lane appears in chroni-
cles as the man who brought tobacco but
also the rst pipes from the New World to
London. When he arrived to the Plymouth
port on 27 July 1586, his sailors demonstrat-
ed dierent, never before seen, ways of en-
joying tobacco. Only thirteen years later, a
shrewd expert gave the London gentlemen
elaborate lessons on the art of smoking.
Tobacco smoking started its victory
march which would take it to every corner
of the planet, in spite of occasional biuer
resistance, such as was put up by Louis
xlll., banning the use of tobacco in France,
by the English king James l. who issued
the Misocapnos against smokers or
by the pope Urban vll. who excommuni-
cated them but by contemporary
legislators as well.
Smoking advocates from royal courts
There are various ways of enjoying tobacco
that Europeans were able to learn from the
Indians, not only smoking pipes or cigars.
For example, in 1628, Neander noted the In-
dians custom of roasting and grinding into
dust shells, mixing the dust with tobacco
leaves and chewing it into a paste from which
they would make pea-sized balls and dry
them in the sun. Traveling through desert
areas, they would chew these balls, sucking
the juice from them, which would suce to
appease their hunger for three or four days.
What the Indians saw as necessity very
soon became fashion in Europe, and the
instructions for the preparation of the rst
chewing tobacco, called Priem, today reads
as one of the most sophisticated culinary
recipes... but it ends with reading because
no one today chews these concoctions.
The speedy expansion of the habit of
chewing tobacco was undoubtedly helped
by the fact that its promoters and opinion
Porculanska lula,
akt, 1900.
Porcelain pipe,
nude, 1900
Porculanska lula,
djevojka na potoku, 19. st.
Porcelain pipe,
A Girl By a Brook, 19'^ c.
Puenje duhana krenulo je u osvajaki
pohod tijekom kojega e prodrijeti
u svaki kutak planeta, unato povreme-
nim ogorenim otporima kakve je npr.
pruao Louis xlll. zabranivi upotrebu
duhana u Francuskoj, engleski kralj
Jakov l. koji je izdao Misocapnos protiv
puaa ili papa Urban vll. koji ih je
ekskomunicirao sve do suvremenih
zakonodavaca.
Promotori puenja s kraljevskih dvorova
Europljani su od Indijanaca mogli nauiti
razliite naine uivanja u duhanu, ne
samo u puenju lule ili cigare. Na primjer,
Neander je jo 1628. pribiljeio obiaj Indi-
janaca da pre i melju u prah neke koljke
da bi ga zatim pomijeali s listovima du-
hana i vakanjem pretvorili u masu iz koje
bi, na kraju, pravili i suili kuglice veliine
graka. Prolazei kroz pustinjske krajeve,
vakali bi te kuglice i isisavali iz njih sok,
to je bilo dovoljno da im tri ili etiri dana
utai glad. Ono to je Indijancima bila
nuda, u Europi je vrlo rano postala moda,
a naputak za pripravljanje prvog duhana
za vakanje pod nazivom Priem danas se
ita kao jedan od najpronjenijih kulinar-
skih recepata... Ali samo ita jer vie nema
mnogo onih koji bi vakali takvo to.
Naglo irenje navika uivanja u
duha nu zacijelo je poticala injenica
da su promotori i opinion leaders bile
glasovite linosti, dovoljno utjecajne da
nameu modni stil i obrasce ponaanja
ostalima. Kad je ambasador Jean Nicot
poslao Katarini Medici praak duhana da
bi njime ublaila migrenu otvorena su
vrata mrkanju duhana. Na nekoj staroj
kutiji za duhan za mrkanje oslikana je
cijela panjolska kraljevska obitelj: vrhun-
ska personalna propaganda! Strastveno
je mrkala i Madam de Pompadour, da ne
nabrajamo druge.
Mnoge okrunjene glave i imena ukra-
ena uvaenim titulama bili su nesvjesni
promotori i obiaja sjevernoamerikih In-
dijanaca da duhanski dim uvlae kroz lule
najrazliitijih oblika. Najstarija sauvana
lula u Europi potjee iz 1602., a pripadala je
vojvodi od Braunschweiga (ta se lula, izra-
ena od ruina drva, moe vidjeti u Muzeju
duhana u Beu). Pruski kralj Friedrich
Wilhelm l. svake bi veeri popuio lulu 30
do 32 puta. Feldmaral Blcher, ija je uloga
moda bila odluujua za pobjedu nad Na-
poleonom kod Waterlooa, davao je svojim
vojnicima znak za napad podizanjem lule
u zrak. Jedina dunost njegova majstora
za lulu, Christiana Hennemanna, bila je da
se u vrevi bitaka brine kako bi Blcherova
lula uvijek bila napunjena i upaljena.
U sudbonosnoj bitci kod Waterlooa 18.
lipnja 1815., prezirui smrt, piepenmeister
Hennemann napunio je i popuio lulu vie
od stotinu puta, da bi je naveer mogao
upaljenu pruiti Blcheru nakon to je
s Wellingtonom porazio Napoleona.
Puenje kao politika poruka
i simbol slobodoumlja
Nipoto nisu manje ugledne ni linosti
koje su vlastitim primjerom propagirale
drevni obiaj Indijanaca s Antila i iz Mek-
sika da uvlae dim zapaljenih duhanskih
valjia umotanih u palmino ili kukuruzno
lie, koji su se u jeziku Maja nazivali sik`ar,
od ega je vjerojatno nastala rije cigara.
Iz Kube, koja je bila i ostala prijestolnica
leaders were famous people, inuential
enough to impose fashion styles and behav-
iour pauerns to others. When ambassador
Jean Nicot sent to Catherine de Medici to-
bacco powder in order to help her with her
migraine the door was wide open for snu.
An old snu box depicts the entire Spanish
royal family: supreme personal propagan-
da! Madame Pompadour was another pas-
sionate snuer, as were many others.
Many crowned heads and distinguished
title bearers have also become unaware
advocates of the North American Indians
custom of inhaling the smoke through
variously shaped pipes. The oldest surviv-
ing pipe in Europe dates from 1602, and it
once belonged to the duke of Braunschweig.
(This pipe, made of rosewood, can be seen at
the Tobacco Museum in Vienna). The Prus-
sian king Friedrich Wilhelm l. would smoke
the pipe 30 to 32 times every evening. Field
marshal Blcher, whose was perhaps the
crucial role in the victory over Napoleon at
Waterloo, gave his soldiers a sign to auack
by raising high his pipe. The only task of
his pipe master, Christian Hennemann, was
to take care that Blchers pipe was always
lled and lit in the heat of the baule. In the
fateful baule of Waterloo, on 18 June 1815,
defying death, piepenmeister Hennemann
lled and smoked the pipe more than a
hundred times, so that he could give it lit
to Blcher in the evening, aer he, together
with Wellington, had defeated Napoleon.
Smoking as a political message and the
symbol of free-thinkers
No less distinguished were those who set
the example of pioneering the ancient
customs of the Antillean and Mexican
Indians of inhaling the smoke of the lit
tobacco rolls wrapped in palm tree or corn
leafs, called sikar in the language of the
Maya, which is probably the origin of the
word cigar. From Cuba, which was and has
cigara, navika puenja duhanskih svitaka
proirila se ponajprije u panjolsku (gdje
je 1720., u pokrajini Sevilli, sagraena tada
najvea tvornica cigara), a zatim po cije-
loj Europi. Kako se, snagom uzora, irilo
puenje cigara, ne samo kao uitak nego
i kao pokazatelj statusa, otkriva sjeanje
Oua Bismarcka, njemakog politiara koji
je ivio u vrijeme kad je sagraena i tvor-
nica u Rovinju. Kako je zabiljeio Moritz
Busch, na sjednicama Vojne komisije u
Frankfurtu na Maini, gdje je bilo i sjedite
njemakog Saveznog parlamenta, prvi je
puio predstavnik Austrije, demonstri-
rajui samouvjerenost prve sile. Zatim je
cigaru zapalio i Bismarck, kao predstavnik
Pruske, pa su sada dimile dvije najjae
sile saveza. Puaima se kasnije pridruio
izaslanik Bavarske, uvajui ugled svoje
drave, a potom su redom propuili pred-
stavnici Hannovera, Saske i Wruemberga,
rtvujui se u dimu na oltaru domovine.
Jedini koji se suzdrao bio je predstavnik
Hessen-Darmstadta, vjerojatno svjestan
toga da za puenje nije bio dovoljno velik,
kako je cinino prokomentirao Bismarck.
I intelektualci su bili u prvim redovima
onih koji su irili naviku puenja, pokua-
vajui to obrazloiti, shodno svojoj funkciji,
racionalnim razlozima. ovjek koji se
bavi prouavanjem nuno mora puiti da
mu ne bi klonuo duh ili da bi se razbudio
pone li polako malaksati, zapisao je 1650.
doktor von Palma. Intelektualca odaje lula,
smatralo se u xvlll. stoljeu.
Popularnosti puenja nemalo je prido-
nosio i imid slobodoumlja koji se povezi-
vao s tim inom. Parike kavane Libert
i Des Patriotes, u kojima su se za vrijeme
Francuske revolucije okupljali pisci i lozo-
proeti idejama slobode, jednakosti
i bratstva, imale su jasno istaknut napis
Ici on shonore du titre citoyen et on fume
(Ovdje se ovjek naziva graaninom
i pui).
Najposlije, spomenimo da su i slavne
ene posezale za duhanom, irei naviku
remained the capital of cigars, the habit of
smoking tobacco rolls spread rst to Spain
(where the biggest cigar factory of the time
was built in the region of Seville in 1720)
and then throughout Europe. The advance-
ment of cigar smoking as advocated by role
models, not only as enjoyment but also as a
status symbol, is depicted in the memoirs of
Ouo Bismarck, the German politician who
lived at the time when the Rovinj factory
was built. As noted by Moritz Busch, at the
Military Commiuee meetings in Frankfurt
am Main, which was also the seat of the
German Federal Parliament, the rst one
to pioneer smoking was the representa-
tive of Austria, thereby demonstrating the
self-assurance of the rst power. Then the
cigar was lit up by Bismarck, representing
Prussia, with the two strongest forces in
the alliance now pung away. The smokers
were later joined by the envoy of Bavaria,
looking aer the reputation of his country,
to be followed by smokers from Hanno-
ver, Saxony and Wruemberga, oering a
smoke sacrice to their homelands. The
only one who refrained was the representa-
tive of Hessen-Darmstadta, probably aware
of the fact that he was not great enough to
smoke, in a cynical comment by Bismarck.
Intellectuals, too, found themselves in the
front lines of those spreading the smoking
habit, trying, true to their function, to pro-
vide rational justication: A man dedicated
to studies absolutely must smoke not to be-
come despondent or to invigorate himself in
case of becoming exhausted, wrote doctor
von Palma in 1650. The sign of an intellec-
tual is a pipe, the 18'' century thought.
The popularity of smoking was in no
small degree boosted by the image of a
free-thinking individual, which was associ-
ated with the act. Paris cafes Libert and
Des Patriotes, in which writers and phi-
losophers inspired by the ideas of freedom,
equality and fraternity gathered in the
times of the revolution, displayed a clearly
visible sign: Ici on shonore du titre citoyen
puenja izvan granica mukog rezervata.
U tome je neosporno predvodila barunica
Dudevant, poznatija pod imenom George
Sand, kojim je potpisivala oko stotinu
knjievnih djela, ukljuujui i 40 romana
(umrla je 1876., etiri godine nakon osni-
vanja pogona za izradu cigara u Rovinju).
Svojom cigarom ili lulom, a jo vie
hlaama koje bi katkad nosila, okirala
je europske salone, ali i razbijala
tradicionalne tabue.
Ratovi kao pokretai navike uivanja
u duhanu
Ratovi, kojima Europa nikada nije oskudi-
jevala, s velikim pokretima masa i poseb-
et on fume (This is where one is a citizen
and where one smokes).
Finally let us mention that the famous
women used tobacco, too, spreading the
habit of smoking outside of the borders
of the male reserve. The undisputable
leader here was baroness Dudevant, beuer
known as George Sand, which is how she
signed around one hundred of her works,
including 40 novels (she died in 1876, four
years aer the establishment of the cigar
producing plant in Rovinj). With her cigar
or pipe, and even more so with the trousers
which she sometimes wore, she would
shock the European salons and break
traditional taboos.
Wars as catalysts of the tobacco habit
Wars, of which there never was a decit
in Europe, with great migrations of the
masses and a singular psychological atmo-
sphere, were the most fertile ground for
the tobacco habit to ourish. Even more
nim psiholokim raspoloenjima, bili su
ipak najplodniji humus na kojemu je cvje-
tala navika uivanja u duhanu. To vie to
dravnici i vojskovoe nisu samo poticali
takve navike vlastitim primjerom nego su
ih i neposredno irili, nudei svojim nevolj-
nim vojnicima duhan kao jedino i, uz to,
najjeinije zadovoljstvo. Duhan je najbolji
saveznik uzreica je marala Louvoisa,
ministra rata Ludviga xlv. koji je u ratu s
Nizozemskom osigurao svakom vojniku
uncu duhana na dan. George Washington
je u drugoj godini rata za osloboenje
Amerike, 1776. naredio: If you can`t send
money, send tobacco! (Ako ne moete
poslati novac, poaljite duhan!).
Tijekom Tridesetogodinjeg rata (1618.-
1648.) Europom se proirio obiaj puenja
so because statesmen and military leaders
did not only encourage these habits by set-
ting their own example, but they spread
them directly, oering their despondent
soldiers tobacco as the only and the cheap-
est form of pleasure. Tobacco is the best
ally used to say marechal Louvois, minister
of war of Ludwig xlv., who made sure that
in the war against Holland every soldier
received an ounce of tobacco a day. In the
second year of the war for the liberation of
America, in 1776, George Washington request-
ed: If you cant send money, send tobacco!.
During the Thirty-Year War (1618 1648),
the habit of pipe-smoking spread through-
out Europe, modelled aer the English and
the Dutch soldiers. In the Crimean War
(1853 1856) the English and the French
were introduced to the customs of the
Russian and the Turkish soldiers to smoke
a kind of a cigareue, which then spread
like re throughout Europe.
While cannons thunder, tobacco keeps
smoking and wars causing great
disturbances in masses are veritable
Marija Juri Zagorka i Ida Bogovi
u Rogakoj slatini, 1932.
Marija Juri Zagorka and Ida Bogovi
in Rogaka Slatina, 1932
Drutvo vojnih osoba u vrtu ugostiteljskog
objekta u Zagrebu, oko 1915.
Military ocers with friends at a restaurant
garden in Zagreb, around 1915
25
lule prema ugledu na engleske i nizozem-
ske vojnike. U Krimskom ratu (1853.-1856.)
Englezi i Francuzi upoznali su se s obia-
jem ruskih i turskih vojnika da pue neke
vrste cigareta i taj je obiaj zatim zahvatio
Europu poput prerijske vatre.
Kad topovi pucaju, duhan neumorno
dimi, pa su ratovi s velikim pokretima
uzbuenih ljudi pravi rasadnici navike
puenja. U Prvom svjetskom ratu puilo se
vie nego ikad jer je cigareta bila jedno od
rijetkih zadovoljstava ljudima koji se nisu
mogli nadati da e se iz rata vratiti ivi.
Bojita su u tom ratu bila dotad nevieni
masakri, prave klaonice, tako da bi vojnike
kako je nekom prilikom rekao Churchill
ako bi preivjeli prvi ili ak drugi uragan,
sigurno odnosio trei ili etvrti.
U klaonicama Prvog svjetskog rata voj-
nici su u cigareti nalazili i neto vie od
predaha u oekivanju smrti. Iako smo kao
incubators of the smoking habit. In the
First World War it grew more than ever
before since the cigareue was one of the
rare pleasures for the people who could not
have hoped to live until the end of the war.
In that war front lines turned into never
before seen massacre stages, true slaugh-
terhouses, and the soldiers as Churchill
once said could survive the rst and the
second hurricane but would then be cer-
tainly swept away by the third or
the fourth one.
In the slaughterhouses of the First World
War soldiers would nd in a cigareue some-
thing more than just a break from awaiting
death. Although, as true warriors, we grew
accustomed to the smell of powder smoke, I
must admit we enjoy most the smell of the
smoke gijed with love. Each and every ciga-
reue reminds me that my dear colleagues in
my homeland are not indierent and that
pravi ratnici navikli na dim baruta, ipak
moram priznati da nam najbolje prija dim
darova iz ljubavi. Svaka pojedina cigareta
podsjea me na to da moji dragi kolege u
domovini nisu ravnoduni i da moda bri-
no misle kako je nama na ratitu napi-
sao je neki austrijski vojnik u prosincu 1914.
nakon to je primio paket s cigaretama.
Krimski rat, Svjetska izloba u Parizu
i cigaretna revolucija
U vrijeme dok su lula i cigara bili sinonimi
za puenje, ve je postojao proizvod, izra-
en od sitno isjeckanog duhana omota-
nog u papir, koji e u pogodnom trenutku
izvesti pravi prevrat u svijetu duhana.
Kako su, svaki na svoj nain, posvjedoili
they are perhaps concerned about us on the
front line... wrote an Austrian soldier in
December 1914, aer having received
a package with cigareues.
Crimean War, World Fair in Paris and the
cigareue revolution
At the times when the pipe and the cigar
were synonymous with smoking, there
already existed a product, made of hashed
tobacco wrapped in paper, waiting for an
opportune moment to cause a true revolu-
tion in the world of tobacco. As witnessed
by the Spanish painter Francisco de Goya
and the Venetian adventurer Casanova,
each in his own manner, cigareues were
smoked in Spain as early as the mid-18''
Elizabeta Wochen-Drakovi
i Karlo Drakovi,
Venezia, 1869.
Elizabeta Wochen-Drakovi
and Karlo Drakovi,
Venice, 1869
Duhanske doze, 19. st.
Tobacco boxes, 19th c.
Kutija za cigarete, Regie des tabacs
de Bosnie et de lHercegovine
Sarajevo, prije 1918.
Cigareue box, Regie des tabacs
de Bosnie et de lHerzegovine,
Sarajevo, before 1918
century. Goya conrms this with his
character of a cigareue smoker on the
tapestry La Cometa from 1777 or 1778, and
Casanova in his notes from his travels in
Spain, where he stayed in 1767.
However, for a full century onwards, ciga-
reue smoking had remained an isolated
pleasure of the Spanish, at least when
considering Europe. This brings into ques-
tion the claim that the cigareue caused a
revolution in smoking, which can oen be
heard. It would perhaps be more accurate
to say that the industrial revolution, with
all the changes it has brought into peoples
lives, rediscovered the cigareue which had
already existed for a long time and turned
it into a symbol of the new era. Indeed, the
cigareue had the economic and social requi-
sites: manufacturing could be mechanized,
the low price allowed mass consumption
necessary for serial production, and with its
fast burning it was keeping the pace with
the busy tempo of life in the industrial age.
As had been the case with pipe smok-
ing, war again played the role of the new
fashion catalyst. Merely some twenty years
before the tobacco factory was opened in
Rovinj, during the Crimean War (1853 1856),
15,000 English soldiers led by the lord Raglan
genijalni slikar Francisco de Goya i vene-
cijanski pustolov Casanova, u panjolskoj
su se ve polovinom 18. stoljea puile
cigarete. Goya to potvruje likom puaa
cigarete na goblenu La Cometa, izrae-
nom 1777. ili 1778., a Casanova u svojim
zapisima s puta po panjolskoj, gdje je
boravio 1767.
Meutim, puenje cigarete ostalo je
puno stoljee izolirano zadovoljstvo pa-
njolaca, barem ako je rije o Europi. To
dovodi u sumnju vjerodostojnost uzreice
da je cigareta izazvala revoluciju u pue-
nju, kako se uobiajeno tvrdi. Tonije je
moda rei kako je industrijska revolucija,
sa svim promjenama koje je izazvala u
ivotu ljudi, otkrila cigaretu koja je ve
odavno postojala i uinila je simbolom
novog doba. Zaista, cigareta je imala sve
ekonomske i socijalne performance za
takvo to: njezina se izrada mogla meha-
nizirati, niska cijena dopustila je masovnu
potronju bez koje nema velikoserijske
proizvodnje, a uza sve to svojim je brzim
izgaranjem bila sukladna uurbanom
tempu ivota u industrijsko doba.
Kao to je to bilo s puenjem lule, i ovaj
je put rat odigrao ulogu propagatora nove
mode. Samo dvadesetak godina prije nego
to je u Rovinju otvorena tvornica duha-
na, u vrijeme Krimskog rata (1853.-1856.),
upoznalo se 15.000 engleskih vojnika,
predvoenih lordom Raglanom, i 40.000
Francuza, koje je vodio maral Saint-Arna-
ud, s obiajem ruskih i turskih vojnika da
pue cigarete. Neosporno velika zasluga
za obavjetavanje europske javnosti o tom
otkriu pripada i fotografu Rogeru Fen-
tonu ije najsenzacionalnije fotograje s
krimskog ratita nisu prikazivale scene
borbi nego puae cigareta.
Cigarete koje su puili vojnici u Krim-
skom ratu bile su izraene od obinog
novinskog papira, to je bilo posebno ka-
rakteristino za ruske cigarete Krosjano-
ka i Ciharka. U poetku su se i u europ-
skim zemljama izraivale runo, sporo
i skupo. Novu modu u puenju zadovo-
ljavali su pariki i londonski trgovci
uvozom Original-cigareta iz Petrograda
i Carigrada, sve dok poduzetni Josef
Homan nije u Dresdenu otvorio pogon
za izradu cigareta Huppmann, sa samo
jednom rezaicom duhana i est radnika.
Ali, sve dok su se cigarete izraivale
onako kako je to radila legendarna
Carmen runim svijanjem i rezanjem
vrkova karicama nova moda nije
dublje zabrinjavala tradicionalne
proizvoae cigara i duhana za lule.
Dok je Krimski rat samo najavio revolu-
ciju u puenju, Svjetska izloba u Parizu
1878. predstavila je senzacionalno orue
kojim e ona biti izvedena: bio je to stroj,
djelo konstruktora Susinija, sposoban
proizvesti 3600 cigareta na sat! Pariki
dopisnik asopisa Leipziger Illustrierte Zei-
tung sljedeim je rijeima pokuao pred-
staviti svojim itateljima novo tehniko
udo: Taj stroj najprije pojedinano savija
papirnate listie, prethodno ve pripremlje-
ne u paketiima, raspodjeljuje duhan i puni
dobivene svitke, savija vrkove lako izra-
enim cigaretama i svaku posebno ozna-
ava po duini suhim igom s imenom
La Honradez. Bilo je to ime Susinijeve
and 40,000 French lead by marechal Saint-
Arnaud, were introduced to the Russian and
Turkish soldiers custom of smoking ciga-
reues. Undeniably, an important role in the
informing of the European general public of
this discovery was played by the photogra-
pher Roger Fenton, whose most sensational
photographs from the Crimean bauleeld
did not show ghting but cigareue smokers.
The cigareues smoked by soldiers in
the Crimean War were made of plain
newspaper, which was especially typical
of the Russian Krosjanoka and Ciharka
cigareues. At rst production was manual,
slow and expensive in Europe as well. The
new smoking fashion was fuelled by Paris-
ian and Londoner traders with imports of
the original cigareues from St. Petersburg
and Istanbul, until the enterprising Josef
Homan opened the Huppmann cigareue
manufacturing plant in Dresden, employ-
ing only one tobacco cuuer and six workers.
But for as long as cigareues were made in
the manner of the legendary Carmen by
manually rolling and cuuing the tip with
scissors the new fashion did not present
a serious headache to traditional cigar and
pipe tobacco producers.
While the Crimean War only announced
the revolution in smoking, the World Fair
in Paris in 1878 revealed a sensational tool
that would carry out the revolution to be
launched: it was a machine, made by the
constructor Susini, capable of producing
3,600 cigareues in one hour! The Paris en-
voy of the Leipziger Illustrierte Zeitung
magazine auempted to describe to his read-
ers this new miracle of technology: This
machine rst individually plies paper leafs,
already prepared and packaged, distributes
tobacco and lls the rolls, bends the tips of
these easily produced cigareues and marks
each of them lengthwise with a dry seal bear-
ing the name of La Honradez. This was the
name of Susinis cigareue factory in Havana,
the biggest and the most sophisticated one
in the world. With technological production
Vojnici koji pue,
I. Svjetski rat
Soldiers smoking,
World War I.
tvornice cigareta u Havani, najvee i najsu-
vremenije u to vrijeme u svijetu. Cigareta
je, s tehnolokim dopunama u proizvodnji,
preradu duhana uinila industrijom u
pravom smislu rijei. Vie od toga, cigare-
ta je demokratizirala puenje, uinila ga
masovnim i pristupanim svima, izrazivi
istodobno duh novoga vremena.
Kultura i umjetnost u slubi puenja
Kako netko zapisa, puenje oblikuje vlasti-
te stilove ponaanja, prikriva nesigurnost,
stvara povjerenje, obeava dinaminost,
nadomjeta mukost ili elegantno en-
stveno dranje, htjelo se to ili ne, ono nas
prati, postaje ogledalo drutva. Sve to
zrcale i umjetnika djela. Izmeu listova
knjiga doslovce se dimi. Honor Daumier
genijalno crta karikature ljudi koji mru
ili pue duhan, u emu inspiraciju nalaze i
Delacroix, Renoir, David Teniers, Theodor
improvements, the cigareue has turned
tobacco processing into a proper industry.
What is more, the cigareue has democra-
tized smoking, making it all available and
expressing the spirit of a new time.
Culture and arts give in to smoking
As someone once wrote, smoking shapes
ones own behavioural styles, hides insecuri-
ties, forges trust, promises dynamics, substi-
tutes masculinity or elegant female posture,
and whether we want it or not, it follows us,
it becomes a reection of the society.... All
of this is mirrored by works of art. There
is smoke coming out from between book
pages. Honor Daumiers makes fantastic
caricatures of people snorting or smoking
tobacco, which has also inspired Delacroix,
Renoir, David Teniers, Theodor Hosemann,
Hanno Rhomberg and other painters. The
legendary Carmen of Bizets opera, with the
libreuo wriuen by Prosper Mrime, works
at the cigareue factory in Seville. In the ap-
plied arts, numerous artists come up with
imaginative shapes for pipes, boxes and
other smokers paraphernalia or are inspired
by scenes of smoking. And since smoking
is a human pleasure, obscene details also
abound: sometimes a tobacco box, demurely
painted on the outside, opened to reveal
scenes worthy of modern hard porn lms.
But, demand changes. Perhaps the most
profound artistic expression of this was
given by the Austrian writer Joseph Roth
in his work The Radetzky March, depict-
ing the dierences between generations in
the modifying smoking habits of the Trou
family. The old captain, who had saved the
emperors life at Solferino, inhales smoke
through a pipe: The shrivelled leather
pouch with plain stringy tobacco lies swol-
len and half-opened next to a long pipe of
a white and deep yellowish hue. Its colour
corresponds to fathers luxuriant white
moustache. The son, county captain,
Dr. Vlatko Maek, snimio Too Dabac, oko 1942.
Vladko Maek by Too Dabac, around 1942
Dobria Cesari, snimio Too Dabac, oko 1960.
Dobria Cesari by Too Dabac, around 1960
Hosemann, Hanno Rhomberg i drugi slika-
ri. Legendarna Carmen iz Bizetove opere,
za koju je libreto napisao Prosper Mrime,
radnica je tvornice cigareta u Sevilli. Mno-
tvo primijenjenih umjetnika matovito
oblikuje lule, kutije i ostali puaki pribor
ili se nadahnjuje scenama puenja. Kako
je puenje ljudski uitak, ne nedostaje ni
lascivnih detalja: katkad bi kutija za duhan,
edno oslikana izvana, na unutranjoj
strani poklopca otkrivala scene dostojne
dananjih tvrdih pornografskih lmova.
Ali, potranja se mijenja. Umjetniki
je to moda najdublje izrazio austrijski
knjievnik Joseph Roth u svojemu djelu
Radetzky mar oslikavajui razlike meu
generacijama po promjeni u navikama
puenja u obitelji Troua. Stari kapetan,
koji je kod Solferina spasio ivot caru,
uvlai dim kroz lulu: Smeurana kona
kesica s obinim vlaknastim duhanom lei
nabreknuta i poluotvorena, uz dugaku
lulu bijelog i zagasitoukastog tona. Nje-
zina boja odgovara bujnim, bijelim oevim
brkovima. Sin, okruni kapetan, poslije
nedjeljnog objeda garniranog goveeg
buta uvlai cigaru Virginier, kako to ini
i njegov car. Za najmlaeg Troua, ocir-
skog kadeta Carla Josepha, uitak je u
modernoj cigareti koja je predigra ljubav-
nom inu u kui supruge andar-merij-
skog narednika Slame. Gospoa Slama je
opet stavila cigaretu meu zube i stala iza
lea Carla Josepha. On se bojao okrenuti.
Najednom su mu oba njezina rukava lea-
la na vratu, a njezino lice pritiskalo kosu.
Puenje nije samo navika ili sluajnost
mode, ono je slika vremena i njegovo
mjerilo. Lula je znak smirene postojanosti,
sporosti, strpljivosti, dugog askanja
Cigara izraava pronjenost za koju jo
ima dovoljno vremena. A cigareta odaje
vrijeme moderne dinamike, nemira
i nervoze, unutranje napetosti, urbe,
pa i povrnosti.
Kreimir Deba
aer the Sunday meal a garnished leg of
beef draws on a Virginier cigar, just like
his emperor. The youngest Trou, military
cadet Carl Joseph, nds his pleasure in the
modern cigareue, which serves as foreplay
to the amorous act at the house of the gen-
darmerie commander Slamas wife. Mad-
am Slama put the cigareue between her
teeth one more time and stood behind Carl
Josephs back. He was afraid to turn around.
Suddenly, both her sleeves were placed on
his neck and her face pressed into his hair....
Smoking is not only a habit or a fashion-
able whim, it is an image and a reference of
the times. The pipe is a sign of a calm exist-
ence, of unhurried pace, patience, pleasant-
ries at length... The cigar is an expression of
an elegance with still enough time on its
hands. The cigareue portrays the time of mo-
dern dynimcs, discomfort and anxiety, inner
tensions, haste and even supercialility.
Kreimir Deba
Kvaliteta dostojna cara:
car Franjo Josip I. i uivanje
u duhanu
Car Franjo Josip l. nedvojbeno je naza-
slunija osoba za promociju puenja na
prostorima nekadanje Austro-Ugarske
Monarhije, a potom i za ekspanziju uve-
nog austrijskog duhanskog imperija koji
je omoguio, meu ostalim, otvaranje niza
tvornica duhana na naim prostorima,
od kojih je 1Dr jedini sauvao
kontinuitet postojanja.
Dugovjeni austrougarski vladar bio je
osebujna linost tadanje Europe. Budui
da je ivio u prijelomnim vremenima Sta-
rog kontinenta, do izraaja su esto do-
lazili njegova mudrost i vizija, ali i vrsta
ruka kako bi ouvao monarhiju i osigurao
razvoj svih njezinih zemalja. Kao i veina
tadanjih europskih vladara, meu poda-
nicima je bio poznat i po svojim porocima,
meu kojima se puenje esto isticalo
i kao vrlina. Naime, Franjo Josip l. bio
je prvi europski monarh koji se nije
libio javno puiti cigare, ma to njegovi
podanici mislili o tome.
Bio je toliki ljubitelj puenja da je odmah
nakon to je stupio na prijestolje, kao
osamnaestogodinji vladar, 1848. ukinuo
zabranu puenja za mukarce.
Naime, puenje u javnosti puku je bilo
zabranjen in, iako je njegov otac car Josip
ll. najstariji sin Marije Terezije i Franje
l. Lotarinkog, kao veliki reformator koji
je ukinuo muenje u sudskom procesu,
odvojio crkvu od drave i izdao dekret o
Quality t for an emperor:
Emperor Frantz Joseph I. and
the enjoyment of tobacco
Emperor Frantz Joseph l. is without doubt to
be given the most credit for the populariza-
tion of smoking in the former Austro-Hun-
garian Monarchy as well as for the expan-
sion of the famous Austrian tobacco empire
which among other things launched the
opening of many tobacco factories in our
region (Rijeka, 1851; Varadin, 1857; Zagreb,
1869; Rovinj, 1872 and Senj 1894), with only
1Dr remaining continuously operable.
Throughout his long life, the Austro-
Hungarian monarch was a peculiar char-
acter in Europe of those times. Since he
lived in the watershed moments of the Old
Continent, his wisdom and vision would
oen come forth, as well as his rm grip in
order to save the Monarchy and assure the
development of all its dominions. As was
the case with most contemporary European
rulers, his subjects were also familiar with
his vices, among which smoking was oen
pointed out as a virtue. Frantz Joseph l. was
the rst European monarch who did not
shy away from smoking cigareues in public,
no mauer how his subjects felt about it.
He loved smoking so much that, imme-
diately aer he came to the throne as an
eighteen-year-old boy in 1848, he revoked
the ban of smoking for men.
Smoking in public had been banned to
common people, even though his father,
emperor Joseph ll., the eldest son of Maria
Theresa and Francis l. of Lorraine, a great
oslobaanju kmetova, jo 1784. utemeljio
duhanski monopol. Zakonodavci, u ije je
ime policija esto nasiljem sprjeavala pu-
enje na javnim mjestima, odluku su prav-
dali strahom od izazivanja poara. Narod
je to doivljavao kao klasino treniranje
strogoe pa je godinama neuspjeno traio
ukidanje te nepopularne mjere, uivajui u
duhanskome dimu na skrovitim mjestima.
Zato je odluka mladog austrijskog cara
izazvala oduevljenje masa diljem mo-
narhije. Razlog za ljutnju imale su jedino
ene na koje se odluka nije odnosila i koje
su, zbog straha od javne osude, uglavnom
puile u tajnosti. A da se s vladarima sud-
bina esto zna poigrati svjedoi i injenica
kako je upravo zbog takve zabrane 1867.
stradala nadvojvotkinja Matilda kada je
goruu cigaretu sakrila u haljinu koja se
potom zapalila.
reformist who banned torture in court
procedure, separated the church from the
state and issued a decree on the liberation
of serfs, set foundations for the tobacco
monopoly as early as 1784. The legislators,
on whose behalf the police oen violently
prevented smoking in public areas, justied
their decision by fear of causing open re.
The people, on the other hand, saw it as
typical exing of muscle and had for years
unsuccessfully petitioned to have this un-
popular measure removed, taking pleasure
in tobacco smoke in hidden places.
The decision of the young Austrian em-
peror thus delighted the masses through-
out the Monarchy. The only dissatised
party were women, to whom the decision
did not apply and who, fearing public
condemnation, mostly smoked in secrecy.
But fate can play games with rulers, which
Car Franjo Josip I.
Emperor Frantz Joseph I
was proven when, in 1867, grand duchess
Mathilde hid a burning cigareue into her
gown, which subsequently caught re.
The removal of the smoking ban in public
did not only reduce tension in the streets
but it also aected the consummation of
cigars and tobacco and thus the income of
the Austro-Hungarian tobacco monopoly,
which became the Monarchys best golden
hen. In the period between 1848 and the
end of the First World War, depending on
the year, between 10 and 20% of the state
budget came from tobacco production, or
in other words, from the smoke pung of
millions of subjects from the Alps to Gali-
cia and from Bohemia to the Adriatic Sea.
The inuence tobacco factories had on the
Austro-Hungarian economy was such that
in 1848 the Italian revolutionaries in Lom-
bardia, then governed by Vienna, called for
a boycou of cigars and cigareues in order to
inict damage to the emperor himself.
Thanks to this new impetus, aer the
revolutionary 1848 and with a blessing of
the Ministry of Finance, a series of new
tobacco processing and cigar and cigareue
producing factories were established. And
so, aer ten years of Bachs absolutism, the
tobacco empire reached the peak of its
power and new factories mushroomed in
the future Hungarian part of the dual mon-
archy as well. By raising plants, mostly in
the underdeveloped parts of the Monarchy
brimming with unemployed workforce, the
royal exchequer assured fresh cash ow.
The tobacco monopoly had become the re-
ection of the empire and its factories were
the strong bastions of the royal economic
empire wrote Ernst Trost.
In any case, a passionate smoker, emper-
or Frantz Joseph could choose among the
best cigars and cigareues from dierent
parts of his empire. Historians say that he
liked to taste dierent kinds of tobacco but
that he most oen delighted in Virginians
and Regalia Media cigareues, consequently
known in the people as the royal cigareues
Ukidanje zabrane puenja u javnosti
nije samo smanjilo napetosti na ulicama
nego je utjecalo i na konzumaciju cigara
i duhana, a time i na prihode austrougar-
skog duhanskog monopola koji je postao
najznaajnija krava muzara u monarhiji.
Naime, u razdoblju od 1848. do kraja Prvog
svjetskog rata, ovisno o godinama, izmeu
10 i 20% dravnog prorauna dolazilo je
od proizvodnje duhana, odnosno od ispu-
hivanja dima milijuna podanika od Alpa
do Galicije i od eke do Jadrana. Utjecaj
tvornica duhana na austrougarsko gospo-
darstvo bio je toliko vaan da su talijanski
revolucionari u Lombardiji, koja je tada
bila pod upravom Bea, 1848. pozivali na
bojkot kupnje cigara i cigareta kako bi
natetili samom caru.
Zahvaljujui toj novoj pokretakoj sili,
nakon revolucionarne 1848., uz blagoslov
Ministarstva nancija, utemeljen je niz
novih tvornica za preradu duhana i
proizvodnju cigara i cigareta. Tako se
nakon desetogodinjeg Bachova apsolutiz-
ma duhansko carstvo uspelo do vrhunca
moi, a nove tvornice poele su nicati
i na buduem ugarskom dijelu dvojne
monarhije. Podizanjem pogona, uglavnom
u nerazvijenim dijelovima monarhije s
obiljem nezaposlene radne snage, carska je
blagajna osiguravala nove prihode. Du-
hanski monopol postao je ogledalo carstva,
a njegove su tvornice bile vrsti bastioni
carsko-kraljevskog gospodarskog imperija,
napisao je svojedobno Ernst Trost.
U svakom sluaju, car Franjo Josip, kao
strastveni pua, mogao je birati najbolje
cigare i cigarete iz razliitih dijelova svoga
carstva. Povjesniari kau kako je volio
kuati razliite vrste duhana, ali je naje-
e uivao u cigaretama Virginians
i Regalia Media, zbog ega ih je puk
nazivao i carskim cigaretama. Te su se
cigarete, osim u ostalim tvornicama
carstva, proizvodile i u Rovinju.
Iako je preferirao teke Virginians, u
kasnijoj ivotnoj dobi morao je prijei na
Prijedlog Ministarstva nancija Austro-Ugarske
da se u Rovinju otvori nova tvornica cigara, 1872.
Proposal of the Austro-Hungarian Finance Ministry
for the opening of a new cigar factory in Rovinj, 1872
the carriage would very oen be so lled
with smoke that one would not be able
to recognize the persons in it when com-
ing from the outside. The emperor also
encouraged smoking at meetings with his
generals and he would frequently compete
with them, probably in creating the biggest
tobacco smoke cloud.
There can be no doubt that the emperor
lled his vlr cabin on the Kaiserin Elisabeth
steamer with smoke on his rst visit to Pula
in 1856, when he arrived from Venice with
empress Sisi to lay the cornerstone for the
Naval Arsenal in Pula. This was the begin-
ning of Pulas transformation into the major
navy port of the powerful Austrian empire
and one of the most sophisticated naval
bases of the worlds superforces of the times,
the anchorage of the great Monarchys navy
and the seat of the naval arsenal boasting a
eet of the largest and the most sophisticat-
ed navy ships ever built in the Adriatic. Add
to this a ourishing social life, many new
hotels, coee houses, libraries, restaurants,
casinos... and it becomes perfectly clear why
the emperor visited Istria 11 times during his
reign. Oentimes he would be accompanied
by the German emperor Wilhelm ll. who
himself visited Pula six times.
It is said that while he feasted on local
delicacies tobacco masters from the newly
opened tobacco factory in the nearby Rovinj
prepared a special tobacco blend for him,
wrapping it up into quality cigars and ciga-
reues. This was said also to be the case dur-
ing his visit to Istria in December 1898, when,
on the occasion of the 50'' anniversary of
his reign, he auended the consecration of
the navy church in Pula (today Our Lady of
the Sea). He had personally co-nanced the
construction of the church and was fasci-
nated by its combination of neo-byzantine
and neo-romantic styles as well as with
alternating rows of white Istrian stone from
Brijuni and red marble from Oprtalj and Br-
tonigla. The hosts oered him cigareues and
cigars made of carefully selected tobaccos
vjerojatno u stvaranju to veih oblaka
duhanskog dima.
Nema dvojbe kako je car zadimio i svoju
vlr kabinu na parobrodu Kaiserin Elisa-
beth prilikom svog prvog posjeta Puli
1856., kada je s caricom Sisi stigao iz Vene-
cije kako bi postavili temeljni kamen za
gradnju Pomorskog arsenala u Puli. Bio
je to poetak pretvaranja Pule u glavnu
ratnu luku monog austrijskog carstva
i jednu od najmodernijih pomorskih baza
svjetskih velesila tog doba, sidrite ratne
mornarice velike monarhije i sjedite
pomorskog arsenala koji se ponosio
otom najveih i najmodernijih ratnih
brodova ikada sagraenih na Jadranu.
Dodamo li tome bogat drutveni ivot,
mnotvo novosagraenih hotela, kavana,
knjinica, restorana i kockarnica postaje
sasvim jasno zato je car tijekom svoje
vladavine ak 11 puta boravio u Istri.
Nerijetko je ondje uivao u drutvu nje-
makog cara Wilhelma ll., koji je u Puli
boravio ak est puta.
Legenda kae kako su, uz ponudu
domaih gastronomskih delicija, duhan-
ski majstori iz novootvorene tvornice
duhana u nedalekom Rovinju za njega
pripremali posebnu mjeavinu duhana,
umatajui ga u kvalitetne cigare i cigarete.
Tako je navodno bilo i tijekom njegova
posjeta Istri u prosincu 1898., kad je u
povodu 50. obljetnice stupanja na prije-
stolje prisustvovao posveti Mornarike
crkve u Puli (danas crkva Gospe od mora).
Gradnju crkve osobno je sunancirao,
a oduevila ga je mjeavinom neobizantiz-
ma i neoromanike te izmjeninim redovi-
ma bijelog istarskog kamena s Brijuna
i rumenog mramora iskopanog u Oprtlju
i Brtonigli. Domaini su ga ponudili
cigaretama i cigarama, proizvedenima
od najbiranijih sorti duhana od Brazila
do susjedne Hercegovine. Ve je prema
prianju bekih slubenika iz Duhanskog
monopola znao kako je tvornica u Rovi-
nju sagraena na najatraktivnijoj lokaciji
neto lake Regalia Media. No, zabrane
ga nisu sprjeavale da barem za roendan
zapali neto jae. Car je vrlo esto puio
cigarete i na posebnim, za njega izraenim,
lulama (meerschaum) koje su mu omogu-
avale da mirno pui dok radi jer mu tako
dim cigarete nije ulazio u oi. Za vrijeme
lova, njegove iznimne strasti, ipak je puio
obinu malu lulu koja mu je za te prilike
bila najpraktinija.
U posebnim trenucima znao je zapaliti
i ekskluzivne Havana cigare koje mu je
obino poklanjala intimna prijateljica,
glumica Katharina Schrau, s kojom se
tjeio za vrijeme razuzdanih europskih
provoda vesele i energine carice Elizabete
Bavarske, poznate kao Sisi.
Upravo je Sisi promovirala slobodu
puenja za ene u Monarhiji. Naime, te-
ko je podnosila konzervativizam bekog
dvora i nerijetko je znala kontrirati svojoj
strogoj svekrvi, pa i samom suprugu, tako
to bi puila cigarete u javnosti. esto nije
birala ni mjesto ni vrijeme pa ju je policija
evidentirala kako pui tijekom vonje ko-
ijom po bekim ulicama, pa ak i prilikom
jahanja. Takvi postupci carice Sisi izazivali
su sablazan diljem europskih kraljevskih
kua, posebno na britanskom dvoru
kraljice Viktorije.
Znaaj cariina razbijanja tabua bio je
prilino velik za to doba ako se zna da se
ve i prisutnost mukarca s cigaretom u
ruci u enskom drutvu smatrala izrazito
nepristojnom. Zato su se mukarci radi
puenja morali povlaiti u posebne
muke prostorije.
O tome koliko je car Franz Joseph ui-
vao u puenju svjedoi i zapis kako je tije-
kom vonje vlakom sa svojim autantom,
grofom Paarom, znao ustima proizvoditi
velike krugove od duhanskog dima, a
vrlo esto vagon bi bio toliko zadimljen
da se nakon otvaranja vrata nije moglo
razaznati tko je unutra. Na sastancima sa
svojim generalima car je takoer poticao
puenje, a vrlo se esto s njima i natjecao,
and produced in many factories, among
which was the one in Rovinj.
Although he preferred the heavy Virgin-
ians, in his lauer years he had to switch to
the somewhat lighter Regalia Media. How-
ever, no ban would stop him from light-
ing up a stronger cigareue, at least on his
birthdays. The emperor frequently smoked
cigareues on special pipes (meerschaum),
custom made for him and allowing him to
smoke in peace while working, because they
prevented cigareue smoke to sting his eyes.
Still, while indulging in his great passion,
hunting, he smoked an ordinary small pipe
which was practical for the event.
On special occasions he would light
up exclusive Havana cigars, usually gis
from his intimate friend, actress Katharina
Schrau, who kept him company at extrava-
gant European parties of the gay and ener-
getic empress Elisabeth of Bavaria, beuer
known as Sisi.
It was Sisi who promoted the freedom of
smoking for women in the Monarchy. She
was having a hard time dealing with the
conservative ways of the court in Vienna
and oen stood up to her stern mother-in-
law and even to her husband by smoking
cigareues in public. She would not choose
the time or place, resulting in police records
of her smoking while riding her carriage in
the streets of Vienna and even on horseback.
Such behaviour by empress Sisi caused con-
sternation in the European royal houses, es-
pecially at the British court of Queen Victoria.
The empresss taboo breaking was of
considerable signicance at the time when
as much as the presence of a man with a
cigareue in his hand while in the company
of women was considered extremely rude,
resulting in men having to withdraw to
designated mens rooms to smoke.
Proof of how much emperor Frantz Jo-
seph enjoyed smoking can be found in the
story saying that during a train ride with
his aide, count Paar, he would make large
tobacco smoke rings with his mouth, and
coming from Brazil to the nearby Herzegovi-
na... He had already been informed by the
Viennese tobacco monopoly clerks that
the Rovinj factory was built on the most at-
tractive location in the Monarchy, but it was
on this occasion that he learned that it had
been modernized in 1894 and that with 520
motor engines and devices it was eleventh
most powerful factory in the entire dual
Monarchy. More than a thousand employ-
ees produced 31 million cigars and 85 million
cigareues. For the sake of comparison, 1Dr
sells almost 3 billion cigareues per year
in Bosnia and Herzegovina alone. Back in
those days, however, this was very remark-
able production capacity.
The emperor, though, cared less about
the produced quantity and more about the
capability of the Rovinj tabacchini to grad-
ually master the art of creating top quality
cigars. Cheaper cigars for the supply of bor-
der areas and mass sales, such as Portorico
and Cuba-Portorico or smoking tobacco
Limitotabak, cheap an popular among sol-
diers, had a signicant part in production
but it was the exquisite quality cigars that
assured reputation and image to Rovinj,
as its most precious heritage. As early as
1880, special editions of top cigars were pro-
duced there in small quantities from the
nest tobacco leaves. These were brands
such as Trabuquillos, Presandos Flor,
Havana-Virginier, Damas Flor, Galanes
and Regalia Media. The Vienna tobacco
monopoly managers, obsessed with perfect
quality, balanced recipes for all producers
and perfect standardization, knew how to
obtain the expected quality from this Croa-
tian peninsula. This is why they proudly
recommended to their emperor to enjoy
the smoke of Rovinj-produced cigars.
It was, and has remained, quality t for
an emperor.
Boo Skoko
u monarhiji, ali je tada imao priliku uti
i kako je 1894. u tvornici provedena
prva modernizacija te da je po broju
motornih strojeva i ureaja (520) jedanae-
sta po snazi u cijeloj dvojnoj monarhiji.
Vie od tisuu zaposlenih proizvodilo
je tada 31 milijun komada cigara i 85
milijuna komada cigareta. Usporedbe
radi, 1Dr danas samo u BiH proda gotovo
3 milijarde komada cigareta godinje.
Meutim, tada je to bila iznimno
znaajna produkcija.
Ipak, od proizvedenih koliina caru
je bila vanija sposobnost rovinjskih
tabacchina da postupno ovladaju
umijeem izrade cigara vrhunske kakvoe.
Jeinije cigare za opskrbu pograninih
podruja i masovniju prodaju tipa
Portorico i Cuba-Portorico ili duhan za
puenje Limitotabak, jein i popularan
meu vojnicima, imali su znaajan udio
u proizvodnji, ali su tek cigare iznimne
kvalitete donosile ugled i imid Rovinju
kao najdragocjenije naslijee. Tako su
se ve od 1880. ondje proizvodile posebne
serije vrhunskih cigara u malim koliana-
ma od najnijih listova duhana, poput
brendova Trabuquillos, Presandos Flor,
Havana-Virginier, Damas Flor, Galanes
i Regalia Media. Upravitelji Duhanskog
monopola iz Bea, optereeni savrenom
kakvoom, ujednaenom recepturom svih
proizvoaa i savrenom standardizaci-
jom, znali su kako e s ovog hrvatskog
poluotoka dobiti kvalitetu kakvu oekuju.
Zato su s ponosom preporuivali svome
caru uivanje u dimu cigara koje su se
proizvodile u Rovinju.
Bila je to, i ostala, kvaliteta dostojna cara.

Boo Skoko
ROVINJ 19 st
Rovinj, 19. st., Zaviajni muzej Grada Rovinja,
zbirka razglednica, zHcs-Iz4a-s:s
Rovinj, 19'^ c., Rovinj Heritage Museum,
postcard collection, zHcs-Iz4a-s:s
Factories in Croatia developed
from the Austrian tobacco
empire
Rijeka Tobacco Factory (nicknamed
Tabakera) used to be the biggest tobacco
processing plant in the Monarchy. Estab-
lished in 1851, as part of the Austrian state
tobacco monopoly, and moved into the
buildings of the former Sugar Renery, the
so-called Zuccheriera, which had served
as military barracks in the meantime. The
industrial complex was expanded by the
factory with new buildings, creating a pow-
erful industrial engine for the entire region.
During the rst years, there were around
one thousand workers employed at the
factory and around mid-1860s this number
doubled. The momentum in the production
of popular tobacco brands such as Virginia
and others was lost in the Second World
War, ravaging Croatia and Rijeka with it. By
the end of the Second World War the fac-
tory was closed and the remaining part of
the now rather obsolete cigar and cigareue
production machines was moved to Rovinj.
Between 1954 and 1998, the premises of the
Rijeka Tobacco Factory were home to the
Rikard Beni Engine Factory and are today
standing as a reminder of the Tobacco Fac-
tory as well as the administrative palace
inherited from the Sugar Renery and
the surgical industrial buildings known as
Buildings 1 and H.
Varadin Tobacco Factory was established
in 1857, as part of the newly founded state
Tvornice u Hrvatskoj izrasle
iz austrijske duhanske
imperije
Tvornica duhana Rijeka (popularno na-
zvana Tabakera) svojedobno je bila najvei
pogon za preradu duhana u Monarhiji.
Utemeljena je 1851. u okviru Austrijskog
dravnog duhanskog monopola, naslije-
divi prostore nekadanje Ranerije eera
tzv. Zuccheriere, a koji su u meuvremenu
sluili kao vojarne. Preuzeti industrijski
kompleks tvornica je proirila novim proi-
zvodnim zgradama, prerastajui u snaan
industrijski pokreta cijele regije. Prvih
godina u Tvornici je radilo oko tisuu
radnika, a sredinom ezdesetih godina
devetnaestog stoljea taj se broj udvostru-
io. Zamah u proizvodnji popularnih du-
hanskih brendova poput Virginie i dr. za-
ustavio je Drugi svjetski rat, koji je ostavio
pusto diljem Hrvatske, pa tako i u Rijeci.
Tvornica je tako zatvorena krajem Drugog
svjetskoga rata, te je preostali dio, tada ve
pomalo zastarjelih strojeva za proizvodnju
cigara i cigareta prebaen u Rovinj.
Na mjestu nekadanje rijeke tvornice
duhana od 1945. do 1998. djelovala je Tvor-
nica motora Rikard Beni a uz admini-
strativnu palau naslijeenu od Ranerije
eera, kao kulturno dobro Grada Rijeke,
na Tvornicu duhana danas podsjeaju i
sauvane industrijske zgrade poznate kao
1 i H objekti.
Tvornica duhana u Varadinu osnovana
je 1857. godine u sklopu novoutemeljenog
tobacco monopoly. Vienna quickly realized
this had been a strategic failure and the
factory was closed soon, in the 1860s. Its
closing has in a way enabled the opening of
the Zagreb Tobacco Factory.
Zagreb Tobacco Factory' sees its begin-
nings back in 1817, when a small tobacco
manufacture was opened in former Svilar-
ska Street (today the corner of Teslina and
Preradovieva Streets). This is why 1817 is
today considered as the year that marks the
beginning of tobacco production in Zagreb.
With the introduction of the state mo-
nopoly in 1850, all existing tobacco manu-
factures were closed by law. As the rst
state tobacco factory in Varadin, opened
in 1857, had been closed in the 1860s, this
encouraged the Zagreb Town management
to start a campaign for the opening of a
state tobacco factory in Zagreb. The fac-
tory became operative in December 1869, at
the building of what is today the Zagreb
University Rectorate, with an ocial open-
ing ceremony in 1870. Twelve years later, in
1882, the factory moved from the building
of todays Rectorate to new premises in
Klaieva Street. The most important prod-
uct at the time were cigars. From the very
beginning, there were around 500 workers
employed at the factory and cigars were
made by hand only, which did not require
a lot of physical eort and was therefore
done by women.
In late 1940 the Factory stops producing
cigars and, on 1 February 1941, cigareue pro-
duction is launched. Aer a brief period of
seuling, during the Second World War, the
dravnog duhanskog monopola. Vrlo brzo
se Beu pokazala kao strateki promaaj
pa je ve 1860-tih godina zatvorena, a nje-
no zatvaranje je na neki nain omoguilo
otvaranje Tvornice duhana Zagreb.
Tvornica duhana Zagreb' svoj zaetke
vue iz davne 1817. godine, kada je u ne-
kadanjoj Svilarskoj ulici (ugao dananje
Tesline i Preradovieve) otvorena mala
manufakturna radionica duhana. Tako se
1817. godina uzima kao poetak proizvod-
nje duhana u Zagrebu.
Uvoenjem dravnog monopola 1850.
godine, sve tadanje manufakture duhana
zatvaraju se po sili zakona. Kako je prva
dravna tvornica duhana u Varadinu,
koja je otvorena 1857. godine, ve 60-tih
godina zatvorena, gradsko poglavarstvo
Zagreba ponukano tim dogaajem pokre-
nulo je akciju otvaranja dravne tvornice
duhana u Zagrebu. Tvornica je zapoela
s radom u prosincu 1869. godine, u zgradi
dananjeg Rektorata Sveuilita u Zagre-
bu, a slubeno je otvaranje uslijedilo 1870.
Dvanaest godina kasnije 1882. godine, tvor-
nica se iz dananje zgrade Rektorata seli
u novu zgradu u Klaievoj ulici. Najzna-
ajniji proizvod u to vrijeme bile su cigare.
Od samog poetka u tvornici je radilo oko
500 radnika, a izrada se odvijala iskljuivo
runo, to nije iziskivalo vee zike napo-
re, pa su te poslove obavljale ene.
Krajem 1940. godine Tvornica prestaje
s izradom cigara i 1. veljae 1941. godine
zapoinje proizvodnja cigareta. Nakon
kratkog uhodavanja, tijekom ll svjetskog
rata, godinje se proizvodi oko 600 tona
cigareta, a u tvornici radi oko 450 radnika.
Nakon ll svjetskog rata, 23. listopada 1946.
godine, rjeenjem Vlade rNr1 osnovano je
Preuzeto iz Skraenog prospekta za uvrtenje svih
redovnih dionica izdavatelja Tvornica duhana
Zagreb d.d. u Kotaciju javnih dionikih drutava
Zagrebake burze, Tvornica duhana Zagreb, Zagreb,
2003., str. 7.
1
From the Skraeni prospekt za uvrtenje svih
redovnih dionica izdavatelja Tvornica duhana
Zagreb d.d. u Kotaciju javnih dionikih drutava
Zagrebake burze (Simplied prospectus for
the listing of ordinary shares issued by Tvornica
duhana Zagreb d.d. into the joint stock companies
quotation at the Zagreb Stock Exchange), Tvornica
duhana Zagreb, Zagreb, 2003., str. 7.
1
annual production is around 600 tons
of cigareues, with around 450 workers
employed. Aer the Second World War, on
23 October 1946, the government of Federa-
tive Peoples Republic of Yugoslavia estab-
lished the Zagreb Tobacco Factory company.
On 24 November 1971, a new factory (pro-
duction halls and administrative building)
was launched at bb. Jagieva Street. The
capacity of this factory was 5,000 tons of
cigareues per year. The industry recovered
and production gradually increased from
the initial 1,879 tons in 1972 to the record
6,759 tons in 1981.
The factory was at the very top of the Yu-
goslavian market. Zagreb Tobacco Factory
was the rst to start producing hard pack
cigareues (Croatia Filter and Republika)
and kept investing in the modernization
of machines and in new technology. As the
city grew, the Factory was no longer on the
city outskirts but in the very centre of Za-
greb. The management decided to build a
new factory outside the city and purchased
land in Resnik. A new, 9,000 m
2
, storage
area was constructed in 1988, together
with all accompanying infrastructure.
In 1993, Zagreb Tobacco Factory became
a shareholders company, and in 1998
Zagrebaka Banka sold the majority pack-
age of shares to Tvornica duhana Rovinj
d.d. The process of production mod-
ernization continues with intensity. With
changes made in company organization,
some functions were completely taken
over by the 1Dr concern. All of this enabled
increased production and sales with a
signicantly smaller number of employees,
with the surplus workers provided for. For
comparison, in 1997, there was an average of
652 employees at 1Dz producing 3,67 billion
cigareues, whereas in 2002 there were 260
employees producing 5,23 billion cigareues.
Productivity had thus increased from 5,63
million cigareues per worker in 1997 to 20,12
million cigareues per worker, by 3,57 times.
poduzee Tvornica duhana Zagreb. Dana
24. studenog 1971. godine je putena u rad
nova tvornica (proizvodne hale i upravna
zgrada) u Jagievoj bb. Kapacitet Tvornice
bio je 5.000 tona cigareta godinje. Situa-
cija se normalizira i proizvodnja postupno
raste, od poetnih 1.879 tona u 1972. godini
do rekordnih 6.759 tona u 1981. godini.
U to vrijeme tvornica se nalazi na
samom vrhu tadanjeg jugoslavenskog
trita. Tvornica duhana Zagreb prva je
poela proizvoditi cigarete u tvrdom pa-
kiranju (Croatia lter i Republika) i stalno
je ulagala u modernizaciju strojeva i novu
tehnologiju. Razvitkom grada, Tvornica s
nekadanje periferije, nala se u samom
sreditu Zagreba. Uprava se odluuje za iz-
gradnju nove tvornice izvan grada i kupuje
zemljite u Resniku. Izgraen je novi skla-
dini prostor 1988. godine, veliine 9,000 m
2

zajedno s prateom infrastrukturom.
Godine 1993. Tvornica duhana Zagreb
postaje dioniko drutvo a 1998. Zagreba-
ka banka prodaje veinski paket dionica
Tvornici duhana Rovinj d.d.. Nastavlja
se intenzivno proces modernizacije pro-
izvodnje. Isto tako je izvrena promjena
u organizaciji poduzea te neke funkcije
preuzima u potpunosti koncern 1Dr. Sve
to je omoguilo poveanu proizvodnju
i prodaju sa bitno manjim brojem upo-
slenika iji viak je zbrinut. Usporedbe
radi, u 1Dz-u je 1997. godine prosjeno bilo
zaposleno 652 radnika uz proizvodnju od
3,67 milijardi cigareta, dok je 2002. godine
radilo 260 radnika uz proizvodnju od 5,23
milijardi cigareta. Produktivnost je dakle
poveana sa 5,63 milijuna cigareta/radni-
ku 1997. godine na 20,12 milijuna cigareta/
radniku ili 3,57 puta.
Izgradnjom nove, najmodernije tvornice
duhana u ovom dijelu Europe u Kanfana-
ru, 1Dr dotadanju proizvodnju cigareta u
Rovinju i Zagrebu 2007. godine objedinjuje
na jednoj lokaciji, zapoevi time novu eru
u proizvodnji cigareta u Hrvatskoj.

With the construction of the new
tobacco factory in Kanfanar in 2007,
the most sophisticated one in this part
of Europe, 1Dr united the Rovinj and
Zagreb cigareue production on a single
location, ushering a new era of cigareue
production in Croatia.
Senj Tobacco Factory, opened in 1894,
had for decades been one of the engines
of the towns economic life and was
also closed at the end of the Second
World War, having suered great
damage in the bombing of 1943. Some
of the surv iving tobacco processing
machines were sent to the Rovinj
Tobacco Factory.
Text by: Boo Skoko
Tvornica duhana u Senju, koja je otvorena
1894. i bila desetljeima jedan od pokretaa
gospodarskog ivota u gradu, takoer je
zatvorena krajem Drugog svjetskog rata,
budui da je teko stradala u bombardira-
nju 1943. godine. Dio preivjelih strojeva
za preradu duhana prebaen je u Tvornicu
duhana u Rovinj.
Pripremio: Boo Skoko
Jelai plac, Zagreb,
oko 1886. godine
Jelai Square, Zagreb,
circa 1886
42 Kultura puenja | Od tabua do tabua Smoking Culture | From one taboo to another 43
Idejni nacrt za oglaavanje
cigareta Virginia, 1960.-te
Design for Virginia cigareue
advertisement, 1960s
Anno Domini 1872 and the
beginning of the Tbs history
The year is 1872. It has been ve years since
Rovinj has become part of the Austro-
Hungarian Monarchy, created by a seule-
ment in 1867, when it had become obvious
that the Habsburg dynasty no longer had
the strength to maintain the centralistic
absolutism as the ruling system in Austria.
Rovinj, as part of Istria, became part of the
kingdoms and countries represented at the
Imperial Council, allocated to the Imperial
Council in Vienna, unlike those parts of the
empire that came under the sovereignty of
the Croatian-Hungarian crown.
The Dual Monarchy was ruled by the
emperor and king Frantz Joseph l.
The citizens of Rovinj still vividly re-
member another event of importance,
which took place only two years earlier,
in 1870: it was then that Rovinj became
an autonomous administrative area with
municipal status, to the delight of its citi-
zens. The town magistrate, lead by the
mayor, deputy and secretary, took over
the authorities of the county captains
and became immediately subordinate
to the governorship in Trieste.
The town is already adjusting to the
changed economic and political situation
(with plants for the production of pasta, ce-
ment, soap and textile in operation) but the
number of inhabitants indicates that these
are only the rst steps towards recovery.
There are 9,500 people living in Rovinj, less
Anno Domini 1872. i poetak
povijesti Tbs-a
Godina je 1872. Prolo je ve pet godina
otkako je Rovinj u sastavu Austro-Ugarske
Monarhije, stvorene nagodbom 1867., kad
je postalo vidljivo da habsburka dinastija
vie nema snage odravati centralistiki
apsolutizam kao sustav vladanja u Austriji.
Rovinj je, kao dio Istre, uao meu kra-
ljevine i zemlje zastupane u Carevinskom
vijeu, tj. one koje su potpale pod Carevin-
sko vijee u Beu, za razliku od onih dije-
lova carstva koji su doli pod suverenitet
hrvatsko-ugarske krune.
Na prijestolju je bio car i kralj dvojne
monarhije, Franjo Josip l.
U svjeem je sjeanju graana Rovinja
jo jedan, za njih znaajan, dogaaj koji
se dogodio samo dvije godine prije, 1870.
godine. Tada je Rovinj postao autonomno
administrativno podruje s vlastitim
opinskim statusom, to je oduevljeno
pozdravljeno u gradu. Gradski magistrat, s
gradonaelnikom, pomonikom i tajnikom
na elu, preuzeo je ingerencije okrunih
kapetana i bio je neposredno podreen
namjesnitvu u Trstu.
Grad se ve prilagoava promijenjenim
ekonomskim i politikim prilikama (rade
pogoni za proizvodnju tjestenine, cementa,
sapuna i platna), ali broj stanovnika poka-
zuje da su to tek prvi koraci prema oporav-
ku. U Rovinju ivi 9500 ljudi, manje nego
krajem prethodnog stoljea i manje nego
to e ih biti poetkom sljedeeg.
than at the end of the previous century
and less than at the beginning of the one
to come.
There are more women than men, prob-
ably due to men leaving to nearby Pula and,
mostly younger men, emigrating to other
countries.
The building of the most beautiful factory
in the Austrian tobacco empire
In the adapted military barracks in San
Damiano Street, not far from the Municipal
Council seat, a modest tobacco processing
plant was opened on 16 August 1872. Judg-
ing by the rst factory register, the rst two
workers were Maria Longo, maiden name
Carlevalis, and Maria Devescovi, maiden
name Abba. Since they started working on
4 June, it can be assumed that they were
employed at the adaptation of the new
working area.
The man who has done the most in this
development was surely the mayor of Rovinj,
doctor Maueo Campitelli. Born in this town
in 1830, and died here in 1904, Campitelli not
only noticed the peoples troubles but was
far-sighted enough to see how they can be
appeased. In the widespread passion for
cigar and pipe smoking he recognized an
opportunity for the industrial livelihood of
Vie je ena nego mukaraca, zacijelo
zbog odlaska u susjednu Pulu i emigraciju
u druge zemlje, kamo preteno odlaze
mlai mukarci.
Stvaranje najljepe tvornice u austrijskom
duhanskom imperiju
U preureenoj vojarni u ulici San Damia-
no, nedaleko od opinske zgrade , otvoren
je 16. kolovoza 1872. skroman pogon za
preradu duhana. Sudei prema prvoj ma-
tinoj knjizi tvornice, prve dvije radnice
bile su Maria Longo, roena Carlevalis, i
Maria Devescovi, roena Abba. S obzirom
na to da su u radni odnos stupile jo 4.
lipnja, moe se pretpostaviti da su radile
na ureenju poslovnog prostora.
ovjek kojemu pripadaju najvee za-
sluge za taj dogaaj zacijelo je tadanji
gradonaelnik Rovinja, dr. Maueo Cam-
pitelli. Roen u ovom gradu 1830., gdje je i
umro 1904., Campitelli je ne samo uoavao
ivotne nevolje ljudi nego je bio i dovoljno
dalekovidan da zakljui kako se one mogu
Stara tvornica Tbs, Rovinj
The old Tbs factory, Rovinj
Radnice (tabacchine) u tvornici,
razdoblje izmeu dva svjetska rata
Factory workers (tabacchine),
between the two World Wars
the poor and predominantly unemployed
citizens. In October of 1871, he began work-
ing on the realization of his idea, asking for
the approval from the imperial-royal -
nance minister which, as in other countries,
was the authority in the tobacco business.
But tobacco industry did not simply fall out
from the sky for Rovinj. The town has given
the former barracks building and invested in
its refurbishment, whereas the Rovinj wom-
en, with their skill and hard work, justied
the demands that an adequate building
should be built for the production of cigars.
In the Austrian tobacco monopoly books,
kept in the Austria Tobacco Museum, lo-
cated in the famous Viennese Mariahilfer
Street No. 2, Rovinj rst appears in the
statistical tables for 1872. From the very
beginning to the end of the First World
War, the Rovinj factory was part of the k.k.
Tabak-regie, the state monopoly holding
ublaiti. U rairenoj strasti puenja cigara
ili lula nazreo je mogunost industrij-
skog privreivanja siromanih i preteito
nezaposlenih stanovnika. Tako je jo u
listopadu 1871. poeo raditi na ostvarenju
svoje zamisli, traei odobrenje carsko-
kraljevskog ministra nancija koji je, kao
i u drugim zemljama, imao patronat nad
poslovima s duhanom.
Za Rovinj je industrija duhana bila dar
koji, meutim, nije doao s neba. Grad je
ustupio zgradu bive vojarne i uloio sred-
stva u njezino preureenje, a rovinjske su
radnice svojim umijeem i marljivou
opravdale zahtjeve da se za izradu cigara
podigne pogodna zgrada.
the entire tobacco processing and trading
in the empire. All important decisions on
production, placement and investment
into tobacco processing, came from Por-
zelangasse in Vienna, a street shrouded
in all Persian and Turkish fragrances, in
the words of writer Heimito von Doderer.
This was the managing brain of this huge
industrial empire encompassing at rst
some thirty and later more factories, scat-
tered throughout the territories of todays
Austria, Czech Republic, Slovakia, Croatia,
Slovenia, Bosnia and Herzegovina, Poland,
Romania and Italy, receiving tobacco leaves
from Brazil, Cuba, Portorico, Java, Sumatra,
Turkey, Herzegovina and other regions
and manufacturing cigars, cigareues, pipe
tobacco, chewing tobacco and snu, as well
as tobacco extract, used in agriculture.
The Rovinj factory was a small wheel in
the ramied tobacco business employing
around 30,000 workers (including more
than a thousand children under the age
U poslovnim knjigama Austrijskog duhan-
skog monopola, pohranjenim u Duhansko-
me muzeju Austria Tabaka, u uvenoj be-
koj Mariahilfer Strasse br. 2, u statistikim
tablicama za 1872. prvi se put pojavljuje
Rovinj. Od samog poetka pa sve do kraja
Prvog svjetskog rata, rovinjska je tvornica
bila dio k.k. Tabak-regie, dravnog mono-
pola u kojemu je bila koncentrirana cjelo-
kupna prerada i trgovina duhana na po-
druju carstva. Sve bitne odluke o kojima
su ovisile proizvodnja, plasman i ulaganja
u preradu duhana emitirane su iz beke
Porzelangasse, ulice obavijene svim per-
zijskim i turskim mirisima, kako bi rekao
knjievnik Heimito von Doderer. Ondje
je bio upravljaki mozak tog ogromnog
industrijskog imperija u ijemu je okrilju
bilo tridesetak, a kasnije i vie tvornica,
rasprenih na podruju dananje Austrije,
eke, Slovake, Hrvatske, Slovenije, Bosne
i Hercegovine, Poljske, Rumunjske i Italije,
koje su od duhanskih listova to su stizali
Knjiga personala Tvornice cigara u Rovinju, 1872.
The Rovinj Cigar Factory sta book, 1872
Nizanje duhana
u apljini, snimio
Z. urjak; 6.9.1950.
Stringing tobacco in
apljina, by Z. urjak,
September 6, 1950
of 14!) and processing more than 300,000
metric cents of raw tobacco, in order to of-
fer the enjoyment of smoke and fragrance
to a market of around 50 million people,
which was the entire population of Austro-
Hungarian Monarchy at the time.
To this day, construction experts at the
Rovinj Tobacco Factory jealously guard with
their life the drawings and designs of their
rst factory, built in the middle of the town
port and now an object of unrealized dreams
of a luxury hotel. The designs are dated: 1873
and 1874. Austrians still admit that the
Rovinj factory was built on the most beauti-
ful location of all monopoly factories. This
is how journalist and writer Ernst Trost
described its location: When the clerks of
the Imperial-Royal Tobacco Factory in Rovinj
looked up from their hand-wriuen notes and
glanced at the window, they would see a
scenery todays tourists pay money to enjoy.
Rovinj could easily have earned an award for
iz Brazila, Kube, Portorica, Jave, Sumatre,
Turske, Hercegovine i drugih krajeva, izra-
ivale cigare, cigarete, duhan za lule, va-
kanje i mrkanje, kao i duhanski ekstrakt,
tada cijenjen u poljoprivredi.
Rovinjska tvornica bila je kotai u tom
razgranatom poslu s duhanom u kojemu
je oko 30.000 radnika (ukljuujui i vie
od tisuu djece, mlae od 14 godina!) pre-
raivalo vie od 300.000 metrikih centi
sirovog duhana da bi tritu od oko 50
milijuna ljudi, koliko ih je tada ivjelo na
podruju Austro-Ugarske, ponudilo uiva-
nje u dimu i mirisu.
Graevinski strunjaci u Tvornici duhana
Rovinj jo i danas ljubomorno uvaju nacr-
te i projekte svoje prve tvornice, sagraene
u sreditu gradske luke, u kojoj sada turi-
stiki radnici s enjom gledaju potenci-
jalni luksuzni hotel. Nacrti nose i godinu
kad su izraeni: 1873. i 1874. Austrijanci i
danas priznaju da je rovinjska tvornica u
the best located factory in the Monopoly.
It was built on the coastal promenade in a
quiet part of the port. Facing it is the island
of Katarina, and, leaning out the window, we
can see many roofs of the old city centre
with the church tower and the cathedral.
Like the director Karl Kunthrad and his
deputy Franz Jassanek, who managed
the business in the times of the monarchy,
their successors are able to enjoy this scene,
if they can nd the time....
Launch in the sign of a cigar
The Rovinj factory was opened while the
star of the cigar still shone brightly on the
market and while the bluish cigar smoke
evoked the exoticism of the Orient, Brazil,
Cuba, Java and Sumatra. The smells of fara-
way worlds spread through Rovinj in 1872,
when the rst metric cent of tobacco was
shipped in from Java and 40 metric cents of
Dutch tobacco (hllandera) arrived to be
turned into cigars. Still, the main raw to-
bacco came from the empire itself (perhaps
mostly from Herzegovina?), in the amount
of 183 mtc.
As time passed, more and more tobacco
leaves arrived to Rovinj from dierent
parts of the empire and from faraway
plantations in Cuba, Brazil, Java, Sumatra
and Puerto Rico. The narrow rooms at
San Damiano Street saw more and more
desks and machines and more and more
womens hands manufacturing dierent
cigars (552 employees in 1876). As a result
of this extensive work, production soared:
in 1874 nearly 14 million cigars were made,
almost twice as many than in the previous
year, with 15,973,900 cigars to follow the
next year.
However, at the time of the Rovinj facto-
ry opening, it was only the most far-sighted
who could see that the rule of the cigar was
drawing followed by unstoppable retreat
before cigareues.
usporedbi sa svima ostalima koje su bile
u sustavu monopola, smjetena na naj-
ljepoj lokaciji. Novinar i pisac Ernst Trost
sljedeim rijeima opisuje njezin poloaj:
Kad bi inovnici Carsko-kraljevske tvorni-
ce duhana u Rovinju podigli oi sa svojih
rukom ispisanih spisa i pogledali kroz
prozor, pruao bi im se krajolik koji danas
za turiste vrijedi novca. Rovinj bi lako
dobio nagradu za najatraktivniji poloaj
tvornice u Monopolu. Smjetena je na obal-
nom etalitu na mirnoj strani luke. Ispred
je otok Katarina, a ako se naslonimo na
prozor, moemo vidjeti i mnotvo krovova
staroga grada, sa zvonikom i katedralom.
Poput direktora Karla Kunthrada i njegova
zamjenika Franza Jassaneka, koji su vodili
poslove u vrijeme monarhije, i njihovi
nasljednici mogu uivati u ovoj sceni,
nau li za to vremena
Poetak u znaku cigare
Rovinjska tvornica otvorena je u vrijeme
dok je zvijezda cigare sjala na tritu pu-
nim sjajem i kad je njezin plaviasti dim
doaravao ljudima egzotiku Orijenta, Bra-
zila, Kube, Jave i Sumatre. Miris dalekog
svijeta proirio se Rovinjom 1872., kad je na
preradu u cigare dopremljena prva metri-
ka centa duhana s Jave i 40 metrikih cen-
ti nizozemskog duhana (hllandera). Ipak,
glavna su sirovina bili duhani s podruja
carstva (moda ponajvie iz Hercegovine?)
kojih je dopremljeno 183 metrike cente.
S vremenom je u Rovinj dopremano
sve vie duhanskih listova iz raznih
dijelova carstva i dalekih plantaa Kube,
Brazila, Jave, Sumatre i Portorica, a u sti-
jenjenim prostorijama u ulici San Dami-
ano gomilalo se sve vie stolova i strojeva,
sve je vie enskih ruku izraivalo razno-
vrsne cigare (552 zaposlene 1876.). Takvim
ekstenzivnim radom proizvodnja je sko-
kovito rasla: ve 1874. izraeno je priblino
14 milijuna cigara, gotovo dvostruko vie
Berba duhana u Ljubukom;
snimio Z. urjak; 6. 9. 1950.
Tobacco picking in Ljubuki,
by Z. urjak, 6 September 1950
Duhanska stanica u Ljubukom,
snimio Z. urjak.
Tobacco station in Ljubuki,
by Z. urjak
The factory caught the new smoking
trend and the production of cigareues
very soon, only eight years aer Susini
had demonstrated his invention in Paris.
Town chronicler Bernard Benussi says that
the rst cigareues were made in Rovinj in
1887. However, the monopolys meticulous
statistics corrects this statement: according
to the Tabellen zur Statistik des sterrei-
chischen Tabak-Monopoles, 10,000 Drama
cigareues and 4,000 Ungarisches were
produced in Rovinj in 1886. By 1905, this
symbolic initial quantity grew to nearly
100 million cigareues, of a total weight only
slightly less than that of cigars. Only ve
years later, in 1910, 274.5 million cigareues
will be produced in Rovinj, weighing 3,632
metric cents more than a double in
comparison with the cigars.
Kreimir Deba
nego prethodne godine, a sljedee godine
15,973.900 komada.
Meutim, u vrijeme otvaranja rovinjske
tvornice moda su samo najdalekovidniji
mogli zapaziti kako se vladavina cigara
pribliava svom vrhuncu, nakon kojega
e uslijediti nezaustavljivo uzmicanje
pred cigaretama.
Tvornica se uklopila u novi puaki
trend i proizvodnju cigareta vrlo rano,
samo osam godina nakon to je Susini
demonstrirao svoj izum Parizu. Prema
kroniaru grada Bernardu Benussiju, prve
su cigarete izraene u Rovinju 1887. godine.
Meutim, precizna statistika monopola
korigira tu tvrdnju: prema Tabellen zur
Statistik des sterreichischen Tabak-Mo-
nopoles. Naime, u Rovinju je ve 1886.
proizvedeno 10.000 komada cigareta Dra-
ma i 4000 komada Ungarische. Do 1905.
ta simbolina poetna koliina porasla je
na gotovo 100 milijuna komada cigareta,
ija je ukupna teina bila tek neto manja
od proizvedenih cigara. Samo pet godina
kasnije, 1910., u Rovinju e se proizvesti
274,5 milijuna komada cigareta, u teini od
3632 metrike cente vie nego dvostruko
u usporedbi s cigarama.
Kreimir Deba
Kutija za cigarete Drina,
1930-te
Drina cigareue box,
1930s
Kutija za cigarete Jadran,
prije 1941.
Jadran cigareue box,
before 1941
nakon 1945.
aer 1945
Kutija za cigarete Dvorske cigarete,
prije 1941.
Dvorske cigareue cigareue box,
before 1941
Kutija za cigarete Velebit,
1941.-1945.
Velebit cigareue box,
1941-1945
Kutija za cigarete Neretva,
1941.-1945.
Neretva cigareue box,
1941-1945
Kutija za cigarete Neretva,
1941.-1945.
Neretva cigareue box,
1941-1945
Kutija za cigarete Adria,
1960.-1970.
Adria cigareue box,
1960-1970
Kutija za cigarete Ljubuki,
1941.-1945.
Ljubuki cigareue box,
1941-1945
Kutija za cigarete Istra,
1960.-1970.
Istra cigareue box,
1960-1970
Kutija za cigarete Drina,
1941.-1945.
Drina cigareue box,
1941-1945
Kutija za cigarete Kvarner,
1960.-1970.
Kvarner cigareue box,
1960-1970
Kutija za cigarete Uka,
1960.-1970.
Uka cigareue box,
1960-1970
Kutija za cigarete Drava,
rane 1950.-te do 1970.
Drava cigareue box,
early 1950s-1970
Kutija za cigarete Vis,
1960.-1970.
Vis cigareue box,
1960-1970
rane 1950.-te do 1970.
Drava cigareue box,
early 1950s-1970
rane 1950.-te do 1970.
Drava cigareue box,
early 1950s-1970
rane 1950.-te do 1970.
Drava cigareue box,
early 1950s-1970
rane 1950.-te do 1970.
Drava cigareue box,
early 1950s-1970
rane 1950.-te do 1970.
Drava cigareue box,
early 1950s-1970
1950.-1970.
1950-1970
Kutija za cigarete Morava,
1950.-1970.
Morava cigareue box,
1950-1970
1950.-1970.
1950-1970
1950.-1970.
1950-1970
1950.-1970.
1950-1970
1950.-1970.
1950-1970
1950.-1970.
1950-1970
1950.-1970.
1950-1970
Kutija za cigarete Zeta,
1950.-1960.
Zeta cigareue box,
1950-1960
1950.-1960.
Zeta cigareue box,
1950-1960
HILbL sosTL cLus sajamski tand, 1980-te
HILbL sosTL cLus exhibition stand, 1980s
1950.-1960.
Zeta cigareue box,
1950-1960
Ronhill Prestige priprema za oglas, 1987.
Ronhill Prestige advertisement drawing, 1987
Ronhill Prestige ambalaa, 1987. 1994.
Ronhill Prestige packaging, 1987 1994
HILbL sosTL International, letak, 1987.
HILbL sosTL International, yer, 1987
Ronhill Prestige fotograja
za oglasnu kampanju
Ronhill Prestige photograph
for advertising campaign
York, plakat S cigaretom nisi sam,
poetak osamdesetih godina
York, poster, With a cigareue you are
never alone, early 1980s
Walter Wolf, plakat, 1990.
Walter Wolf, poster, 1990
Igor Zidi
Plamen,
ar, dimovi,
pepeo
Flame,
Ember,
Smoke,
Ash
O puenju i puau
u hrvatskom slikarstvu,
a i drugdje
On smoking in
Croatian painting,
and elsewhere
Although Baudelaire is an undisputed
authority (on everything he writes about),
it is dicult for an arts expert, or, to say
the least, art fanatic, living in our times
and we are now in the year 2012 to read
this excerpt from the famous Paradises,
printed back in 1860, and not think that the
poets smoker hides in the pipe of Magriue
himself. Some imaginations may nd it
dicult to grasp the fact that the painter,
painting the pipe, denied the content of his
painting with words. How does one, then,
crouch in nonexistence? It seems that he
painted the rst of his pipes (inscribed
with Ceci nest pas une pipe, sometimes in
English as well), in several auempts, in 1928
and 1929. He returned to them oen until
1966, just before he died.' Several times,
negating with text (inscription) what he
would present in painting, he managed to
create the most famous, paradigmatic pipe
non-pipe. An explanation for this absurd
act can be found in the poetics of the
Premda je Baudelaire autoritet bez prem-
ca (za sve o emu pie), teko je likovnome
znalcu ili, barem, fanatiku, u godini u kojoj
jesmo a upravo tee 2012 proitati taj
odlomak iz slavnih Rajeva, tiskan jo 1860,
a ne pomisliti da pjesnikov pua ui ba
u luli Magriueovoj. Moebitne e tekoe
za neku imaginaciju proizii iz injenice
to je slikar, slikajui lulu, rijeju poricao
sadraj same slike. Kako, dakle, uati u
nepostojanju? Prve je, kako se ini, od svo-
jih lula (s inskripcijom Ceci nest pas une
pipe, gdjekad i u engleskoj inaici) naslikao
ili nacrtao, u vie navrata, 1928. i 1929. godi-
ne. Vraao im se esto sve do 1966, do pred
samu smrt.' Nekoliko je puta, negirajui
tekstom (inskripcijom) ono to bi slikom
posvjedoio, uspio stvoriti najpoznatiju,
paradigmatsku lulu-nelulu. Obrazloenje
se toga apsurdnoga ina moe nai u po-
etici nadrealnog: u njegovoj skepsi prema
plonom, jednodimenzionalnome svijetu
apstrahiranih, priguenih ili amputiranih
U mislima Vas vidim kako sjedite i puite. Vau pozornost
privlae i vie nego bi trebalo plaviasti oblaci to se
izvijaju iz vae lule. Pomisao o hlapljenju, o rasplinjavanju
a to su procesi lijeni, lagani, postupni, vjeni zaposjesti e
Va um i tu ete predobu nakalemiti na svoje misli, na tvarni
sadraj svojih misli. Zahvaljujui neobinoj dvoznanosti,
zahvaljujui svojevrsnoj transpoziciji ili onoj qui pro quo
igri, outjet ete kako hlapite i zacijelo ete priznati svojoj
luli (dok Vam se ini da u njoj uite natisnuti kao duhan)
udesnu mo da Vas popui.
(Charles Baudelaire, iz Umjetnih rajeva)
Suppose, again, you are seated smoking; your auention
will rest a liule too long upon the bluish clouds which
breathe forth from your pipe; the idea of a slow, continuous,
eternal evaporation will possess itself of your spirit, and
you will soon apply this idea to your own thoughts, to your
own apparatus of thought. By a singular ambiguity, by a
species of transposition or intellectual barter, you feel yourself
evaporating, and you will auribute to your pipe, in which you
feel yourself crouched and pressed down like the tobacco,
the strange faculty of smoking you!
(Charles Baudelaire, from Articial Paradises)
Vidi: La Pipe, 1928; Ceci nest pas une pipe, 1929; La
Trahision des images, 1935; La Lampe philosophique,
1936; naslovnicu za London Gallery Bulletin, 1,
1938; La Pipe (crte), 1944; La Libert des cultes, 1946;
Le stropiat, 1948, velianstveno hladnu, neoklasino
nadrealnu La Libert de lesprit, 1948, koja u ruci
dri (golu) lulu kao da titi klicu mukarca i,
naposljetku, Les Deux Mystres, 1966.
1 See: La Pipe, 1928; Ceci nest pas une pipe, 1929; La
Trahision des images, 1935; La Lampe philosophique,
1936; front page of The London Gallery Bulletin,
1, 1938; La Pipe (drawing), 1944; La Libert des cultes,
1946; Le stropiat, 1948, the gloriously cool, neo-classi-
cist surreal La Libert de lesprit, 1948, holding a
(naked) pipe in her hand as if protecting the germ
of man and, nally, Les Deux Mystres, 1966.
1
Ren Franois Ghislain Magriue,
Ceci nest pas une pipe!, 1928. 1929.
Ren Franois Ghislain Magriue,
Ceci nest pas une pipe!, 1928 1929
surreal: in its scepticism for the at, one-
dimensional world of abstracted, mued
or amputated co-meanings; as well as in his
dissatisfaction with the illusionist, para-
three-dimensional, staged reality, but also
in his faith in the ambiguous, the doubtful,
in the contradiction that can cause convul-
sions but also various kinds of pleasures
in the new. More important than the game
of confusion was the question about the
reality of the tangible world, tormenting
many a modern spirit and evolving into
a string of research into the irrational, il-
logical, unorganized, disconnected in a
word: chaotic. Surrealism, including this
Magriuean smoking one, has made a nice
contribution to the techniques of question-
ing human and, more specically, creative
freedom, the passing the (seemingly) un-
surpassable boundaries of cause and eect
determination, three-dimensional space
dogma, the cult of reason, the myth of the
unique authenticity of realism and other
su-znaenja; takoer i u njegovu nezado-
voljstvu iluzionistikom, paratrodimen-
zionalnom, insceniranom stvarnou, ali
i u njegovu povjerenju u dvosmisleno,
dvojbeno, u proturjenost koja moe
izazvati greve, ali i razne vrste uitaka u
novom. Vanija od igre zbunjivanja bila
je upitanost o zbiljnosti opipljivoga svi-
jeta, koja mori mnoge moderne duhove i
ulanava se u niz istraivanja iracionalnog,
aloginog, neorganiziranog, nepovezanog
rijeju: kaotinog. Nadrealizam je, pa i
ovaj magriuovsko puaki, dao lijep dopri-
nos tehnikama ispitivanja ljudske i, ue,
stvaralake slobode, prelaenja (prividno)
roadblocks preventing greater speeds and
uninhibited turns of the spark-thought;
more precisely counterthoughts of the
obsessed and engaged diggers into the
subconscious. There is another approach
to this ambivalence. One could paint an
object (a pipe) and then write out words
on the painting, naming this object and
several more words denying the existence
of the same object, which does not neces-
sarily mean, as it may have seemed at rst
glance, that the painted pipe is no longer a
pipe, or that it is the denied pipe. Or, as it
reads: Ceci nest pas une pipe. The potential
mistake on the negation of the pipe stems
from the stereotype we have been taught
ever since our rst textbooks: that there
is text and illustration, picture and legend.
We are, as it were, prepared to assume in
advance the co-dependence of the (wriuen)
text and the (painted) image. Why? Because
it is thus expected by convention. It is not,
however, without grounds to develop an-
other assumption: two levels of speech (ex-
pression) pictorial and textual are iden-
tied in the painting, fully autonomous.
This also mean that one does not penetrate
the other, that they are two independent
entities, two entity levels, and that the pipe
in the painting does not care about what is
wriuen underneath, neither does the text
care what is painted on top of it. Of course,
in reality which, in addition to the exami-
nation of the painted surface also includes
the psychology of the consumer things
are not quite so, because Magriue counts
on our conventional mindset and wishes
for us to connect by allusion what he
himself, in the unique space of the paint-
ing, presented as separate, and not only
separate but bilingual as well. He wants us
to intentionally connect the painted pipe
with the wriuen pipe; in the absence of this
connection, the spirit of the contradiction
at work is lost. If we agree to this, our logi-
cism, our conventionality will establish the
contradiction, such a contradiction which
neprekoraivih granica uzrono-poslje-
dine determinacije, trodimenzionalne
prostorne dogme, kulta razboritosti, mita
o unikatnoj vjerodostojnosti realizma i
drugih balvana to su prijeili bru vonju
i slobodnija skretanja misli-iskre; precizni-
je protumisli opsjednutih i angairanih
rudara podsvijesti. Moglo bi se toj dvosmi-
slici prii i drukije. Naslikati neki predmet
(lulu), a potom na slici ispisati rijei kojom
imenujemo taj predmet i jo nekoliko rije-
i, kojima se demantira egzistencija toga,
predmeta, ne mora znaiti, kako se na
prvi pogled uinilo, da naslikana lula vie
nije lula, odnosno da jest osporena lula.
Ili, kako je reeno: Ceci nest pas une pipe.
Eventualna zabluda o negaciji lule poiva
na stereotipu, kojemu nas uvjebavaju od
prve itanke nadalje: tj. da postoje tekst i
ilustracija, slika i legenda. Mi smo, naime,
apriori spremni pretpostaviti ovisnost
(pisanog) teksta i (slikane) predobe. Zato?
Jer se to, konvencijom, oekuje. Nije, meu-
tim, neutemeljeno razraditi i drugu pret-
postavku: na slici su evidentirane dvije
razine govora (izraza) slikovna i tekstov-
na u punoj svojoj autonomiji. To bi zna-
ilo i da jedna ne prodire u drugu, da su
dva samostojna entiteta, dvije entitetske
razine, pa se naslikane lule ne bi ticalo to
u tekstu pod njom pie, kao to se teksta
ne bi ticalo to je nad njim naslikano. Na-
ravno, da u stvarnosti u kojoj osim inven-
ture slikane povrine postoji i psihologija
konzumenta ba i nije posve tako, jer
Magriue rauna s naim konvencionalnim
ustrojem pa hoe da aluzivno poveemo
ono to je on sam, u jedinstvenome pro-
storu slike, dao odjelito i ne samo odjelito,
nego i dvojezino. On hoe da intencional-
no poveemo naslikanu lulu s napisanom
lulom; ako takvog povezivanja nema gubi
se i duh djelatne kontradikcije. Pristane-
mo li na to na e logicizam, naa e kon-
vencionalnost uspostaviti kontradikciju, tj.
takvu kontradikciju koja je pretpostavka
nadrealnoga uinka. Pretpostavljam, da
Vlaho Bukovac, Portret Vjekoslava Heinzela, 1909.
Vlaho Bukovac, Portrait of Vjekoslav Heinzel, 1909
is the precondition of the surreal eect. I
assume that this was the understanding of
Magriue as well, whose domino-eect in
the interplay of dierent objects-symbols,
dierent levels of speech, dierent lan-
guages and metalanguages is not easy
to fully predict, but who gravitated more
towards the surreal substance (contents)
of his paintings than rigorous semiological
experiments. In his work even the word
is harnessed in the surrealistic technique
of deception, hence under a painted pipe
he writes that this is not a pipe (ergo: the
object or subject is false) and under a
painted pitcher he writes: bird (ergo: the
identifying word is false, the name is false).
But the fact that the author is aer one
thing and the viewer sees another obliges
me to a perhaps inappropriate reading
of the painting neither from the text nor
from the context or between the lines but
beyond the intended or predictable mean-
ings, in a purely formal key. In the said
painting-message This is not a pipe the
pipe is painted on the same neutral surface
as the text. They are, therefore, equal and
equally oating in the neutral pictorial
space. They also exist independently and
alongside one another in this space: they
do not touch, do not interfere one with
another, do not communicate. This type of
analysis refuses to examine the relation-
ship between the painting and the term;
this relationship does not exist for it. These
are two incompatible systems that we can
call languages. If the sentence Ceci nest
pas une pipe were wriuen on the pipe itself
instead of on the surface, the pipe could
indeed become a non-pipe. This way, these
are simply two-level, parallel worlds the
pictorial image and the verbal (wriuen)
formulation which, admiuedly do not
penetrate one towards the other, they do
correlate, do not communicate. That this
truly is so can be discovered by an unsus-
pecting passer-by of moderate linguistic
education, sensible, nevertheless, to the
je tako mislio i Magriue, kojega domino
efekt u igri s razliitim predmetima-sim-
bolima, razliitim razinama govora, razli-
itim jezicima i metajezicima nije lako
do kraja predvidjeti, no koji je vie teio
nadrealnoj susptanciji (sadrajima) svojih
slika nego rigorozno semiolokim ekspe-
rimentima. U njega i rije slui nadreali-
stikoj tehnici podvaljivanja, pa kao to e
ispod naslikane lule ispisati da to nije lula
(ergo: predmet ili objekt je laan), tako e
ispod naslikanog vra napisati: ptica (ergo:
identikacijska je rije lana, ime je lano).
No to to autor jedno hoe, a gledatelj
drugo gleda obvezuje me na moda ne-
primjereno itanje slike ni iz teksta, ni iz
konteksta, ni izmeu redaka, nego onkraj
intendiranih ili predvidivih znaenja, u
isto formalnome kljuu. U citiranoj slici-
poruci To nije lula lula je naslikana na
istoj neutralnoj podlozi na kojoj je ispisan
i tekst. Oni su, dakle, ravnopravni i ravno-
pravno lebdei u neutralnom slikovnome
prostoru. Oni, takoer, samostalno i napo-
redo opstoje u tome prostoru: ne dodiruju
se, ne interferiraju, ne komuniciraju. Ta
vrst analize odbija, stoga, ispitivati odnos
slike i pojma; za nju taj odnos ne postoji.
Rije je, naime, o dva inkopatibilna susta-
va, koje moemo nazvati jezicima. Da je
reenica Ceci nest pas une pipe ispisana
na samoj luli umjesto na podlozi ta bi lula
mogla doista postati i nelula. Ovako su to
samo dvorazinski, paralelni svjetovi li-
kovna predoba i verbalna (pisana) formu-
lacija koji, jedan k drugome, zasigurno
ne prodiru, ne odnose se meusobno, ne
komuniciraju. Da je tome, doista, tako
otkriva sluajni prolaznik skromne jezine
naobrazbe, osjetljiv, meutim, na vizualnu
poruku. Ne zna francuski, ne zna ni engle-
ski. Djelo Magriueovo ovako opisuje: Vi-
dim sliku. Na njoj je prikazana duhanska
lula. Ispod nje neto pie. to ne znam.
To je neki meni nepoznat jezik. I to sad?
to je s verbalnim (leksikim) potiranjem
lule? Izgubilo se u neostvarenoj jezinoj
visual message. He does not speak French,
he does not speak English. This is how he
describes Magriues work: I see a painting.
It represents a tobacco pipe. There is some-
thing wriuen under it. What I dont know.
It is a language I dont understand. So
now what? What about the verbal (lexical)
negation of the pipe? It got lost in the un-
realized linguistic communication, whereas
the pipe itself without text or beside the
text still says to anyone who can see, be
they educated or uneducated, I am a pipe.
No negation. It is also possible that even a
damn good communicator like Magriue got
entangled in his combinations, although it
is more likely that this entanglement had
been staged as well. This possibility cannot
and must not be rejected.
But why, having said all that, it is in
Magriues pipe that I should nd, crouched
and pressed down, Baudelaires smoker?
Only because this was the most developed
paradigm of a reversible pipe: the one that
we smoke and that smokes us. This content
becomes the central invention point in the
painting La Lampe philosophique (1936) in
which a marvel of humorous metamor-
phosis unravels: the swollen nose of the
smoker plunges and stabs into the pipe or,
if we allow for a dierent point of view, the
embodied smoke from the pipe, carnalized
and memberized, bolts into the smokers
face. There is room here for psychoanalyti-
cal, Freudian deliberations on symbolic
substitutions and Baudelaires ambivalent,
qui pro quo parallel levels of reality which
allows us to discuss a body/object (i.e. paint-
ing) not only as two separate bodies/objects
but as a single twofold (ambivalent) object
(if we dene an object as something that is
here for us to object to). And what we have
to object to is a single body of erotological
and, so to speak, tobaccological level of the
story. Considering that the nose is in the
pipe and the pipe is in the mouth Freuds
intelligence would certainly not miss the
autoerotic, almost onanistic aspect of this
komunikaciji, dok lula sama bez teksta ili
mimo teksta svakome dobra vida, onome
kolovanom i onome nekolovanom i dalje
kazuje ja sam lula. Bez negacije. Mogue
je, da se i vraki vjet komunikator poput
Magriuea zapleo u svojim kombinacijama,
iako je vjerojatnije da je i zaplet bio una-
prijed reiran. To se kao mogunost ne
moe i ne smije odbiti.
No zato bih, i kraj svega toga, Baudela-
irova puaa, skutrena i natisnuta, morao
nai ba u Magriueovoj luli? Samo zato,
jer je ona bila najizgraenija paradigma
reverzibilne lule: one koju mi puimo i one
koja nas pui. Taj sadraj postaje sredi-
njim mjestom invencije u slici La Lampe
philosophique (1936) u kojoj se zbiva udo
humorne metamorfoze: tu se nabrekli nos
puaev sunovrauje i zabija u lulu ili se,
pak, uvaimo li mogunost drukije vizu-
re, lulin otjelotvoreni dim, karnaliziran i
poudovljen, ustremljuje u lice puaevo.
Ima tu prostora za psihoanalitika, freu-
distika razmatranja na temu simbolskih
supstitucija i onih dvosmislenih, baude-
laireovskih qui pro quo paralelnih razina
zbilje to nam omoguuje da o jednom
tijelu/predmetu (tj. slici) raspravljamo ne
samo kao o dva odjelita tijela/predmeta,
nego kao o dvostrukom (dvoznanom)
predmetu (ako predmet deniramo kao
ono to je pred-nas-metnuto). A pred-met-
nuta je, u jednome tijelu, erotoloka i, da
tako kaem, duhanoloka razina prie. S
obzirom na to da je nos u luli, a lula u usti-
ma Freudovoj inteligenciji, zasigurno, ne
bi promaknuo autoerotiki, gotovo ona-
nistiki aspekt te Magriueove lozofske
lampe. Taj dio sadraja slike neizravno:
duboki osjeaj samoe, osjeaj neposto-
jeeg, izgubljenog ili nepronaenog par-
tnera (prijatelja, prijateljice) potvruje
i jedna svijea koja gori u noi slike; koja
gori na stolu i obasjava Puaa. Plamen
te iste votanice osvjetljava, osim Puaa,
jo i njegovu osamljenost. Svjetlost koja
svjedoi sada je tu i umjesto jedne samoe
philosophers lamp of Magriues. This part
of the painting content indirectly: a pro-
found feeling of solitude, the feeling of an
inexistent, lost or unfound partner (friend,
male or female) is reasserted by a single
candle burning in the night of the painting;
burning on the table and shedding light on
the Smoker. The ame of the same candle
does not only shed light on the Smoker but
on his loneliness as well. The witnessing
light is here and now, instead of one loneli-
ness, we have two creatures working in
unison: one seeking company and another
whose vocation is to gather. A tad roughly:
Lichtenberg has once said that the man
has such a need for company that, dream-
ing in solitude by a candle, he feels less
alone. On a linguistic level, Magriue sets
his rst traps: now, asks the viewer, what
would make this lamp philosophers lamp
and also, how could a candle burning and
burning out be good enough to be treated
as a lamp? Here we have the previously
announced content instability: its soness,
pliability, meltability, destructibility. In
addition, Magriues philosophers lamp (i.e.
candle) is not in the usual shape of a candle
the white or yellowish vertical line, or rath-
er, it only partially is. The verticality of the
burning candle is pointed out by Bachelard
as well: The ame of the candle on the ta-
ble of a loner prepares all reveries of erect-
ness.' However, Magriues candle is not
entirely analogous to an ordinary one: the
Self-Smoker is indeed a loner, the candle is
on his table, but, aer a short segment of
standing erect, it is presented as a tangled
snake, a slithering liule snake, something
meltable not to say: repulsive since it
is only the colour that delivers it from the
less pleasant (scatological) associations.
imamo dva bia u suradnji: jedno koje
trai drutvo, i drugo kojemu je poziv da
okuplja. Malice hrapavo: Lichtenberg je
jednom prilikom kazao, kako ovjek ima
toliku potrebu za drutvom, da sanjajui
u samoi pred zapaljenom votanicom,
on se osjea manje sam. Na lingvistikoj
razini Magriue nam podmee prve zamke:
po emu bi, pita gledatelj, ta lampa bila
lozofska i, drugo, ime bi votanica, koja
gori i dogorijeva zavrijedila da je tretiraju
kao lampu? Tu je na djelu, ve najavljena,
nestabilnost sadraja; njegova mekoa,
savitljivost, rastopivost, unitivost. K tome,
Magriueova lozofska lampa (tj. svijea) i
nema posve uobiajen oblik votanice bi-
jele ili ukaste okomice, odnosno, ima ga
tek djelomice. Okomitost svijee u funkciji
apostrora i Bachelard: Plamen votanice
na stolu samotnika priprema sve sanjarije
uspravnosti.' Magriueova svijea nije,
meutim, posve analogna uobiajenoj: Sa-
mopua jest samotnik, votanica jest na
njegovu stolu, ali se, nakon kratke usprav-
nosti predstavlja kao spletena zmija, zmi-
juljak, neto topivo da ne kaem: gadljivo
jer je samo boja izbavlja od neugodnijih
(skatolokih) asocijacija. Vraiak, koji se
nou vrzma oko moga radnog stola i koji
ima manje obzira od mene prema mojemu
itatelju, uporno sugerira da je dotina
lampa (svijea) zapravo, govnolika, a na
moj prigovor: Zar ne vidi da je bijela?
spremno odgovara: Ima i bijele okolade.
Ukratko, smjesa Magriue je paradoksalna,
ironina, manijaka, erotomanska, nekro-
lska, halucinogena, ezoterina itd., itd. i,
kao kod de Sada, kod suptilnoga i basno-
vitoga Carrola, kod Apollinairea, Bataillea,
Balthusa, njegov je humor kombinacija
noe, hladnoe, prostote, erotskoga ara,
The liule devil shuing around my desk
at night, who is much less considerate
towards my reader than I am, keeps sug-
gesting that the said lamp (candle) is in
fact shitlike, and when I object with: Cant
you see that its white? he readily replies:
Theres white chocolate, too. In brief, the
Magriue brew is paradoxical, ironic, mania-
cal, erotomaniacal, necrophilic, hallucino-
genic, esoteric, etc. and, same as with de
Sade, with the subtle and fable-like Carrol,
with Appolinaire, Bataille, Balthus, his hu-
mour is a combination of subtlety, coolness,
profanity, erotic kindle, subtle shameless-
ness, porn-making explosive, fascination
with violence, woman, stone and fossil, star-
ry sky, the voyeurish transparency of glass,
forest and trees, sea, waves and smokes.
From the cloudy, metaphysical mists draw-
ing arabesques in the sky, to the smokes of
existential metamorphosity just like in
fairy-like, unpredictable Josip Sever:
And then full of silence
into smoke I escape from myself,
and when the ames die,
ashes drive me to madness
from the smoke of the vagabond voyeur
to the smoke of the pyromaniac, from the
melancholy smoke rings blown into the air
slowly, drowsily by the nocturnal nomad
to the thick smoke from the blacksmiths
pipe there is a perpetual great exercise-
checking of the practical forms of the
embodiment of the smoky yarn for a, still
unwriuen but absolutely possible, meta-
phenomenology of tobacco smokes: cigars,
cigarillos, cigareues, pipes presented to the
ame of a match or a lighter. Smoke rises,
elevates, spreads wings, creates ellipses,
circles, spirals (). Smoke circles: bypasses,
makes the most pleasant, the soest the
suptilne bestidnosti, pornotvornog ek-
sploziva, fascinacije nasiljem, enom, ka-
menom i okaminom, zvjezdanim nebom,
voyerskom prozirnou stakla, umom i
drveem, morem, valovima i dimovima.
Od maglica oblakovitih, metazikih, koji
ispisuju arabeske na nebu, do dimova eg-
zistencijalne metamorfozinosti kao u
bajoslovna, nepredvidiva Josipa Severa:
I onda pun tiine
bjeim od sebe u dim,
a kada oganj umre
od pepela poludim
od dima vaganta voyera do dima piroma-
na, od sjetnih dimnih krugova to ih u zrak
otpuhuje polako, dremovno noni nomad
do gusta dima iz lule kovaa odvija se
neprestana velika vjeba-provjera prak-
tinih gura pojavnosti dimne pree za
jednu, jo nenapisanu, ali svakako moguu
metafenomenologiju duhanskih dimova:
cigare, cigarilla, cigarete, lule prinesenih
plamenu igice ili upaljaa. Dim se penje,
uzvisuje, krili, pravi elipse, kolute, spirale
(). Dim krui: zaobilazi, daje najugodnije,
najmeke, najidealnije oblake. Dim daje
ljepotu trenutku, sobi, salonu. Koluti dima
uzvisuju nas, podiu uvis, bogovima. ()
Dim cigarete je slutnja, enja, nesa raz-
bibrige. Paket cigareta prua nam i nudi
u najekonomskijoj formi jedan niz oblaka
nostalgije i eznua, vunu i maglicu jedne
vrhunaravne slutnje. U mrtvoj sobi tucet
cigareta je eterina poezija koja nas izvodi
iz ukruenosti ivota koji je stao.
Zakljuno: ba kao u ovom ezoterijsko-
me feljtonizmu dim je i u simbologiji
razliitih naroda, na vie kontinenata, bio
Gaston Bachelard, Plamen votanice; prijevod i
pogovor Vjeran Zuppa, Razlog, Zagreb 1969, str. 37.
Isto, str. 68.
2
3
Josip Sever, Prostrano sagorijevanje, v. Borealni
konj, Zagreb 1989, str. 254.
Tin Ujevi, Duhan uivanje duhana, dim duhana
i trovanje duhanom, v. Sabrana djela Tina Ujevia,
knj. xvl, Znanje, Zagreb 1967, str. 553.
4
5
2
3
Gaston Bachelard, Plamen votanice (The Flame
of a Candle); translation and aerword by Vjeran
Zuppa, Razlog, Zagreb 1969, p. 37.
Ibid. p. 68.
4 Josip Sever, Prostrano sagorijevanje, in Borealni
konj, Zagreb 1989, p. 254.
most ideal clouds. Smoke imparts beauty
on the moment, the room, the salon. Rings
of smoke soar above us, elevate us to gods.
() Cigareue smoke is a premonition, a
longing, the nesse of entertainment. A
cigareue pack gives us and oers us in the
most economical form a string of clouds
of nostalgia and longing, the wooly haze of
an unfathomable premonition. In a dead
room, a dozen cigareues is ethereal poetry
taking us away from the stiness of life at
a standstill.
To conclude: just like in this esotheric
essay writing in the symbology of dier-
ent peoples, on several continents, smoke
isto: netvarna spojnica zemlje i neba, feno-
men dematerijalizacije i oduhovljenja. Tin
je ve rekao: duhan je u duhu.
Je li to zamjeivao hrvatski slikar slikar
u Hrvatskoj od vremena kada se duhan
poeo udomaivati i u naim stranama?
injenica jest da prvi nasadi duhana u
has always been the same: a sublime link
between the earth and the sky, the phe-
nomenon of dematerialization and spiritu-
alization. As Tin has already said: tobacco
is in the spirit.
Has this been noticed by the Croatian
painter a painter in Croatia from the
times when tobacco began to seule down
in our lands? It is true that the rst tobac-
co crops in Croatia in the urevac area,
in 1571 did not provoke a synchronized
response in our painting. I will not exclude
the possibility that the rst of our smok-
ers were like members of an esoteric sect
that does not reveal its rituals to profane
eyes. There can be no doubt, I believe, that
the rst smokers were part of the country-
side aristocracy and the higher (country-
side) clergy. The novelty of smoking was
but gradually acquiring legitimacy just
like other trendy things and it took time
for the individual consummation of the
rst user to transform into a social fashion
and requirement, into social demand. The
advancement of this fashion in aristocratic
homes, as the advancement of vice, will
touch men rst, then women, and then
the invited guests: childrens governesses,
dance and music teachers. Did I forget
to mention the esteemed parish priest,
the esteemed gentlemen the private
confessor, the medic, the head forest
ranger and the legal advisor formerly
company for card playing and now for
card playing and smoking? They are all
here, at the source, and it is natural to
take a taste. Aer them, the fashion of
tobacco smoking and snorting will
spread to all social classes or ranks.
Hrvatskoj okolica urevca, 1571. godine
ne nalaze sinkrona odjeka u naoj likovnoj
umjetnosti. Neu iskljuiti mogunost da
su prvi puai u nas bili poput lanova
ezoterijske sekte koja svoje rituale ne ot-
kriva profanim oima. Nema dvojbe, rekao
bih, da su prvi puai pripadali ladanjskoj
aristokraciji i viemu (ladanjskome) kleru.
Novna puenja tek je postupno stjecala le-
gitimitet kao i druge novotarije i treba-
lo je vremena da se individualna potronja
prvog korisnika prometne u drutvovnu
modu i potrebu, u drutvovnu potranju.
irenje mode, kao irenje poroka, u ari-
stokratskome e domu, nakon mukaraca,
dotaknuti i ene, a onda i goste s propusni-
com: odgojitelje djece, uitelje plesa i glaz-
be. Jesam li zaboravio navesti gospodina
upnika, gospodu privatnog ispovjednika,
ranarnika, glavnog umara i pravnog sa-
vjetnika do juer partnere u kartanju,
od juer u kartanju i puenju? Svi su oni
tu, na izvoru, i prirodno je da okuse.
Nakon njih, moda e se puenja i mrkanja
duhana proiriti na sve drutvovne
razrede ili stalee.
U xlx. st. tada ve imamo i prve slikov-
ne potvrde pue oba spola i svi slojevi: ne
vie ekscesno, na mah, nego kao ovisnici;
obiajnici, navadnjaci. I, dakako: obiajnice,
navadnakinje. Odnos mukih puaa i
enskih puaica nije, naravno, proporci-
onalan, nije srazmjeran populacijskome
koecijentu, ali tome nije kriv samo na
patrijarhalni ustroj, nego i estetske predra-
sude te apstinencija ena od nekih naro-
ito tekih zanimanja iz kojih se, u pravilu,
regrutiraju oajni, nepopravljivi puai.
Ulazak ena u sferu duhanske magije ne
dokumentiraju samo slike, nego i pojava
nijeg, njenijeg i elegantnijeg puakog
pribora na tritu. Izrauju ga, unikatno,
zlatari i orijentalni kujundije, a serijski:
Isto, str. 554. Htio je, naravno, da uoimo kako je
korijen obiju rijei isti: duhan je u duhu.
6
6
5 Tin Ujevi, Duhan uivanje duhana, dim duhana
i trovanje duhanom, in Sabrana djela Tina Ujevia,
tome xvl, Znanje, Zagreb 1967, p. 553.
Ibid, p. 554 He wanted to draw auention to the
fact that the root of the two words is the same in
Croatian: duhan je u duhu.
Tin Ujevi u Tip-topu,
Milan Pavi, 1953.
Tin Ujevi at Tip-Top,
by Milan Pavi, 1953
In the 19'' c. when we nd the rst
pictorial proof both sexes and all layers
smoke: not only in excess, on a whim, but as
addicts; creatures of habit, of dependence.
And, of course, of lady-creatures of habit
and dependence. The ratio between male
and female smokers is, naturally, not pro-
portional, not corresponding to the popula-
tion coecient, but this is not to be blamed
only on our patriarchal system but also on
the aesthetic prejudice and female absti-
nence from some extremely laborious jobs
which, as a rule of thumb, prove to be pools
for recruiting desperate, hopeless smokers.
The entering of women into the sphere
of tobacco magic is not documented only
by paintings but also by the appearance
of ner, more delicate and elegant smok-
ing equipment on the market. It is being
hand-craed by the western and oriental
goldsmiths and in retail production: by
workshops. There are cigareue holders
mutikle small pipes, shiny cigareue
boxes and snu containers: golden, silver,
porcelain, made from enamel, ivory, exotic
precious wood, but painted representations
of male and female smokers until the end
of the 1830s are few or none. This is when
Mihael Stroy (1803 1871) appears, a Slove-
nian on an extended work stay in Croatia,
with his allegoric, Trakoan Asia (1836) a
luscious and musical (almost) nude of a
young woman with a narghile. The allegory
serves as a shield for certain freedoms the
painter has indulged his brush in, and, I
forget to mention, perhaps the earliest ori-
entalist scene with cushions, carpets, silk
and narghile in Croatian 19'' c. painting.
Then there is the Man from Risanj (1849)
by Vjekoslav Karas (1821 1858) with a clay
pipe on a long slim chibouk, more oen
used in the country, as a folkloristic, popu-
lar response to modern challenges. Franjo
Ksaver Ginger (1826 ?), a painter of
modest standing in our colourful ouocento,
has le behind a series of dry portraits
of city dwellers of modest psychological
manufakturne radionice. Tu su cigarni-
ci mutikle pa lulice, blistave kutije
za cigarete i burmutice za duhan: zlatne,
srebrene, porculanske, od glei, slonovae,
egzotinog plemenitog drva, no slikanih je
prikaza puaica i puaa do potkraj tride-
setih godina xlx. st. malo i nita. Tada se
javlja Mihael Stroy (1803-1871), Slovenac na
produenom radu u Hrvatskoj, sa svojom
alegorijskom, trakoanskom Azijom (1836)
bujnim i muzikalnim (gotovo) aktom mla-
de ene s nargilom. Alegorija slui kao tit
za neke slobode koje je slikar priutio svo-
me kistu, a tu nisam ubrojio moda i naj-
stariji orijentalistiki prizor s duecima,
ilimima, svilom i nargilom slikarstva
xlx. st. u nas. Tu je, zatim, Rinjanin (1849)
Vjekoslava Karasa (1821-1858), s glinenom
lulom na tanku i dugu ibuku, kakve se
ee pue na selu, kao folklorni, puki od-
govor na moderne izazove. Franjo Ksaver
Ginger (1826- ?), slikar skromno pozicio-
niran u naem arenom ouocentu, ostavio
je niz suhih graanskih portreta, skromno
psiholoki motiviranih, no ako se ijedan
od njih uzdie iz drugorazredne biderma-
jerske tradicije u neki osobniji, realistiki
izraz onda je to, zacijelo, Portret mukarca
iz obitelji Beloviti, nastao sedamdesetih
godina 19. stoljea. Zanimljiv nam je i stoga
to dojmljiv lik ovjeka pobuuje i duha-
noloku znatielju: graanin Beloviti dri
u svojoj ljevici cigaru; znak da se sedam-
desetih godina ve uvelike troi i onkraj
aristokratskih gnijezda kako uvozna,
tako i domaa industrijska cigara.
motivation, but if there is one among them
to stand out from the second-class Bieder-
meier tradition as a more personal, realistic
work, then it is surely the Portrait of a Man
From the Beloviti Family from the 1870s.
We nd it interesting because the impres-
sive image of the man evokes tobacconist
curiosity as well: citizen Beloviti holds a ci-
gar in his le hand; a sign that in the 1870s
there was ample usage even outside of
aristocratic sanctuaries of both imported
and domestic industrial cigars.
Zagrebaka Tvornica duhana (Zagreb
Tobacco Factory), which had evolved
from the plant in Svilarska Street (today:
Zagrebaka Tvornica duhana, to se ra-
zvila iz pogona u Svilarskoj ulici (danas:
Preradovieva) a koji je djelatan od 1817.
proradila je krajem 1869. u zgradi dana-
njega Rektorata Sveuilita na Kazalinom
trgu, proizvodei, preteno za hrvatsko
trite, cigare i duhan za lulu. Pridruila
Cigarpic
Cigareue holder
Mihael Stroy, Azija, 1836.
Mihael Stroy, Asia, 1836
Preradovieva) which in turn had been in
operation since 1817 was launched in late
1869, in what is today the seat of the Uni-
versity Rectorate at Kazalini trg, produc-
ing cigars and tobacco for pipes, mostly for
the Croatian market. In 1872, it was joined
by the Tvornica duhana (Tobacco Factory)
in Rovinj oering similar products.
The last quarter of our tobacco-relative
19'' c. painting will be marked by the Sul-
tans Wife (1877) by Vlaho Bukovac (1854
1922), interesting for several reasons: it is
his amateur work, before the academy; it is,
with Stroys Asia, a work of intensely orien-
talist (fashionable) style, but it is also a
painting which the young Fag(g)ioni signed
with the Croatian version of his surname
for the rst time: Bukovac. It is also a paint-
ing which, hoping for a scholarship, he gave
to bishop Strossmayer and, even if it had
been painted in San Francisco, signed it
with: V. Bukovac, Cavtat, 1877. America is
dead, long live Croatia! His Sultans Wife
also lies on pillows; she seems like the an-
them of hedonism, soaring from the nave
soul of the young wage worker, as a reverie
of happiness in the world of immense luxu-
ry and comfort, where the nargile the Per-
sian pipe, as it is also called is at home:
both as an irreplaceable element of the
oriental interior design and as a symbol of
the relaxed and careless, oen reckless en-
joyment. It is interesting to hear the nar-
ghile speak in its other, concealed sense
and language; the sultans wife is a woman
who has everything but freedom; the nar-
ghile is the one enabling the captive to rise
above her traditional fate, above all walls
and fences of the comfortable prison
around her. The narghile is the key. Imitat-
ing the Orient, fantasizing about the things
they were not very familiar with and
glimpsing into the works of those who
knew more, our pioneers Stroy in the
rst quarter of the 19'' c. and Bukovac in
the fourth drew closer to Baudelaires
fantasy of tobacco smoke that liberates
joj se 1872. i rovinjska Tvornica duhana sa
slinim asortimanom.
Posljednju etvrtinu naeg slikarskog
xlx. st., u sprezi s duhanom, obiljeit e
Sultanija (1877) Vlaha Bukovca (1854-1922),
koja je viestruko zanimljiva: to je njegovo
amatersko, predakademijsko djelo; to je,
uz znatno stariju Stroyevu Aziju, djelo
izrazito orijentalistikog (pomodnog)
rukopisa, no to je i slika na kojoj se mladi
Fa(g)gioni, prvi put potpisao hrvatskom
inaicom svoga prezimena: kao Bukovac.
To je i slika koju, u nadi stipendije, pokla-
nja biskupu Strossmayeru i, naslikanu
u San Franciscu, potpisuje: V. Bukovac,
Cavtat 1877. Amerika je mrtva, ivila Rvat-
ska! Njegova Sultanija, takoer, poiva na
jastucima; ona sama doima se kao himna
hedonizmu to se izvija iz naivne due
mladog najamnika, kao sanjarija o srei u
svijetu neumjerene raskoi i udobnosti, u
kojemu je mjesto nargili perzijskoj luli,
kako je jo zovu bilo zajameno: i kao
nezamjenjivu dijelu orijentalnog interijera
i kao simbolu oputena i bezbrina, neri-
jetko lakomislena uivanja. Zanimljivo je,
kako nargila progovara i svojim drugim,
pritajenim smislom i jezikom; sultanija je
ena koja ima sve osim slobode; nargila
je ona koja zarobljenoj omoguuje da se
uzdigne iznad svoje tradicijske sudbine,
preko svih zidova i ograda udobne tamni-
ce koja je okruuje. Nargila je klju. Imiti-
rajui Orijent, snatrei o onome to zbilj-
ski ba i nisu poznavali i zavirujui u djela
onih koji su o tome neto vie znali, nai
su se pioniri Stroy u prvoj i Bukovac u
etvrtoj etvrtini xlx. st. primakli Baude-
laireovoj sanjariji o duhanskom dimu koji
oslobaa matu. ini se, kao da smo na
poetku duhanske prie u hrvatskom sli-
karstvu bili zaneseniji, skloniji transcendi-
rajuoj crti dima koji se izvija, rasplinjuje i
hlapi, nego u potonja vremena. Preputen
je velik, najvei dio prostora tvrdome rea-
lizmu: Bolje lula u ruci, nego dim u kronji.
Jesmo li, doista, uspjeli u nemoguem: da
imagination. It seems that at the beginning
of the tobacco story in Croatian painting
we were more enthusiastic, more inclined
towards the transcending line of smoke
twirling, dissipating and evaporating, then
we were in the times to come. A large, the
largest segment of space was le over to
rm realism: A pipe in the hand is worth
two smokes in the bush. Have we really
achieved the unachievable: to concretize, to
materialize most of our clouds of smoke?
As the story of our 19'' c. draws to an
end, I recall the portrait of Mehmed Kolak
Kolakovi (1887), painted in the naturalist
style and, one might even say: anticipat-
ing hyperrealism, by Ferdo Quiquerez
(1845 1893). The singer of Mohammedan
folk songs, the singer of the beys as his
contemporaries call him sang in Zagreb,
in front of scribes working in shis for an
edition of Matica hrvatska (Matrix Cro-
atica), more than 49,000 verses. A colourful
character, a singer of stunning memory, he
delighted his hosts and made Quiquerez
overdo everything; the painting might as
well have been catalogued as The Ideal
Smoker, His Equipment and Accompanying
Items. The need to count, describe and doc-
ument everything seen on the table stems
from the still vital orientalist fashion em-
powered by the positivism of the time and
the rehabilitation of folklore and folk her-
itage. In the painters interpretation, Kolak
is the living image of the saying: Smokes
like a Turk. This weakness for Bosnia and
Bosnian topics, found with many of our
writers and painters, stems from a historic
nostalgia for the Croatian territory occu-
pied by the Turks there was even a Turk-
ish Croatia but also from the modern
mans longing for romanticism. During the
four centuries of Ouoman rule, alongside
with constant conicts, a need for commu-
nication and coexistence evolved; Croats
have thus adopted many Turkish words,
many customs, there were powerful traces
le of great architecture, traces in the cul-
konkretiziramo, da materijaliziramo vei-
nu naih dimnih oblaka?
Privodei kraju priu o naem xlx. st.,
prisjeam se portreta Mehmeda Kolaka
Kolakovia (1887) to ga je u maniri natura-
listikoj, a moglo bi se rei: i anticipirajui
hiperrealizam, naslikao Ferdo Quiquerez
(1845-1893). Pjeva muhamedanskih na-
rodnih pjesama, begovski piva kako ga
krste suvremenici ispjevao je u Zagrebu
pred zapisivaima koji su se smjenjivali,
za potrebe izdanja Matice hrvatske, preko
49000 stihova. Slikovita pojava, pjeva
frapantne memorije, oduevio je svoje do-
maine, a Quiquereza natjerao da u svemu
pretjera; slika bi se mogla katalogizirati i
pod naslovom Idealni pua, njegov pribor
i pratei sadraji. Potreba da se sve to je
na stolu pobroji, opie i evidentira dolazi
iz jo ive orijentalistike mode osnaene
pozitivizmom toga vremena i rehabilita-
cijom folklora i folklorne batine. Kolak je,
u interpretaciji slikarovoj, olien kao iva
slika uzreice: Pui kao Turin. Ta slabost
prema Bosni i bosanskim sadrajima, koja
se razabire u mnogih naih pisaca i slika-
ra, ima korijena u povijesnoj nostalgiji za
dijelom poturenog hrvatskog prostora
ta postojala je i Turska Hrvatska ali i u
enji modernog ovjeka za romantikom.
Za osmanlijske vlasti, tijekom etiriju
stoljea, razvijala se, osim stalnih sukoba, i
potreba za komunikacijom, za suivotom;
usvojili su tako Hrvati mnoge turske rijei,
mnoge obiaje, ostali su snani tragovi
velikog graditeljstva, tragovi u kulturi
svakodnevlja, u spravljanju hrane, u nonji
pa i mentalitetu. Za puaa iz kontinental-
ne Hrvatske Turska je, kao most izmeu
Arabije i Europe, bila izvorite, domovina
njegova uitka. S Osmanlijama dolazi
Srednjoj Europi duhan, a Hrvatima i goto-
vo sve rijei za sirovinu, sredstva i puake
predmete, pa nije udo da su i duhan, i lula,
i ibuk, i burmut, i kami, i (duhan)kesa
redom turcizmi, neki preuzeti iz arapskoga
ili perzijskoga. I to bi bilo dostatno da se
ture of everyday living, in preparing food,
in clothes, even in mentality. For a smoker
from continental Croatia, Turkey, as a
bridge between Arabia and Europe, was
the source, the homeland of his pleasure.
The Ouomans gave central Europe tobacco,
and gave Croats almost all words for raw
material, means and smokers parapherna-
lia, and it is therefore no wonder that du-
han (tobacco), lula (pipe), ibuk (long-stem
pipe), burmut (snu), kami (pipe neck)
and (duhan) kesa (tobacco pouch) are all
Turcisms, some taken over from Arabian or
Persian languages. This would suce to es-
tablish one of the two natural and historic
paths of the expansion of tobacco into the
Croatian lands. A similar case is that of
Dalmatia, where the word for cigareue has
long been panjulet or panjolet, aer the
Italian: spagnoleua, which is a safe indica-
tion that the habit of smoking had come
to our coast from Italy, just as it is evident
that the Spaniards had brought it into
Italy. The cigareue must have initially been
felt as a strange, foreign object in Italy and
was thus called the Spaniard. In Spain, of
course, the cigareue is not espagola (since
this does not provide it with the necessary
dierentiating quality), but cigarillo. The
old Dalmatia kept a primarily humorous,
but perhaps also character-related
direct connection with Spain as well:
both panjulet and cigarillo are of
masculine gender.
Of the four indicative tobacco-painting
works of the Croatian 19'' c., two have
women as their central characters (al-
though one is an allegory, representing
the personied Asia), and two have men.
Women kept the fantasy of tobacco alive,
and men held up consumerist realism.
* * *
Tobacco, primarily the cigareue, spread
throughout Europe borne by bohemia,
wars and lonesome chores, until almost
ustanovi jedan od dva prirodna i povijesna
puta irenja duhana u hrvatske zemlje.
Analogan sluaj imamo u Dalmaciji, gdje
se cigareta, odavno, naziva panjulet ili
panjolet, prema talijanskom: spagnoleua,
to je pouzdana indikacija da se navada
puenja na nau obalu prenijela iz Italije,
kao to je oito da su je Italiji prenijeli pa-
njolci. U Italiji se, prvotno, cigareta morala
osjeati stranim, tuim proizvodom, doim
su je nazvali panjolkom. U panjolskoj,
naravno, cigareta nije espagola (jer nema
nunu razlikovnu posebnost), nego je ciga-
rillo. Stara je Dalmacija imala preteno
humornu, a moda i karakternu izravnu
vezu i sa panjolskom: panjulet i cigarillo
mukoga su roda.
Od etiri indikativna duhansko-slikar-
ska djela hrvatskoga xlx. st. u dva su sre-
dinji likovi ene (jedan, dodue alegorijski,
predstavljajui personiciranu Aziju), u
dva mukarci. Sa enama je ivjela fan-
tastika duhana, s mukarcima je trajao
potroaki realizam.
* * *
Duhan, napose cigareta, ire se u Europi
na krilima boeme, ratova i samotarskih
poslova, da bi takorei nedavno Antun
oljan, stihom, brutalno zakljuio tu epo-
peju nikotinske emancipacije formulaci-
jom dostojnom Zoline proze:
ene serijski psuju i pue kratke lule.
(ena koja pui lulu neko je vrijeme
traumatsko-travestitska slika u hrvatskoj
kulturi: neto poput mukarca u haljini.)
Analiza puakih sadraja uputi nas,
brzo i instruktivno, u socijalni status
duhanske populacije; bio je to a) dokon
svijet s puno vremena ni za to; b) bio je
to svijet tekih i opasnih zanimanja to
se obavljaju u samoi; u prostranstvu to
Antun oljan, Tisuu i jedna no, v. Baca kamena,
Zagreb 1985, str. 58.
7
Ferdo Quiquerez, Mehmed
Kolak Kolakovi, 1887.
Ferdo Quiquerez, Mehmed
Kolak Kolakovi, 1887
recently Antun oljan, in his verse,
put a brutal end to this epic of nicotine
emancipation in a formulation worthy
of Zolas prose:
Women are serial swearers and they
smoke short pipes.
(A woman smoking a pipe has for a while
been a traumatic and transvestite image in
the Croatian culture: something like a man
in a dress.)
The analysis of smokers items can be a
quick and instructive indicator of the social
standing of the tobacco population; it was
a) idle people with too much time on their
hands; b) people performing hard and dan-
gerous jobs laboured in solitude; in the vast
space leaving us without numerous and
diverse partners in communication; jobs
depriving us of female company and expos-
ing us to exhaustion and danger so that
the pipe, cigar and cigareue emerge as sub-
stitutes for the lack of company and socia-
bility, for unaccomplished conversations,
for women and erotica. Once the eect of
the activity (smoking) began to be seen as
a compensational need (consolatio) there
was no longer anything to stop Freud to
dedicate himself to the research of the
symbolic function of cigar, cigareue, cigar
holder, pipe. Even sooner because each of
these was rst to be rolled between ngers
and felt, lled by hand, cut and soened;
because a spark would y aer that and
ame would icker, and because each of
them would end up in the mouth, touching
lips, teeth and tongue. They were, in fact,
oered to an empty hand, primarily: the
hand of the workless, the hand of the idle
and the hand of the man replacing his hard
work, for a moment, with brief rest. The
symbolic function of the cigareue, pipe and
all other tobacco products was evident in
the second degree of transmission as well:
nas ostavlja bez komunikacijskih mno-
gih i raznovrsnih partnera; poslova koji
nas liavaju enskoga drutva, a okreu
iscrpljivanju, izlaganju opasnostima pa se
lula, cigara i cigareta pojavljuju i kao sup-
stituti za izostalo drutvo i drutvenost, za
neostvarene razgovore, za ene i erotiku.
Kad se uinak radnje (puenja) poeo
razaznavati kao kompenzativna namira
(consolatio) nita nije vie prijeilo Fre-
udu da se posveti istraivanju simbolske
funkcije cigare, cigarete, cigarnika, lule.
Utoliko prije i lake to se svaka od njih
prvo okretala meu prstima i opipavala,
rukom punila, obrezivala i omekavala; to
bi potom kresnula iskra i zaigrao plamiak
i to je svaka od njih zavrila u ustima,
dodirujui usne, zube i jezik. One su se,
zapravo, nudile praznoj ruci, ponajprije:
ruci besposlenoga, ruci dokonoga i ruci
onoga koji, na trenutak, teak posao za-
mjenjuje kratkim odmorom. Simbolska je
funkcija cigarete, lule i svih ostalih duhan-
skih pripravaka bila razvidna i u drugom
stupnju transmisije: ne vie samo predmet
za predmet, nego i radnja za radnju. Ali
radnja (puenje) za razliku od predmeta
(cigarete) uz funkciju ukljuuje i vrijeme.
Predmet, sam po sebi, ne troi vrijeme, dok
je funkcioniranje (djelovanje) neodvojivo
od utroka vremena. Cigareta zaprema
prostor, puenje od nas iziskuje krae ili
due vrijeme posveenosti. Osim realnog
vremena postoji, meutim, i ono ktivno:
to se pua sabranije preputa svojoj stra-
sti, to se vie unosi u dimove koje otpu-
huje i to vie s dimovima i sam uzlijee i
hlapi, rastae se i pline to vie (ktivno)
plovi to e kratkotrajna radnja imati sve
due (fantazijske) implikacije.
Pue, u nekom trenutku, svi: mukarci,
ene i keserovska zloesta djeca; stari
i mladi, umjetnici i listri, civili i vojnici,
goropadnici i kukavice, bogati i oskudni,
istraivai i avanturisti, karijeristi i despe-
radosi, andari i lopovi. Ipak, netko pui
zato to mu se pui, a netko zato jer vidi
7 Antun oljan, Tisuu i jedna no, in Baca kamena,
Zagreb, 1985, p. 58.
teca Vidai, Miss Europa
teca Vidai, Miss Europa
the psychology of male/female smokers; it
includes, especially with adolescents, the
oen painful mauers of self-identication;
primarily as identication with ones role
models oentimes the very role models
with a cigareue dangling from their mouth.
The cigareue has undoubtedly been associ-
ated with a certain type of macho culture;
with images of the strong, erce, wild
freedom-ghter who gradually morphed
from the rst smoking icons sailors, tough
soldiers, vagabonds into on-screen char-
acters: heroes of the good, and even more
so, heroes of the evil; who became street
heroes. The rst were authentic, real char-
acters, but quickly adopted by literature;
the second were acted characters but actors
like Bogart, Robinson, Wayne, Belmondo,
Dean or Eastwood made them authentic,
even realistic. In a way, todays anti-smoking
trend, steered by legal provisions, found
its rst targets in them: they all declared
themselves as people outside or above the
law so their followers had to face the fate
suobraeni su, u novije doba s dimovima
tvornikih dimnjaka, sa smogom velegra-
dova, s dimom paklenim. Medicinski zid
postaje previsok da bi ga se lako preskaka-
lo, a nancijski jer je pritisnut poreznim
i troarinskim ciljanim udarom duhan
postupno prestaje biti jeinom Utopijom.
Epoha puakog maizma, to se odrava-
la od polovine xlx. st. do pojave jugendstila
i art dcoa, traje naporedo s nastojanjem
da se cigareta i puaki pribor prikau ne
samo kao atributi snage i grubosti, nego
i kao atributi elegancije, pokazujui da je
irok krug onih prema kojima duhanska
industrija usmjerava svoje poruke: od na-
no longer just an object for an object, but
also an activity for an activity. But activity
(smoking), unlike the object (cigareue), in-
cludes time with the function. The object in
itself does not take time, whereas function-
ing (acting) is inseparable from spending
time. A cigareue takes up space, smoking
requires from us more or less dedicated
time. However, with real time, there is also
the ctional time: the more focused the
smoker is on his passion, the more he
gives himself to the pus of smoke he
blows and the more he himself soars and
evaporates with the smoke, dissipates and
dissolves the more he oats (in ction)
the longer (fantasy) implications this
short activity will have.
At one point or another, everybody
smokes: men, women and enfants ter-
ribles; the old and the young, artists and
philistines, civilians and soldiers, rebels and
cowards, the rich and the needy, explorers
and adventurers, career people and des-
perados, police and thieves. However, some
smoke because they feel like smoking and
others because they see somebody else do
it; others yet to isolate themselves with
smoke, others yet because the temptation
of tobacco smoke is cheaper than the temp-
tation of hashish or of golden locks... Which
every way it may be, there are hundreds
of motifs, some even contradictory, for a
person to give in to the pipe or the snu
box; not to mention chewing tobacco. Some
do it to bring themselves forward, others
to make it easier to let themselves down or
disguise themselves. Initially a male thing,
the cigareue will easily auract, swearing
by the equality of sexes, the women who
are not or do not want to be just that. The
new, modern democratic ways will deprive
them of the satisfaction of mimicry: maybe
the rst lady smoker was a woman with a
moustache, a she-male, but the 100'' one
was now a she-female. I do not claim we
should ignore the problems relating to
the complex psychology of smoking and
da to rade drugi; trei pui da bi se izolirao
dimom, etvrti stoga to je napast duhan-
skoga dima jeinija od napasti haia ili
zlatnih uvojaka Bilo kako bilo, ima sto-
tinu, pa i proturjenih, motiva s kojih se
netko odaje luli ili burmutici; o vakanju
duhana da se i ne govori. Jedni to ine
stoga da bi potencirali sebe, drugi stoga
da bi se lake iznevjerili ili prikrili. Isprva
muka stvar, cigareta e to lake privui,
zaklanjajui se za ravnopravnost spolova,
i one ene, koje to nisu ili koje to ne ele
biti. Nova, moderna demokratinost odu-
zet e im zadovoljstvo mimikrije: ako je
prva puaica i mogla biti ena s brkovima,
ena-muko, stota je ve bila ena-ena.
Neu rei da treba zanemariti probleme
koji se odnose na kompleksnu psihologiju
puenja i psihologiju puaa/puaice;
ona ukljuuje, naroito kod adolescenata,
nerijetko bolna pitanja autoidentikacije;
ponajprije kao identikacije sa svojim
uzorima esto ba onima s cigaretom u
gubici. Cigareta se, nedvojbeno, vezivala
uz odreeni tip macho kulture; uz pre-
dobe o snanom, neukrotivom, divljem
slobodaru, koji je iz prvih pravih puakih
ikona mornar, vojniin, vagabund
postupno preao u likove s ekrana: u juna-
ke dobra, a jo i vie u junake zla; s njima
i u likove heroja ulice. Prvi su bili auten-
tini, pravi likovi, no ubrzo ih je posvojila
literatura; drugi su bili glumljeni likovi, no
glumci poput Bogarta, Robinsona, Waynea,
Belmondoa, Deana ili Eastwooda uinili
su ih vjerodostojnima pae realnima. Na
neki nain, dananji je antipuaki trend,
usmjeravan zakonskim odredbama, imao
u njima svoje prve mete: svi su se oni de-
klarirali kao ljudi izvan ili iznad zakona
pa je njihove sljedbenike stigla sudbina
odmetnika u pravnoj dravi. Kao pravi
antijunaci drski, cinini, destruktivni,
ravnoduni oni su dugo podravali mit
cigare(te) kao simbol onostrane, prekogra-
nine, hadske polovine svijeta. Puaki
dimovi, usuprot Baudelaireu i Ujeviu,
Oglas za Pebeco pastu za zube, 6. 7. 1929.
Pebeco toothpaste advertisement, July 6, 1929
of outlaws in a real state. True anti-heroes
cheeky, cynical, destructive, cool they
supported the myth of the cigar(eue) as
the symbol of the outcast, cross-the-border,
Hadean half of the world. The smokers
smokes, contrary to Baudelaire and Ujevi,
have in modern times been merged with
smokes from factory chimneys, with the
smog of the cities, with the smoke of hell.
The medical wall becomes too high to jump
across and the nancial one burdened by
the tax and excise targeted auack tobacco
gradually stops being a cheap Utopia. The
era of smoker machismo, holding from mid-
19'' c. until the emergence of jugendstil and
art dco, lasts alongside with eorts to pre-
sent the cigareue and smokers items not
only as auributes of strength and rough-
ness but also as auributes of elegance, indi-
cating a wide array of the recipients of the
tobacco industrys messages: from bullies,
apaches and members of the wild bunch,
from workers in construction, shermen
on whalers and shing boats, soldiers in
trenches, cowboys, hunters and explorers to
bankers in their armchairs, lawyers in of-
ces, doctors in hospitals, artists in studios
and cafes, to the young women displayed
for the readers of the Zagreb-based Svijet,
drinking abeso or martini on restaurant
terraces, playing with an elegant cigareue
holder, peuing their greyhound or their
lover. Art dco is the last and the supreme
achievement of the smoker and tobacco
gentility, whereas World War ll. and the
hungry post-war years will induce the uuer
collapse of this morbid and hypersensitive,
stylish and city-dwelling smokers Interna-
tional: the International of white collars,
low-cut necklines, wicker armchairs, biuer
aperitifs, Ford or Bugaui convertibles, silk
dresses, boureue summer suits and exotic
sandy beaches in Marrakesh. Never more!
Those were the times in which some be-
lieved a genteel world is possible as a world
of prosperity, happiness and casual idleness,
alcoholic haze, hippodromes and intercon-
silnika, apaa i pripadnika divljih hordi,
od radnika na gradilitima, ribara na kito-
lovcima i koama, vojnika u rovovima, go-
nia stoke, lovaca i eksplorera do bankara
u foteljama, odvjetnika u uredima, lijeni-
ka u bolnicama, umjetnika po atelijerima i
kavanama do mladih ena to se, ispijajui
abeso ili martini na terasama restorana,
pokazuju itaima zagrebakoga Svijeta,
poigravajui se otmjenim cigarnikom, gla-
dei svoga hrta ili svoga dragog. Art dco je
zadnji i vrhunski domet puake i duhan-
ske gospotije, a onda e se, u ll. svjetskom
ratu i gladnome porau, posve uruiti ta
morbidna i hipersenzitivna, stilotvorna
i graanska puaka internacionala: in-
ternacionala bijelih ovratnika, dubokih
dekoltea, fotelja od prua, gorkih aperi-
tiva, fordovih ili bugauijevih kabrioleta,
haljina od svile, ljetnih odijela od bureta
i egzotinih pjeanih plaa u Marakeu.
Never more! Bilo je to vrijeme u kojemu se
nekima inilo da je graanski svijet mogu
kao svijet prosperiteta, sree i bezbrine
lagode, alkoholnih para, hipodroma i inter-
kontinentalnih letova, tenisa, regata i pla-
viastih dimova to se viju iz plemenitih,
mirisnih cigara i cigareta za dame i gospo-
du. U nas je veliki promotor te iluzije bio
Oto Antonini: portski automobili, zagre-
bake missice (doslovce: zagrebaki Misso-
vi!), kokteli na terasi Esplanade, reketi pod
mikom, Karlovy Vary, Marienbad, Opatija,
Topusko, Hvar i Dubrovnik, Azurna obala,
Capri, Baleari. A onda je gospodarski slom
1929. godine, rat u panjolskoj, uspon faiz-
ma i poetak Velikog rata u Europi ve 1939.
odagnao te rajske priine kao to se poslije
zavrene predstave skidaju i pospremaju
kazaline kulise: nestaju ljetnikovci, balu-
strade, kue za odmor i vedri krajolici
s morem u daljini: sve se posprema u
podrume, na sve pada praina povijesti.
U ratu i poslije rata se pui; Churchill i
Tito cigare, Staljin lulicu, Roosevelt cigare-
te; tako i generali, ene, vojnici, civili. Tvor-
niari cigareta aktivno sudjeluju u ratnoj
(samo)promibi: Lucky Strike crLLN
has gone to war! So heres the smart
new uniform for ne tobacco. Sam
C. L. Sulzberger pie: Tvornica cigareta
Lucky Strike je bunom reklamom
pretjerano naglaavala svoj prilog
ratnom naporu na plakatima, radiju
i drugdje.
Puit e se i u Koreji, Vijetnamu, Egiptu,
Afganistanu itd., a vojniki e paketi sa
suhom hranom sadravati i neizostavne
paketie cigareta, isto kao i w-ine poiljke
koje smo dobivali 1945, 1946. godine. Proi-
zvoai e i dalje reklamirati svoje proizvo-
de, fotogra i snimatelji ovjekovjeit
e nebrojena ratita druge polovine xx. st.
s vojnicima koji se poslije bitaka smiru-
ju cigaretom. U ono se doba inilo da je
svitak duhana svojevrstan medikament
samo za odrasle. Tako je duhan prezenti-
ran, tako hvaljen, tome su u prilog govorile
tisue fotograja. To je vrijeme prolo.
Vie ne lijee? Vie ne smiruju?
tinental ights, tennis, regauas and bluish
plumes of smoke twirling from the noble,
fragrant cigars and cigareues for ladies and
gentlemen. The great promoter of this il-
lusion here was Oto Antonini: sports cars,
Miss Zagreb (literally: zagrebaki Missovi!),
cocktails at the Esplanade hotel terrace, rac-
quets under the arm, Karlovy Vary, Marien-
bad, Opatija, Topusko, Hvar and Dubrovnik,
the Azure Coast, Capri, Baleari. And then
the economic collapse of 1929, the war in
Spain, the rise of fascism and the beginning
of the Great War in Europe chased away
that heavenly mirage starting with 1939, as
theatre props are removed and put away
aer a play: so disappeared summer houses,
balustrades, vacation houses and sunny
landscapes with the sea on the horizon: all
taken away into cellars, all covered with
the dust of history.
There is smoking in and aer the war;
Churchill and Tito smoke cigars, Stalin a
small pipe, Roosevelt cigareues; the same
goes for generals, women, soldiers, civilians.
Cigareue factory owners take an active
part in wartime (self) promotion: Lucky
Strike crLLN has gone to war! So heres the
smart new uniform for ne tobacco. C. L.
C. L. Sulzberger i suradnici, Drugi svjetski rat,
ll. dio, Marjan tisak, Split 2005, str. 473.
8
Joso Buan,
Stari seljaki par,
1910.
Joso Buan,
Old Peasant Couple,
1910
Sulzberger himself wrote: Lucky Strike
cigareue factory used noisy advertising
to overemphasize its contribution to
the war eort on posters, on the radio
and elsewehere.
There will be smoking in Korea, Viet-
nam, Egypt, Afghanistan, etc., and military
dried food packages will also contain the
inevitable cigareue packs, just like the
UNrrA packages we used to receive in 1945
and 1946. Manufacturers will continue to
advertise their products, photographers
and cameramen will capture countless war
elds in the second half of the 20'' c. with
soldiers aer baules calming their nerves
with cigareues. It seemed back then that a
roll of tobacco is a sort of a medicine for
adults only. This is how tobacco was pre-
sented, praised, and this was supported by
thousands of photographs. Those days are
gone. Do they no longer heal? Do they no
longer calm the nerves?
The social and cognitive landscape has
signicantly changed since. I no longer
see as many photographs of countless
contemporaries, male and female, noting
something down with their heads in ciga-
reue smoke clouds, like Ljubo Babi; or, like
Vjeko Para, chain-smoking while painting,
writing, siuing, walking, listening or talk-
ing; or, like Nives Kavuri Kurtovi, despair-
ing maybe dreaming over the looming
disaster of the general smoking close
season. Bukovac and tobacco are a story of
its own. He must have been the only Croat
to allow or deprive an emperor and king
(Frantz Joseph l.) the immediate pleasure of
smoking. He encouraged his models:
Go on, light up. Smoke is part of your
portrait, too. And so on. Less and less fre-
quent are the photographs of poets, writers,
Drutvovni se i spoznajni pejza otad
uvelike izmijenio. Ne vidim vie toliko
snimaka bezbrojnih suvremenika i suvre-
menica kako s glavom u oblaku cigaretnog
dima, poput Ljube Babia, neto biljee; ili
kako, poput Vjeke Paraa, dok slika, pie,
sjedi, hoda, slua ili govori, pripaljuju ciga-
retu za cigaretom; ili kako, poput Nives
Kavuri Kurtovi, oajavaju moda
usnivi da im prijeti pogibelj proglaenja
sveopeg puakog lovostaja. O Bukovcu
i duhanu gotovo da i ne bi trebalo priati.
On je, valjda jedini od Hrvata, bio u prilici
da jednome caru i kralju (Franji Josipu l.)
uskrati ili dopusti trenutni uitak puenja.
On kao da je i svoje modele-puae nago-
varao: Samo pripalite. I dim je dio Vaega
portreta. Itd. Sve su rjee fotograje pje-
snika, pisaca, redatelja i glumaca u zadi-
mljenim kavanama, u pubovima, u gostio-
nicama. Uvaavajui socijalnu korektnost
danas se mnogi usteu od napasti da pri-
pale na ulici ili u parku s djecom. U zborni-
cama, foyerima se vie ne pui. Ni na sa-
stancima Sabora, vlade, raznih ministar-
stava. Ni u Apollu ili Sojuzu. Neko su
bolniki parkovi izgledali kao otvoreni
odjeli za dodatno lijeenje duhanskim
dimom. Tempi passati! Krsto Hegedui je
kreui se po svojoj sobi, u radionici u Za-
menhofovoj, stalno za sobom vukao teku
pepeljaru. ulenti, Vai i Kulmer pukali
su lule; Gecan i Uzelac bili su, u svoje vrije-
me, dio autentine boheme to se jo na-
slanjala na francusku tradiciju: ispiuture,
puai, enoljupci; slikarski im je prethod-
nik i uzor bio Miroslav pl. Kraljevi, kojega
je Beci portretirao kako pui ne skinuvi
gospodske rukavice, a dotini je Kraljevi
sada kao slikar, a ne vie model i svoga
oca, poekog velikog upana, naslikao s
upaljenom cigaretom u ruci. U sjeanju
iskrsnu i drugi slikari puai: Reek, Duli,
Dalibor Para, Prica, Murti, Goldoni, e-
balj, Frii. S fotograja pamtim staroga
Nazora i Ujevia i mladoga Krleu; iz kava-
ne, Drutva knjievnika, s Filozofskog
C. L. Sulzberger et al, Drugi svjetski rat,
ll. Dio (Second World War, Part Two),
Marjan tisak, Split 2005, p. 473.
8
Vlaho Bukovac, Portret cara
Franje Josipa I, 1896.
Vlaho Bukovac, Portrait of Emperor
Frantz Joseph I., 1896
directors and actors in smoky coee hous-
es, in pubs, in restaurants. Accepting social
correctness, many people today resist the
temptation of lighting up in the street or in
a park with children. No more smoking in
teachers rooms at schools, in foyers. Or at
sessions of the Parliament, the government,
at ministries. At Apollo or Sojuz. Hospital
parks used to resemble open-air wards for
special tobacco smoke treatment. Tempi
passati! Moving around his room at the
workshop in Zamenhofova Street, Krsto
Hegedui used to drag around a heavy
ashtray. ulenti, Vai and Kulmer used to
pu on pipes; Gecan and Uzelac were, in
their times, part of the authentic bohemia
of the French tradition: heavy drinkers,
smokers, skirt-chasers; their predecessor
and role model was the painter Miroslav pl.
Kraljevi, whom Beci made a portrait of
while smoking without taking o his aris-
tocratic gloves, and the said Kraljevi as
a painter, no longer a model painted his
father, the grand county prefect of Poega,
with a lit cigareue in hand. Other paint-
ers smokers come to mind: Reek, Duli,
Dalibor Para, Prica, Murti, Goldoni, ebalj,
Frii. I can recall photographs of old
Nazor and Ujevi and of the young Krlea;
from the coee house, the Writers Asso-
ciation, Faculty of Philosophy and Matrix
Croatica I also remember Marinkovi, Raos,
oljan, Slamnig... It is strange that no one
has ever thought of asking them a single
question in a survey: Why do you smoke?
Or: What is the smoke telling you? The only
common denominator would be the cost.
Everything else would be dierent. What a
shame! Either no one thought to ask or the
Ancient Smoker, let me not mention him
again, had described it all before.
* * *
I shall introduce something undisputable
into the disputes on tobacco: the past. If
the ban of smoking in public areas and
i Matice pamtim Marinkovia, Raosa, o-
ljana, Slamnigaudo kako se nitko nije
sjetio napraviti anketu meu svima njima,
i drugima, s jednim pitanjem: Zato pui-
te? Ili : to vam govori dim? Samo bi tro-
ak bio njihova dodirna toka. Sve bi dru-
go bilo razliito. teta! Ili se nitko nije sje-
tio pitati ili je Prapua, da ga ponovo ne
spominjem, sve ve bio opisao.
* * *
U prijepore oko duhana unosim neto
neprijeporno: prolost. Kad bi se zabrana
puenja u javnim prostori(ja)ma odnosila
i na slike i na slikovne prikaze puaa i
puenja ni u jednoj se galeriji ne bi u nas
vie mogla prikazati autentina povijest
hrvatskog modernog slikarstva. Neka su
djela zamjenjiva drugim, jednako dobrim
djelima istoga autora; neka, pak, nisu. to
moe nadomjestiti Bukovev Autoportret
s beretom (i cigaretom iz 1916)? Tek jedan
njegov puaki Autoportret s Cetinja i jo
jedan iz Beograda. to bi, u Buanovu opu-
su, moglo nadomjestiti Stari seljaki par?
Nema Kraljevievih portreta koji bi mogli
zasjeniti Portret slikara Benkovia (dok
jednom rukom dri lulu, a drugom nati-
skuje duhan) ili nadomjestiti Autoportret
s lulom. to bi moglo zauzeti mjesto nekog
od parikih nonih barskih prizora punih
duhanskoga dima? To nisu samo izvrsna i
neponovljiva djela, nego su i dokumenti o
tome kako se ivjelo. Tko bi uope uzmo-
gao rei neto suvislo o Kraljevievu ivotu
u boemskome Parizu, a da se ne osvrne
na njegove reporte iz zadimljenih krmi
i gostionica, kavana, barova i lupanara?
Pogledajmo Becia! Ima li kompenzacija za
Portret Miroslava Kraljevia (s cigaretom
u ruci, 1908), ima li zamjena za impozantan
niz autoportreta i portreta s lulom i cigare-
tom iz 1920, 1929, 1936, 1946?
Sloio bih se, ako treba, ak i s Matkom
Peiem da im nema nadomjestka u hrvat-
skome slikarstvu toga razdoblja. Bez Geca-
closed spaces referred to images and picto-
rial representations of smokers and smok-
ing not a single one of our galleries could
present an authentic history of modern
Croatian painting. Some works can be re-
placed by other, equally good works by the
same artist; others cannot. What could
replace Bukovacs Self-Portrait With Beret
(and cigareue, from 1916)? Only his smok-
ing Self-Portrait from Cetinje and another
one from Belgrade. Which Buans work
could replace his Old Peasant Couple? No
other Kraljevis portrait could ever sur-
pass Portrait of Painter Benkovi (holding
a pipe with one hand and pressing in the
tobacco with the other) or replace Self-Por-
trait With A Pipe. What could take the
place of one of Paris night bar scenes full
of tobacco smoke? These are not only
nova Autoportreta s cigaretom (1923) ostao
bi i njegov opus i hrvatsko slikarstvo bez
markantne toke naega moderniteta
treeg decenija. Inaice Autoportreta s
lulom (i oblaiima dima, iz 1920) Marina
Tartaglie danas su s razlogom mitska mje-
sta hrvatskog mladog slikarstva u trenut-
ku europskoga raskola izmeu ve starih
modernizama i aktualnoga neotradiciona-
lizma, a u kojemu su asu, kao i u nas s
Tartagliom, s obje suprotstavljene strane
stajali isti ljudi: oni od juer i oni redizajni-
rani jueranji (Picasso kubist prema Pica-
ssou klasicistu). Neu zanemariti Ignjata
Joba ni Milivoja Uzelca i koliko god je isti-
na da su im puaka djela nadomjestiva
jaim i vanijim, toliko se moram upitati
mogu li uope dotaknuti veliki fenomen
boeme (od de Quincyeva laudanuma
Vlaho Bukovac, Autoportret
s beretom, 1916.
Vlaho Bukovac, Self-Portrait
with Beret, 1916
Croatian painting would be le without
an outstanding moment of our modern
period of the third decade. Variants of Self-
Portrait With A Pipe (and pus of smoke,
1920) by Marin Tartaglia are today, and with
good reason, the mythical places of the
young Croatian painting at the moment
of the split between the old modernisms
and the ongoing neo-traditionalism in
Europe, when, as was the case with Tart-
aglia, the same people stood on both con-
fronted sides: yesterdays people and the
redesigned yesterdays people (the cubist
Picasso versus the classicist Picasso). I will
not forget Ignjat Job or Milivoj Uzelac and,
even though it is true that their smoking
works could be replaced with some more
powerful and more important ones, I must
wonder whether I can even touch upon
the great phenomenon of bohemia (from
nosti, istoga stolnjaka i prisnog drugar-
stva uz skladne i skromne ene, lijepe i
uvijek iste. To doista nije margina kako
se nekima inilo, nego je prostor s duom,
otporan i vrst: bez pomodarskoga perja,
bez ikakva pretjerivanja, tek pomalo repe-
titivan; bio je to pokuaj da se jednostavan
ivot sapne u jednostavne, proiene
forme kojih ne bi bilo bez kubistikog
iskustva i neoklasine prakse.
Na slinim se temeljima formirao
i Ivo Reek (1898-1979), discipliniraniji
crta i majstor s vie priroene gospod-
stvenosti i distance prema modelu i
motivu. Harlekin (s lulicom u ustima,
iz 1921) jedno je od njegovih najistaknuti-
jih djela; jedno od onih na koje prvo pomi-
sli svaki antologiar hrvatskog slikarstva
prve polovine xx. st., a mogao bi, mirne
due, i svatko tko se bavi europskim
i Baudelaireova haia do nikotinskih
nadahnua mlaih), a da zaobiem ista-
knute prvake boemske poetike i boemskog
naina ivota: Uzelca koji je to od mlado-
sti do zrelih godina, i Joba koji je to od
roenja do smrti?
Nitko u nas nije toliko svojih slika i
akvarela posvetio gostionici, kavani, lula-
ma i muko-enskoj tihoj suradnji na op-
skurnim ili, barem, neuglednim mjestima,
kao to je to uinio Marijan Trepe (1897-
1964). Ne samo to nam je i brojem svojih
djela uputio odreenu poruku iz koje
iitavamo njegovu nedvojbenu empatiju
za male i nevane, za marginalizirane ili
zaboravljene, koje ipak nije prikazivao kao
beznadno izgubljene; mali svijet u malome
svijetu, a opet ne bez privlane neposred-
excellent and unique works but also
documents of a way of living. Who could
say anything relevant about Kraljevis life
in the Parisian bohemia without remark-
ing on his reports from smoky joints and
eateries, coee houses, bars and cathous-
es? Let us take a look at Beci! Is there
anything to compensate for Portrait of
Miroslav Kraljevi (with a cigareue in his
hand, 1908), are there substitutes for his
impressive series of self-portraits and
portraits with pipe and cigareue from
1920, 1929, 1936, 1946?
I would go as far as agreeing with Matko
Pei when he says that there is no substi-
tute for these in Croatian painting of that
time. Deprived of Gecans Self-Portrait
With A Cigareue (1923), his opus and the
Miroslav Kraljevi, Portret slikara Benkovia, 1912.
Miroslav Kraljevi, Portrait of Painter Benkovi, 1912
Vilko Gecan, Autoportret s cigaretom, 1923.
Vilko Gecan, Self-Portrait with Cigareue, 1923
Miroslav Kraljevi,
Autoportret s lulom,
1912.
Miroslav Kraljevi,
Self-Portrait with Pipe,
1912
slikarskim dvadesetim i tridesetim godi-
nama. U Reekovu je rukopisu nataloeno
veliko iskustvo Moderne, koju upija u
Pragu i na pari kome izvoru, a ne na
rubnim, drugorazrednim receptivnim
postajama. U ponajboljim svojim djelima
dvadesetih Reek je bio, uz Tartagliu,
gledano oima europskih connaiseura,
najeuropskiji hrvatski slikar: konkretan
i odmjeren, egzaktan i otmjen; slikar
velike oblikovne snage, jasna podrijetla
i s jasnim ciljem. Hoemo li sada iupati
lulicu iz usta Harlekina? Hoemo li
kriom izvui cigaretu iz ruke sjajnog
Dr. Leitnera? Oni po dananjim regula-
ma prijestupnici ostaju spomenicima
dviju (prolosnih?) kultura: kulture
slikanja i kulture puenja. Slikarstvo
najmanje govori anegdotom, kostimom,
akcidentalijama; najvie oblikom i bojom.
de Quinceys laudanum and Baudelaires
hashish to the nicotine inspirations of the
younger ones) overlooking the prominent
pioneers of the bohemian poetics and bo-
hemian way of life: Uzelac who had been
all that since his youth to his later years,
and Job who was all that from birth
until death?
None of our painters have dedicated as
many of their paintings and water colours
to the restaurant, coee house, pipes and
the quiet male-female cooperation in ob-
scure or at least shabby places as did Mari-
jan Trepe (1897 1964). It was by the sheer
number of his work itself that he sent us
a message reecting his obvious empathy
for the small and the unimportant, the
marginalized or forgouen, whom he never-
theless did not present as hopelessly lost;
a small world within a small world but not
Vladimir Beci, Autoportret, 1920.
Vladimir Beci, Self-Portrait, 1920
Vladimir Beci, Portret slikara Kraljevia, 1908.
Vladimir Beci, Portrait of Painter Kraljevi, 1908
Marino Tartaglia, In memoriam izgorjelom
Autoportretu s lulom, 1945. 1955.
Marino Tartaglia, In memoriam of burnt
Self-portait with a pipe, 1945-1955.
without an auractive immediacy, a clean
tablecloth and close companionship
with handsome and modest women,
preuy and always the same. This is admit-
tedly not the margin, as some thought,
but a space with a soul, resistant and
strong: without fashionable rues, with-
out any exaltation, only a tad repetitive;
this was an auempt to conne a simple life
into simple, puried shapes which would
not have existed without the cubist experi-
ence and the neo-classical practice.
Similar were the founding grounds of
Ivo Reek (1898 1979), a more disciplined
Zato e neki puai, pa tako i Reekovi,
ostati trajno ivi.
to je bilo bilo je. Ne samo u Hrvatskoj;
tako je i drugdje i nije rije samo o
cigareti. Mnoge su stare zabrane pale, mno-
ge su nove istom proglaene. No ljudska je
memorija ira od doputenog ili zabranje-
nog: njezina je idealna zadaa da sauva sve.
Vjeko Para (1904-1986) imao je, naporedo
s Milivojem Uzelcem i Jurjem Planiem,
svojih parikih pet minuta; blistavi trenu-
tak u kojemu su se sretno stopili njegova
darovitost, arm pristalog mladog ovje-
ka, poznavanje talijanskog i francuskog
Ignjat Job,
Autoportret,
1931.
Ignjat Job,
Self-portrait,
1931
Marijan Trepe, U kavani, 1919.
Marijan Trepe, At the Coee House, 1919
drawer and a master possessing more nat-
ural gentility and distance from his model
and motif. Harlequin (with a small pipe in
his mouth, 1921) is one of his most promi-
nent works; one of those that spring to the
mind of every anthologist of the Croatian
painting of the rst half of the 20'' c., and
could just as well be considered by anyone
studying the 1920s and 1930s in European
painting. Reeks style reveals layers of the
great experience of the Modern period,
which he soaked up in Prague and at the
source in Paris, instead of at marginal,
jezika, zanos, senzacije velegrada, velika
tradicija, kozmopolitska suvremenost i
zadnji uzlet boheme; Paulu Valryu (koga
crta i ija predavanja slua), nasuprot stoji
Kiki dMontparnasse (koju portretira i
razodijeva perom i kistom); uz velike eu-
ropske moderne majstore tu susree i djela
japanskih graara i perzijskih minijatu-
rista, daleku prolost i ivu suvremenost:
Louvre i male galerije uz Seinu. On je u
Parizu postao leeran, mekan, lakoruk
i hitar; tu je, zapostavljajui dotadanji
svoj tvrdi, precizni, konstruktivni crte,
second-rate receptive stops. In his best
works in the 1920s, Reek was, with Tartag-
lia, seen through the eyes of European con-
noisseurs, as the most European of Croa-
tian painters: to the point and restrained,
exact and dignied; a painter of a great
power of shape, with a clear heritage and a
clear goal. Are we now going to pull out
the pipe from the Harlequins mouth? Are
we going to secretly take out the cigareue
from the hand of the excellent Dr. Leitner?
They oenders by todays regulations
shall remain as monuments of two cul-
tures (of the past?): the culture of painting
and the culture of smoking. Painting says
the least with anecdote, costume, acci-
dents; and the most with shape and colour.
This is why some smokers, including
Reeks, remain forever living.
The past is in the past. Not only in Croa-
tia; it is also the case elsewhere and not
only with the cigareue. Many old bans
ovladao vjetinom crocquisa i tehnikom
akvarela i stao u red prvih naih majstora
tih zahtjevnih disciplina.
Pavle Vojkovi (1912-2006), u eni koja
pui (1940) evocira, s odmakom, postku-
bistiko ozraje Lhota i njegove kole, a
dijelom, svakako, i Reeka; to je kubizam u
prijevodu za prostodune i uredne, kojima
su veliki primjeri Braquea i Picassa odve
sloeni i odve sosticirani. Vojkovi, ipak,
izbjegava stereotip: svijetlom paletom,
lirizmom, humorom, ak naivnou i ne-
dosljednou. Neke slabosti tome se djelu
sretnog trenutka ipak mogu oprostiti jer
je prvotnu svoju nakanu slikar u potpuno-
sti ostvario: koordinacija grudi, glave, lule
i dimova ini da ena, dijelom obla, a dije-
lom i uglata doista pui.
Vojkoviev vrnjak Ivo ebalj (1912-2002)
mnogo je individualnija i stilotvornija
osobnost; premda je i on, u jednom razdo-
blju svoga rada dodirnuo Picassoa, umio se
Ivo Reek,
Portret dr. F. Leitnera,
1927.
Ivo Reek,
Portrait of dr. F. Leitner,
1927
Vjekoslav Para, Ljubo Babi, 1925.
Vjekoslav Para, Ljubo Babi, 1925
were pulled down, many new ones immedi-
ately proclaimed. But the human memory
goes beyond the allowed or the banned:
its ideal task is to preserve everything.
Vjeko Para (1904 1986), together with
Milivoj Uzelac and Juraj Plani, had his
ve minutes of glory in Paris; a shining mo-
ment of the happy marriage of his talent,
the charm of a handsome young man, his
knowledge of Italian and French, enthusi-
asm, sensations of the big city, great tradi-
tion, cosmopolitan conteporaneity and
the last hurrah of bohemia; Paul Valry
(whom he sketches and whose lectures
he auends) is anked by Kiki de Montpar-
nasse (whom he makes a portrait of and
undresses her with his quill and his brush);
tome tekom i opasnom uzoru primjereno
othrvati: korak po korak gradio je i razvi-
jao svoju morfoloku paradigmu i doao
do dojmljive i sugestivne prepoznatljivosti.
Tema Puaa kojoj se vraao, u vie navra-
ta, tijekom pola stoljea bio je, ponajprije,
duboko konfesionalan iskaz slikara, koji
je od rane mladosti do u visoku dob bio
pasioniran pua i bolesnik. Sagorijevanje
i rasap temeljne su kategorije njegove
slikovne lozoje, a kroz njih slikar para-
lelno razvija egzistencijalnu temu dezinte-
gracije tjelesnoga u uskoj svezi s morfolo-
kom temom informalne destrukcije oblika.
No, nikad ideju destrukcije nije pretpo-
stavio slici, pa gdjekad izostaje oekivano
i dosljedno rjeenje; umjesto toga mnogo
in addition to the great European modern
masters, he encounters works by Japanese
graphic artists and Persian miniaturists,
the faraway past and the living modernity:
the Louvre and small galleries along the
Seine. In Paris he became casual, so,
light-stroked and quick; this is where,
leaving behind his rm, precise, construc-
tive sketching, he mastered the art of
croquis and the technique of watercolour
and took the front lines among our mas-
ters in these demanding disciplines.
Pavle Vojkovi (1912 2006) in The Smok-
ing Woman (1940) evokes, from a distance,
the post-cubist airs of Lhot and his school,
and, to an extent, admiuedly Reek as well;
this is cubism translated for the simple-
minded and tidy, for whom the great exam-
ples of Braque and Picasso are too complex
and too sophisticated. Vojkovi, however,
shuns the stereotype: with a light paleue of
colour, with lyricism, humour, even naivet
and inconsistency. Some weaknesses can
be forgiven to this work of an opportune
moment because the painter has fully
mu djelo okruni nadahnuta improvizacija,
kojiput ak i kontradiktorna izvjebana
spontanost. Ona je podjednako znak
budnoga duha i dugogodinjega kretanja
u sputanoj slobodi slikovne plohe.
Gabru Rajeviu (1912-1943) nije bilo
dano da u spokoju atelijera razvija i usavr-
ava svoje djelo. U nevelikom broju sau-
vanih slika odlino stoje dvije puake
gure: Crveni portret (1935) i ovjek s lu-
lom (1936). Naroito je drugo od tih djela
dojmljiva demonstracija nadarenosti koja
svoj izraz trai u kolorizmu ekspresioni-
stike provenijencije, u leernom no i dina-
minom po stavu modela i vrlo slobodno
zamiljenom treem planu. Puaki in-
strumentarij (u prvoj slici cigareta i cigar-
nici, u drugoj lula) nije bez utjecaja na stil i
gard obaju likova: jednom je to uljudna
zatvorenost, puna priguene napetosti, s
cigaretom kao bokserom u ruci, drugi put
leerna oputenost i mirno samopouzda-
nje uspjena graanina. irok zamah i
intenzitet boja kojima je naslikan ovjek s
lulom ine Rajevia autorom jedne od
Pavle Vojkovi,
ena koja pui,
1940.
Pavle Vojkovi,
A Woman Smoking,
1940
Ivo ebalj, Pua, 1950.
Ivo ebalj, Smoker, 1950
realized his initial intention: the coordina-
tion of breasts, head, pipe and plumes of
smoke make the woman, part curvy part
angular appear like she is really smoking.
Vojkovis peer Ivo ebalj (1912 2002) is
of a much more individualistic and stylish
personality; although, in one period of his
work, he did touch upon Picasso, he was
able to resist this dicult and dangerous
hero in a beuing manner: step by step,
he built and developed his morphological
paradigm and arrived to impressive and
suggestive recognisability. The subject of
the Smoker to which he returned on sev-
eral occasions in half a century was pri-
marily a deeply confessional expression
of a painter who, from the early youth to
old age, was a passionate smoker and suf-
fering from illnesses. Burning out and
breakdown are the essential categories of
his pictorial philosophy, and through them
the painter has gradually developed the
existential subject of the disintegration
najmodernijih naih puakih slika
izmeu dva rata, s apo logijom modernoga
junaka: inteligentnog, snanog, samopo-
uzdanog i leernog mukarca.
Likovi Iva Dulia (1916-1975) tvore nsku
vrlo suptilnih djela portretnoga anra
u nas; meu nekoliko iznimnih (Portret
Antuna Masle, Mira, Portret Pera Dulia,
Portret Lidije Solovjeve) ubrojiti je i pu-
aku poluguru Koste Strajnia (1965) te
Portret Joza Kljakovia (1969) za stolom
s kavom i puakim akcesorijem moda
najodliniji hrvatski portret druge polo-
vine xx. st., naslikan u tradicijskoj maniri
postimpresionistikog intimizma.
Dok polemiar Kosta dri lulu kao iglu
za podbadanje, dotle Kljakovi pribiva
ritualu koji se oigledno ponavlja: njemu
je povui dim ne samo navika, nego i
sveanost kojoj slikar ustupa dio svoga
prostora i dio svoga vremena, u odree-
nom rasporedu stvari i sitnica: u kojemu
sve ima svoje mjesto i ulogu, pretvarajui
of the carnal, closely related with the mor-
phological topic of the informal destruc-
tion of shape. But he never favoured the
idea of destruction over the painting, re-
sulting in the occasional lack of the conse-
quential solution; instead, many of his
works are adorned by inspired improvisa-
tion, at times even contradictory an exer-
cised spontaneity. It is in equal parts a sign
of an alert spirit and of the years spent
creating within the conned freedom of
the pictorial surface.
Gabro Rajevi (1912 1943) was not
destined to peacefully develop and perfect
his work in the studio. In his few remain-
ing paintings there are two excellent
smoking gures: The Red portrait (1935)
and Man With a Pipe (1936). The lauer is
indeed an impressive demonstration of
talent looking to express itself through
the colourism of the expressionist heritage,
a casual but dynamic pose of the model
sobu, stoli i predmete u puako sazvi-
jee koje se brzo oformi kad se objavi
prekid rada i proglasi vrijeme za duhanski
otium, kad se umorno tijelo spusti u fote-
lju, a upaljena igica prinese cigareti. Time
okonaju pripremne radnje i poinje, s
prvim povuenim pramenom dima, feta
puenja: dugog, polaganog, stankama
potenciranog, izmamljivanja izvlaenja
dima iz cigarete i, potom, njegova jo po-
laganijeg i suzdranijeg, s puno prividna
oklijevanja, izdisajnog vraanja u okoli
na svagdanji. Podsvjesni je mehanizam
ugode koja nastupa otputanjem dima sli-
an onome koji nas obuzima kad iz ruke
ili krletke otputamo zarobljenu pticu.
Ptica je, meutim, dua; arhetip due (jo
od peinskih slikarija) pa ona ptica koja
izlazi na usta znai umiranje, znai smrt.
Izdisaj bi se dima, odnosno: zadovoljstvo
nakon izdisaja, moglo, dakle, shvatiti kao
kratka rekapitulacija procesa umiranja,
Gabro Rajevi,
ovjek s lulom
1936.
Gabro Rajevi,
Man with the pipe,
1936
Ivo Duli,
Portret Koste Strajnia,
1965.
Ivo Duli,
Portrait of Kosta Strajni,
1965
and a very liberally conceived background.
The smokers apparatus (a cigareue
and cigareue holders in the rst painting,
a pipe in the second) is not without
eect to the style and auitude of both
characters: in one this is a polite distance,
brimming with suppressed tension, with
the cigareue held like a knuckle-duster,
and in the other a casual calm and peace-
ful self-condence of a successful citizen.
The wide stroke and intensity of colours
used for Man With a Pipe made Rajevi
the author of one of our most modern
smoking paintings between the two
wars, with the epitome of the modern-
-hero: an intelligent, strong, self-condent
and casual man.
The characters of Ivo Duli (1916 1975)
make up a string of very subtle works of
the portrait genre in Croatia; among sev-
eral extraordinary ones (Portrait of Antun
Masle, Mira, Portrait of Pero Duli, Portrait
of Lidija Solovjeva...) is the smoking semi-
gure of Kosta Strajni (1965) and Portrait
of Jozo Kljakovi (1969) at the table with
coee and smokers accessories perhaps
the best Croatian portrait of the second
half of the 20'' c., painted in the traditional-
ist manner of post-impressionist intimism.
While Kosta the polemicist holds his pipe
like a poking needle, Kljakovi is indulging
in an apparently recurrent ritual: for him,
to draw a smoke is not just a habit but a
celebration to which the painter cedes some
of his space and time, among objects and
trinkets in a set arrangement: where every-
thing has its place and role, transforming
the room, table and objects into a smokers
constellation which swily comes together
once a pause in work is announced and a
time for tobacco otium pronounced, when
the weary body slides into the armchair
and the burning match is taken to the ciga-
reue. This is the end of preparatory work
and here, with the rst inhaled plume
of smoke, begins the feast of smoking:
long, slow, accentuated by pauses, teas-
poslije kojega bivamo tronuti, ali ostajemo
ivi. U puaa useljuje iskustvo dotaknu-
te onostranosti i mekog iskliznua iz veli-
ke pogibelji u produeni ivot. Zato se sve
ritualizira, zato osim stvari, neko znaenje
zadobivaju i odnosi meu njima, zato je
njihov raspored zapravo mapa imaginar-
noga putovanja na kraj svijeta ili stubite
kojim se iz konkretnosti svoga okruja
izlazi u eterske visine pa iz njih, opet, po-
uzdano vraa u prostore realija.
Nikole Reisera (1918-2010) Portret slikara
Vaia (1948) nastao je u po umjetnost
tekom vremenu sveope ideologiza-
cije; u vremenu socrealizma, u vremenu
Informbiroa kao primjer kreativnog no
ing out drawing out smoke from the
cigareue and then, even more slowly and
temperedly, with much seeming hesita-
tion, exhaling it back today into our daily
environment. The subconscious pleasure
mechanism triggered by the releasing of
smoke is similar to the one engulng us
when releasing a captured bird from the
hand or a cage. The bird, however, is a soul;
the archetype of soul (ever since cave draw-
ings), with the bird coming out from the
mouth meaning dying, meaning death. The
exhaling of smoke, that is: the pleasure af-
ter exhaling, could thus be understood as a
brief recapitulation of the process of dying,
aer which we feel moved but we stay alive.
The smoker is inhabited by the experience
of the otherworldliness he has touched and
the so slipping away from great peril into
a prolonged life. This is why everything is
ritualized, this is why meaning is not only
imparted to things but also to relations be-
tween them, this is why their arrangement
is in fact a map of the imaginary voyage to
the end of the world or a stairway to take
one from the concreteness of ones environ-
ment out into ethereal heights and from
there, again, to safely return them into the
realm of the real.
Portrait of Vai the Painter (1948) by
Nikola Reiser (1918 2010) was painted in
hard times for the arts the times of om-
nipresent ideologization: the time of social
realism, the time of Informbiro, as an ex-
ample of creative if careful bypassing of
the set norms, as an example of the de-
fence of intimism and intellectual intro-
spection. Nevertheless, Reiser maintained
the tonal cloak which did not provoke ide-
ologists. (Why is it that colourism fright-
ened them whereas tonality did not
the answer is almost within our grasp.)
The portrait of his colleague, drawer and
painter Fedor Vai, is an impressive work
shut inside itself, turning its back to the
ideologization of painting; no, it did not
confront, it ignored the auempt of politics
i obazrivog zaobilaenja zadanih normi,
kao primjer obrane intimizma i intelektu-
alne introspekcije. Ipak je Reiser zadrao
tonski plat koji ideologe nije provocirao.
(Zato ih je kolorizam plaio, a ton nije
gotovo da bismo mogli i dokuiti.) Portret
kolege, crtaa i slikara Fedora Vaia doj-
mljivo je i u sebi zatvoreno djelo, koje je
ideologizaciji slikarstva okrenulo lea; ne,
ono se nije suprotstavljalo, nego je ignori-
ralo pokuaj politike da upravlja srcem i
razborom umjetnika; onako kao to je to
inio Emanuel Vidovi, onako kako su to
inili Marino Tartaglia ili Zlatko ulenti,
onako kako su to inili Josip Vanita i Mi-
ljenko Stani. Intuitivno odreen poloaj
ruku, lule i glave pokazuje dok model
lijevom rukom dotie savijenu desnu, a
desnom dri lulu kojom dodiruje usne pri-
klonjene glave da se tu, zapravo, dogodio
zatvoren strujni krug, kojim portretist
oznaava i Vaiev sabran odnos prema
luli svoga unutranjeg mira i interaktivnu
koordinaciju tijela (ruku, glave, ramena)
i instrumenta (lule).
Iskrena i, na svoj nain, infantilna Gru-
ka luka (1965) Antuna Masle (1919-1967)
upozorava da se u ziki malom formatu
dogaa djelo iznimnoga osjeajnog inten-
ziteta, evokativne gustoe i asocijativne
slobode. anrovski slika je organska, neu-
siljena mezalijansa guralne kompozicije,
vedute, marine i pastorale. Lula, to se iz
usta mukog lika pui kao ciganska vatra
u krajoliku, znak je da je izmeu ovjeka i
prirode uspostavljen mir (jer se duhanski
dim ve promee u oblak nebeski, hitajui
da se pridrui ostalima), kao to je uspo-
stavljena i sloga izmeu davnine i sada-
njosti (v. veliki, crni parobrod i bijelo jedro
bracere do njega) te izmeu mora i kopna,
izmeu mukarca (Adama) i ene (Eve),
izmeu kutnog i sfernog ravnog i zakriv-
ljenog izmeu urbanog i djevianskog
predjela, izmeu ore (drvee) i faune
(pas), izmeu stajati (drvo) i putovati (bro-
dovi) Odjednom, gruka luka postaje
Nikola Reiser,
Portret slikara Vaia, 1948.
Nikola Reiser,
Portrait of Painter Vai, 1948
to manage the heart and reason of the
artist; as did Emanuel Vidovi, as did
Marino Tartaglia or Zlatko ulenti, as did
Josip Vanita and Miljenko Stani. An in-
tuitively found position of the hands, the
pipe and the head indicates as the model
touches his bent right hand with his le,
holding in his right hand the pipe with
which he is touching his lips on his tilted
head that this was in fact a case of
closed circuit, with which the artist de-
picts Vais composed relation with the
pipe of his inner peace and the interactive
sreditem zemaljskoga raja, a da smo ve
u njemu posvjedoi i drvce, u drugome
planu desno, to se ini kao boino, oki-
eno arenim gaama i sjajnim kuglicama.
Zakljuno: nema ni raja bez Adamova
duhanskog dima.
U Ljubi Ivaniu (1925-2003) prepoznaje-
mo majstora koji je dublje od svih hrvat-
skih umjetnika, a ne samo slikara, iskuao
crne teme xx. st., a upravo su te crne teme
bila temeljnim sadrajima naega doba.
Ako se radosni promotori sretnije budu-
nosti i ne sloe s ovom prosudbom pozvat
coordination of the body (hands, head,
shoulders) and the instrument (pipe).
The honest and, in its own way, infantile
Port of Gru (1965) by Antun Masle (1919
1967) warns us that in a physically small for-
mat there is unfolding a work of extraordi-
nary emotional intensity, educative density
and associative freedom. From the point of
view of the genre, the painting is an organic,
unforced non-alliance of gurative compo-
sition, panorama, marina and pastoral. The
pipe, smoking from the mouth of the male
character like Gipsy bonre in the land-
scape, is a sign of peace reached between
man and nature (because tobacco smoke is
converting into a cloud in the sky, hurrying
to join the others), as is harmony between
the days of yore and the present (see the
big black steamer and the white sail on the
bracera next to it) and between land and
sea, between man (Adam) and woman (Eve),
between the angular and the spherical at
and curved between the urban and the
virgin territory, between ora (trees) and
fauna (dog), between to stand still (tree)
and to travel (ships)... All of a sudden, the
Gru port morphs into the centre of heaven
on Earth which we are part of already, as
indicated by the tree, in the background
on the right, resembling a Christmas tree,
decorated with colourful panties and shiny
balls. Therefore: even heaven cannot exist
without Adams tobacco smoke.
In Ljubo Ivani (1925 2003) we recog-
nize a master reaching deeper than any
Croatian artist, not only a painter, to test
the 20'' centurys dark topics, and it was
these dark topics that have been the fun-
damental content of our time. If the merry
advocates of a happier future choose to
disagree with this statement, I will refer
to Jnger, Cioran, Sartre (and numerous
others) in whose philosophical writings
we will nd very occasional irresponsible
optimism and a lot of scepticism, biuerness,
fear and hesitancy in front of what is upon
us. Ivanis obsessive topics are darkness
u se na Jngera, Ciorana, Sartra (i mnoge
druge) u ijim emo lozofskim spisima
nai malo neodgovorna optimizma, a
puno skepse, gorine, straha i kolebanja
pred onim to stie. Ivanievi su opsesiv-
ni temati crnina (no) u svim inaicama i
emanacijama: no-veer, no-kamin, no-
no, no-smrt itd., potom nasilje, patnja,
tjeskoba, sukobi, strah, smrt. Gotovo bezi-
znimno u njega je golost isto to i smrt-
nost. Patnja je, svjedoi Ivani, neizbjena
ljudska poputbina i nije ni u kakvoj ovi-
snosti o loem povijesnom trenutku,
nego je nit i bit ivota. Ta je spoznaja, izvi-
rui iz osobnih iskustava, obojila cijelo
njegovo djelo pa je, kad o tome raspravlja-
mo, posve nebitno govorimo li o ciklusima
s mrtvima (objeeni, strijeljani, raspeti), s
igraima koarke, s puaima, s aktovima,
s demonstrantima ili mrtvim prirodama;
svaku je od tih tema ostvarivao isti svjeto-
nazor, isti autor. Tako je i s duhanskim
motivima, u koje u kao prve upisati Tra-
gove ovjeka /Pepeljaru (1957); nihilistiki,
beckeuovski motiv iz vremena kada se
raspravljalo o apstrakciji, guraciji i o tre-
em putu (o kojemu nitko nita nije znao).
Zato nihilistiki? Nitko prije njega nije
pomislio da bi tako neznatan motiv kao
to je pepeljara, k tome odbojan i smradan
poput smea, zavrijedio slikarsku interpre-
taciju na povrini 59101 cm. Ivani je,
meutim, odmah naznaio da ga pepeljara
ne zanima kao pepeljara, nego kao mrije-
stilite ljudskih tragova; tragova efemer-
nih s obzirom na mjesto, no tragova zna-
kovitih ako ih sagledamo kao nakupljene
ljudske energije, impulse, toplinske trago-
ve, moda prevedene okrajke nekih misli,
moda osjeaja. Antropomorzacija pogle-
da moe izazvati tjeskobnu slutnju da je
pepeljara puna opuaka analogna grobu
punom leeva. Svaki je, naime, opuak kao
potroeni ivot: guvan, gnjeen, zdrobljen,
prethodno paljen, na kraju saeen. Pogled
na udubinu ispunjenu pepelom probudit
e sjeanje na uzreicu posuti se pepelom,
Antun Masle, Gruka luka, 1965.
Antun Masle, The Port of Gru, 1965
(night) in all its variants and emanations:
night-evening, night-replace, night-knife,
night-death, etc., then violence, suering,
anxiety, conict, fear, death. Almost with-
out exception, nakedness is for him the
same as mortality. Suering, in Ivanis
words, is the inevitable human burden and
is in no correlation with the inopportune
historic moment but is the thread and the
essence of life. This realization, emanat-
ing from personal experience, has tinted
his entire work so that, discussing it, it is
perfectly irrelevant whether we are talk-
ing of the cycles with the dead (hanged,
shot, crucied), basketball players, smokers,
nudes, protesters or still life; each of these
topics was realized by the same mindset,
the same author. The same goes for to-
bacco motifs and i will rst bring up The
Traces of Man/Ashtray (1957); the nihilistic,
Beckeuian motif from the times in which
abstraction, guration and the third way
(of which no one knew anything) were
discussed. Why nihilistic? No one before
him ever suspected that a simple motif
such as an ashtray, repulsive and smelly at
that, would be worthy of a painters inter-
pretation on a 59x101 cm surface. Ivani,
however, immediately indicated that he
was not interested in the ashtray as such
but as a hatchery of human traces; traces
ephemeral considering the location, but
signicant if seen as accumulated human
energies, impulses, thermal traces, perhaps
translated leovers of thoughts, perhaps
feelings. The anthropomorphization of
perspective might bring out an anxious
premonition that the ashtray full of ciga-
reue buus is analogous to a grave full of
carcasses, because each cigareue buu is
like a life exhausted: crumpled, squeezed,
crushed, previously burned, nally con-
sumed in re. The sight of a depression
lled with ashes will evoke the saying to
cover oneself in ashes, i.e. admit ones guilt,
admit responsibility for something then
to the phrase to turn to dust, denoting
tj. priznati krivicu, priznati odgovornost za
neto zatim frazu prah i pepeo, koja
imenuje ono Nita to preostane nakon
potpune pohare zemlje ili grada, poraza
vojske ili gubitka nade. Referentno na
prah (=pepeo), budi se spomen i na sumor-
nu, davnu spoznaju: Sjeti se da si prah
i u prah da e se pretvoriti. Prvotna ideja
o pepeljari-grobnici sa svakim se daljnjim
promiljanjem uvrivala. Ivani se ne
trudi oko pomne deskripcije predmeta,
nego nastoji oko evokacije: snane, asocija-
tivne, tvarne no mogue je da je neki
vidioci ne bi ni identicirali da se iz naslo-
va a dogaa se esto izostavi Pepeljara,
a ostanu samo Tragovi ovjeka. To je Ivan-
iev nain da se izmakne teroru doslov-
nosti, a u konkretnim prilikama da se
krene treim putom. Ivani je sliku i ivot
shvaao kao polje mijeanja: u njoj se
the Nothingness that remains aer an
uuer ravaging of land or city, defeat of an
army or loss of hope. With reference to dust
(=ashes) there is the recollection of a grim,
ancient realization: For you are dust and
to dust you shall return. The initial idea
of the ashtray-tomb grew in force with
each further instance of contemplation.
Ivani does not make an eort to carefully
describe objects, he focuses on evoking:
powerful, associative, material but it is
possible that some viewers would not even
be able to identify it if the word Ashtray
was removed from the title which oen
happens, leaving only The Traces of Man.
This is Ivanis way of evading the terror
of literalness, and on specic occasions to
take the third path. Ivani saw painting
and life as a mixing eld: it is the meeting
point of dierent impulses, it is the fruit
of various, even contradictory strivings, of
dierent historic stimuli, dierent cultures,
traditions and individual handwriting. It is
thus originally impure, polyvalent, hetero-
geneous, burdened with heritage; its purity
can only be represented by one who knows
not what he is talking about. Not altogeth-
er abstract, nor altogether representative,
but as gurative as abstracting, as ideal as
carnal, understanding that the heritage
of the masters is what mauers (and what
is specic, dening), Ivani was a disci-
ple of the greatest explorers of materical
luminescence in painting, of illuminating
from the inside, and when the informal,
following Ecos initial ideas of the open
work, started to close in, shaping a new
dogma, in a much more exciting and very
free manner, as early as 1957/1957, Ivani
departed from the new philosophy of the
frame (there is no up and down, le and
right; a painting is a unique, four-rimmed,
non-hierarchic eld of equally valid edges).
He decided to create his own mix, demon-
strating the full relativity of the division
to abstract and representative, nongura-
tive and gurative, which oen depended
sastaju razliiti impulsi, ona je plod razno-
vrsnih pa i proturjenih htijenja, razliitih
povijesnih poticaja, razliitih kultura,
tradicija i individualnih rukopisa.
Ona je, dakle, izvorno neista, polivalentna,
heterogena, hereditarno optereena; njezi-
nu istou moe zastupati samo onaj koji
ne zna o emu govori. Ni posve apstrak-
tan, ni posve reprezentativan, ali guralan
koliko i apstrahirajui, idealan koliko i
tvaran, Ivani je, shvaajui da je majstor-
sko naslijee ono bitno (a ujedno i ono
specino, ono denirajue) bio sljedbenik
najveih istraivaa materike slikarske
luminiscencije, osvjetljavanja iznutra, a
kad se informal, tragom prvotnih Ecoovih
misli o otvorenom djelu, poeo zatvarati
oblikujui novu dogmu, Ivani se, uzbud-
ljivije od drugih i vrlo slobodno, ve oko
Ljubo Ivani, Pua, 1979.-1980.
Ljubo Ivani, Smoker, 1979-1980
Ljubo Ivani, Pua, 1988.
Ljubo Ivani, Smoker, 1988
merely on the telescopic lens eect (coming
closer and moving away and the resulting
consequences: the losing and nding of
the initial motif). Dominating in the Smok-
ers series is not the cigareue, although it is
not denied, but a facial mask, enshrouded
by smoke or not, oered the contents of
these convulsed times; sometimes it could
actually be said that smoke ed from his
mouth like the soul of a dying man.
The lyrical Abstinence (1988) by Nives
Kavuri Kurtovi (1938) is one of her typical
hallucinogenic spontaneous creations with
many subconsciously motivated interven-
tions in the context of a more or less clear
conceptional base of the work. Sometimes
this is a true forest of sketch lines, painters
blots, articulate and inarticulate script,
blurry or semi-clear messages, at times a
true pleading, a collage of scraps, papers,
threads. More or less covert, the sketching
dominant of her being usually surfaces, as
do, almost every time, the suppressed fears:
in this case a dream of denial or ban and
a fear of this same denial or ban.
Zlatko Keser (1942), painter and drawer,
master of painting constructed in lengthy,
frenetic and fanatical elaboration, recolour-
ing and re-layering to drive out from the
work the inner re which cannot always
be seen but its warmth can be felt and can
spread. These, along with Vrkljans and few
others, are some of the noblest materical
weaved fabrics of our recent painting:
the pauerns of obsession, of lengthy work
but also of patience, more maniacal than
pedantic. The painter, behind his oils and
acrylics, presents himself with a set of
humorous improvisations of the motif of
Smoker, smokers, smoking, incorporating
nostalgic, autobiographical, parodical and
other timbres, crisp observations and skil-
ful toying with dierent stylistic character-
istics of their colleagues, to whom he does
not address venomous sneers but, with
intelligent yet benign humour, without a
trace of malevolence, annotates their idiom
1957/1958, odstupajui i od nove lozoje
kadra (ne postoji gore i dolje, lijevo i de-
sno; slika je jedinstveno, etverubno, nehi-
jeratino polje jednakovrijednih stranica)
odluio na ostvarivanje svoga mixa, poka-
zujui svu relativnost podjele na apstrak-
tno i reprezentativno, negurativno i gu-
rativno, koja je, u mnogoj prilici, ovisila
tek o efektu teleobjektiva (primicanja
i odmicanja te popratnih posljedica:
gubljenja i pronalaenja polaznog moti-
va). U seriji Puaa ne dominira cigareta,
premda nije zanijekana, nego je maska
lica, ovijena dimom ili ne, nudila sadraje
ovoga grevitog doba; nekad se doista
moglo rei da mu se dim otkidao od
usta kao dua od umirueg.
Lirska Apstinencija (1988) Nives Kavuri
Kurtovi (1938) jedna je od tipinih njezinih
halucinantno spontanih tvorbi u kojima je
puno podsvjesno motiviranih intervencija
u kontekstu vie ili manje jasne koncepcij-
ske osnove djela. Gdjekad je rije o pravoj
umi crtakih poteza, slikarskih mrlja,
razgovjetnog i nerazgovjetnog pisma,
mutnih ili polujasnih poruka, kojiput ba
vapaja, kolairanih krpica, papira, konaca.
Prikrivenija ili ne, izbija obino na vidjelo
crtaka dominanta njezina bia, izbijaju
takoer, gotovo uvijek, neki potiskivani
strahovi: ovdje san o odricanju ili zabrani
i strah od toga istog odreknua ili zabrane.
Zlatko Keser (1942), slikar i crta, maj-
stor slike graene dugom, frenetinom i
fanatinom elaboracijom, nadbojavanjem,
nadslojavanjem da bi se iz djela izbila
unutranja vatra, koja se ne vidi uvijek, ali
se njezina toplina osjea i iri. To su, uz
Vrkljanove i malobrojne druge, neke od
najplemenitije satkanih materikih tka-
nica naega novijeg slikarstva: uzorci op-
sjednutosti, dugoga rada, ali i strpljivosti,
koja je prije manijaka nego pedanterijska.
Ovdje se, slikar, onkraj svojih ulja i akrila,
predstavlja setom duhovitih improvizacija
na temu Pua, puai, puenje, u kojima
ima nostalgijskih, autobiografskih, paro-
(e.g. Knifer, the meandering of smoke). Even
when he is not making an eort, even when
he does them in the blink of an eye Kes-
ers drawings are charming and functional.
Vatroslav Kuli (1951) gave his rst contri-
bution to the smokers reality in his war-
time-aer wartime cycle Voodoo Gutenberg
(1995 1996): an open book, tamed with glue
and oil paint, revealed the vivid surface of
its new, overworked pages: maybe by
chance and maybe not, the pages were
made out of cigareue packs. The surface
that pulsates and is therefore living, has
adorned blue and white robes, so that we
can easily see it as a reverie of smoke, of
height. Celeste blu. This years works, the
sequel of the smokers saga, are a combina-
tion of acrylic paint and collage elements:
tobacco packaging with the painters inter-
ventions messages, with the painters in-
terventions and other peoples quotes and
the painters interventions without any
messages. An ironic, semi-serious and seri-
ous tone emanates, with an evident level of
dijskih i drugih tonova, jetkih opservacija
i vjetog poigravanja s razliitim stilskim
obiljejima kolega, kojima ne upuuje
uljive paskvile, nego s inteligentnim a
opet blagonaklonim humorom, bez trunka
zlobe, fusnotira njihov idiom (npr. Knifer,
meandriranje dima). I kad se ne napree i
kad ga ostvaruje malim prstom Keserov
je crte armantan i funkcionalan.
Vatroslav Kuli (1951), na puaku se
zbilju prvi put nadovezao u svome rat-
nom-poratnom ciklusu Voodoo Gutenberg
(1995-1996): raskriljena knjiga, ukroena
ljepilom i uljenom bojom, pokazala je ivu
povrinu svojih novih, preraenih strani-
ca: moda sluajno, a moda i nesluajno
bile su to stranice oblikovane od kutija ci-
gareta. Povrina koja pulsira pa tako i ivi,
obukla se u plavo i u bjeline, tako da nita
Nives Kavuri Kurtovi, Apstinencija, 1988.
Nives Kavuri Kurtovi, Abstinence, 1988
ne prijei da je doivimo kao snatrenje
o dimovima, o visini. Celeste blu. Ovogo-
dinja su djela, nastavak sage o puaima,
kombinacija akrilnih boja i kolanih ele-
menata: duhanska ambalaa sa slikarevim
intervencijama-porukama, sa slikarevim
intervencijama i tuim citatima te slikare-
vim intervencijama bez poruka. Razvidan
je ironijski, polu-ozbiljan i ozbiljan ton, a
oita je i razina ravnodunosti. Ima i dru-
gih intervenata: motivirani su likovnim
razlozima; odnose se na postizanje to
vee izraajnosti povrine, na stvaranje
harmonine cjeline, na uznemiravanje
toga sklada ne bi li se pomou odbaenih
elemenata postiglo i neto vie od lijepe
indierence. There are other interventions
as well: motivated by artistic reasons; these
refer to reaching maximum surface expres-
sivity, to the creation of a harmonious
whole, to the disturbance of this harmony
in order to achieve something more than a
preuy picture using rejected elements.
These works, in which we can catch glimps-
es of a horizontal order scheme (with the
order based on consecutive, rhythmical rep-
etition of the ictus of the glowing cigareue)
will come to life in the unexpected esca-
pades of the painters free, irresponsible and
productive imagination: a string of inter-
ruptions, substantial (meaningful and tex-
tual) or entirely in visual art terms, consti-
Zlatko Keser, The Smoke of a
Very Avant-Garde Artist, 2012
Zlatko Keser, Dim vrlo avangardnog
umjetnika, 2012.
Zlatko Keser, The Smoke of a Dried Walnut Tree
Leaf Which We Used to Smoke When We Were
Naughty Children, 2012
Zlatko Keser, Dim osuenog lista oraha koji
smo puili kad smo bili zloesta djeca, 2012.
Zlatko Keser, The Age When Croatian
Men Smoked Pipes, 2012
Zlatko Keser, Doba kada su hrvatski
muevi puili lule, 2012.
tuted by other criteria. There is no doubt
that these are also the most independent
and irresponsible works in this context. We
will not be able to nd, as for all others,
their predecessors in painting; Kuli uses
the strategy of rebels and oppositionists: he
quotes other peoples messages to contra-
dict them; he mocks the order he has cre-
ated himself, he intentionally ruins the har-
mony he can achieve easily, only he cannot
ruin it because these destructive ts are
nothing but his interventions, subcon-
sciously in the service of the same great
ear that distributes colours, sets the vol-
ume and the length of the tone, positions
the pauses, arranges the sharps and the
ats which, like a diversion performer, he
subsequently incorporates into his previous
score. If this person who provoked, who
bursts in, who comments without consid-
eration for the natives on the canvas and
who auempts to cause havoc was someone
else maybe he would succeed; but Kuli
constructs and deconstructs, creating a
complex, modern score in which interrup-
tions too are harmoniously compatible and
structurally installable fullling his un-
conscious ideal: to nd, instinctively and in
disharmonious acts, the material for rein-
forcing, enriching in polyphony the original
slike. Ta djela, u kojima naziremo shemu
horizontalnoga reda (a zasniva se taj red
na uzastopnom, ritmikom ponavljanju
iktusa zaarene cigarete), oivjet e izne-
nadnim eskapadama slikareve slobodne,
neodgovorne i produktivne mate: nizom
upadica, sadrajnih (smislenih i tekstual-
nih) i onih posve likovnih, ustrojenih po
drugim kriterijima. Nema dvojbe da su to
i najnezavisnija i najneodgovornija djela
u ovome kontekstu. Neemo im nai, kao
svima drugima, prauzore u slikarstvu;
Kuli koristi strategiju rebela i oporbenja-
ka: on citira tue poruke pa im proturjei;
on se izruguje redu koji je sam stvorio, on
hotimice kvari sklad koji lako postie, ali
ga ne uspijeva pokvariti jer su i destruktiv-
ni ispadi samo njegova uplitanja, jer su i
nesvjesno u funkciji istog velikog sluha,
koji rasporeuje boje, odreuje glasnou
i duinu tona, odreuje cezure, razmjeta
snizilice i povisilice koje, kao diverzant,
naknadno upisuje u prethodnu svoju par-
tituru. Da je taj koji provocira, koji upada
preko reda, koji dobacuje bez obzira prema
starosjediocima na platnu i koji nastoji
izazvati nered netko drugi moda bi u toj
namjeri i uspio; ovako Kuli i gradi i raz-
grauje pa nastaje sloena, moderna parti-
tura u kojoj su i upadice harmonijski kom-
tune for one and a half voices. Now ringing
in the set rhythm are the original and the
interruptions and it seems we are listening
to a sonorous and playful quartet or a
quintet of dierent voices in the service
of the same melody havent I mentioned
this already? performed by smart and
cheeky street musicians. All these interrup-
tions with which he intelligently activates
his painted surface Kuli did not learn
at the Academy but from pop-artists and
in the street: from grati masters, from
rockers, from sports supporters, from
patibilne i strukturalno ugradive ime se
ispunja njegov neosvijeteni ideal: pronai
instinktivno i u disharmoninim postupci-
ma materijal kojim se dograuje, polifono
obogauje poetni napjev za glas i p. Sada
odjekuju, u zadanome ritmu, i temeljnica
i upadice pa se ini da sluamo zvuan i
zaigran kvartet ili kvintet razliitih glaso-
va u slubi iste melodije i zar ve nisam
rekao? u izvedbi bistrih i bezobraznih
uliara. Sve te upadice kojima inteligentno
aktivira svoju slikanu povrinu Kuli i nije
nauio na Akademiji, nego od popartista i
Vatroslav Kuli,
Painting For Smokers II,
2012
Vatroslav Kuli,
Slika za puae II,
2012.
Vatroslav Kuli, Painting For Smokers I., 1996
Vatroslav Kuli, Slika za puae I, 1996.
somebodys fans, from comic strip creators,
collage and decollage artists.
It will soon be twenty two years, almost
a quarter century if we consider some
anticipating sketches, since Zlatan Vrkljan
(1955) privately: a passionate smoker has
introduced the tobacco motif in his paint-
ing. It happened in the Black Paintings
cycle; the blackness thus rst adopted the
smoker, and he, picking at the material of
neo-expressionism, art brut, constructive
memories of the past, etc., nally found
himself on his arable land. He is an erudite
painter but has always tried to maintain
when it comes to paintings of a comparable
motif the spark of immediate observation;
he knows that knowledge is not lucidity or
intuition, but he tries, like the old masters,
to support lucidity with erudition. As a
genuine drawer, he was a man of quick and
immediate reaction so that the long, careful
elaboration of each individual painting has
slowed his reexes. In return, it endowed
his painting with renement, and his
performing material with a beauty only
auainable aer long and gradual matura-
tion. In contact with a realistic motif, he
is primarily the one who constructs the
shape in space. Then he is the one to ef-
fortlessly reach, mostly through sketching,
the correspondence between the sketch
and the model, and then with the painters
means of colour and tone, light and shadow,
he feeds into this skeleton, entering into
a critical dialogue with the motif. The
painter recognizes and classies what he
sees; what he knows he knows from faces,
from lines, from gesticulation, from move-
ment he does not rely on transfers: we
heard, the word is on the street, they say
that... Everything a person really is must
be transparent in this person, it must be
here, it must be contained in the play of
light on shapes in the assembly of the lines
on the face, in visible movements. This is
what yields (for example) a portrait worthy
of mention; not some stories. Throughout
na ulici: od gratera, od rokera, od navijaa,
od neijih fanova, od strip crtaa, kolaista
i dekolaista.
Bit e dvadeset i dvije godine, a s nekim
anticipativnim skicama i gotovo etvrt
stojea, otkako je Zlatan Vrkljan (1955)
privatno: pasioniran pua slikarski
otvorio svoju duhansku temu. Dogodilo
se to u ciklusu Crnih slika; tako je crnina
isprva posvojila puaa, a on se, mrvei
grau neoekspresionizma, art bruta,
konstruktivnih sjeanja iz prolosti itd;
naposljetku naao na svojoj njivi. On je
eruditski slikar, ali se uvijek trudio da
sauva ako je rije o slici s usporedivim
motivom iskru neposredna zapaaja;
znao je da znanje nije lucidnost ni intuicija,
no trudio se, poput starih majstora, da
the years, Vrkljan had somewhat neglected
his portrait-making skills but they were
beautifully renewed in the miniature Smok-
er- Self-Portrait (2012); resignation, fatigue,
disillusionment with the cigareue as his
trade mark all merge together into the
character of confused, even angered, hero
of our time. How to move on? Where to
move on? asks the person for whom the
cigareue is an antenna facing the world.
An antenna that burns and, whatever is le,
burns out. The hero of our time is a char-
acter with a fuse in his hand. (His) count
o has begun. Two large grey Smokers
from this years workshop are a subtle play
with tobacco curtains: both Smoker !. and
Smoker !!. are rather more felt than they are
seen: Perhaps Kulmer and ebalj Vrkljan
says. I wasnt trying to make them identi-
lucidnost podupre erudicijom. On je kao
izvoran crta bio ovjek brze i neposredne
reakcije pa je dugo, paljivo elaboriranje
svake pojedine slike usporilo njegove re-
ekse. Zauzvrat, priskrbilo je njegovoj slici
plemenitost, a izvedbenoj materiji ljepotu
koju moe dati samo dugo i postupno
zrenje. U dodiru s realnim motivom on
je, prvo, onaj koji konstruira formu u pro-
storu. Zatim je onaj koji s lakoom postie,
preteno crtakim sredstvima, srodnost
nacrta i modela, potom slikarski, bojom i
tonom, svjetlom i sjenom hrani taj kostur,
zapodijevajui kritiki dijalog s motivom.
Ono to vidi slikar prepoznaje i klasicira;
ono to zna on zna iz lica, iz crta, iz mimi-
ke, iz pokreta ne oslanja se na prijenose:
uli smo, pria se, kau da Sve to doista
netko jest to mora biti u njemu samom
transparentno, to mora biti tu, to mora
biti sadrano u igri svjetla na oblicima, u
sklopu crta lica, u vidljivim pokretima. Iz
toga nastaje (npr.) portret vrijedan spo-
mena; ne iz priica. Kroz godine Vrkljan je,
donekle, bio zapostavio svoje portretisti-
ke sposobnosti, ali su sjajno obnovljene u
minijaturnom Puau-autoportretu (2012);
rezignacija, umor, deziluzija s cigaretom
kao zatitnim znakom udruuju se u lik
zbunjenog, pa i ojaenog junaka naega
doba. Kako dalje? I kamo dalje? pita oso-
ba kojoj je cigareta antena uspravljena
u svijet. Antena koja gori i, koliko god da
je jo ima, dogorijeva. Junak naega doba
lik je s tiljem u ruci. Odbrojava (se). Dva
velika siva Puaa iz ovogodinje radionice
suptilna su igra s duhanskim zastorima:
i Pua ! i Pua !! vie se nasluuju nego
Zlatan Vrkljan, Smija, 1990.
Zlatan Vrkljan, The Laugher, 1990
Zlatan Vrkljan, Pua-autoportret, 2012.
Zlatan Vrkljan, Smoker Self-Portrait, 2012
cal, but there is something of them in here,
an energy of theirs.... They have not been
photographed, of course, but they are paint-
ers in a haze. I recently re-read Tartaglia:
on fog as a painters ally, and I immediately
saw the connection with Vidovi. Vrkljan
here thinks like Tartaglia: the smokescreen
helps painting to forget everything that is
not important, whereas the important the
painter and his transformation of plain
mauer into spiritualized mauer is indi-
cated by the cigareue glow: the only light
burning in the grey day (night).
Zoltan Novak (1963), painter and smoker
as seen from his numerous Self-Portraits
with a cigareue paints that magical white
stick (of bad contemporary reputation), in
a manner making me realize he is not a
fetishist of the cigareue but of smoke. This
gives me the right to notice that, instead of
to se razabiru: Moda Kulmer i ebalj
kae Vrkljan. Nisam se trsio da ba budu
isti, ali neto je njihovo tu, neka njihova
energija. Nisu fotograrani, naravno, ali
su slikari u izmaglici. Nedavno sam opet
itao Tartagliu: o magli kao slikarevu save-
zniku i to odmah povezao s Vidoviem.
Vrkljan ovdje razmilja kao Tartaglia:
dimni zastor pomae slikarstvu da zabo-
ravi sve to je nevano, a na ono to je
vano to je slikar i njegovo pretvaranje
puke materije u oduhovljenu materiju
upuuje ar cigarete: jedino upaljeno
svjetlo u sivome danu (noi).
Zoltan Novak (1963), slikar i pua kao
to posvjedouju njegovi brojni Autopor-
treti s cigaretom slika taj magini bijeli
tapi (loe suvremene reputacije) tako da
uviam da nije fetiist cigarete, nego dima.
To mi daje pravo da primijetim kako ga,
chewing tobacco, he is auracted by the old,
Ujevis story: spiritualization by tobacco,
the alchemy of etherisation. This is only
a step away from the rm conclusion: his
man is sometimes a strong, sheltered gure,
sometimes a shadow, sometimes an empty
shell, sometimes a radiogram: an instable
value, transferable. What is enduring and
what indisputable? Smoke. For Novak, they
are stylized, ondulated, he pays much
auention to them. This stylization, this
perfomative care of the painter, their ne,
melodic twisting reminds us of the oral
stylizations of art nouveau. At times a
slick, almost metallic shine of the plume of
smoke, at other times milky it is perma-
nently hypertrophied, lush, by far exceed-
ing the capacity of a single cigareue. Partic-
ularly in night images, this smoke appears
umjesto vakanja duhana, privlai stara,
ujevievska pria: oduhovljenje duhanom,
alkemija eterizacije. Odatle pa do decidi-
rana zakljuka samo je korak: ovjek je, u
njega, gdjekad vrsta, kloazonirana gu-
ra, gdjekad sjena, gdjekad prazna ljuska,
gdjekad radiogram: nestabilna vrijednost,
transferibilna. to je postojano, to nedvoj-
beno? Dimovi. U Novaka, oni su stilizirani,
ondulirani, posveuje im veliku pozornost.
Ta nas stilizacija, ta slikareva izvedbena
brinost, njihovo no, melodino izvijanje
podsjeti na orealne stilizacije art nouve-
aua. Kojiput blistav, gotovo metalan sjaj
dimnoga pramena, kojiput mlijean on
je vazda hipertroran, bujan, premaujui
uvelike mogunosti jedne same cigarete.
Naroito u nonim prizorima priinja se
da je to dim to se vije iz kakve vatrene,
Zlatan Vrkljan, Pua I, 2012.
Zlatan Vrkljan, Smoker I., 2012
Zlatan Vrkljan, Pua II, 2012.
Zlatan Vrkljan, Smoker II., 2012
Zoltan Novak, Prolaznik, 2009.
Zoltan Novak, Passer-By, 2009
to be coming from a blazing, black steam
engine, not from a slim roll of tobacco. No-
vak always grabs a few threads of smoke
to entwine them swily into a rm braid;
what has dissipated has dissipated, but
the braid is here to stay. Why does he do
that? Why does he shape them like that?
Because he does not want it all to fall apart
like shapeless steam and because he wants
at least for the organized and braided
part of the hazy (burning) cigareue smoke
to raise from the ground the smoker walks
on and to be elevated with Tin: Rings of
smoke elevate us, li us up, to the gods.
Yes, to the gods: this is the dream of every-
one pondering on the metaphysical and, if
clearer: on eschatological topics.
* * *
Neither these notes nor the exposition
they accompany do not aspire to be seen as
the illustration of the history of smoking in
Croatia in the light of (partial) painters,
crasmens, manufactures works and
those of design, photography and lm
production. That would take more stamina
and more time, but I dare say that we have
touched upon an interesting topic and
presented to the general public, if not the
nal score than at least a serious working
dra. And dras are like that: the ratio of
all parts could not always have been the
best, some of our wishes could not have
come true, some things we only just
started to discover and learn about
during preparation, and something
has surely remained hidden.
To put it in sports terms, I have set my
own bar (too) high with Baudelaires quote
and Magriues paradigm. But even that was
easier than jumping over a gigantic obstacle.
Still, it was worth the eort. I may not have
found everything I wanted, but at least it
crne lokomotive, a ne iz tananoga svitka
duhana. Novak uvijek dohvati po nekoliko
vlasi dima i hitro ih splete u vrstu pleteni-
cu; to se rasplinulo rasplinulo se, ali ple-
tenica ostaje. Zato to ini? Zato ih tako
oblikuje? Jer ne eli da se sve razie kao
bezoblina para, i zato to eli da se barem
organizirani i spleteni dio magliastog
dima cigarete (koja gori) uzdigne s tla
po kojemu pua koraa i da se uzvisi
s Tinom: Koluti dima uzvisuju nas,
podiu uvis, bogovima. Da, k bogovima:
o tome sanja svatko koga zaokupljaju
metaziki sadraji i, ako je preciznije:
eshatoloke teme.
* * *
Ni ove biljeke, ni izloba koju one
prate ne pretendiraju na to da budu
shvaeni kao ilustracija povijesti puenja
u nas u svjetlu (djelominih) slikarskih,
obrtnih, manufakturnih izvedbi te
dizajnerske, fotografske i lmske
produkcije. Zato treba i vie snaga
i vie vremena, ali smijem rei da smo
dotakli zanimljivu temu i stavili javnosti
na uvid ako ne konanu sumu, a ono
barem ozbiljan radni nacrt. Nacrt kao
nacrt: odnos dijelova nije uvijek mogao
biti najsretnije odvagnut, neke nam se
elje nisu mogle ispuniti, neto smo
u razdoblju priprema tek poeli
otkrivati i upoznavati, a neto nam je,
zacijelo, ostalo i skriveno.
Sm sebi sam, portski reeno, Baudela-
ireovim citatom i Magriueovom paradi-
gmom, (pre)visoko podigao letvicu. No
i to je bilo lake nego preskoiti gorosta-
snu prepreku. Ipak, vrijedilo je truda.
Ako i nisam naao sve to sam elio,
barem se potvrdilo da se svaka sredina
i kraj niza opih mjesta, svima zajednikih
ravna po svojim duboko uvjetovanim
kao bilj. 5. 9 9 Same as 5.
Zoltan Novak,
Dim, 2008.
Zoltan Novak,
Smoke, 2009
was conrmed that each society with all
the common elements that we share acts
according to its own, deeply conditioned
criteria: economic, political, cultural, reli-
gious, ethical. We are dealing with history,
heritage, tradition, temperament, genes and
who knows what else. But I have also come
to realise that it is unproductive to regret
for what did not happen and for what is not
and never was here. Everyone, however, has
what they have. And what we have what
researchers come across in their practice
is much more important and much more
signicant for us than what we do not have.
Instruments are important, but they are
denitely not subjects. At rst I was sad-
dened by the genre stereotypes of our
smoking images. Until recently, we have
had surprisingly few fantasy works dealing
with the subject; practically none symboli-
cal, metaphysical, surreal, phantasmagori-
cal. Our dominant is the realist one: a ciga-
reue or a pipe in mouth or in hand. It made
me remember a relevant moment in the
autobiography of George Sand; this is how
she described an honest friend of hers: He
had very prosaic inclinations. He liked wine,
beer, pipe, billiards and dominos.'
I do understand that this demanding
woman saw this list as somewhat limiting,
and who knows what she chose to omit,
even though she didnt have to. I will, nev-
ertheless, take the liberty of saying that, in
spite of everything, a research in the mu-
tual relations of these inclinations, looking
into what has caused this list to be such
and not anything else, a study of what he
found in it, what and why he was auracted
to it could be more interesting and more
exciting than (potentially) reviewing the
list, and certainly more auractive than
a mere, bare ideal list of inclinations
mjerilima: gospodarskim, politikim,
kulturalnim, konfesionalnim, etikim.
U igri su povijest, naslijee, tradicija,
temperament, geni i tko zna to sve jo.
Ali, shvatio sam i to da je neproduktivno
aliti za onim to se nije dogodilo, za onim
ega nema i ega nikad nije bilo. Svatko,
meutim, ima to to ima. I to to mi
imamo ono na to istraivai u svojoj
praksi nailaze mnogo je bitnije i za nas
znakovitije od onoga to nemamo. Instru-
menti su vani, ali nipoto nisu subjekti.
U prvi me mah rastuila anrovska
stereotipnost naih puakih prizora.
Imamo, do novijega doba, iznenaujue
malen broj fantazijskih djela na tu temu;
gotovo nita simbolistiko, metaziko,
nadrealno, fantazmagoriko. Naa je
dominanta realistika: cigareta ili lula
u ustima ili u ruci. Sjetio sam se indika-
tivnog mjesta u autobiograji George
Sandove; ovako je opisala jednog svoga
estitog prijatelja: Imao je vrlo prozai ne
sklonosti. Volio je vino, pivo, lulu, biljar
i domino.'
Razumijem da je zahtjevna ena vidjela
u tom popisu poneto ograniavajue,
a i tko zna to sve jo nije ni spomenula,
a mogla je. Drznut u se, ipak, i rei da bi,
unato svemu, istraivanje uzajamnih
odnosa tih naklonosti, pa istraivanje
uzroka ba takvom a ne nekom drukijem
popisu, studij onoga to je on u svemu
tome nalazio, to ga je, i zato, tome
privlailo moglo bi biti i zanimljivije,
i uzbudljivije od (moguih) korekcija
toga popisa, a pogotovo privlanije od
samog i golog idealnog popisa sklonosti,
koje bi bile primjerene jednom francu-
skom gospodinu tridesetih ili etrdesetih
godina xlx. st. Iza tih prozainih sklonosti
stajao je iv ovjek. Ne bi li bilo posve
appropriate for a French gentleman in the
1930s or 1940s. There was a living person
behind these prosaic inclinations. Would
it not suce if, at the end of our research,
we could say that behind the prosaic incli-
nations of our painters, our photographers
and other artists pertaining to this topic,
there is a living testimony of personal pas-
sions and of the Croatian society, the life
itself? My modesty would be thus satised.
July 2012 Igor Zidi
dostatno kad bismo, pri kraju naih
istraivanja, mogli rei da iza prozainih
sklonosti naih slikara, naih fotografa
i drugih umjetnika ukljuenih u ovu temu,
stoji ivo svjedoenje osobnih strasti
i hrvatskoga drutva, stoji ivot sm?
Mojoj skromnosti to bi dostajalo.
Igor Zidi
George Sand, Povijest moga ivota (s francuskoga
preveo Ivan ubari), Zora, Zagreb 1964, str. 21.
10 10 George Sand, Povijest moga ivota (Story of My
Life), translated from French by Ivan ubari), Zora,
Zagreb 1964, p. 21.
Express buet, snimio Too Dabac,
kraj 1950-ih godina.
Express Buet, by Too Dabac, late 1950s
Snimanje lma u bojama Ljepote Jugoslavije
i slikar Murti, snimio Milan Pavi, 26. 10. 1949.
The lming of colour lm The Beauty of
Yugoslavia and painter Murti, by Milan Pavi,
26 October 1949
Kazimir Ostrogovi i suradnica,
snimio Too Dabac, 1959.
Kazimir Ostrogovi and associate,
by Too Dabac, 1959
Kazalina kavana, snimio Too Dabac,
krajem 1950.-ih godina
Kazalina Kavana, by Too Dabac,
late 1950s
Jelena Lovreti Tv spikerica, 1963.
Jelena Lovreti, Tv announcer, 1963
Antun Bahunek, snimio Too Dabac, 1960.
Antun Bahunek, by Too Dabac, 1960
Moa Pijade,
snimio Too Dabac,
krajem 1950.-ih godina
Moa Pijade,
by Too Dabac,
late 1950s
Krsto Hegedui, snimio Too Dabac, 1960.
Krsto Hegedui, by Too Dabac, 1960
Gabriel Stupica, snimio Too Dabac, 1960.
Gabriel Stupica, by Too Dabac, 1960
Kipar Damonja,
snimio Z. urjak.
Sculptor Damonja,
by Z. urjak
Kipar Radau,
snimio Z. urjak.
Sculptor Radau,
by Z. urjak
Zagrebaki Trienale,
snimio Renduli.
The Zagreb Triennial,
by Renduli
Na Zagrebakom
velesajmu nakon
sveanog otvorenja,
snimio Too Dabac,
poetkom 1960.-ih
godina.
At the Zagreb Fair
aer the opening
ceremony, by Too
Dabac, early 1960s
Dogovor u tvornici
Rade Konar,
snimio Too Dabac,
poetkom 1960.-ih
godina.
Meeting at the
Rade Konar factory,
by Too Dabac,
early 1960s
Radnika obitelj,
snimio Too Dabac,
poetkom 1960.-ih
godina.
A workers family,
by Too Dabac,
early 1960s
Plenum saveza knjievnika Jugoslavije,
snimio M. Pintar, 11. 1. 1961.
The Writers Association of Yugoslavia plenum,
by M. Pintar, 11 January 1961
Fea Vuki
Prilog poznavanju
motiva puenja
u suvremenoj
vizualnoj kulturi
Contribution
to understanding
the motif of smoking
in contemporary
visual culture
Dim
u kadru
Smoke
in the
Frame
Several years ago, the rst episode of one of
the most popular contemporary television
series, Mad Men, titled Smoke Gets in Your
Eyes, unlike many media products before
it (although competition, especially in the
age of lm noir, was extraordinary), intro-
duced into prime time television the motif
of enjoying cigareues and alcohol as a per-
manent feature of its characters and dram-
aturgy. In addition, as professional creators
of commercial communication, the main
characters demonstrate from the very be-
ginning something that was extremely im-
portant in the advertising industry of the
1950s and even more so from the mid-1960s
presenting the product as desirable, as part
of the users identity and his or her lifestyle.
In other words, to achieve what Barthes
called inoculation as a rhetorical gure of
stressing the positive and not revealing the
potentially negative and detrimental'.
The fact that the main characters prac-
tice to no end their passion for smoking
cigareues and drinking huge quantities of
strong alcoholic drinks is, of course, more
of a dramaturgical intervention then the
reality of the contemporary daily life in
an agency, but the constant smokescreen
frame in the series is a fact of media
Prva epizoda jedne od najpopularnijih
suvremenih televizijskih serija Mad Men,
pod nazivom Smoke Gets in Your Eyes,
uvela je u najgledaniji televizijski termin
prije nekoliko godina, kao rijetko koji me-
dijski proizvod prije (iako je konkurencija,
posebice u doba lm noir trenda bila
iznimna), motiv uivanja u cigaretama
i alkoholu kao trajnu oznaku likova i
dramaturgije. K tome, kao profesionalni
stvaraoci komercijalne komunikacije,
glavni likovi ve na samom poetku poka-
zuju da je kasnih pedesetih, a jo vie od
polovine ezdesetih, bilo iznimno vano
u oglaivakoj industriji pokazati proizvod
kao poeljan, kao dio identiteta korisnika
i njegova/njezina ivotnog stila. Drugim
rijeima, postii ono to Barthes naziva
inoculation, kao retoriku guru naglaa-
vanja pozitivnog i neotkrivanja potencijal-
no negativnog i tetnog'.
injenica da glavni likovi serije beskrajno
prakticiraju strast za puenjem cigareta i
ispijanjem ogromnih koliina estokih al-
koholnih pia, dakako, prije je dramaturki
zahvat negoli stvarnost onovremene agen-
cijske svakodnevice, no stalna zadimljenost
kadra u seriji injenica je medijske suvre-
menosti koja pozornost izaziva upravo
modernity, auracting auention precisely
due to the lack of these very products, ciga-
reues and alcohol, in the public media. All
the smoke in a single TV series might also
be a gentle irony of the author or director.
The fact remains that from the famous
1964 Surgeon General Report on the poten-
tially harmful eects of smoking cigareues
to the present day advertising of tobacco
industry products has all but disappeared
from the media, at least in the communi-
cational manner considered normal in the
times shown in Mad Men.
On the other hand, public health cam-
paigns aiming at the nicotine consumma-
tion problem have been highly present in
the developed west European democracies
since the 1960s, oen with powerful com-
municational eects on par with those for
any commercial product. However, people
still do enjoy risky passions, including
smoking cigareues'. As well as drinking.
If smoking holds such a strong place in
culture, then there is probably a certain
level of visual culture through which the
levels of signicance of nicotine enjoyment
can be followed and interpreted. This was
so both in the developed west European
democracies and in transitional environ-
ments economically and politically still
striving to adopt this model, one of which,
since the 19'' century certainly has been
Croatia, to which, with a view of tobacco
management and sales, as a natural and
logical, unique not only political area
we should denitely add Bosnia and
Herzegovina. Throughout modern culture,
zbog javne medijske neprisutnosti tih istih
proizvoda cigareta i alkohola. Stoga je to-
liko dima u jednoj televizijskoj seriji moda
i njena ironija njezina autora ili redatelja.
injenica jest da je nakon uvenog izvjea
dravnog tajnika za zdravstvo iz 1964. go-
dine o potencijalno tetnim posljedicama
uivanja u cigaretama, pa do danas, iz me-
dija gotovo posve nestalo vanje proizvoda
duhanske industrije, barem na komunika-
cijski nain, kako je to jo u doba koje prika-
zuje serija Mad Men bilo uobiajeno.
S druge strane, javno-zdravstvene
kampanje, koje upuuju na problematiku
konzumacije nikotina, u razvijenim su
zapadnoeuropskim ekonomijama od
ezdesetih nadalje izrazito prisutne u
javnosti, nerijetko s jakim komunikacij-
skim uincima koji pariraju bilo kojim
slinim za bilo kakav komercijalni
proizvod. Meutim, ljudi i dalje uivaju
u strastima koje su rizine, pa tako
i dalje pue cigarete'. A i piju.
Ako je pozicija puenja u kulturi toliko
snana, onda vjerojatno postoji i odree-
na razina vizualne kulture preko koje se
mogu pratiti i interpretirati razine znae-
nja uivanja u nikotinu. Kako u razvijenim
sredinama zapadnoeuropske demokracije,
tako i u onim tranzicijskim sredinama koje
i ekonomski i politiki jo tee usvajanju
taj model, kakva je sredina svakako od 19.
stoljea nadalje i Hrvatska kojoj, u smislu
gospodarenja i prometovanja duhanom,
svakako valja pridodati, kao prirodan, lo-
gian i jedinstven prostor ne samo poli-
tiki i Bosnu i Hercegovinu. U modernoj
hup://simlecompte.blogspot.com/2011/10/mad-men-
-and-barthes.html
1 1 hup://simlecompte.blogspot.com/2011/10/mad-men-
-and-barthes.html
Sander L. Gilman, Xun Zhou (ur.), Smoke: A Global
History of Smoking, Reaktion Books, London 2004.,
Chris Harrald, Fletcher Watkins, The Cigareue
Book: The History and Culture of Smoking,
Skyhorse Publishing, 2010
Allan Brandt, The Cigareue Century: The Rise,
Fall, and Deadly Persistence of the Product That
Dened America, 2007, str .211-241
3
2
3
Sander L. Gilman, Xun Zhou (ur.), Smoke: A Global
History of Smoking, Reaktion Books, London 2004,
Chris Harrald, Fletcher Watkins, The Cigareue
Book: The History and Culture of Smoking,
Skyhorse Publishing, 2010
Allan Brandt , The Cigareue Century: The Rise,
Fall, and Deadly Persistence of the Product That
Dened America, 2007, p. 211-241
2
140
Idejni nacrt za
oglaavanje cigareta
Primorka + ambalaa
proizvoda, 1960.-te
Primorka cigareue +
packaging advertisement
design, 1960s
this area has been almost a unique eld
of growing, cultivating and selling tobacco
and a production area of tobacco products.
This process was very much championed
by the Austro-Hungarian state tobacco
monopoly elevating numerous small
and family economies from a pre-modern
and neo-feudal cultural state into the
new horizons of material wellbeing
and prosperity.
Is the overwhelming presence of smok-
ing in culture and thus of these motifs in
visual culture (both traditional art in gal-
leries and in mass communication media)
a consequence of the democratization
process, the fact that the bourgeois cigars
have replaced democratic cigareues, as
pronounced excitedly by the narrator in
the Croatian utilitarian (promo) lm for
the Zagreb Tobacco Factory from the early
1960s? The answer is armative to an
extent, if we accept the availability of the
cigareue as a mass industry product as the
sign of the modern city society built on
freedom and equality. However, there are
kulturi taj je prostor gotovo jedinstveno
polje uzgoja, kultiviranja i prometa du-
hana te prostor proizvodnje duhanskih
preraevina i proizvoda. Tomu procesu
svakako temelje stvara austrougarski dr-
avni duhanski monopol preko kojega su
se brojne male i obiteljske ekonomije uzdi-
zale iz predmodernog i neofeudalnog sta-
nja kulture prema drukijim horizontima
materijalnog blagostanja i prosperiteta.
Je li masovna prisutnost puenja u kul-
turi, pa tako i tih motiva u vizualnoj kultu-
ri (kako u tradicionalnoj galerijskoj likov-
noj umjetnosti, tako i u masovnim komu-
nikacijskim medijima), posljedica procesa
demokratizacije, odnosno injenice da su
buroaske cigare zamijenile demokratske
cigarete, kako uzbueno tvrdi glas nara-
tora u domaem namjenskom (promotiv-
nom) lmu za Tvornicu duhana Zagreb s
poetka ezdesetih godina? Donekle bi se
na to pitanje mogao dati potvrdan odgo-
vor ako se dostupnost cigarete, kao masov-
nog industrijskog proizvoda, prihvati kao
oznaka modernog graanskog drutva
probably more profound reasons, a strong
motivation for lighting a cigareue, which
is not only of social nature but perhaps
also psychological, only emphasized by the
speed of modern civilization and scientic
and technological progress? One of the
most important motivational psycholo-
gists of the 20'' century, Ernest Dichter, has,
among other things, dened reasons for
smoking: happiness, sociability (mean-
ing that the smoker has a feeling of not
being alone), reward for something accom-
plished and oral pleasure.
And happy, socializing, rewarded and
orally pleased is probably something most
people would like to be, regardless of their
age or sex. Hmm, maybe not everyone
wishes to be orally pleased, at least not on
a conscious level, but that would be a topic
for a more serious discussion.
The presence of the motif of smoking
and generally enjoying tobacco in recent
west European culture begins with an-
thropological and scientic illustrations
for various reports on colonial travels and
in the 19'' century these or similar motifs
became an essential part of various orien-
talising compositions in the beaux arts.
The cigareue as a status symbol or the sym-
bol of a lifestyle in mass media has been
entirely standardized in the 20'' century as
a sort of a modern reinterpretation of the
traditional ritualistic role of tobacco and
smoking in a new media dramaturgical key.
Smoking is now no longer only the need for
transcendence but also a way to appease
the daily anxiety, with the peace pipe being
replaced by the cigareue-sucking gangsters
shenanigans. The new (re)interpretation
sazdanog na slobodi i jednakosti. No, vje-
rojatno postoje i neki dublji razlozi, jaki
motivi za pripaljivanje cigareta koji nisu
samo socijalne naravi nego moda i psiho-
logijskog smisla, ali iji je smisao upravo
brzina moderne civilizacije i znanstveno-
tehnolokog napretka samo jae naglasila?
Jedan od najznaajnijih motivacijskih
psihologa 20. stoljea Ernest Dichter je,
izmeu ostalog, denirao razloge za pue-
nje kao veselje, drutvenost (u smislu da
pua ima osjeaj da nije sam), nagradu za
uinjeno i oralno zadovoljstvo.
A vesela, u drutvu nagraena i oralno
zadovoljena vjerojatno eli biti veina lju-
di, bez obzira na dob i spol. Hm, moda ne
eli ba svatko, barem na razini svjesnoga,
biti oralno zadovoljen, ali to je vjerojatno
tema za ozbiljniju raspravu.
Prisutnost motiva puenja i, openito,
uivanja u duhanu u novijoj zapadnoeu-
ropskoj kulturi, poinje od antropoloko-
znanstvenih ilustracija za razliita izvjea
o kolonijalnim putovanjima, da bi se u
19. stoljeu isti takvi ili slini motivi u gra-
anskoj lijepoj umjetnosti pojavili kao
neizostavan dio razliitih orijentalizirajuih
kompozicija. Prisutnost cigarete kao statu-
snog oznaitelja ili pak oznaitelja ivotnog
stila u masovnim medijima, tijekom 20.
stoljea posve je standardizirana kao svoje-
vrsna moderna reinterpretacija tradicijske
ritualne uloge duhana i puenja u novom
medijskom dramaturkom kljuu. Pa tako
puenje vie nije samo potreba za transcen-
dencijom nego smirivanje svakodnevne
nervoze, a lulu mira zamijenio je marifetluk
gangstera s cigaretom meu usnama. Nova
je (re)interpretacija motiva uivanja u
Ernest Dichter, Why Do We Smoke Cigareues,
u: The Psychology of Everyday Life, 1947., hup://
smokingsides.com/docs/whysmoke.html
Iain Gately, Tobacco: A Cultural History of How
an Exotic Plant Seduced Civilization, Grove Press,
London 2001, str. 145-164 i 237-253
5
4
5
Ernest Dichter, Why Do We Smoke Cigareues,
in: The Psychology of Everyday Life, 1947, hup://
smokingsides.com/docs/whysmoke.html
Iain Gately, Tobacco: A Cultural History of How
an Exotic Plant Seduced Civilization, Grove Press,
London 2001, p. 145-164 and 237-253
4 Ambalaa kutije
cigareta Primorka,
1960.-te
Primorka cigareue
packaging, 1960s
of the tobacco enjoyment motif is function-
ally modern and can be found everywhere
except in commercial advertising.
How was it that the motif of smoking
(cigar or cigareue, it doesnt mauer) and of
enjoying tobacco in general went from an
exotic insinuation of something dierent
and of The Other, across the signier of
scum and social strife to become a signier
rst of alternative, artistic and philosophi-
cal outlooks in the 19'' century and then
the standard part of the visualization and
characterization mechanism of characters
and dramatic plot in the 20'' century?
There are theories on how the star system
especially through Hollywood supported
smoking and how smoking supported the
star system (5), but the turning point in
the public perception of smoking and an
even more important cognitive point were
certainly the artistic movements and ideas
in Europe, particularly in France, in the mid-
dle of the 19'' century. The most important
gure here is Charles Baudelaire and his
striving for articial paradises because,
as is well known, he was keen not only on
enjoying cigareues but also certain stronger
stimuli, to replace the glum daily life of the
industrialized metropolis with a brighter
hallucinogenic image, if only for a short
while. The overall feature of romanticism
included enjoying tobacco and smoking in
public as a badge of liberal artists and poets
and not only the social scum and shady
characters anymore. This sensibility, later
also recognized by rockers or punks and
separately through various subcultures
from mods and bikers to beatniks and hip-
pies, is fundamental for using the smoking
motif in modern mass media. In every
duhanu funkcionalno moderna i sveprisut-
na osim u komercijalnim oglasima.
Kako se dogodilo da je motiv puenja
(cigare ili cigarete, svejedno), a i uope
uivanja u duhanu, od egzotinog upui-
vanja na drukije i Drugo, preko oznake
polusvijeta i socijalnih problema, po-
stao oznaitelj ponajprije alternativnih,
umjetnikih i lozofskih svjetonazora u
19. stoljeu, a u 20. i standardni dio me-
hanizma vizualizacije i karakterizacije
likova i dramaturke radnje? Postoje teze o
tome kako je star system posebice preko
Hollywooda pomagao puenju i kako
je puenje pomagalo star systemu (5.). No
prijelomnu toku u javnoj percepciji pue-
nja, i spoznajno jo vaniju, svakako ine
umjetniki pokreti i svjetonazori u Europi,
napose u Francuskoj polovinom 19. stolje-
a. Posebno je tu vaan Charles Baudelaire
i njegova tenja articijelnim rajevima jer,
kako je poznato, on je bio sklon ne samo
uivanju u cigaretama nego i u neto jaim
stimulansima kako bi tmurnu svakodne-
vicu industrijaliziranog velegrada barem
nakratko zamijenio vedrijom halucinoge-
nom slikom. Okvirna oznaka romantizma
ukljuila je uivanje u duhanu i puenje u
javnosti kao oznaku liberalnih umjetnika i
pjesnika, a ne vie samo drutvenog oloa
i sumnjivih karaktera. Taj je senzibilitet,
kasnije prepoznat i kao rokerski ili panker-
ski, posebno preko razliitih supkulturnih
pokreta, od modsa i bikera, preko bitnika i
hipija, temelj koritenja motivom puenja
u modernim masovnim medijima.
U svakoj dokumentarnoj ili pak umjet-
nikoj fotograji, lmu ili na plakatu ve-
zanom uz mladenaku supkulturu 20. sto-
ljea, dimi se na veliko, a cigareta je uvijek
Balbach Edith, Hartman Cathy, Barbeau Elizabeth,
The Eect of Tobacco Control on Inequities in
Smoking Prevalence: Social Class, Race/Ethnicity
and Gender, u: Peter Bearman, Kathryn M Necker-
man, Leslie Wright (ur.) Aer Tobacco: What Would
Happen If Americans Stopped Smoking?, Columbia
University Press, New York 2011, str. 381-399
6 6 Balbach Edith, Hartman Cathy, Barbeau Elizabeth,
The Eect of Tobacco Control on Inequities in
Smoking Prevalence: Social Class, Race/Ethnicity
and Gender, in: Peter Bearman, Kathryn M Necker-
man, Leslie Wright (ed.) Aer Tobacco: What Would
Happen If Americans Stopped Smoking?, Columbia
University Press, New York 2011, p. 381-399
Oglas za Odol pastu za zube, 10. 5. 1930.
Odol toothpaste advertisement, May 10, 1930
documentary or artistic photograph, lm
or poster on 20'' century youth subculture
there is smoke galore and there is always a
cigareue dangling between lips or ngers.
Before it became the semantic signied
as a mass product of the industrial culture,
the cigareue was a signier, a scaolding
for building content: a sign of liberal think-
ers and artists, as well as various alternative
movements and subcultures later on.
However, as in so many other compara-
tive cases of cultural branding, from the
sing of alternative mindset, via the catalyst
of mass production and consumption
mechanisms, the cigareue, just like alco-
holic beverages, became a sign in itself, a
semantic and cultural product with a sepa-
rate and independent material and symbol-
ic value. Still, this value has been achieved
precisely by the eorts of avantguardists,
futurists, such as the ones from Bertoluccis
Novecento, who adore fast cars and smok-
ing. The pivotal merit of these eorts was
the exposing of the act of smoking to the
public eye, initially as an exotic cultural
shock which was to become a regular form
of public behaviour. Up until the mid-1960s.
What was once unacceptable or hardly
acceptable becomes the rule of thumb,
publicly promoted and frequently repeated.
Advertising industry, naturally, has given its
great contribution to this, as it has to many
other real or apparent freedoms from the
sexual revolution to healthy lifestyles.
In cultural environments on the fringes
of industrial modernization, such as Croa-
tia was for the most part of modern history,
meu usnama ili u ruci. Prije nego
to je postala semantiki oznaeno
kao masovni proizvod industrijske
kulture, cigareta je vie funkcionirala
kao oznaitelj, kao orma za stvaranje
sadraja: oznaka liberalnih mislilaca
i umjetnika, a poslije i razliitih
alternativnih pokreta i supkultura.
Meutim, kao i u toliko drugih kompa-
rativnih sluajeva cultural brandinga,
od znaka alternativnog svjetonazora, kroz
katalizator mehanizma masovne proi-
zvodnje i potronje, i cigareta je, poput
alkoholnih pia, postala znak po sebi, se-
mantiki i kulturni proizvod koji ima za-
sebnu i samostalnu materijalnu i simboli-
ku vrijednost. No, ta se vrijednost stjecala
upravo naporima avangardista, futurista,
poput onih iz Bertoluccijeva Novecenta
koji oboavaju juree automobile i puenje,
a kljuna je vrijednost u tim naporima
bilo izlaganje ina puenja javnosti, prvo
kao egzotini kulturni ok, da bi kasnije to
postao standard javnog ponaanja do po-
lovine ezdesetih godina prolog stoljea.
Neko neprihvatljivo, ili teko prihvatljivo,
postaje opa norma prema naelu javnog
zagovaranja i uestalog ponavljanja. Ogla-
ivaka je industrija, dakako, tomu dala ve-
lik prinos, kao i mnogim drugim stvarnim
ili prividnim slobodama od seksualne
revolucije do zdravih ivotnih stilova.
U kulturnim sredinama na rubu indu-
strijske modernizacije, kakva je i Hrvatska
uglavnom bila tijekom novije povijesti, taj
proces premjetanja ili ak difuzije vrijed-
nosti kroz vizualnu kulturu oit je na po-
this process of transposing or even dius-
ing values through visual culture has been
evident in a somewhat dierent way, due
to the specicities of the economic and po-
litical system in the area today considered
as a Croat-specic cultural area. If we study
individual visual communication media
photography, lm and television footage,
visual communications and, as a similar
yet separate category, functional objects,
we can roughly dierentiate between two
levels of the smoking motif in them. The
rst level is the documentary one, docu-
menting the act of smoking in the rituals of
everyday life, with no signicant interven-
tion from the author of the photographic
or lm footage into the situation as found.
These situations are quite numerous and
they are simply a part of the general urban
neto drukiji nain zbog posebnosti eko-
nomskog i politikog sustava u uem po-
druju koje se danas smatra kulturnim
prostorom specinim za Hrvate. Motre li
se pojedini mediji vizualnog komunicira-
nja fotograja, lm i televizijski zapisi,
vizualne komunikacije i, kao donekle sli-
na a opet zasebna kategorija, funkcionalni
predmeti, mogue je ugrubo opredijeliti
pojavnost motiva puenja na dvije razine.
Prva je ona dokumentarna koja registrira
in puenja u ritualu svakodnevnog ivota,
bez posebne intervencije autora fotograf-
skog ili lmskog zapisa u situaciju koja je
zateena. Takvih situacija ima prilian broj
i one su naprosto dio openitog urbanog
ili suburbanog folklora iji je puenje u
ovim krajevima tradicionalno bio vaan
dio. Prikazani ljudi su anonimni, ali su
Penny Tinkler, Smoke Signals: Women,
Smoking and Visual Culture in Britain (Leisure,
Consumption and Culture), Berg, London 2006.,
Judith Williamson, Decoding Advertisements,
Ideology and Meaning in Advertising,
Marion Boyars, 1978.
Douglas B. Holt, How Brands Become Icons,
The Principles of Cultural Branding,
Harvard Business School, 2004
7
8
7 Penny Tinkler, Smoke Signals: Women,
Smoking and Visual Culture in Britain (Leisure,
Consumption and Culture), Berg, London 2006,
Judith Williamson, Decoding Advertisements,
Ideology and Meaning in Advertising,
Marion Boyars, 1978
Douglas B. Holt, How Brands Become Icons,
The Principles of Cultural Branding,
Harvard Business School, 2004
8
Puai, snimio Too Dabac, 1938.
Smokers, by Too Dabac, 1938
or suburban folklore which, in this region,
traditionally saw smoking as its important
part. The people shown there are anony-
mous but the situations are iconic, be it
tobacco picking, working in the eld or par-
ticipating in factory work or at a political
gathering. Documentary television footage
has special signicance here and some-
times historic importance as well, such as
the 23' session of the cKsKH (Central Com-
miuee of the Croatian League of Commu-
nists) in 1971, when the then top board was
replaced. In this footage, clouds of smoke
swirl through the modernist premises of
the centre of political power with events
of crucial importance for the upcoming
Croatian future taking place in front of the
camera. Or the footage documenting the
political dissection and discrediting of the
Praxis journal in 1968, with all paricipants
gently pung away. All this photographic
and lm footage nd a valuable cultural
and historic counterpart in the 1963 utili-
tarian (promo) lm Zagrebaki duhanski
put (The Zagreb Tobacco Road), clearly
depicting this democratic presence of the
cigareue in all segments of contemporary
society, all along the vertical and horizontal
social layers. Like most lms of that kind
from the era, this documentary was di-
rected so that the newly created lm reality
seems almost like an ideal picture of social
progress in which mass production of
cigareues is part of the general industrial
modernization. This is very well supported
by visual communications, promotional
posters and cigareue packaging, to which
we will come back later.
The second level of the presence of the
smoking motif in local visual culture is the
one that functions as a consciously chosen
signier, whether of the status of what it
presents or of the importance of a charac-
ter or dramaturgy of what it presents. This
too is evident both in photography and in
television footage, but most of all in lm.
The cigareue as the signier of status or at-
situacije ikonike, bilo da je rije o berbi
duhana i radu u polju, participaciji u tvor-
nikoj proizvodnji ili pak na nekom poli-
tikom skupu. Zaseban znaaj u tom smi-
slu imaju dokumentarni televizijski zapisi,
od kojih neki imaju prilinu povijesnu
vanost, poput 23. sjednice cKsKH 1971.,
kada je smijenjeno tadanje vodstvo, na
kojima se oblaci dima ire modernistikim
prostorom sredita politike moi dok se
pred kamerama zbivaju kljuni dogaaji
za kasniju hrvatsku povijest ili pak zapis
koji dokumentira politiko seciranje i dis-
kreditiranje asopisa Praxis 1968. dok pri-
sutni njeno otpuhuju dim. Svi ti fotograf-
ski i lmski zapisi imaju vrijedan kultur-
no-povijesni komplement u namjenskom
(promotivnom) lmu Zagrebaki duhanski
put iz 1963., koji jasno pokazuje tu demo-
kratsku prisutnost cigarete u svim se-
gmentima ondanjeg drutva, po cijeloj
vertikali i horizontali socijalnih slojeva.
Poput veine takvih lmskih uradaka
iz onog vremena, i taj je dokumentarno-
-reiran, tako da se novostvorena lmska
stvarnost doima kao gotovo idealna slika
drutvenog progresa u kojemu je i
masovna proizvodnja cigareta dio ope
industrijske modernizacije. Vrlo dobri
svjedoci toga su i vizualne komunikacije,
promotivni plakati i ambalaa za cigarete,
no o tome neto poslije.
Druga razina prisutnosti motiva pue-
nja u lokalnoj vizualnoj kulturi jest ona
koja funkcionira kao svjesno odabrani
oznaitelj, bilo statusa prikazanoga, bilo
vanosti lika ili dramaturgije prikazanoga.
I to je evidentno, kako u fotograji, tako i
u televizijskim zapisima, a najvie u lmu.
Cigareta je, kao oznaitelj statusa ili sta-
va, odnosno ivotnog stila, nezaobilazan
motiv portreta znaajnih protagonista
politikog, kulturnog i umjetnikog ivota
polovine 20. stoljea pa sve do osamdese-
tih godina. Politiari, ideolozi, knjievnici,
slikari, kipari, skladatelji, rokeri, gradski
frajeri... svi strasno poziraju s duhanskim
titude and lifestyle is the necessary motif in
the portraits of important protagonists of
political, cultural and artistic life from mid-
century until the 1980s. Politicians, ideolo-
gists, writers, painters, sculptors, composers,
rockers, city cats... they all passionately
strike the pose with the tobacco stick as
their miniature sceptre of status. This is il-
lustrated by exquisite portraits or situation
photography taken by masters such as Mi-
lan Pavi or Too Dabac, and the extremely
simple but profound photographs by Goran
Pipo Paveli demonstrate it overtly the
cigareue is an auitude and style, and some
protagonists of this smoky civilizational
merry-go-round will even proudly display it
in close-up. Just how important the motif
smoking or presenting a character with
a cigareue in a dramatic situation is, was
wonderfully illustrated in some examples
from the history of the Croatian cinema-
tography in which the characterization of a
person or a situation is essentially connect-
ed to the smoking motif. These are Rondo
by Berkovi, Breza by Babaja, Lisice by
Papi, Dogaaj by Mimica, iva istina by
Radi or Deps by Vrdoljak. These exam-
ples are, of course, only the most prominent
and probably the most striking works,
whereas a more thorough research should
be undertaken to determine the cultural
and lmological roots of the motif of smok-
ing in lm poetics. This level of using smok-
ing also includes numerous short pieces of
TV footage from the Radio Televizija Zagreb
shows lmed at the times when the aui-
tude towards the cigareue was signicantly
dierent from what it is today. For example,
it was possible to have performers smoke
and drink alcohol in front of the cameras
as a dramatic vehicle in a frame of an enter-
tainment musical sketch, as musical clips
were then called, to make it more believable.
It is also interesting to notice how it was
standard in those times, as late as the early
1980s, that in some talk shows, for example
those on lm, it was perfectly normal for
tapiem kao minijaturnim ezlom statu-
sa. Vrhunske portretne ili situacijske foto-
graje majstora fotograje, poput Milana
Pavia ili Toe Dapca, to izvrsno ilustriraju,
kao i to iznimno jednostavni, a duboki
fotozapisi Gorana Pipe Pavelia to zorno
pokazuju cigareta je stav i stil, mjesti-
mino kod pojedinih protagonista tog
zadimljenog civilizacijskog vrtuljka ak i
ponosno pokazana u prvom planu.
A da je motiv puenja, odnosno in
pokazivanja pojedinanog lika u nekoj
dramaturkoj situaciji s cigaretom vaan,
izvrsno ilustriraju neki primjeri iz povi-
jesti hrvatske kinematograje u kojima
je karakterizacija lika ili pak situacije
temeljito vezana uz motiv puenja, kao
u Berkovievu Rondu, Babajinoj Brezi,
Papievim Lisicama, Mimiinu Dogaaju,
Radievoj ivoj istini ili pak Vrdoljakovu
Depsu. Navedeni primjeri, dakako, tek su
najizrazitiji i lmski vjerojatno najupeat-
ljiviji, a svakako bi temeljitije istraivanje
tek trebalo utvrditi kulturnu i lmoloku
utemeljenost motiva puenja u lmskoj
poetici. Toj se razini uporabe puenja sva-
kako prikljuuju brojni televizijski inserti
iz emisija Radiotelevizije Zagreb iz godina
kada je odnos prema cigareti bio bitno
drukiji nego danas, pa je, primjerice, bilo
mogue da kao dramaturko sredstvo u
kadru zabavno-glazbenog skea (kako su
jezikom ondanjeg doba nazivali spotove),
za potrebe uvjerljivosti izvedbe, izvoai
pue i piju alkohol pred kamerama. Intere-
santno je k tomu kako je standard onoga
vremena, ak jo i na poetku osamdesetih,
u pojedinim razgovornim emisijama, pri-
mjerice o lmu, posve podrazumijevao kao
normalno da voditelji i gosti pue u studi-
ju te da se nitko nije uzbuivao to ispred
lica govornika u kadru plove oblaci dima.
Moda je to samo bio hommage redatelja
televizijske emisije predodbi o klasinom
razdoblju Hollywooda i ikonikim slikama
zadimljene projekcijske sale, ali svakako je
prema standardima dananjeg vremena
Paolo (Sfeci) i Jajo
(Jasenko Houra)
ispred Kavkaza,
snimio Goran
Pipo Paveli, 1979.
Paolo (Sfeci) and
Jajo (Jasenko Houra)
at the Kavkaz,
by Goran Pipo
Paveli, 1979
the hosts and guests to smoke in the studio,
with no one objecting to clouds of smoke
oating in front of the speakers face. Per-
haps this was just a hommage of the TV
show director to the classic Hollywood era
and to the iconic images of smoke-lled
projection rooms, but for todays standards
this is extremely unusual and very inspir-
ing for a future cultural history of televi-
sion in local culture.
Visual communication relating to ciga-
reues and smoking can be roughly divided
into means of sales promotion, the packag-
ing of the product itself and the presence
of the smoking motif in communications
not primarily connected to cigareue promo-
tion. The lauer type of visual communicat-
ing of cigareues uses the idea of smoking
as a signier of status or lifestyle and is
overwhelmingly present in the advertising
industry. The history of the promotion of
tobacco products is dicult to reconstruct
today, due to very unsystematic archiving of
examples, probably in part resulting from
the state monopoly by dierent political
entities making the ways of communica-
tion themselves rigid and simple and thus
probably uninteresting for museums or col-
lectors. It is possible, however, to conclude
from segments that it was only in the early
1950s that a systematic media promotion of
the tobacco industry began in the already
tested method of connecting the identity
of the product with the identity of the user,
with the media clearly and openly showing
the products and how they are to be used.
This manner of cigareue promotion went
on until the 1980s when the local culture
adopts serious restrictions in manners of
promotion, whereas today every form of
visual or verbal linking to a tobacco product,
in Croatia as in the most part of the west
to iznimno neobino i vrlo poticajno za
buduu kulturnu povijest televizije u lo-
kalnoj kulturi.
Vizualne komunikacije vezane uz ciga-
rete i puenje mogu se okvirno razlikovati
kao promotivna sredstva za prodaju i am-
balaa samog proizvoda te kao prisutnost
motiva puenja u komunikacijama koje
primarno nisu vezane uz promociju ciga-
reta. Ovaj trei tip vizualnog komunicira-
nja cigareta koristi se zamisli o puenju
kao oznaitelju statusa ili ivotnog stila i
masovno je prisutan u oglaivakoj indu-
striji. Povijest same promocije duhanskih
preraevina danas je tee rekonstruirati
zbog vrlo nesustavno sauvanih primjera,
kako je dijelom vjerojatno zbog dravnog
monopola razliitih politikih formacija,
pa su i sami oblici komunikacije bili dra-
votvorno kruti i jednostavni, time vjero-
jatno i neinteresantni za muzealiziranje
ili kolekcionarsko prikupljanje. Meutim,
mogue je prema fragmentima sauvanim
u tom segmentu komuniciranja zakljuiti
kako tek ranih pedesetih godina prolog
stoljea poinje sustavna medijska promo-
cija duhanske industrije na ve oprobani
nain povezivanja identiteta proizvoda s
identitetom korisnika, kada se u medijima
jasno i otvoreno prikazuju proizvodi i na-
ini koritenja njima. Takav je nain pro-
mocije cigareta trajao sve do osamdesetih
godina, kada i u lokalnoj kulturi poinju
ozbiljnije restrikcije naina promocije, da
bi danas svaki oblik vizualnog ili verbal-
nog vezivanja na duhanski proizvod bio i u
Hrvatskoj, kao i u veem dijelu zapadnoeu-
ropske kulture, posve zabranjen.
No, s druge strane, vizualno se komuni-
cira i na samoj ambalai proizvoda duhan-
ske industrije pa ta ambalaa pokazuje
neke vrlo interesantne karakteristike ope
Fea Vuki (ur.), Umjetnost uvjeravanja,
Oglaavanje u Hrvatskoj 1835-2005.,
Muzej za umjetnost i obrt i Hrvatski
oglasni zbor, Zagreb 2006.
9 Fea Vuki (ed.), Umjetnost uvjeravanja,
Oglaavanje u Hrvatskoj 1835-2005.,
Muzej za umjetnost i obrt i Hrvatski
oglasni zbor, Zagreb, 2006
9
Oglas cooL Osvjeenje iz Rovinja,
srpanj 1999.
Advertisement cooL Refreshment
from Rovinj, July 1999
European culture, has been banned alto-
gether. On the other hand, visual communi-
cation can take place on the very packaging
of the tobacco product, which is why the
packaging displays some very interesting
characteristics of the overall cultural pic-
ture of the 19'' and the 20'' centuries, with
the change of ideology or state and legal
systems as one of the permanent features.
These ideologies would oen leave a more
or less obvious mark of their own identities
on cigareue packaging. Still, tobacco qual-
ity and local designation, the brand itself, is
kulturne slike 19. i 20. stoljea, pri emu je
promjena ideologija ili dravno-pravnih
sustava jedna od trajnih karakteristika.
Nerijetko su te ideologije ostavljale vie ili
manje jasan peat vlastitog identiteta i na
ambalai cigareta. No, kvaliteta duhana
i lokalno odreenje, upravo brend, nad-
ivljuje te promjene pa ime samo mijenja
formu ili vizualizaciju, odnosno dravni
monopol koji ga javno plasira, kao u slu-
aju duhana trebinjca u Austro-Ugarskoj
Monarhiji, Kraljevini sHs, odnosno
socijalistikoj Jugoslaviji.
A da lokalni duhan doista ima snagu
vrijednosti robne marke koja je i meu-
narodno prepoznata, svjedoi injenica
da cigarete Hercegovina Flor jo i danas
proizvodi tvornica Java, nekadanji gigant
socijalistike sovjetske privrede, danas
naravno privatizirana kao dio velikog in-
ternacionalnog konglomerata. Duhanom
iz tih cigareta navodno je i sam Staljin
punio svoju najdrau lulu.
Naposljetku, funkcionalni materijalni
predmeti vezani uz konzumaciju duhana
takoer su i dio (ne samo) vizualne kulture,
pri emu je potrebno napomenuti inae
samorazumljivu injenicu da je uz tu na-
viku vezana cijela galaktika funkcionalnih
stvari od kutija za duhan, tabakera, lula,
cigarpica i nargila pa sve do razliitih me-
hanikih naprava, kutija za ibice ili upa-
ljaa. To su objekti koje valja procjenjivati
poneto drukijim metrom od vizualnih
komunikacija u uem smislu jer, napro-
sto, ako smo smisao komunikacija vagali
prema koliini dima u kadru, ovdje je rije
o funkcionalnim stvarima koje taj dim
generiraju, i to uz pratei vizualni sadraj.
Tako jednostavan kontejner za duhan ili
cigarete nije samo svrhovita kutija nego i
nositelj cijelog niza vrijednosti, saetih u
dekorativni repertoar ili ak u mimetiki
gurativnu cjelinu. Kulturne metafore
prisutne na funkcionalnim predmetima
kreu se u rasponu od tradicionalnih ori-
what survives all those changes so that the
product name only changes shape or visu-
alization, depending on the state monopoly
marketing it, as was the case with the Tre-
binjca tobacco factory in the Austro-Hun-
garian Monarchy, Kingdom of Serbs, Croats
and Slovenians and socialist Yugoslavia.
Local tobacco does indeed have the power
and value of an internationally recognized
brand, as witnessed by the fact that the
Hercegovina Flor cigareues are still being
produced by the Java factory, once a social-
ist Soviet economy giant and today, natu-
rally, privatized as part of a big international
conglomerate. The cigareues were allegedly
used by Stalin himself who used to take out
the tobacco to ll his favourite pipe.
Finally, functional material objects related
to the consummation of tobacco are also
a part of (not only) visual culture. Here we
should mention what usually goes without
saying, that the habit encompasses an en-
tire galaxy of functional objects from to-
bacco boxes, cigareue cases, pipes, cigareue
holders and narghiles, to dierent mechani-
cal devices, matchboxes or lighters. These
are the objects that should be assessed on
a somewhat dierent scale than the visual
communications strictly speaking, because,
if we have weighed the meaning of commu-
nications by the amount of smoke in
the frame, then now we are talking about
functional objects generating this smoke
Kutija za duhan Trebinjac, Dravni monopol
Kraljevine Jugoslavije, prije 1941.
Trebinjac tobacco box, the Kingdom of
Yugoslavia state monopoly, before 1941
Kutija za duhan Trebignatz, Dravni monopol
Kraljevine Jugoslavije, prije 1941.
Trebignatz tobacco box, the Kingdom of
Yugoslavia state monopoly, before 1941
Kutija za duhan Trebinjac, Hrvatski dravni
monopol NbH, 1941-1945.
Trebinjac tobacco box, the NbH state
monopoly, 1941-1945
with the accompanying visual content.
A simple tobacco or cigareue container is
thus not only a useful box but also a ve-
hicle for a string of values, condensed in a
decorative paleue or even in a mimetically
gurative ensemble. Cultural metaphors on
functional objects cover a span between tra-
ditional orientalising motifs and traditional
classical west European elements, depend-
ing on the time and place of production as
well as the target group of users. The diver-
sity of this paleue rearms the omnipres-
ence of smoking in culture and indicates the
values to which we associate not only the
functionality of objects, the idea of beauty,
but also the habit of enjoying tobacco itself.
However, this paleue and its stricter mean-
ing in culture, both global and local, has yet
to become the topic of a more systematic
critical and scientic research.
Fea Vuki
jentalizirajuih motiva do tradicionalnih
klasinih elemenata zapadnoeuropske
kulture, ovisno o mjestu i vremenu na-
stanka i ciljanoj skupini korisnika.
Raznolikost tog repertoara ponovno
potvruje masovnu prisutnost puenja u
kulturi, odnosno upuuje na vrijednosti uz
koje se asocirala ne samo funkcionalnost
predmeta, ideja o lijepom, nego i sama
navika uivanja u duhanu. No taj reperto-
ar, kao i njegov ui smisao u kulturi, kako
globalnoj, tako i lokalnoj, tek treba postati
tema jednog sustavnijeg kritikog i znan-
stvenog istraivanja.
Fea Vuki
Hercegovaki or, sredina 1980.
Hercegovaki Flor, mid-1980s
Etui za cigarete, Sv. Juraj sa zmajem, 19. st.
Cigareue case, St. George and the dragon, 19'^ c.
Pavle Pajo Lonar, sjedi ispred
svojeg Spaeka negdje izmeu
Zveke i Blata, snimio
Goran Pipo Paveli, 1979.
Pavle Pajo Lonar siuing
in front of his spaek,
somewhere between
Zveka and Blato, by
Goran Pipo Paveli, 1979
Ivan Viti,
snimio Too Dabac,
1967.
Ivan Viti,
by Too Dabac,
1967
Mladen Gali
snimio Too Dabac,
1968.
Mladen Gali,
by Too Dabac,
1968
eljko ika Stojanovi,
ispred Zveke, snimio
Goran Pipo Paveli, 1982.
eljko ika Stojanovi,
at Zveka, by Goran
Pipo Paveli, 1982
Kutija za duhan Morava,
pedesete godine.
Morava tobacco box,
1950s
Kutija za cigarete Sarajevo,
pedesete godine.
Sarajevo cigareue box,
1950s
Kutija za cigarete Sarajka,
pedesete godine.
Sarajka cigareue box,
1950s
Kutija za cigarete Special,
pedesete godine.
Special cigareue box,
1950s
Kutija za cigarete
Diplomatic, pedesete
ili ezdesete godine.
Diplomatic cigareue box,
1950s or 1960s
Inoslav Beker
Tabui, zabrane
i neodoljiva privlanost
duhana
Taboos, bans and
the irresistible araction
of tobacco
Od svete
do avolje
trave
From holy
to devils
herb
The auraction of tobacco has not dimin-
ished even aer all, mostly well-justied
campaigns against tobacco smoke and
smoking, inhaling, pung and any other
possible way of enjoying tobacco. Whether
it is enjoyment or slaving opinions dier.
Still, not even threatening messages, black-
rimmed like obituaries, did not really suc-
ceed in shauering the loyalty of those who
can (no longer) live without tobacco.
There is, however, the story of a buyer who,
appalled by the notice on tobacco smoking
reducing sexual potency, threw the pack
back onto the clerks desk and said in a
quivering voice: Give me the one that kills!
Some say this is an urban legend never-
theless cigareues with threats to potency
seemed to have disappeared from shops
and cigareue machines. Even terror has its
limits: it is easier to tolerate the fear of death
than the fear of the loss of manhood.
This is not a new fear, not even in con-
nection to tobacco: in the 17'' century, when
coee was considered an aphrodisiac (as
well) and had the pious Johann Sebastian
Bach dedicate a cantata to it, tobacco was
already seen as anti-aphrodisiac and was
especially recommended to priests and
nuns to help them restrain any potential
ts of lust. Tell this to the people fearing
tobacco curbs libido!
Aer all, in the 17'' century tobacco was
for a while called Erba Santa (holy herb)
because medical writers believed and
explained that it had numerous medical
invigorating traits. Englishman Anthony
Chute wrote a treatise in 1595, arguing that
tobacco possessed many virtues known
and as yet unknown. The Puritans who
ed to America, on the other hand, called
tobacco the devils herb. This qualication
did not repel heavy smokers, obviously
descended from the great-mother Eve or
Havvah, whichever you prefer.
What is more, believers in dierent con-
fessions liked tobacco so much that pope
Innocent x. issued a bull in 1650, by which
he automatically excommunicated from
Privlanost duhana nije se smanjila ni
nakon svih, mahom opravdanih kampanja
protiv duhanskog dima i puenja, inhali-
ranja, pukanja i eventualnih inih naina
uivanja duhana. Koliko je rije o uivanju,
a koliko o robovanju miljenja su podije-
ljena. Ipak, ni prijetee poruke, uokvirene
crnim obrubom poput osmrtnice, nisu
zaista uspjele uzdrmati privrenost onih
koji bez duhana (vie) ne mogu.
Pripovijeda se, dodue, da je kupac,
zgroen opomenom da puenje duhana
smanjuje potenciju, odbacio kutiju s tom
opomenom kao oparen natrag na pult pro-
davau i drhtavim glasom rekao: Daj mi
onu koja ubija! Neki tvrde da je to urbana
legenda ali cigareta s prijetnjom poten-
ciji nekako vie nema ni na pultovima, ni
u automatima. I uas ima svoje dopustive
granice: lake je tolerirati strah od smrti
nego strah od gubitka mukosti.
Taj strah nije nov ni kad je rije o duha-
nu: u xvll. stoljeu, dok su kavu smatrali
(i) afrodizijakom, kojemu je i poboni Jo-
hann Sebastian Bach posvetio jednu svoju
kantatu, duhan su ve smatrali antiafro-
dizijakom pa su ga osobito preporuivali
sveenicima i redovnicima kako bi obuz-
dali eventualni napad poude. Hajte sada
nekome recite da puenje smanjuje libido!
Uostalom, u xvl. stoljeu duhan je stano-
vito vrijeme nosio naziv Erba Santa (sveta
trava) jer su medicinski pisci smatrali
i obrazlagali da ima brojne medicinske
kreposti. Englez Anthony Chute napisao
je 1595. raspravu u kojoj je tvrdio da duhan
ima mnoge vrline, poznate i jo nepozna-
te. Puritanci izbjegli u Ameriku nazvali su
duhan pak avljom travom. Ta atribucija
nije odbila duvandije, oite potomke
pramajke Eve ili Have, kako kome.
Vjernicima raznih konfesija duhan se,
dapae, ipak bio toliko omilio da je papa Ino-
cent x. izdao 1650. bulu kojom je automatski
izopio iz Katolike crkve svakoga tko bi
uivao duhan unutar vatikanske Bazilike
svetog Petra. Pasquino (ostatak helenisti-
kog kipa, iskopanoga blizu Piazze Navone, i
Vuk Vrhovac, Alkohol, nikotin
i srce, 1930.
Vuk Vrhovac, Alcohol, Nicotine
and the Heart, 1930
Javno zdravstvena kampanja
Reci DA nepuenju,
edukativni stripovi,
Joko Marui, 2003
Public health awareness campaign
Say YES to Non-Smoking,
educational cartoons,
Joko Marui, 2003
u blizini postavljenoga, o koji su puki satiri-
ari kriom vjeali opake aoke protiv pa-
pinske kraljevske vlasti) smjesta je reagirao
paskvilom: Contra folium, quod vento ra-
pitur, ostendis potentiam tuam, et stipulam
siccam persequeris (Zato strahom mui
list vjetrom progonjen, zato se na suhu
obara slamicu?). Papa je obznanio da bi
htio znati tko je autor, a odgovor je, oekiva-
no, osvanuo na Pasquinu: Job 13, 25 jer je to
bio citat iz Svetog pisma. Papa je obeao ak
nagradu autoru ako mu se prikae, ali je on
dobro pazio da se ne izda (pamtei moda
kako je dobri papa Siksto V., naeg porijekla,
a valjda i karaktera, dao skratiti za glavu
jednoga koji je uhvaen da ga satirizira na
Pasquinu). Stoga je njegov sljedei odgovor
glasio: Gratis. Bula ni danas nije povue-
na, ali se i ne provodi. Ali da netko i pripali,
odmah bi ga upozorio jedan od redara koji
onuda motre, ne samo na duhan nego i na
dolino odijevanje i ponaanje.
Moj prijatelj, strastven pua, poslan da
pri Svetoj Stolici bude veleposlanik, sto-
iki bi podnio pontikalne mise za velike
blagdane, gdje su svi ambasadori gurirali
blizu oltaru, ukoeni u svojim frakovima
kao pingvini ali bi u podstavu fraka s jed-
ne strane ubacio jednu cigaretu, a s druge
upalja, pa bi odmah, netom nakon to bi
se zaorio tradicionalni Bogu hvala! to je
sluba zavrena, izjurio izvan vatikanske
bazilike inhalirati nikotinski dim da
the Catholic Church anyone who would
enjoy tobacco in the basilica of St. Peter
in the Vatican. Pasquino (the remains of
a Hellenistic statue dug out near Piazza
Navona and erected nearby, on which the
peoples satirists secretly hanged stingy
comments against the papal royal rule) im-
mediately reacted with a pasquil: Contra
folium, quod vento rapitur, ostendis poten-
tiam tuam, et stipulam siccam persequeris
(Why do you torture the ying leaf with
fear, why do you threaten a dry twig?).
The pope declared he would like to know
who the author was and the answer, as ex-
pected, was found on Pasquino: Job, 13:25,
since it was a quote from the Holy Scrip-
tures. The pope even promised a reward to
the author if he should appear in front of
him, but the author was very careful not
to reveal himself (perhaps still recalling
the good pope Sixtus V., of our descent and
apparently character as well, who had had
a man beheaded for being caught satiriz-
ing him on Pasquino). His next reply was,
therefore: Gratis. The bull has not been
revoked to this day but it is not being
enforced either. Then again, if someone lit
a cigareue there today, they would immedi-
ately be warned by one of the security oc-
ers keeping an eye not only on tobacco but
on appropriate dress and behaviour as well.
My friend, a passionate smoker, appointed
ambassador to the Holy See, would stoically
put up with pontical mass on major holi-
days, where all ambassadors were seated
close to the altar, sti as penguins in their
tailcoats but he would slip a cigareue
into the tailcoat lining on the one side and
a lighter on the other side so that, as soon
as he heard the resounding traditional
Thanks be to God! the service is over, he
would rush out from the Vatican basilica to
inhale tobacco smoke, to survive: not even
incense can deliver a smoker from the ago-
ny of hell if he cannot smoke in the church.
To the question: so what is the devil in
tobacco? chemists can provide around
three hundred answers and almost four
thousand when they take to analyzing
tobacco smoke. Anthropologists can barely
come up with ten answers, but each worth
a book of its own.
Throughout centuries, smoking, for ex-
ample, has (also) been an auribute of status
and power. This is evident from numerous
images, from pre-Columbus American re-
liefs to contemporary digital photographs.
A relief survived depicting a Mayan priest
smoking tobacco rolled into a small straw
(the Mayan word sikar, to smoke rolled
tobacco, is the origin of the Spanish term
cigarro, which gave us cigara in our own
language). This relief was found in a temple
in an ancient South American city in the
rebellious state of Chiapas, called Lakam
Ha by the Maya and Palenque by the Span-
iards. Smoking tobacco was the status
symbol of the higher classes in the entire
area stumbled upon by Columbus: in
Hispaniola (Haiti) and in Cuba.
Tobacco had become a status symbol
in Europe as well, which is evident from
Chutes book, presenting the rst engraving
of a smoker in the European west, dressed
by the Elizabethan gentlemans dress code,
with rued collar exposing the head as if
on a plauer. Three decades later, in the rich
Holland of city dwellers, Dirk Hals (alleged-
ly the younger brother of Frans Hals) paint-
ed his liule gezelschapjes, the merry bands,
the Duch Facebook ante liueram, with one
gezelschapje titled Gentlemen Smoking And
Playing Backgammon In The Interieur, for
everyone to see how good a time they were
having because they could get away with
it. Two centuries later, Fairholt and other
drawers started to slightly mock both the
gentlemen and the snobs at smokers clubs,
wrapped in bluish smoke nimbuses, but to
no avail: even the currently most powerful
individual on our planet, Barack Obama,
was recently photographed with a ciga-
reue in his mouth, handling it expertly, no
hands, puuing Humphrey Bogart himself
to shame. The spirit of the Mayan priest
hasnt died, the only dierence irrelevant
for tobacco is that today the big capo can
kill from a distance and by huge numbers,
he does not have to resort to the ritual
knife like the Mayan priest did, but the sta-
tus tobacco roll is still here, politically clear,
even if no longer politically correct.
Smokers clubs, strictly male, the sum-
moning of gentlemen to smoke a cigar aer
lunch in a specially designated salon, with-
out the presence of the ladies, creating an
opportunity for topics dierent from those
appropriate at the joint table all this as-
sured smoking a certain masculine note
in societies faithful to the comfort of the
higher classes, such as the Victorian or the
Habsburg in Vienna. The next, even more
masculine note, was provided through the
iconography of male adventures auributed
to the Wild West. It is true that Bualo
Bill Cody, lead around by Barnum like a
circus-distilled essence of the West, was
never photographed with a cigareue but
once the lm industry got its hands on
westerns, the cigareue became a xture,
almost like a Colt on the thigh or a Win-
chester on the lap. Marlboro County (but in
reality also the neighbouring Chestereld
County, both in South Carolina) is remem-
bered for that very image of cow herders
(oh, yes, cowboys), and not for the winner
of the thirty-year war, the duke of Marlbor-
opstane: puae ni tamjan ne spasi pakle-
nih muka ako u crkvi ne pue.
Na pitanje: koji je onda sve vrag u duha-
nu? kemiari imaju tristotinjak odgovora,
a gotovo etiri tisue kada se mae anali-
zirati duhanski dim. Antropolozi jedva da
imaju desetak odgovora, ali svaki bi vrije-
dio posebnu knjigu.
Puenje je, na primjer, kroz duga stoljea,
bilo (i) atribut statusa i moi. Svjedoe o
tome brojni likovni prikazi, od pretkolum-
bovskih amerikih reljefa do suvremenih
digitalnih fotograja.
Sauvan je tako reljef majanskog svee-
nika koji pui duhan smotan u cjevicu (iz
majanske rijei sikar, puiti duhan smotan
u smotak, nastao je panjolski pojam ci-
garro, a odatle i u naem jeziku cigara). Taj
je reljef u hramu u junomeksikomu an-
tikom gradu, u buntovnoj dravi Chiapas,
koji su Maje zvali Lakam Ha, a panjolci ga
prozvali Palenque. Puenje duhana je, uo-
stalom, bio statusni simbol viih klasa na
svemu podruju kamo je zabasao Kolum-
bo: na Hispanioli (Haitiju) i na Kubi.
Da je i u Europi duhan postao statusni
znak, razvidno je ve iz Chuteove knjige, s
prvom gravirom puaa na europskome
Zapadu, odjevenoga po dress codeu eliza-
betinskih dentlmena, s nabranim ovrat-
nikom koji je glavu izlagao kao na tanjuru.
Tri desetljea kasnije, u bogatoj graanskoj
Nizozemskoj, Dirk Hals (kau: mlai brat
Fransa Halsa) slikao je svoje male geze-
lschapjes, vesela drutvanca, holandski
Facebook ante liueram, a jedan geze-
lschapje su i razbakarena Gospoda koja
pue i igraju backgammom u interijeru, da
svi vide kako im je lijepo jer im se moe.
Dva stoljea kasnije Fairholt i drugi crtai
ve se pomalo i rugaju i gospodi i snobo-
vima u puakim klubovima, obavijenima
nimbusom plaviasta dima, ali uzalud:
eno je i trenutno najmoniji pojedinac na
naem planetu, Barack Obama, snimljen s
cigaretom meu usnama, onako znalaki,
bez potrebe da je pridrava prstima, da
ni Humphrey Bogart ne bi vjetije. Duh
majanskog sveenika nije umro, jedina je
razlika za duhan nebitna da u dananja
doba vrhovni kapo moe ubijati i na dalji-
nu i na gomile, ne mora se latiti ritualnog
noa poput majanskog reca, ali statusni
valji duhana vazda je tu, politiki jasan,
makar vie ne bio politiki korektan.
Puaki klubovi, striktno muki, pa po-
vlaenje gospode da poslije ruka popue
cigaru u za to odreenome salonu, bez
nazonosti dama, to je stvaralo prigodu
za drukije teme od onih dopustivih za
zajednikom trpezom sve je to puenju
davalo stanovitu muevnu notu i u dru-
tvima odanima udobnosti viih klasa,
poput viktorijanskoga ili bekoga habsbur-
kog. Sljedeu, jo muevniju, notu dala je
ikonograja mujakih avantura pripisa-
nih Divljem zapadu. Dodue, Bualo Bill
Cody, kojega je Barnum vodao po svijetu
kao cirkuski destilat Zapada, ni na jednoj
od fotograja nije snimljen s cigaretom
ali kad se lmska industrija dohvatila
westerna, cigareta je postala neizostavna
gotovo kao colt o bedru ili winchesterka
preko krila. Marlboro County (a zapravo
Miroslav Blaevi kao prezenter kampanje
Reci DA nepuenju
Miroslav Blaevi as a presenter in the
campaign Say YES to Non-Smoking
tion, it meant taking possession of the
male space and the appropriation of its
secondary characteristics. Hatshepsut, the
only woman pharaoh of ancient Egypt who
ruled without as much as a gure pharaoh
(unlike Nefertiti and Cleopatra VII.), found
it necessary to paste the ritual beard onto
her face, which we cant help but notice
even now, thirty ve centuries later. Au-
rore Dupin not only took (by accident, as
it turns out) the male alias George Sand
but, in the homeland of doctor Nicote, she
reached for the pipe as the male auribute, a
symbol of dominance.
The emancipation of women in western
society actually began at the opposite end of
the spectrum: when they too were imparted
the dubious honour to be exploited as in-
dustrial workers, with even less rights and
for even smaller wages then the men. One
of the industries considered as typically fe-
male, because of their dexterity in working
with hands, was the production of cigareues,
of which there are songs surviving in Rovinj,
such as Fabreues La tabachina. Prosper
Mrime put his emancipated Carmen,
naturally, in a tobacco factory in Seville, and
Georges Bizet further stressed this aspect
making her not only a rebel but the proto-
type of a femme fatale to be embodied in
the next century by Marlene Dietrich (with
the obligatory cigareue which we remember
from the Shanghai Express ), and much
later by Julieue Greco or Franoise Sagan.
But all the iconic comfort, all the charm
of the power, of masculinity or fatality, did
not deprive tobacco, chiey the cigareue,
of its role of the solace for the ones le
behind. It has been almost an inseparable
auribute of the folk who call the street
their home, the Roma children, the Har-
lem homeless, almost everyone destined
to stress. So go and try to prove that it is
the devils herb to someone whose life is
already hell.
.
Inoslav Beker
ough who gave it its name. And so passes
the glory of the world ... And then, aer the
gangster showdowns in Chicago, the lm
industry discovered police and detective
movies where none of the heroes, the good
guys or the bad guys, could be found with-
out a cigareue stuck to their lower lip, as
an iconic sign of authority in the world of
force and violence. This time we will leave
behind the somewhat older Sherlock Hol-
mes and his pipe.
This aspect of the masculine male lives
on today, even though the moral oensive
in modern lms has eliminated almost all
scenes of tobacco smoking, especially in
closed spaces, even when depicting news-
paper editing rooms (where nicotine is still
king, inspiring countless ideas on how to
outwit the smoke detector, stuck into the
ceiling like the snout of Big Brother). It sur-
vives primarily in a certain initiation ritual:
the rst cigareues in adolescent groups
impart the brand of the desired masculin-
ity more substantially than a downy mous-
tache or a suddenly mutated voice.
No wonder, then, that tobacco has be-
come a symbol of the female emancipation
as well, since, at least in western civiliza-
Nikakvo udo, dakle, to je duhan nuno
postao i simbol enske emancipacije, budu-
i da je ona, barem u zapadnoj civilizaciji,
znaila zaposjedanje mukog prostora, uz
prisvajanje njegovih sekundarnih oznaka.
Hatepsut, jedina faraonka starog Egipta
koja je vladala bez makar gurativnog fara-
ona (za razliku od Nefertiti, pa i Kleopatre
vll.), smatrala je nunim nalijepiti sebi ritu-
alnu bradicu koju na njezinim kipovima ne
moemo ne vidjeti ni sada, nakon trideset i
pet stoljea. Aurore Dupin nije uzela samo
(i zapravo sluajno) muki pseudonim
George Sand, nego je u domovini doktora
Nicota posegnula i za lulom kao mukim
atributom, simbolom dominacije.
Emancipacija ene u zapadnjakom
drutvu poela je zapravo s posve druge
strane: kad je i njih zapala dvojbena ast
da budu izrabljivane kao industrijske rad-
nice, s jo manje prava i za jo manju nad-
nicu nego mukarci. Jedna od industrija
koju su smatrali tipino enskom, zbog
njihove spretnosti rada prstima, bila je ba
proizvodnja cigareta, o emu su u Rovinju
sauvane i pjesme, kao to je Fabreuova
La Tabacchina. Prosper Mrime je svoju
emancipiranu Carmen situirao, logino,
ba u tvornicu cigareta u Sevilli, a Georges
Bizet taj je aspekt jo i potencirao, uinivi
od nje ne samo buntovnicu nego i prototip
fatalne ene, kakav e u sljedeem stoljeu
utjeloviti, na primjer, Marlene Dietrich (s
neizbjenom cigaretom s kojom je pamti-
mo u Shanghai Expressu), a bitno kasnije
i Julieue Greco ili Franoise Sagan.
A ipak, sva ta ikonika blagodat, sav taj
arm moi, muevnosti, odnosno fatalno-
sti, nije odmakao duhan, a ponajvie ciga-
retu, od uloge utjehe posljednjih. Gotovo
da je neodvojiv atribut eljadi kojoj je ulica
dom, romske djece, kloara u Harlemu, go-
tovo svih kojima je stres kob. Dokaite da
je to avolja trava onome kome je ivot
ionako pakao.
Inoslav Beker
i susjedna Chestereld County, obje u Ju-
noj Carolini) pamti se upravo po toj slici
govedara (oh, da, cowboya), a nipoto po
pobjedniku Tridesetogodinjeg rata, voj-
vodi Marlboroughu, po kojemu je nazva-
na. Tako prolazi slava svijeta A onda je,
poslije gangsterskih obrauna u Chicagu,
lmska industrija otkrila policijske i de-
tektivske lmove u kojim takoer nijedan
od junaka, bio pozitivac ili negativac, nije
mogao biti zamiljen bez cigarete zalije-
pljene o donju usnu, kao ikonikog znaka
autoriteta u svijetu sile i nasilja. O neto
starijemu Sherlocku Holmesu i njegovoj
luli neemo ovaj put.
Taj aspekt, muevno mujaki, opstaje i
dandanas, premda je udoredna ofenziva iz
dananjih lmova izbacila gotovo sve scene
puenja duhana, pogotovu u zatvorenim
prostorima, ak i iz prikaza novinskih re-
dakcija (gdje nikotin i danas caruje uza sve
dosjetke kako nadmudriti dojavljiva dima
uglavljen u stropu poput njuke Velikog
Brata). Opstaje ponajprije u stanovitu obre-
du inicijacije: prve cigarete u adolescent-
skom drutvu daju snaniji peat uene
muevnosti nego paperjasti brii nad
usnom ili nenadano mutirani glas.
Kampanja za duhanske proizvode Tbs,
Dobar proizvod je dobar proizvod
(ma koliko mi utjeli o tome), 1996.
Tbs tobacco products campaign A Good
Product Is a Good Product (No Mauer How
Much We Keep Quiet About It), 1996
Oglas za cigarete Tin,
Davor i Mira Tomii, 1981.
Tin cigareue advertisement,
Davor and Mira Tomii, 1981
Plakat za cigarete Tin,
Tin cigareue poster,
Kalendar Tbs za 1994.,
TDR 1994 calendar,
Inoslav Beker (Zagreb, 1950), the Jutarnji
list Rome correspondent and professor at
the University of Bologna. Graduated from
the Split Classical Gymnasium and from the
School of Journalism in Zagreb, obtained a
PhD in Comparative Slavic Studies in Mi-
lan. He has been a journalist since 1967. He
worked as professor at LOrientale in Naples
and La Sapienza in Rome, lectured at gradu-
ate and doctoral studies at the universities
of Zagreb and Split. He has published sev-
eral books. He publishes journalist texts, as
well as scientic and professional articles
and essays on dierent topics.
Kreimir Deba (Dubrovnik, 1935 Graz,
1993), journalist, nonction writer and politi-
cian. Started working in journalism while
studying economics in Zagreb. In 1966, he be-
comes editor-in-chief of the Vijesnik u srijedu
(vus), an entertainment magazine which he
transforms into an inuential political week-
ly, reaching the circulation of 300 thousand
copies. He was one of the most read and
most popular Croatian journalists until 1971,
when he was banned from public work aer
the crushing of the Croatian Spring move-
ment. He spent 18 years in isolation. Aer the
establishment of the independent Croatian
state and the introduction of multi-party
democracy, he was one of the co-founders of
Inoslav Beker (Zagreb, 1950.), dopisnik
Jutarnjeg lista iz Rima i profesor na Sveu-
ilitu u Bologni. Maturirao u splitskoj
Klasinoj gimnaziji, diplomirao novinar-
stvo u Zagrebu, doktorirao poredbenu
slavistiku u Milanu. U novinarstvu je
od 1967. Bio je profesor na napuljskom
LOrientaleu i rimskoj La Sapienzi, preda-
vao je na diplomskim i doktorskim studiji-
ma na sveuilitima u Zagrebu i Splitu.
Objavio je vie knjiga. Osim novinarskih,
objavljuje znanstvene i strune lanke,
odnosno oglede s raznih podruja.
Kreimir Deba (Dubrovnik, 1935. Graz,
1993.), novinar, publicist i politiar. Zapo-
slio se u novinarstvu za vrijeme studija
ekonomije u Zagrebu. Godine 1966. posta-
je glavni i odgovorni urednik Vjesnika u
srijedu (vus), zabavne revije koju pretvara
u utjecajan politiki tjednik, koji dostie
nakladu od 300 tisua primjeraka. Bio je
jedan od najitanijih i najpopularnijih
hrvatskih novinara sve do 1971. godine,
kad mu je, nakon sloma hrvatskog
proljea, zabranjen javni rad. Punih
18 godina proveo je u izolaciji. Nakon
stvaranja samostalne hrvatske drave
i uvoenja viestranake demokracije,
bio je jedan od suosnivaa Hrvatske
ivotopisi autora Biographies of authors
narodne stranke te je izabran za zastu-
pnika u Hrvatski sabor. Dobitnik je
najznaajnijih novinarskih nagrada.
Malo je poznato kako je kao publicist
istraivao duhansku povijest.
Predrag Grubi (Zadar, 1959.), diplomira-
ni politolog, profesionalno je vezan uz
Adris grupu od 1997. godine. U odnosima
s javnou radi od 1994. Vie od 20 godina
bavi se publicistikim radom. Objavio je
dvije knjige poezije. Eseje, kritike i prikaze
objavljivao je u 20-ak asopisa, zbornika
i novina. Autor je predgovora uspjenice
Funky business. Urednik je monograje
Tvornica duhana Rovinj, arhitektura,
povijest i suvremenost te vie korporativ-
nih publikacija. U odnosima s javnou
posebnu pozornost poklanja odnosima
gospodarstva i kulture te korporativnoj
drutvenoj odgovornosti. Voditelj je
Galerije Adris. Potaknuo je osnutak
Zaklade Adris.
Ariana Kralj (Prag, 1949.), upraviteljica Glip-
toteke Hrvatske akademije znanosti
i umjetnosti. Diplomirala je povijest
umjetnosti na Filozofskom fakultetu
Sveuilita u Zagrebu. Radila je u LlKUM-u,
Hrvatskom drutvu likovnih umjetnika,
ULUrUH-u, Hrvatskom muzeju arhitekture
HAZU te Ministarstvu kulture Republike
Hrvatske. Od 2001. upraviteljica je Gliptote-
ke HAzU. Predsjednica je Upravnog odbora
Muzeja Ivan Metrovi te lanica raznih
odbora s podruja likovnih umjetnosti.
Dobitnica je Nagrade Grada Zagreba, a
odlikovana je i Redom Danice hrvatske
s likom Marka Marulia za osobite
zasluge u kulturi.
the Croatian Peoples Party and was elected
member of the Croatian Parliament. He has
won the most important journalist awards.
It is liule known that in his non-ction he
researched the history of tobacco.
Predrag Grubi (Zadar, 1959), sA in Politi-
cal Sciences, professionally linked to Adris
Grupa since 1997. He has worked in public
relations since 1994, and has been in non-
ction for more than 20 years. He has
published two books of poetry. His essays,
reviews and studies have been published
in around 20 journals, anthologies and
newspapers. He wrote the preface to the
bestseller Funky Business. He was the edi-
tor of the monograph Tvornica duhana
Rovinj, arhitektura, povijest i suvremenost
(The Rovinj Tobacco Factory: Architecture,
History and Modernity) and of several cor-
porate publications. In public relations, he
pays particular auention to the relations
between economy and culture and corpo-
rate social responsibility. He is the manager
of the Adris Gallery and has initiated the
establishment of the Adris Foundation.
Ariana Kralj (Prag, 1949), manager of the
Glyp thotheque of the Croatian Academy of
Sciences and Arts. Graduated in History of
Art at the Faculty of Philosophy at the Uni-
versity of Zagreb. She has worked at the
Li kum, the Croatian Association of Artists,
ULUrUH, Croatian HAzU Museum of Architec-
ture and the Ministry of Culture of the Re-
public of Croatia. Since 2001, she has been the
manager of the HAzU Glypthotheque. She is
head of the Managing Board of the Ivan
Metrovi Museum and member of several
boards in the area of visual arts. Winner of
the City of Zagreb Award and the Order of
Danica Hrvatska Marko Maruli Medal for
extraordinary contribution to culture.
Boo Skoko (Ljubuki, 1976), professor of
Public Relations at the Faculty of Political
Sciences of the University of Zagreb and
co-founder of the Millenium Promocija
public relations agency. Obtained a sA in
Journalism and an MA and PhD in Interna-
tional Relations. He has worked as journal-
ist and editor for the Croatian Television,
and was also an associate for the Federal
Television in Sarajevo, the Veernji list and
the Glas Koncila. As a public relations con-
sultant he managed many communications
projects in Croatia and in the region. In
his studies of the media, public relations,
international relations and the identity and
image of countries, he published several
books and publications. Winner of the
Croatian Public Relations Association
Award for his contribution to the develop-
ment of the profession.
Fea Vuki (Zadar, 1960), art historian and
professor of Design Theory and History
at the Faculty of Architecture, Graduate
School of Design of the Zagreb University.
Obtained a sA in History of Art and Archae-
ology at the Faculty of Philosophy in Zadar
and a PhD at the Academy of Fine Arts of
the Ljubljana University. He has published
numerous outstanding scientic articles,
studies and criticism of modern architec-
ture and design in Croatian and interna-
tional journals. He is the author and editor
of several books, including the Stoljee
hrvatskog dizajna (A Century of Croatian
Design) in 1996 which resulted in the ex-
hibition of the same title at the Klovievi
Dvori Gallery in Zagreb. He was the author
of research and exhibition Umjetnost uvje-
ra vanja oglaavanje u Hrvatskoj 1835.
2005. (The Art of Persuasion Advertising
in Croatia 1835 2005). He won the City of
Zagreb Award in 2004.
Boo Skoko (Ljubuki, 1976.), profesor
odnosa s javnou na Fakultetu politikih
znanosti Sveuilita u Zagrebu te suute-
meljitelj agencije za odnose s javnou
Millenium promocija. Diplomirao je
novinarstvo te magistrirao i doktorirao
meunarodne odnose. Radio je kao
novinar i urednik na Hrvatskoj televiziji,
a suraivao je i s Federalnom televizijom
u Sarajevu, Veernjim listom i Glasom
Koncila. Kao konzultant u odnosima s
javnou vodio je mnogobrojne komunika-
cijske projekte u Hrvatskoj i regiji. Bavei
se istraivanjem medija, odnosa s javnou,
meunarodnih odnosa te identitetom i
imidem drava, objavio je nekoliko
knjiga i publikacija. Dobitnik je nagrade
Hrvatske udruge za odnose s javnou
za doprinos razvoju te struke.
Fea Vuki (Zadar, 1960.), povjesniar
umjetnosti i profesor povijesti, teorije i
razvoja dizajna na Studiju dizajna Arhitek-
tonskog fakulteta Sveuilita u Zagrebu.
Diplomirao je povijest umjetnosti i arheo-
logiju na Filozofskom fakultetu u Zadru,
a doktorirao na Akademiji likovnih umjet-
nosti Sveuilita u Ljubljani. Objavio je niz
zapaenih znanstvenih lanaka, prikaza
i kritika o modernoj arhitekturi i dizajnu
u hrvatskim i meunarodnim asopisima.
Autor je i urednik desetak knjiga, meu
kojima je i Stoljee hrvatskog dizajna
(1996.) prema kojoj je postavljena i isto-
imena izloba u zagrebakoj galeriji Klo-
vievi dvori. Autor je istraivanja i izlobe
Umjetnost uvjeravanja oglaa vanje
u Hrvatskoj 1835. 2005. Dobitnik je
Nagrade Grada Zagreba 2004.
Igor Zidi (Split, 1939), one of the leading
Croatian art historians. Graduated from
Classical Gymnasium in Split, obtained a
sA in Comparative Literature and History
of Art in Zagreb. He was the founder and
editor of many magazines; he publishes
essays, criticisms, polemics, reviews and
studies of modern Croatian ne arts. He
has published several books of poetry and
his collected poems Kost i gozba (Bone and
Feast) were published in 2001. He has au-
thored around twenty monographs, mostly
on Croatian painters. He has set up and
wriuen introductions to numerous expo-
sitions. He was the author of many screen-
plays and texts for documentary lms
about Croatian artists. From 1989 to 2008,
he was the head of Gallery of Modern Arts
in Zagreb and since 2002 he has been head
of the Matrix Croatica.
Igor Zidi (Split, 1939.), jedan od vodeih
hrvatskih povjesniara umjetnosti. U
Splitu je zavrio klasinu gimnaziju, a
u Zagrebu je diplomirao komparativnu
knjievnost i povijest umjetnosti. Osniva
je i urednik mnogih asopisa; objavljuje
eseje, kritike, polemike, oglede te studije o
modernoj hrvatskoj likovnoj umjetnosti.
Objavio je vie knjiga poezije, a 2011. objav-
ljena mu je knjiga sabranih pjesama Kost i
gozba. Napisao je dvadesetak monograja,
preteno o hrvatskim slikarima. Priredio
je i uvodnim tekstovima popratio mno-
ge izlobe. Autor je niza scenarija i teksto-
va za dokumentarne lmove o hrvatskim
umjetnicima. Od 1989. do 2008. obnaao
je dunost ravnatelja Moderne galerije
u Zagrebu, a od 2002. predsjednik je
Matice hrvatske.
Radnice tvornice cigara u Rovinju, crno-bijela
fotograja, 1882., zbirka 1Dr Rovinj
Kutija za cigarete, Regie des tabacs de Bosnie et de
lHercegovine Sarajevo, metalni lim, 168x75x42, prije
1918., Kolekcija Igor Jovi, Zagreb
Kutija za cigarete Bosna cigareues, Austro Ugarska,
lim, 168x74x39, prije 1918., Kolekcija Igor Jovi, Zagreb
Prijedlog Ministarstva nancija Austro-Ugarske da se
u Rovinju otvori nova tvornica cigara; faksimil; veliina
A4, Arhiv 1Dr
Knjiga personala Tvornice cigara u Rovinju; 1872.;
32x49 cm, Arhiv 1Dr
Duhanska doza; keramika; 16.5x13 cm; 19. st; zbirka 1Dr
Rovinj (21001)
Duhanska doza, oslikana keramika; 15x22.5 cm; oblik
osmanlijskog vojnika; 19. st; zbirka 1Dr Rovinj (19051)
Lula sa ibukom; stiva, srebro, drvo; Be, 1850.-1860.;
11.5x12cm, promjer 5.5 cm; duina ibuka 30.8 cm;
MUO 13023/1-3
Ouocar Drakovi, crno bijela fotograja, atelier
Pommer, Zagreb 1867., Mcz 45601
ElizabetaWochen-Drakovi i Karlo Drakovi,
crno bijela fotograja, Fratelli Vianelli, Venezia 1869.,
Mcz 45467
vLAHO sUKOvAc (1855 1922), Portret cara Franje Josipa
I, 1896., ulje/platno, 2740x1840 mm, sign. d. dolje: Vlaho
Bukovac, Zagreb 1896., Dravni arhiv, Zadar (na posudbi
u Galeriji umjetnina, Zadar)
Lula sa ibukom; stiva, drvo, roina; Be, kraj 19. st;
vel 7.5x9 cm; promjer 5 cm; duina ibuka 44.5 cm;
MUO 13967
Lulica; brumyere, plastina masa; metal, poniklani;
Austrija (?), po. 20. st.; utisnuto: srUM1LrL cArAN1lL;
vel. 3.5x10 cm; promijer 2.7 cm; MUO 13024
Spremnica za ibice; mjed; sredina 19. st; 4.3x8.7x5.7 cm;
MUO 6344
Garnitura pribora za puenje u etuiju; stiva, rezbarena;
Geneve, kraj 19 . st; utisnut ig: rAsrlULs DL rlrLs AU
rAcHA cLNLvL r. rUL DU MON1-sLANc 7; 8.5x15 cm;
MUO 12697/1-7
Kutija za cigarete; lim, obojeni; Bosna, oko 1900.; natpis:
Orient cigarete; 10x7.5x1.5 cm; MUO 16903/1
Kutija za cigarete; lim, obojeni; Bosna i Hercegovina,
oko 1910.; natpis: Hercegovina, cigareues; 7x11x1.5 cm;
MUO 16903/4
rLrDO UlULrLz (1845 1893), Mehmed Kolak
Kolakovi, 1887., ulje/platno, 735x600 mm, sign. d.
donji k.: r.. 887., Matica hrvatska, Zagreb
Kutija za cigarete; lim, obojeni; Bosna i Hercegovina,
cigareues; 11.8x15x13.9 cm; MUO 16903/5
Zdravstveni cigarpic s impregniranim ltrima; 20. st;
2x8x4.3 cm; MUO 28701
Lula; drvo, mjed, sedef; Maarska, kraj 19. st; 12x6.5 cm;
MUO 14778
Naprava za odsijecanje vrha cigare; mjed, kromirani
mjed, orahovina; Austrija ili Njemaka, kraj 19. st.;
7x9x4 cm; MUO 12456
Nargila; bronca, posrebrena i crno lakirana, kositar,
drvo, sedef, koa, barun, kost; Bosna (?), kraj 19. st.;
visina 49.5 cm, duina cijevi 139 cm; MUO 13969/a-e
Cigaretnik u etuiju; stiva, rezbarena; druga pol. 19. st.;
du. 7.8 cm; visina 1.6 cm; MUO 9064
Burmutica; roina; hrvatska, sredina 19. st; du. 7.8 cm;
vis. 1.6 cm; MUO 9064
Duhanska doza; oslikana keramika s glazurom; 11x13
cm; oko 1900.-te; zbirka 1Dr Rovinj (19039)
Duhanska doza; oslikana keramika s glazurom; 14x13
cm; oko 1900.-te; zbirka 1Dr Rovinj (19037)
vLAHO sUKOvAc (1855 1922), Portret Vjekoslava
Heinzela, 1909., ulje/platno, 560x760 mm, sign. l. donji
k.: Vlaho Bukovac Zagreb 1909, Poglavarstvo grada
Zagreba, Palaa Dverce
vLAHO sUKOvAc (1855 1922), Autoportret s beretom,
1914., ulje/karton, 460x385 mm, sign. l. dolje: Vlaho
Bukovac Praha 1914, Moderna galerija, Zagreb
vLAHO sUKOvAc (1855-1922) Portret galerista, 1891.; Ulje/
platno 460x380mm; Sign. L._k.: s. sUKOvAc 91.; Privatna
kolekcija, Zagreb
Popis izloaka
List of exhibits
vLADlMlr sLclc (1886 1954), Portret slikara Kraljevia,
1908., ulje/platno, 940x750 mm, sign. l. donji k.: Vladimir
Beci 908., Moderna galerija, Zagreb
vLADlMlr sLclc (1886 1954), Autoportret, 1920., ulje/
platno, 820x650 mm, sign. d. donji k.: Vladimir Betzitch
920, dr. Nikola Gavella, Zagreb
MlrOsLAv KrAL1Lvlc (1885 1913), Autoportret s lulom,
1912. ulje/platno, 405x330 mm, sign. d. gornji k.:
Kraljevi 1912. Paris, Moderna galerija, Zagreb
MlrOsLAv KrAL1Lvlc (1885 1913), Portret slikara
Benkovia, 1912.; ulje/platno, 800x601 mm, sign. d.
donji k.: MK., Paris 1912., Moderna galerija, Zagreb
1OsO sUzAN (1873 1936), Stari seljaki par, 1910., ulje/
platno, 910x1202 mm, sign. d. dolje: Joso Buan 1910.,
Moderna galerija, Zagreb
vLADlMlr sLclc (1886 1954), Seljak s bijelim turbanom,
1920., ulje/platno, 900x745 mm, sign. d. donji k.: Vlad.
Beci 920, Moderna galerija, Zagreb
Etui za cigarete; Sv. Juraj sa zmajem; 19. st; zbirka 1Dr
Rovinj (21192)
Etui za cigarete; drvo; 9x9.5x5; Austrija, nakon 1900.;
zbirka 1Dr Rovinj (11038)
Duhanska doza; keramika, Wedgewood; 13x10x5 cm;
19. st., Engleska; zbirka 1Dr Rovinj (21162)
Etui za cigarete; 14x9x1.5 cm; 1920., Austrija;
Etui (stalak za cigarete); heksagonal; 13.5x19 cm;
bez datacije; zbirka 1Dr Rovinj (21075)
Porculanska lula; akt; 11 cm; 1900.; zbirka 1Dr
Rovinj (8895)
Porculanska lula; djevojka na potoku; 8.5 cm; 19. st.;
Etui; drvo, blumendekor, lak; 26x15x22 cm; 1900.,
Austrija; zbirka 1Dr Rovinj (11496)
Drutvo vojnih osoba u vrtu ugostiteljskog objekta
u Zagrebu, crno bijela fotograja, foto Mosinger, oko
1915., Mcz 54241
MlrOsLAv KrAL1Lvlc (1885 1913), U kavani, 1912., akvarel/
papir, 340x250 mm, sign. l. dolje: 912, MK., Moderna
galerija, Zagreb
MlrOsLAv KrAL1Lvlc (1885 1913), Vive la joie!, 1912.,
ulje/platno, 480x590 mm, sign. d. donji k.: Paris 1912,
Kraljevi, Moderna galerija, Zagreb
MArl1AN 1rLrsL (1897 1964), Autoportret s lulom, 1918.,
ulje/platno, 460x365 mm, sign. l. donji k.: M. Trepe,
MArl1AN 1rLrsL (1897 1964), U kavani, 1919., ulje/platno,
440x510 mm, sign. l. donji k.: Trepe, Moderna galerija,
Zagreb
MArl1AN 1rLrsL (1897 1964), Karta, 1920/1921., akvarel/
papir, 660x495 mm, sign. l. donji k.: M. Trepe, Zgb,
Muzej suvremene umjetnosti, Zagreb
MArl1AN 1rLrsL (1897 1964), U krmi, 1920/1921., akvarel/
karton, 496x680 mm, sign. l. donji k.: M. Trepe, Muzej
suvremene umjetnosti, Zagreb
vlLKO cLcAN (1894 1973), Autoportret s cigaretom, 1923.,
ulje/platno, 390x280 mm, sign. d. donji k.: VGecan 923.,
MArlNO 1Ar1AcLlA (1894 1984), Autoportret, 1920., ulje/
platno, 460x330 mm, sign. l. gore: tartaglia, Moderna
galerija, Zagreb
MArlNO 1Ar1AcLlA (1894 1984),In memoriam
izgorjelom, Autoportretu s lulom, 1945-1955., ulje/
karton, 235x190 mm, sign. d. gore: tartaglia, zbirka
Josipa Vanite, Zagreb
lvO rLzLK (1898 1979), Portret dr. F. Leitnera, 1927., ulje/
platno, 900x615 mm, sign. d. donji k.: Ivo Reek 927,
Gradski muzej, Varadin
lvO rLzLK (1898 1979), Autoportret s cigaretom, 1946.,
ulje/platno, 380x310 mm, sign. nema, Zbirka Davora
Vugrinca, Varadin
Radnice (tabacchine) u tvornici, crno-bijela fotograja,
22.5x16 cm; razdoblje izmeu dva svjetska rata,
zbirka 1Dr Rovinj
Puai, 1938, c-b fotograja, Too Dabac, MsU-A1D 384
(stara signatura cON1Ax 15-24)
Marija Juri Zagorka i Ida Bogovi u Rogakoj slatini,
crno bijela fotograja, foto Pelikan Maribor, 1932.,
Mcz 41859
Dr. Vlatko Maek, oko 1942., crno bijela fotograja,
Too Dabac, MsU-A1D 5075
Cigarpic, art-deco, bakelit, 225x19, Kolekcija Igor Jovi,
Zagreb
Reklamna stolna pepeljara iz 4 dijela, tvornica pei
American Heating, Marovska 15 Zagreb, eljezo
pjeskareno, 204x117, 1920-30., Kolekcija Igor Jovi,
Zagreb
Pepeljara tvrtke Radio Zagreb centar, staklo, dvodjelna,
170x87, kasne tridesete godine, Kolekcija Igor Jovi,
Zagreb
Pepeljara tvrtke Croatia-Ivana Paspa sinovi, metalni
lim dulj. 105, ir. 105 vis. 15, etrdesete godine, Kolekcija
Igor Jovi, Zagreb
Duhanska doza; oslikana keramika s glazurom;
19x12.5 cm; 1920.-te; zbirka 1Dr Rovinj (21006)
Porculanska doza; oslikana keramika s glazurom;
13x18 cm; 1930.; zbirka 1Dr Rovinj (21119)
Porculanska doza; oslikana keramika (Kinez); 13x15 cm;
bez datacije; zbirka 1Dr Rovinj (21125)
Porculanska doza; oslikana keramika s glazurom;
16.5x11.5x13 cm; zbirka 1Dr Rovinj (21141)
Drvena doza; drvo-oktogonal (uta margareta na
poklopcu); 16.5x12 cm; bez datacije; zbirka 1Dr
Rovinj (21046)
lcN1A1 1Os (1895 1936), Autoportret, 1931., (na reversu
slike enski akt, 1931), ulje/platno, 1000x800 mm, sign.
nema, Galerija Branko Dekovi, Bol
lcN1A1 1Os (1895 1936), Jerkito, 1929., ulje/platno,
725510 mm, sign. l. gornji k.: Job, Umjetnika galerija,
Dubrovnik
lcN1A1 1Os (1895 1936), Portret Mirka Uzorinca, 1935.,
ulje/platno, 600x440 mm, sign. d. sa str.: Job, Muzej
moderne i suvremene umjetnosti, Rijeka
cAsrO rA1cLvlc (1912 1943), Crveni portret, 1935.,
ulje/platno, 730x620 mm, sign. d. gornji k.: GR. 35,
Umjetnika galerija, Dubrovnik
cAsrO rA1cLvlc (1912 1943), ovjek s lulom, 1936.,
ulje/platno, 723x598 mm, sign. d. donji k.: G.R. 36.,
lvO DULclc (1916 1975), Portret Koste Strajnia, 1965.,
ulje/platno, 795x640 mm, sign. d. gornji k.: Duli 65,
lvO DULclc (1916 1975), Portret Joze Kljakovia, 1969.,
ulje/platno, 925x610 mm, sign. d. dolje: Duli 69, Mira
Duli, Zagreb
AN1UN MAsLL (1919 1967), Gruka luka, 1965., ulje/
lesonit, 320x385 mm, sign. d. dolje: A. Masle, 1965.,
Pebeco pasta za zube, Svijet ilustrirani magazin,
7. knjiga; 4. godina; 8.06. 1929; 596. stranica; L1030445
Sa izlobe slavka Tomerlina, Svijet ilustrirani magazin,
4. knjiga; 1.10. 1927; 304. stranica; L1030446
Grupa mornara s komandantom s plesa Banat
u Panevu, Svijet ilustrirani magazin, knjiga 7;
9.03. 1929; 250. stranica; L1030450
Dogmar svila, Svijet ilustrirani magazin 9 knjiga;
18.01. 1930; 124. stranica (stranje korice); L1030563
Odol pasta za zube, Svijet ilustrirani magazin, 9. knjiga;
10.05. 1930; 540. stranica (stranje korice); L 1030564
Pebeco pasta za zube; Svijet ilustrirani magazin,
8. knjiga; 6.07.1929; 44. stranica; L1030565
Oglas za robnu kui Kastner & Ohler, Svijet ilustrirani
magazin,7.knjiga, 12.01.1929., str.46.
Kutija za cigarete Drina, Dravni monopol
Kraljevine jugoslavije, tridesete godine, 77x83,
Kolekcija Igor Jovi, Zagreb
Kutija za cigarete Jadran, Dravni monopol
Kraljevine Jugoslavije, 77x70x18, prije 1941.,
Kutija za cigarete Jadran, Dravni monopol
Kraljevine Jugoslavije, karton, 75x84x20, prije 1941.,
Kutija za cigarete Dvorske cigarete, Dravni monopol
Kraljevine Jugoslavije, kart. 71x47x18, prije 1941.,
Kutija za duh. Trebinjac, Dravni monopol Kraljevine
Jugoslavije, karton, papir za zamatanje, 127x93x24,
prije 1941., Kolekcija Igor Jovi, Zagreb
Kutija za duhan Trebignatz, Dravni monopol
Kraljevine Jugoslavije, karton, duhan, papir za
zamatanje, 127x93x24, prije 1941., Kolekcija Igor Jovi,
Zagreb
Trebinjac, kutija za duhan, Hrvatski dravni monopol
NDH, karton, papir za zamatanje, papirza motanje
duhana, duhan, 197x93x24, 1941-1945., Kolekcija
Igor Jovi, Zagreb
Kutija za cigarete Velebit, Hrvatski dravni monopol
NDH, karton, 72x69x15, 1941-1945., Kolekcija Igor Jovi,
Zagreb
Kutija za cigarete Neretva, Hrvatski dravni monopol
NDH, papir, cigarete, 70x55x20, 1941-1945., Kolekcija
Igor Jovi, Zagreb
Kutija za cigarete Ljubuki, Hrvatski dravni
monopol NDH, karton i papir, 198x138x69, 1941-1945.,
Kutija za cigarete Drina, Hrvatski dravni monopol
NDH, karton, papir, 157x70x37, 1941-1945., Kolekcija
Igor Jovi, Zagreb
Kutija za cigarete Neretva, Hrvatski dravni monopol
NDH, karton, papir, 157x70x37, 1941-1945., Kolekcija
Igor Jovi, Zagreb
v1LKOsLAv rArAc (1904 1986), Cigareta, oko 1930., kreda/
papir, 206x160 mm, sign. nema, Marino Para, Zagreb
v1LKOsLAv rArAc (1904 1986), Ljubo Babi, 1925.,
akvarel/papir, 310x215 mm, sign. nema, Marino Para,
Zagreb
rAvLL vO1KOvlc (1912-2006), ena koja pui, 1940., ulje/
platno, 460x380 mm, sign., Gradski muzej Varadin,
Varadin
Berba duhana u apljini, ; snimio Z. urjak; 6.9.1950;
Hrvatski dravni arhiv, foto arhiv Agefoto, C725/20;
broj 3 strana 110 A; L1030089
Duhanska zadruga Bale, crno-bijela fotograja, 07.1949.
snimio: M.Pavi; Hrvatski dravni arhiv/fotosluba,
neg. B386/6, poz. 131/2317.5x12.7 cm
Tin Ujevi u Tip-topu, crno bijela fotograja,
Milan Pavi, 1953., Mcz 21363
Berba duhana u Ljubukom; snimio Z. urjak; 6.9.1950;
Hrvatski dravni arhiv, foto arhiv Agefoto, C726/10
broj 3 strana 110 A, L1030096
Duhanska stanica u Ljubukom, snimio Z. urjak,
Hrvatski dravni arhiv, foto arhiv Agefoto,
N221/58 L1030100
Berba pamuka u apljini, ; snimio Z. urjak; 6.9.1957(?);
Hrvatski dravni arhiv, foto arhiv Agefoto, C724/6;
broj 3 strana 109 A; L1030075
Kumrovec muzej i ljudi; snimio Milan Pavi; 26.9.1957;
Hrvatski dravni arhiv, foto arhiv Agefoto,
L.1009/1, L1030256
Plakat tvornica duhana Rovinj, oko 1960.,
Zvonimir Faist, 1000x705, Mcz 8857
Kutija za duhan Morava, Tvornica duhana Banja
Luka, karton, papir; 75x69x16, pedesete godine,
Kutija za cigarete Sarajevo, Fabrika duvana Sarajevo,
metalni lim, 92x72x12, pedesete godine, Kolekcija
Igor Jovi, Zagreb
Kutija za cigarete Sarajka, polukarton, Fabrika duvana
Sarajevo; papir, 73x96x10, pedesete godine, Kolekcija
Igor Jovi, Zagreb
Kutija za cigarete Specijal, Fabrika duvana Sarajevo,
polukarton, papir, 135x83, pedesete godine, Kolekcija
Igor Jovi, Zagreb
Kutija za cigarete Diplomatic, Fabrika duvana
Sarajevo, polukarton, papir, 135x83, pedesete ili
ezdesete godine, Kolekcija Igor Jovi, Zagreb
Skupina LxA1 51, crno-bijela fotograja, poetak 1950-ih
godina, snimio Josip Depolo, kolekcija Marinko Sudac
Aleksandar Srnec, crno bijela fotograja, sredina
pedesetih godina, snimio ivan Picelj, kolekcija
Marinko Sudac
lvO sLsAL1 (1912 2002), Pua, 1950., tempera/papir,
1005x705 mm, sign. d. donji. k.: Ivo 1950, Galerija
umjetnina, Split
lvO sLsAL1 (1912 2002), Pua, s.a., ulje/platno,
600660 mm, sign. nema, Carlo Beltrame, Zagreb
lvO sLsAL1 (1912 2002), Pua, 1986., ulje/panel ploa,
540505 mm, sign. nema, Zbirka Azinovi, Zagreb
NlKOLA rLlsLr (1918 - 2010 ), Portret slikara Vaia, 1948.,
ulje/platno, 480x680 mm, sign. l. donji k.: Reiser N.,
NlvLs KAvUrlc KUr1Ovlc (1938.), Apstinencija, 1988.
zLA1KO KLsLr (1942), Bolesna mrlja pui zdravu mrlju,
2012.; akvarel/papir, 300x210 mm; sign. l. donji k. d. donji
k.: sOLLsNA MrL1A rUsl zDrAvU MrL1U; d. donji k.: K;
Autor, Zagreb
zLA1KO KLsLr (1942), Doba kada su hrvatski muevi
puili lule, 2012.; olovka/papir, 300x210 mm; sign. l. donji
k. d. donji k.: DOsA KADA sU HrvA1sKl MUzLvl rUslLl LULL;
d. donji k.: K; MMxll; Autor, Zagreb
zLA1KO KLsLr (1942), Dim vrlo avangardnog umjetnika,
2012.; olovka/papir, 300x210 mm; sign. l. donji k. sred.
dolje: DlM vrLO AvANcArDNOc UM1L1NlKA; d. donji k.: K;
MMxll; Autor, Zagreb
zLA1KO KLsLr (1942), Dim osuenog lista oraha koji smo
puili kad smo bili zloesta djeca, 2012.; olovka, grat/
papir, 300x210 mm; sign. l. dolje d. dolje: DlM OsUsLNOc
Lls1A OrAHA KO1Lc sMO rUslLl; KAD sMO slLl zLOcLs1A
D1LcA.; d. donji k.: K; MMxll; Autor, Zagreb
zOL1AN NOvAK (1963), Dim, 2008., ulje/platno, 2420x1300
mm, sign. nema, privatno vlasnitvo, Zagreb
zOL1AN NOvAK (1963), Prolaznik, 2009., ulje/platno,
2250x1800 mm, sign. nema, privatno vlasnitvo, Zagreb
vA1rOsLAv KULls (1951), Slika za puae I, 1996., kola,
ulje/knjiga, 500x750x60 mm, sign. nema, Marta Kuli
Aralica, Zagreb
vA1rOsLAv KULls (1951), Slika za puae II, 2012.,
akril, kola/platno, 880x1200 mm, sign. nema,
Autor, Zagreb
vA1rOsLAv KULls (1951), Slika za puae III, 2012., akril,
kola/platno, 880x1200 mm, sign. nema, Autor, Zagreb
Kazimir Ostrogovi i suradnica, 1959., crno bijela
fotograja, Too Dabac, MsU-A1D 4089
Express buet, kraj tisuudvetsto pedesetih godina,
crno bijela fotograja, Too Dabac, MsU-A1D z 1805
Kazalina kavana, kraj tisuudvetsto pedesetih godina,
crno bijela fotograja, Too Dabac, MsU-A1D
Moa Pijade, kraj tisuudvetsto pedesetih godina, crno
bijela fotograja, Too Dabac, MsU-A1D 1147
Idejni nacrt za oglaavanje cigareta Primorka +
ambalaa proizvoda; 30x30 cm, 1960.-te, Arhiv 1Dr
Idejni nacrt za oglaavanje cigareta Virginia; 30x30 cm,
1960.-te, Arhiv 1Dr
Kutija cigareta Jadran, karton, rane 1950., 76x70x18,
r.N.r.1., kolekcija Fea Vuki
Kutija za cigarete Zagrebaki velesajam 31.v-9.vl 1947,
karton; cigarete, 75x69x16, 1947., Kolekcija Igor Jovi,
Zagreb
Kutija za cigarete Drina r.N.r.1., karton, papir,
165x70x65, poslije 1946., Kolekcija Igor Jovi, Zagreb
eljezara Sisak, politiki sastanak; snimio Z.urjak;
Hrvatski dravni arhiv, foto arhiv Agefoto, E806/6; broj
7 strana 213; L1030130
Plenum saveza knjievnika Jugoslavije; crno bijela
fotograja, Snimio M.Pintar.; 11.1.1961; Hrvatski dravni
arhiv, foto arhiv Agefoto, R8/3; L1030204
Na Zagrebakom velesajmu nakon sveanog otvorenja,
poetak tisuudvetsto ezdesetih godina, crno bijela
fotograja, Too Dabac, MsU-A1D1936
Dogovor u tvornici Rade Konar, poetak
tisuudevetsto ezdesetih godina, crno bijela
fotograja, Too Dabac, MsU-A1D 4654
Radnika obitelj, poetak tisuudevetsto ezdesetih
godina, crno bijela fotograja, Too Dabac,
MsU-A1D 4610
ime i koka sjede - Casanova, reija, kamera i montaa
Oktavijan Mileti
Filmske novosti br.22/45, 1945.
Filmske novosti 160/49., 1949., Novi kadar rukovodioca
ribarskih brodova
Filmske novosti 38/60, 1960, Tito na Brijunima
Zagrebaki duhanski put, dokumentarni lm-insert,
Zora lm, Zagreb 1963., reija Sreko Weygand,
od 02.00 - 03.38
Idejni nacrt za oglaavanje cigareta Morava; 30x30 cm,
1950.-te, Arhiv 1Dr
Idejni nacrt za oglaavanje cigareta Jadran; 30x30 cm,
1950.-te, Arhiv 1Dr
Kutija za cigarete Hercegovina, Tvornica duhana
Banja Luka, kasne ezdesete i sedamdesete godine,
polukarton, papir, 75x98, Kolekcija Igor Jovi, Zagreb
Kutija za cigarete Morava specijal, Tvornica duhana
Banja Luka, polukarton, papir, 68x95, pedesete ili
ezdesete godine, Kolekcija Igor Jovi, Zagreb
Kutija za cigarete Specijal lter, Tvornica duhana
Zadar, polukarton, papir 83x87, ezdesete godine,
Kutija za cigarete Velebit, Tvornica duhana Zadar,
ezdesete godine, polukarton, papir, 68x77, Kolekcija
Igor Jovi, Zagreb
Kutija za cigarete Drina, Tvornica duhana Zadar,
ezdesete godine, polukarton, papir, 77x97, Kolekcija
Igor Jovi, Zagreb
Kutija za cigarete Morava, Tvornica duhana Mostar,
72x95, ezdesete godine, Kolekcija Igor Jovi, Zagreb
Kipar Damonja; crno bijela forograja, snimio
Z. urjak; Hrvatski dravni arhiv, foto arhiv Agefoto.,
M158/3, L1030220
Kipar Radau; crno bijela fotograja, snimio
Z. urjak; Hrvatski dravni arhiv, foto arhiv Agefoto,
M290/10; L1030232
Orson Welles u Zagrebu; crno bijela fotograja, snimio
L.Benko; -; Hrvatski dravni arhiv, foto arhiv Agefoto,
0.903/13; L1030246
Ambalaa cigareta Drava; rane 1950.-te do 1970.,
6 komada, Arhiv 1Dr
Ambalaa cigareta Jadran; 1950.-1970., 4 komada,
Arhiv 1Dr
Ambalaa cigareta Morava; 1950.-1970., 4 komada,
Arhiv 1Dr
Ambalaa cigareta Zeta; 3 kutije, 1950.-1960., Arhiv 1Dr
Ambalaa cigareta (razno 6 komada); Istra, Vis, Adria,
Kvarner, Uka, 1960.-1970., Arhiv 1Dr
zLA1AN vrKL1AN (1955), Smija, 1990., enkaustika/drvo,
300x180 mm; sign. nema, privatno vlasnitvo, Zagreb
zLA1AN vrKL1AN (1955), Pua-autoportret, 2012.
akril/drvo, 200x100 mm, sign. nema, privatno
vlasnitvo, Zagreb
zLA1AN vrKL1AN (1955), Pua I, 2012., enkaustika/platno,
1200x900 mm, sign. nema, privatno vlasnitvo, Zagreb
zLA1AN vrKL1AN (1955), Pua II, 2012., enkaustika/
platno, 1200x900 mm, sign. nema, privatno
vlasnitvo, Zagreb
Krsto Hegedui, 1960., crno bijela fotograja,
Gabriel Stupica, 1960., crno bijela fotograja,
Too Dabac MsU-A1D 447
Antun Bahunek, 1960., crno bijela fotograja,
Too Dabac MsU-A1D 2225
Dobria Cesari, oko 1960., crno bijela fotograja,
Snimanje lma u bojama Ljepote Jugoslavije i slikar
Murti; snimio Milan Pavi; 26.10.1949; Hrvatski dravni
arhiv, foto arhiv Agefoto, B.746/5; L1030324
Zagrebaki Trienale; crno bijela fotograja, snimio
Renduli; Hrvatski dravni arhiv, foto arhiv Agefoto,
H988/7; broj 1 strana 245; L1030334
Jelena Lovreti tv spikerica, crno bijela fotograja,
1963; Hrvatski dravni arhiv, foto arhiv Agefoto,
1 1220/2, L1030349
Juer, danas, sutra, informativna emisija, 20.07.1966.,
lanovi irija za Filmski festival Pula 00:55; kazalina
kavana u Zagrebu, 00:53, Hr1 lMx 61795
1v magazin, zabavna emisija, 1971., kvartet 4M, 02:21,
Hr1 lMx25218
Sjednica Gradskog komiteta sKH Zagreb, 18.06.1968.,
01:11, Hr1 s 111774
1v magazin, zabavna emisija, 1971, kvartet !M, 02:47,
Hr1 lMx 34404
Sjednica cK sKH, Zagreb 12.12.1971., dva inserta, 03:41
i 02:24, Hr1 s 15156
Milan Begovi; crno bijela fotograja, snimio Milan
Pavi, HDA 1758; broj akvizicije 22/1999, 006/03
Oton Gliha; crno bijela fotograja, snimio Milan Pavi,
HDA 1758; broj akvizicije 22/1999, 043/02
Lovro Matai; crno bijela fotograja, snimio Milan
Pavi, HDA 1758; broj akvizicije 22/1999, 090/09
Ivan Saboli; crno bijela fotograja, snimio Milan Pavi,
HDA 1758; broj akvizicije 22/1999, 131/65;
Ivan Viti, 1967., crno bijela fotograja, Too Dabac,
MsU-A1D 2249
Mladen Gali, 1968., crno bijela fotograja, Too Dabac,
MsU-A1D 2234
Rondo, Jadran lm, Zagreb 1966., dva inserta, reija
Zvonimir Berkovi, od 04.45-05.30 i od 18.56-19.57
Breza, Jadran lm, 1967., reija Ante Babaja, dva inserta:
1:25:30-1:24:06 i 1:00:34-00:59:56
Lisice, Jadran lm, 1969., reija: Krsto Papi, insert
00:02:32-00:04:33
9.Dogaaj, Jadran lm, 1969., reija: Vatroslav Mimica,
insert 00:46:05-00:48:50
iva istina, FAS Filmski autorski studio, 1972.,
reija: Tomislav Radi, dva inserta 00:07:35-00:09:37
i 00:24:00-00:27:21
Deps, Jadran lm i Croatia lm, 1974., reija:
Antun Vrdoljak, insert 00:14:23-00:17:04
Dim (Pipo bi rekao Smoke), crno bijela fotograja,
20x30, 1973., eljko Stojanovi
1v dnevnik, prilog o tetnosti puenja, 21.05.1974.,
02:00, Hr1 4157/66870
3-2-1 kreni!, emisija o lmu, 1979., insert 02:11,
Hr1 s 102747
3-2-1- kreni!, emisija o lmu, 1979., insert 01:28,
Hr1 lMx 26015
3-2-1- kreni!, emisija o lmu, 1980., insert 02:33,
Hr1 s 44512
Peter Ustinov, ovjek s tisuu talenata, dokumentarna
emisija, 24.12.1980., Hr1 4827/72808
Paolo (Sfeci) i Jajo (Jasenko Houra) ispred Kavkaza,
crno bijela fotograja, Goran Pipo Paveli, 1979.
eljko ika Stojanovi, fotograf, ispred Zveke, crno
bijela fotograja, Goran Pipo Paveli 1982.
Pavle Pajo Lonar, sjedi ispred svojeg Spaeka negdje
izmeu Zveke i Blata. crno bijela fotograja, Goran
Pipo Paveli 1979.
Pepeljara tvrtke Meba Zagreb, bakelit, prom. 140,
vis 27, 50 god. (?), Kolekcija Igor Jovi, Zagreb
Pepeljara tvrtke Zveevo, porculan, prom. 150,
vis 33, 60 god.(?), Kolekcija Igor Jovi, Zagreb
ibice-reklamna kutija - 52 kutije ibica, tvornica
ibica Osijek ibicara, drvo, papir, karton, tkanina,
skaj, 232x66x206, sedamdesete godine, Kolekcija
Igor Jovi, Zagreb
Kutija za cigarete, mobilna, drvo, metalni mehanizam,
90x220x106, kasne sedamdesete godine, Kolekcija
Igor Jovi, Zagreb
Hercegovina or, karton, sredina 1980., 120x90x19,
Sovjetski savez, tvornica Java, Kolekcija Fea Vuki
Edo Murti, 1972., autor i vlasnik Branimir Bakovi
Ivo Frii, 1975., autor i vlasnik Branimir Bakovi
Nives Kavuri Kurtovi, 1972., autor i vlasnik
Branimir Bakovi
MlLDL sOr1L cLUs sajamski tand; fotograja u boji,
22.5x22.7 cm, Arhiv 1Dr
Ronhill Prestige priprema za reklamu, kombinirana
tehnika, papir, 21x28.5 cm, Davor Tomii/Jadran lm
produkcija, Arhiv 1Dr
Ronhill Prestige ambalaa; a.) Plastino pakiranje
50 komada, tisak na plastici, promjer: 6.5 cm, visina:
9 cm, Arhiv 1Dr; b.) Kartonsko pakiranje 20 komada,
Supersize, viebojni tisak na kartonu, 8.5x9.5x1.5 cm,
Arhiv 1Dr
Ronhill Prestige fotograja; product placement;
fotograja u boji; 24.5x30 cm, Arhiv 1Dr
1Dr Magazin srpanj 1999.; cOOL Osvjeenje
iz Rovinja; Tisak u boji; 17x24.7 cm., Arhiv 1Dr
MlLDL sOr1L International; tisak u boji; letci; 3 komada
(A4, A3, B5), Arhiv 1Dr
MlLDL sOr1L plastina kutija; tisak na plastici;
7x11x2 cm, Arhiv 1Dr
Plakat Walter Wolf; tisak u boji; 50x70 cm, Arhiv 1Dr
Plakat York S cigaretom nisi sam; tisak u boji,
33.5x90 cm, poetak osamdesetih godina, Arhiv 1Dr
Oglas za cigarete Tin, magazin Arena, 1981., 26x28,
Davor i Mira Tomii, arhiva autora, Zagreb
Plakat za cigarete Tin, 1981., 33,5x90, Davor i Mira
Tomii, arhiva autora, Zagreb
Oglas za Gorenjski tisk, poetak osamdesetih godina,
Davor i Mira Tomii, arhiva autora, Zagreb
Kalendar 1Dr za 1994., Davor i Mira Tomii,
arhiva autora, Zagreb
Kampanja za duhanske proizvode 1Dr, Dobar
proizvod je dobar proizvod (ma koliko mi utjeli
o tome), agencija McCann Erickson, art direktor
eljko Bori, 1996.
Vuk Vrhovac, Alkohol, nikotin i srce, knjiga, Zagreb
1930., biblioteka sNz A. tampar, 2819, inv. ozn. 2393/109
Javno zdravstvena kampanja Reci DA nepuenju,
2003, edukativni stripovi, 12 komada, Joko Marui,
20x15
Miroslav Blaevi kao prezenter kampanje,
kolor fotograja, 13x18
Video spot za emitiranje u sklopu manifestacije
Medicina i tehnika na Zagrebakom velesajmu,
09:00 minuta
NAkLAbNIk
Novelti Millenium
usLbNIcI
dr. sc. Boo Skoko
Predrag D. Grubi
AuTosI IzLozsL I koNcLrcI1L
prof. dr. sc. Fea Vuki
Igor Zidi
AuTosI TLksTovA
dr. sc. Inoslav Beker
Kreimir Deba
Predrag D. Grubi
Ariana Kralj
dr. sc. Boo Skoko
prof. dr. sc. Fea Vuki
Igor Zidi
rAsTNLsI u sLALIzAcI1I IzLozsL
Bruketa&ini OM
Millenium promocija d.o.o.
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Brigada d.o.o.
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I kATALocA
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rsI1Lvob NA LNcLLskI
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vLAsNIcI IzLozAkA
Arhiv 1Dr Rovinj,
Dravni arhiv Zadar,
Galerija Branko Dekovi Bol,
Gradski muzej Varadin,
Hrvatska radio-televizija,
Hrvatski dravni arhiv - Agefoto,
Hrvatski drzavni arhiv - Hrvatska kinoteka.
Matica hrvatska,
Memorijalna zbirka Joze Kljakovia,
Moderna galerija,
Muzej suvremene umjetnosti Zagreb,
Muzej za umjetnost i obrt,
Muzej grada Zagreba,
Nacionalna sveuilina knjinica,
Poglavarstvo grada Zagreba,
Umjetnika galerija Dubrovnik,
kola narodnog zdravlja Andrija tampar,
Zbirka 1Dr Rovinj,
Kolekcija Marinko Sudac,
Zbirka Mio Azinovi,
Carlo Beltrame,
Mira Duli,
dr. Nikola Gavella,
Igor Jovi,
Zlatko Keser,
Vatroslav Kuli,
Marta Kuli Aralica,
Zoltan Novak,
Marino Para,
Goran Pipo Paveli,
eljko Stojanovi
Mira i Davor Tomii,
Zlatan Vrkljan,
Fea Vuki,
i ostali privatni vlasnici
IoTocsAII1L IzLozAkA
Goran Vrani
Domagoj Kuni
Branimir Bakovi
Tomislav Bekavac
Filip Beusan
TLHNIckA IzvLbsA IzLozsL
Pustike d.o.o.
Fabrikat d.o.o.
Rhino produkcija d.o.o.
Paligasi d.o.o.
2Ip komunikacija d.o.o.
Izrada metalnih konstrukcija Herceg
Stolarija Oreki
Sliko d.o.o.
Pozor d.o.o.
Digital print d.o.o.
TIsAk
Cerovski Print Boutique
NAkLAbA
350
IssN
978-9b3-bbb8I-4-9
cIr zapis dostupan u raunalnom katalogu
Nacionalne i sveuiline knjinice u Zagrebu
pod brojem 818259
roksovITLL1
Adris grupa
Gliptoteka HAzU Zagreb
listopad / studeni, 2012.
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