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marijan

jevšovar

15 godina poslije
15 years on
24. 4. — 25. 5. 2013.

15 godina poslije

antun maračić

Omotni list od “savršenih” crteža,
1963.-1966., olovka, tinta, flomaster |
“Perfect” drawings wrapper, 1963 -1966,
pencil, ink, marker

Izložbom Marijana Jevšovara Galerija Forum obilježava petnaestu godišnjicu autorove smrti (5. srpnja 1998.), no također i
petnaestu godišnjicu njegove posljednje
samostalne izložbe koja se održala upravo
u Galeriji Forum od 22. siječnja do 10. veljače 1998. Istodobno, dakle, ovom izložbom Galerija ostvaruje onaj dio svojeg
programa u kojem evocira najvitalnije dionice hrvatske umjetnosti druge polovine
20. stoljeća, kao i najvrjednije vlastite povijesne trenutke.
Marijan Jevšovar je autor koji je već ranih
1960-ih godina prakticirao radikalne postupke u slikarstvu. Razmišlja o plohi, formatu, boji, namazu, potezu... svim onim
elementima koji tvore sliku kao materijalnu činjenicu. Izbjegavajući ne samo bilo
kakav oblik naracije i predstavljanja izvanmedijskih sadržaja, nego i emocionalne
apstraktno-ekspresionističke iskaze, Jevšovar je, iako se pojavljuje u razdoblju ra-

dikalnog informela, informelist tek uvjetno.
Ekspresivitet njegovog djela tek je neizbježna posljedica ‘ručnoradne’ aktivnosti
koja pokreće samostalni govor slikarske
materije. No u biti Jevšovar je prethodnik
elementarnog, primarnog, odnosno analitičkog slikarstava koje se u Europi pojavilo početkom 70-ih godina 20. stoljeća.
Parafrazirajući talijansku sintagmu pittura pittura kojom se ističe neovisnost takve
prakse od bilo kakve primjenjenosti i balasta vanjskih sadržaja - Jevšovar je slikar
slikar. Iako se on istodobno smatrao i antislikarem koji je, alergičan i na najmanje
natruhe dopadljivosti (uzaludno) pokušavao naslikati ružnu sliku.
Dijeleći egzistencijalistički duhovni ustroj i
ponašanje svojih gorgonaških drugova različitih načina izražavanja - Knifera, Kožarića, Mangelosa... – on se, jednako kao i
oni, vraćao uvijek istim oblicima i gestama,
neprestano ispitujući temelj, nultu točku

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slikarstva, a kloneći se nadgradnje i ‘vatrometa kratkotrajnih improvizacija’. U cijelom svom gotovo polustoljetnom slikarskom stažu, Jevšovar je, prema vlastitim
riječima, tek uporno tražio ‘tajnu koja pojedino ostvarenje čini umjetničkim djelom’.
Zbog silnog autorskog uloga i dosljednosti
u svojem plemenito-utopijskom konceptu
Jevšovarovo djelo, kako vrijeme odmiče,
postaje sve snažnije i važnije.
Vjerujemo da će ova izložba to jasno pokazati.

15 years on

dubina površine

Žuto u crnom, 1958., ulje na platnu |

antun maračić

In this exhibition of works by Marijan Jevšovar, the Forum Gallery is commemorating the 15th anniversary of the artist’s death, as well as the fifteen years since his
last major solo show, put on in the very
same Forum Gallery, from January 22 to
February 10, 1998. Simultaneously, then,
with a single exhibition, the Gallery is satisfying that part of the programme in which
it evokes the most vital parts of Croatian
art in the second half of the 20th century as
well as the most valuable parts of its own
history.
Marijan Jevšovar is an artist who as early as the beginning of the 60s was practising radical procedures in painting. He
thought hard and long about surface and
plane, format, colour, application, brush stroke… about all the elements that
make up the painting as fact. Eschewing
not only any form of narration and representation of extra-medium contents but
also the emotional utterances of Abstract Expressionism, Jevšovar, although he
appeared at the time of radical Informel,
can only provisionally be said to have pra-

ivana mance
ctised Art Informel. The expressivity of his
work is just the inevitable consequence of
the hand-work activity that was generated by the independent speech of the painting material. But in essence, Jevšovar
was a forerunner of the elementary, primary and analytical painting that in Europe appeared at the beginning of the 1970s.
In a reworking of the Italian phrase pittura pittura, which lays stress on the independence of this practice from any kind
of application as well as from the ballast
of external contents, we might call Jevšovar a painter painter; although he was also
considered at the same time an anti-painter, who, allergic to the slightest trace of
eye-candy, attempted (if in vain) to paint
the ugly painting.
Sharing the existential spiritual organisational structure and behaviour of his Gorgona comrades of various phenomenal
forms of expression – Knifer Kožarić, Mangelos… – he, just like them, always returned to the same forms and gestures, incessantly testing out the grounds, the zero
point, as it were, of painting, and staying
away from the superstructure, the firework
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show of short-lasting improvisations. In
the whole of his almost half century-long
career in painting, in his own words, Jevšovar was just unfailingly seeking the ‘secret that makes the individual creation an
artwork’.
Because of the strong role of originality
and consistency in his generous and utopian concept, Jevšovar’s work, as time
passes, becomes ever more important,
ever stronger.
We believe that this exhibition will demonstrate this very clearly.

Malo je umjetnika koji su se u svojem radu
umjeli suočiti s apsurdom, besmislu postojanja suprotstaviti mogućnost umjetničkog djela ili, kako bi autor filozofije što počiva na tom pojmu spretnije rekao, „samom
igrom svijesti prometnuti u životno pravilo
ono što je bio poziv na smrt“. Jedan od njih
bio je Marijan Jevšovar. Činio je to cijelim
svojim umjetničkim djelovanjem, bez imalo
patetike i s jasnim opredjeljenjem. Događaji smisla na trpkoj površini njegovih platna
nikada nisu bili ni estetski dopadljivi ni ideološki eksplicitni; bili su prije svega analitički funkcionalni, jasno elaborirajući zakone
slikarskog medija određenog površinom i
rubom, materijom i kretnjom te drugim parametrima slike. Tek u pozadini ili, bolje reći,
pride tog konceptualno skrupuloznog programa, ta su apstraktna likovna zbivanja
bila i ekspresivno snažna, potresna u prigušenom, suzdržanom posredovanju egzistencijalnog osjećaja raspolućenosti između stranosti i pripadnosti svijetu.
Za takvo poetičko opredjeljenje Marijan
Jevšovar se odlučio gotovo na početku
svojega slikarskog vijeka, u vremenu kada
je ono impliciralo ne samo umjetnički nego

Yellow in Black, 1958, oil on canvas

i svjetonazorski, pa i politički stav. Na u osnovi istom poetičkom temelju njegovo je
slikarstvo preživjelo i mijene sljedećih desetljeća, dobro podnoseći dnevne definicije umjetnosti, u rasponu od analitičkog i
primarnog do postmodernog, i to upravo
zato što su pitanja koja je ono postavljalo
bila ne samo načelno univerzalna nego i intimno proćućena. U toj svojoj umjetničkoj
posvećenosti, Jevšovar je cijelog radnog
vijeka ostao natprosječno priseban, pronalazeći pravu mjeru između dosljednosti
vlastitom opredjeljenju i dosluha s povijesnim vremenom, pa je i ovom prilikom, što
je otvara petnaesta obljetnica umjetnikove smrti, njegovo slikarstvo prije svega poziv na trezvenost u vremenu u kojem posezanje za utjehama odavno više ne nameće
moralne dvojbe.
Izložena djela teže obuhvatiti gotovo cijeli
raspon Jevšovarova stvaralaštva – premda posrijedi nije kritička retrospektiva; opseg umjetnikove osobne ostavštine bio je
dostatan da se napravi izbor koji dokumentira gotovo sve važne momente njegova slikarskog puta. Kronološki najraniji radovi na
ovoj izložbi nastali su u razdoblju Jevšova5

rovih višekratnih boravaka u Parizu između
1953. i 1956. godine. Unatoč višesmjernim
stilskim traženjima, djela iz tog razdoblja
svjedoče o ubrzanom apstrahiranju predmetnih sadržaja i simboličkom poopćavanju motiva: mrtve prirode, ljubavni parovi i
prizori iz ateljea napuštaju dokumentarnu,
denotativnu funkciju, pretvarajući se u alegorijske prizore općenite egzistencijalne
tematike. Prizor para naslovljen Ljubav iz
1954. slikarski je izveden radikalno plošnim
tretmanom forme zagasitom paletom koja
najavljuje kolorističku gamu budućih slika;
mutno ozračje poništava predmetnost linearno već pojednostavnjenih organičkih
oblika, naslućujući njihovo konačno iščeznuće, simbolički utjelovljeno i lubanjom –
motivom koji se također često ponavlja na
kompozicijama iz toga vremena, primjerice, na Mrtvoj prirodi iz 1955. Ta će djela i
iz perspektive kasnijeg Jevšovarova opusa zadržati povlašteni status; frapantna parafraza ljubavnog para s lubanjom iz 1986.
doima se poput sablasnog ukazanja: više
od dva desetljeća nakon potpunog nestanka figurativnih sadržaja sa slike, amblematski par se ponovno pojavljuje prevladavaju-

ći zakon apstraktnog izraza, probijajući se
sao njegovih intervencija postaje još strože
još jedanput kroz bojom i potezom zasiće- analitički funkcionalan. Slika abc iz 1977.,
nu površinu slike u domenu prikazivog svi- permutacija elemenata podloge i linearnog
jeta.
crteža u okviru jednog formata, jasno poPotpuno napuštanje figurativnih sadrža- kazuje temeljno konceptualni interes slike.
ja kao bitnog rezona slike dogodit će se
Čak i kada izgledaju oblikovno atraktivno,
već potkraj pedesetih godina 20. stolje- Jevšovarove slike manifestacija su jasnog
ća. Dok apstraktni ciklusi s kraja pedese- analitičkog programa, o čemu svjedoče i
tih još podrazumijevaju minimalni iluzioni- njihovi nazivi: Istraživanje oker-plavo-crstički prostor slike, od početka šezdesetih
no iz 1979. ili Smeđi namaz valjkom iz iste
enformelno artikulirana površina slike sa- godine. Osamdesetih godina, slikarska će
svim potiskuje imaginarni vizualni sadržaj. izvedba postati sasvim rudimentarna: sliNa slici Žuto u crnom iz 1959. geometrij- ke će nastajati uzastopnim premazivaski likovi u tragovima kao da su zaostali
njem čitavog platna monokromnim slojena podlozi koja bi mogla funkcionirati kao
vima boje i uokvirivanjem oslikane plohe ili
monokromna. Na poznatoj Sivoj površini
određenog dijela iscrtanim okvirom, koji se
iz 1960., danas u Muzeju suvremene um- uvodi u koncept kao novi parametar slike
jetnosti, slici nastaloj uzastopnim prema- (program slike opet je sažet u nazivu: Plazivanjem i struganjem boje do iscrpljenja
vo uokvireni treći namaz i Treći namaz, obje
podloge, više ih nema. Poetika enforme- iz 1986.). U svim ciklusima iz osamdesetih,
la bit će, dakle, cijepna podloga Jevšova- „poništavanje“ je glavni poetički postupak
rovih djela iz vremena sudjelovanja u Gor- - sloja slojem, podloge crtežom, ravnine
goni: u rasponu od spomenutog svođenja
okvirom. Premda takva prividno nelogična,
slike na minimum vlastitih mogućnosti do
apsurdna intervencija u kojoj idući poredak
eksplozivnih očitovanja poetske snage sli- poništava prethodni naizgled teži dokidakarske tvari koja teži prevladati apsurd vla- nju polja slike, rezultat je upravo suprotan:
stita pojavljivanja u vremenu i prostoru, kao
potpuno lišena dopadljivosti, slika se pona ovom prilikom izloženoj, a inače za Jev- javljuje u svojem bitnom konceptualnom
šovara atipično dramatičnoj slici Događaj
određenju naslikane površine zadane ruu sivom, nastaloj između 1960. i 1963. go- bom, ali i u svojoj uvijek prisutnoj, prigušedine.
noj ekspresivnoj kvaliteti.
Usvojeno iskustvo slikarske ravnine kao hi- Djela s početka devedesetih slijedit će isti
postazirane osnove slikarskoga događaja, koncept, no neprimjetno mijenjati ugoostat će temeljnim polazištem Jevšovaro- đaj: svijetla gama boja, s mnogo magloviva slikarstva još dugo nakon faze enformel- te bjeline, u sliku unosi melankoliju prazninog izraza. Već od početka sedamdesetih, ne. Osim niza bijelo-sivih slika, početkom
površina slike će se rasteretiti od „viška“ devedesetih pojavljuje se i ciklus posvećen
materije, ustupajući prostor gestualno slo- ratu. Prvi put u svojem slikarstvu izravno
bodnijem potezu. Unatoč takvoj stilskoj
tematizirajući neki izvanjski povijesni dopromjeni u samoj slikarskoj izvedbi, smi- gađaj, Jevšovar neće napustiti generičko

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načelo izgradnje slike, već će temu izraziti izborom boje – nakon više desetljeća egzistencijalnog sivila pojavljuje se agresivna
crvena, zastirući vidno polje slike poput kakvog krvavog mraka.
Izbor iz slikarskog opusa završava neočekivano razigranim ciklusom Dijalog s četverokutom iz 1995. Nakon što je veći dio
svojega opusa posvetio enformelno artikuliranoj površini slike, u navedenom nizu
Jevšovar sliku gradi isključivo na propoziciji ruba; neodređene geometrijske forme
pojavljuju se rubno u polju slike ili iz njega
nestaju, dok ostatak miruje u bjelini. Nakon
dugo vremena, slici je opet dopušteno da
funkcionira kao iluzionistički kadar, i to kadar koji se prema umjetnikovu naputku slobodno može rotirati, varirajući niz u svim
mogućim kombinacijama.
Cijelog radnog vijeka Jevšovar je i kontinuirano crtao; crtež nije bio samo priprema slike, već i njezina refleksija. Većina crtačkog
opusa prati slikarski ili obratno; pronalaze se korespondentna grafička rješenja za
probleme koji se elaboriraju i slikarski.
I petnaest godina nakon smrti, Jevšovarov opus ostaje primjer životne upornosti,
emotivne snage i misaone jasnoće. Prihvativši sizifovsku narav svojega posla, Jevšovar je očistio slikarstvo od svega bez čega
slikarstvo može – motiva, priče, prostornog iluzionizma, kolorizma, dopadljivosti
svake vrste, zadržavši tek čvrsti koncept i
elementarnu ekspresivnost slikarske materije i ljudskog traga u njoj. U takvom je reduciranom slikarstvu izdržao cijeli radni vijek
a da nijedanput nije posumnjao u ispravnost svoje odluke. A takva postojanost prije svega zahtijeva unutarnju samoću, kakvu izdržavaju samo rijetki.

Smeđi namaz valjkom (Namaz/1), 1979., ulje na platnu |
Brown Coat with Roller (Coat/1), 1979, oil on canvas

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depth of
the surface
ivana mance
Few are the artists who have been capable in their work of facing steadily up to
the absurd, of confronting the pointlessness of existence with the possibility of
the work of art; or, as the author of a philosophy resting on this concept said more
neatly “by mere play of consciousness to
turn what was an invitation to death into
a vital rule”. One of them was Marijan Jevšovar. He did this through the whole of
his work in art, without a bit of over-emotionalism and yet with a clear commitment. Events of meaning on the astringent surface of his canvases were never
either aesthetically appealing or ideologically explicit. They were primarily analytically functional, elaborating clearly the
laws of the painting medium determined
by surface and edge, material and movement, and the other parameters of the image. Only in the background or, rather, in
addition to this conceptually scrupulous
programme, these abstract visual events
were also expressively powerful, moving
in their muted, restrained mediation of the
existential sense of division between being alien and belonging to the world.

Pozitivna i negativna forma, 1992., ulje na platnu | Positive and Negative Form, 1992, oil on canvas

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Marijan Jevšovar opted for this kind of poetic commitment almost at the beginning
of his career in painting, at a time when it
implied not merely an artistic option but
also a worldview and a political stance. On
what was at base the same poetic foundation, his painting survived the vicissitudes of the following decades, tolerating well the daily definitions of art ranging
from analytical and primary to postmodern. This was because the questions that
it raised were not only in principle universal, but also intimately deeply felt and live
through. In this artistic dedication of his,
Jevšovar for the whole of his career remained above averagely collected, finding
the right measure between consistence to
his own option and sharing in the historical
time. On this occasion, the fifteenth anniversary of the artist’s death, his painting is
above all an invitation to sobriety in a time
in which the recourse to consolations has
long since ceased to enjoin moral doubts.
The works on show are aimed at encompassing almost the whole range of Jevšovar’s work in art – although it is not a
critical retrospective, the scope of the artist’s personal bequest was quite enough
to make a selection to document almost
all the important elements of his journey
in painting. The chronologically earliest
works at this exhibition were created in
the period of Jevšovar’s repeated stays in
Paris between 1953 and 1956. In spite of
the stylistic questing in several directions,
works from this period tell of a rapid abstracting of objective contents and a symbolic generalisation of motif: still lifes, pairs
of lovers and scenes from the studio exit
the documentary and denotative function,

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turning into allegorical scenes of a general
existential theme. A scene of a couple entitled Love from 1954 is done in painting
terms by a radically flat treatment of form,
a sombre palette that heralds the colourist
range of future paintings: the hazy atmosphere cancels out the objectness of organic forms already linearly simplified,
sensing their final disappearance, symbolically embodied with the skull – motif that
is also often repeated in compositions of
the time, for example in Still Life of 1955.
These works were to retain from the perspective of Jevšovar’s later oeuvre a privileged status; the striking rephrasing of the
couple in love with skull of 1986 seems
a spectral apparition: more than two decades after the total disappearance of fig-

La Forme parfaite no 1/10, 1963.-1967., tuš | ink

urative contents from the picture, the emblematic pair reappear overcoming the
law of abstract expression, once again
pushing through the pigment - and gesture - saturated surface of the painting into
the domain of the representable world.
The total desertion of figurative contents
as raison d’être of the painting would happen as early as the end of the fifties. While
the abstract series from the end of the fifties still assume a minimally illusionist
space of the picture, from the beginning
of the sixties the surface of the painting
articulated by Informel had entirely driven out any imaginary visual contents. In
the painting Yellow in Black of 1959, the
geometrical figures in mere traces seem
to have been left on a ground that would
have been capable of functioning as a
monochrome. In the well-known Grey
Surface of 1960, today in the Museum
of Contemporary Art, a painting created
by successive application and scraping
of paint until the support was exhausted,
they no longer exist. The poetics of Art Informel would be then the grafting stock
for Jevšovar’s works from the time of his
participation in Gorgona: in a range from
the mentioned reduction of the painting
to the minimum of its capacities to explosive manifestations of the poetic strength
of the painting material that aimed at
overcoming the absurdity of its own occurrence in time and space, as in the dramatic painting Event in Grey, exhibited
on this occasion, but otherwise an atypical Jevšovar work created between 1960
and 1963.
The acquired experience of the painting
plane as hypostatised basis for the paint-

Ljubav (Ljubavni par), 1954., ulje na platnu |

Sjećanje na monotip iz 1956., 1956.-1986., ulje na platnu |

Love (Loving Couple), 1954, oil on canvas

Recollection of a Monotype of 1956, 1956-1986, oil on canvas

ing event would remain the basic point
of departure of Jevšovar’s painting still
long after the phase of the Informel idiom.
From the early 1970s, the surface of the
painting would be relieved of surplus material, making space for a gesturally freer
brushstroke. In spite of this kind of stylistic change in the actual painterly execution, the point of his interventions became
still more stringently analytically functional. The painting abc of 1977, a permutation of elements of support and linear
drawing in the framework of a single format clearly shows the fundamentally conceptual interest of the painting. Even when
they look formally attractive, Jevšovar’s
paintings are a manifestation of clear an-

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alytical programme, as told by their titles:
Investigation Ochre-Blue-Black of 1979
or Brown Spread with Roller of the same
year. During the eighties, the actual painting execution became entirely rudimentary: paintings came into being by the whole
of the canvas being coated with successive monochrome layers of paint, and the
framing of the painted surface or of a certain part of it with a drawn frame, which is
introduced into the concept as a new parameter of the painting (the programme
of the painting is once again summed up
in the titles: Blue Framed Third Coat and
Third Coat, both of 1986). In all the series
of the eighties, cancellation is the main poetic procedure – of layer with layer, ground

with drawing, of plane with frame. Although such an apparently illogically, absurd intervention in which the next configuration cancelled out the previous, seems
to aim at the abolition of the painting field,
the result is actually the opposite: totally
deprived of any attractiveness the image
figures in its essential conceptual determination of painted surface set by an edge,
but also in its always present, muted expressive quality.
Works from the early nineties would follow
the same concept, but would unobtrusively change the mood: a lighter gamut of colours, with a lot of hazy whiteness, would
bring the melancholy of the void into the picture. Along with a sequence of white and

grey paintings, at the beginning of the nineties a series dedicated to the war appeared. Taking as his subject some external
historical event in his painting for the first
time, Jevšovar would not abandoned the
generic principle of constructing the painting, but express the theme with the selection of colour – after several decades of
existential grey drab an aggressive red
showed up, covering the visible field of the
painting like a blood-suffused darkness.
The selection from the painting oeuvre
ends with an unexpectedly cheerful series
Dialogue with Quadrangle of 1995. After
having devoted the major part of his oeuvre to a surface of the painting articulated in Informel idiom, in this new series Je-

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všovar builds his painting only and entirely
on the proposition of the edge: undefined
geometrical forms appear edgewise in the
field of the painting or disappear from it,
while the rest is quiescent in its whiteness.
After a long time, the painting was again
allowed to function as an illusionist frame,
a frame that according to the artist’s instruction can be rotated at will, varying the
sequence in all possible combinations.
During the whole of his career, Jevšovar
was also continually engaged in drawing;
the drawing was not just a preparation for
a painting, but a reflection of it. Most of the
drawing oeuvre follows the painting – or
vice versa; graphic ways of handling problems also elaborated in painting are discovered.
Even fifteen years after the painter’s death,
Jevšovar’s oeuvre is an example of vital
persistence, emotional strength and intellectual clarity. Accepting the Sisyphean nature of his work, Jevšovar purged
painting of everything that painting could
do without – motif, story, spatial illusionism, colourism, eye appeal of all kind, retaining just the firm concept and the elementary expressiveness of the painting
material and of the human trace within it.
He stayed the whole of his working life in
this reduced painting, without even once
doubting of the correctness of his decision. Such a constancy requires above all
an inner loneliness that few of us can withstand.

Događaj u sivom (Velika siva slika), 1960.-1963., ulje na platnu |

Narančasta površina (U počast J. Cageu), 1992., ulje na platnu |

Event in Grey (Large Grey Painting), 1960 -1963, oil on canvas

Orange Surface (In Honour of John Cage), 1992, oil on canvas
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Dijalog s četverokutom, 4 A, triptih, 1997., akrilik na platnu | Dialogue with Quadrangle, 4 A, triptych, 1997, acrylic on canvas

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Marijan Jevšovar, 1992.

samostalne izložbe, izbor

ni salon doma, Banja Luka, BiH

| individual exhibitions, a

1960. Jugoslawische Kunstler der Gegenwert:

nagrade | prizes and awards

selection

Malerei und Plastik, Tubingen , Njemačka

13. Zagrebačka izložba jugoslavenskog crteža,

Galerie Deutscher Bucherbund, München, Nje-

Umjetnički paviljon, Kabinet grafike JAZU, 1991.

1959. Jevšovar - izložba slikarskih radova, Mala

mačka (s Ivom Gattinom, Mićom Popovićem i

Nagrada ocjenjivačkog suda.

galerija, Opatija

Rudolfom Sablićem)

28. Zagrebački salon, Muzejsko-galerijski centar,

1961. Izložba Marijana Jevšovara, Studio G, Za-

1961. Trijenale likovnih umjetnosti, Beograd

1993. Nagrada ocjenjivačkog suda za sliku Los

greb

1963. Salon 63, Galerija likovnih umjetnosti, Rije-

desastres dela guerra

1972. Marijan Jevšovar – filmski plakati, Muzej za

ka, Galleria Communale, Firenze

Nagrada grada Zagreba, 1995.

umjetnost i obrt, Zagreb

1967. EXPO 67, Montreal, Kanada

__________

1976. Retrospektiva, Galerija Nova, Zagreb

1972. 7. plavi salon, Moderna galerija Narodnog

1980. Marijan Jevšovar, Galerija suvremene um-

muzeja, Zadar

jetnosti, Zagreb

1977. Informel 1956-1962, Galerija Nova, Zagreb

1990. Galerija Sebastian, Varaždin

Gorgona, Galerija suvremene umjetnosti, Za-

1992. Susret na svjetlu, Galerija Dante, Umag

greb, Galerija studentskog kulturnog centra, Be-

1993. Marijan Jevšovar – crteži, Muzej suvreme-

ograd; Stadtisches Museum, Monchengladba-

ne umjetnosti, Zagreb

ch, Njemačka

1995. Dijalog s četverokutom, Galerija Beck, Za-

Moderne Kunst in Kroatien, Rathaus, Mainz, Au-

greb;

strija

Crteži Marijana Jevšovara, Galerija Keleia, Celje

1980. Jugoslavensko slikarstvo šeste decenije,

izloženi radovi
slike
01. Ljubav (Ljubavni par), 1954., ulje na platnu, 55.3
x 57.5 cm
02. Nature morte (Mrtva priroda s lubanjom), 1954.,
ulje na platnu, 44 x 61 cm
03. Slikar i akt (Akt u atelijeru), 1955., ulje na platnu, 65

1998. Galerija Forum, Zagreb

Muzej savremene umetnosti, Beograd

2007. Marijan Jevšovar 1922-1988, Galerija 11,

1981. XI Sao Paulo Biennial (Gorgona), Sao Pau-

04. Pejzaž, oko 1954., ulje na platnu, 54 x 65 cm

x 81.4 cm

Zagreb

lo, Brazil

05. Mrtva priroda, 1955., ulje na platnu, 47.5 x 68 cm

stvo, primarno i analitičko slikarstvo – odrednice

the artists there as well as the freedom of artistic

2008. Marijan Jevšovar (iz ciklusa izložbi Odsut-

1987. Jugoslovenska dokumenta 87, Collegium

06. Žuto u crnom, 1958., ulje na platnu, 55 x 67 cm

su koje se uobičajeno vežu uz njegov rad, a re-

expression. From 1959 to 1966 he took part in

ni-prisutni), Galerija Kranjčar, Zagreb.

artisticum, Sarajevo

07. Događaj u sivom (Velika siva slika), 1960.-1963.,

Marijan Jevšovar rođen je 1922. u Zagrebu. Di-

zultat su radikalnog odbacivanja deskriptivnog

the activities of the Gorgona group, and within its

1989. Jugoslovenska dokumenta 89, Olimpijski

plomirao je 1946. na Akademiji likovnih umjet-

slikarstva te naglašenog mentalnog i duhovnog

programmatic framework radicalised the expe-

centar Skenderija, Sarajevo

biografija

ulje na platnu,146.3 x 114.3 cm
08. abc (Istraživannje smeđe-sivo), 1977., kombinira-

nosti na nastavničkom smjeru u klasi Marina

istraživačkog procesa koji je odredio cjelokupno

rimental, the contemplative and the spiritual in

skupne izložbe, izbor |

1992. Celjski mednarodni slikarski tedni, Celje

Tartaglie i polazio njegovu specijalku do 1948.

Jevšovarovo stvaralaštvo. Umro je 1998. godine

painting. He collaborated on the anti-periodical

collective exhibitions, a

1993. The Horse Who Sings/Radical Art from

09. Potez, 1978., ulje, grafit na platnu, 38 x 55 cm

godine. Od 1953. do 1960. često je boravio u

u Zagrebu.

Gorgona (1962), on the bibliophile publications

selection

Croatia, Museum of Contemporary Art, Sydney,

10. Istraživanje oker-plavo-crno, 1979., akrilik na plat-

1950. Izložba ULUH-a, Umjetnička galerija, Du-

1995. Suvremena umjetnost nesvrstanih zemalja,

Parizu, upoznavajući pariške umjetnike i slobo-

Postgorgona (from 1985) and Postscriptum (from

du umjetničkog izražavanja. Od 1959. do 1966.

1989). He was also into graphic design, book de-

sudjeluje u aktivnostima grupe Gorgona, unu-

biography

tar čijeg programatskog okvira radikalizira ek-

Australija

sign and illustration. Abstract painting, Informel,

brovnik, Umjetnički paviljon, Zagreb;

Nacionalna galerija, Đakarta, Indonezija

anti-painting, primary and analytical painting are

1956. Salon 56, Galerija likovnih umjetnosti, Ri-

1996. Suvremeni hrvatski crtež, Palača kulture

jeka

radnog naroda, Beijing, Kina

sperimentalno, kontemplativno i duhovno u sli-

Marijan Jevšovar was born in 1922 in Zagreb. In

some of the labels that have been applied to his

na tehnika na platnu,130.3 x 97.2 cm

nu, 71 x 134 cm
11. Smeđi namaz valjkom (Namaz/1), 1979., ulje na
platnu, 70 x 100 cm
12. Sjećanje na monotip iz 1956., 1956.-1986., ulje na
platnu, 54 x 65 cm
13. Plavo-uokviren treći namaz, 1986., akrilik na plat-

karstvu. Surađivao je u ‘antičasopisu’ Gorgona

1946 he took his BFA at the Academy of Fine Arts

work. They are all the result of a radical rejection

Izložba ULUH-a, Umjetnički paviljon na Malom

1997. 47. Venecijanski bijenale, Venecija, Italija

(1962.), bibliofilskim izdanjima Postgorgona (od

in Zagreb, in the educational major, taught by

of descriptive painting and of the emphatic men-

Kalemegdanu, Beograd

2001. Informel, HDLU - Galerija Prsten i Galeri-

1985.) i Post scriptum (od 1989.). Bavio se grafič-

Marino Tartaglia, whose post-graduate course

tal and spiritual research process that defined the

Izložba hrvatske grafike, Galerija grafički kolek-

ja Karas, Zagreb

14. Treći namaz, 1986., akrilik na platnu, 64 x 80 cm

kim dizajnom, likovnom opremom i ilustracijom

he also attended up to 1948. From 1953 to 1960

whole of Jevšovar’s creative work. Marijan Jev-

tiv, Beograd

2003. Monokromije, Umjetnički paviljon, Zagreb

15. Vrijeme između, 1948.-1989., ulje na platnu,120

knjiga. Apstraktno slikarstvo, informel, antislikar-

he spent a lot of time in Paris, getting to know

šovar died in 1998 in Zagreb.

1959. Suvremena jugoslavenska grafika, Izložbe-

2004. Čudovišno, Umjetnički paviljon, Zagreb.

16

17

nu, 60 x 73.5 cm

x 153 cm

16. More, 1992., ulje, ugljen na platnu, 80.9 x 100.3

works exhibited

drawings

cm
17. Blijedo-siva površina, 1992., ulje na platnu, 80 x

01. Painter and Nude, October 4,1956, ink wash, 21.8

paintings

100.4 cm
18. Pozitivna i negativna forma, 1992., ulje na platnu,
60.3 x 80.3 cm

01. Love (Loving Couple), 1954, oil on canvas, 55.3
x 57.5 cm
02. Still Life with Skull, 1954, oil on canvas, 44 x 61 cm

20. Narančasta površina (U počast J. Cageu), 1992.,

03. Painter and Nude (Nude in Studio), 1955, oil on

21. Dijalog s četverokutom, 4 A, triptih, 1997., akrilik
na platnu, 3 x 65 x 73.5 cm

canvas, 65 x 81.4 cm
04. Landscape, around 1954, oil on canvas, 54 x 65 cm
05. Still Life, 1955, oil on canvas, 47.5 x 68 cm
07. Event in Grey (Large Grey Painting), 1960 -1963,

02. Ženski aktovi, 1958.,tuš, 13.5 x 21 cm
03. Potvrđivanje površine I, 1963., flomaster na papiru, 31,5 x 23,5 cm
04. Potvrđivanje površine II, 1963., flomaster na papiru, 31,5 x 23,5 cm
05. Potvrđivanje površine III, 1963., flomaster na papiru, 31,5 x 23,5 cm
06. Potvrđivanje površine IV,1963., flomaster na papiru, 31,5 x 23,5 cm
07. Potvrđivanje površine V, 1963., flomaster na papiru, 31,5 x 23,5 cm
08. La Forme parfaite no 1/10, 1963.-1967., tuš, 51
x 71 cm
09. Omotni list od “savršenih” crteža, 1963.-1966.,
olovka, tinta, flomaster, 42 x 29.5 cm
10. Bez naziva, 1988., grafit, 43 x 31.3 cm
11. Bez naziva,1988., grafit, 38 x 31 cm
12. Bez naziva, oko 1989., olovka, gumica, 35.5 x 50
cm
13. Bez naziva,1989., olovka, gumica, 50 x 35.5 cm
14. Bez naziva, oko 1990., grafit, gumica, 25.5 x 35.5
cm
15. Prodor u nepoznato, 1990., olovka, 32 x 31.5 cm
16. Bez naziva, 1991., grafit, gumica, 49.8 x 35.5 cm

Tiskano u Hrvatskoj, 2013. |
izdavač / publisher

03. Confirming the Surface I, 1963, marker on paper,

Kulturno informativni centar

31.5 x 23.5 cm
04. Confirming the Surface II, 1963, marker on paper,

06. Confirming the Surface IV, 1963, marker on paper, 31.5 x 23.5 cm

Preradovićeva 5, Zagreb

naklada | edition
250

www.kic.hr
__________
za izdavača | for the publisher
Gabrijela Krmpotić Kos

izložbu omogućili |

ravnateljica KIC-a

the exhibition has been made possible by

07. Confirming the Surface V, 1963, marker on paper,

08. abc (Brown-Grey Research), 1977, mixed media

31.5 x 23.5 cm
08. La Forme parfaite no 1/10, 1963.-1967, ink, 51 x

on canvas,130.3 x 97.2 cm
09. Stroke, 1978 oil, graphite on canvas, 38 x 55 cm
10. Ochre-Blue-Black Research, 1979, acrylic on canvas, 71 x 134 cm

ink, marker, 42 x 29.5 cm

11. Brown Coat with Roller (Coat 1), 1979, oil on canvas, 70 x 100 cm
12. Recollection of a Monotype of 1956, 1956-1986,

Gradski ured za obrazovanje, kulturu i šport, Zaurednik | editor

greb i Ministarstvo kulture RH | City office for

Antun Maračić

education, culture and sport, Zagreb and Mini-

71 cm
09. “Perfect” drawings wrapper, 1963 -1966, pencil,

stry of Culture of the Republic of Croatia
uvod | introduction
Antun Maračić

10. Untitled, 1988, graphite, 43 x 31.3 cm
11. Untitled, 1988, graphite, 38 x 31 cm

predgovor | preface

12. Untitled, around 1989, pencil, eraser, 35.5 x 50 cm

Ivana Mance

60 x 73.5 cm

14. Untitled, around 1990, graphite, eraser, 25.5 x
35.5 cm

14. Third Coat, 1986, acrylic on canvas, 64 x 80 cm

cm
16. Untitled, 1991, graphite, eraser, 49.8 x 35.5 cm

153 cm

__________
Rosanda Tometić

Graham McMaster
postav izložbe | exhibition set up

17. Pale Grey Surface, 1992, oil on canvas, 80 x 100.4

Antun Maračić

cm
18. Positive and Negative Form, 1992, oil on canvas,

tehnički postav | technical set up

60.3 x 80.3 cm

Vanja Babić

19. War Thoughts, 1992, acrylic on canvas, 50.3 x
60.3 cm

__________

20. Orange Surface (In Honour of John Cage), 1992,
oil on canvas, 130.3 x 110.3 cm

fotografije | photographs
Tomislav Turković

Radovi su izloženi ljubaznošću gospođe Snježane

21. Dialogue with Quadrangle, 4 A, triptych, 1997,
acrylic on canvas, 3 x 65 x 73.5 cm

18

Naslovnica: Potez, 1978., ulje, grafit na platnu |
Cover: Stroke, 1978 oil, graphite on canvas

prijevod | translation

16. Sea, 1992, oil, charcoal on canvas, 80.9 x 100.3
cm

Davor Mehkek, Printeraj, Zagreb

lektura | proof reading

15. Breach into the Unknown, 1990, pencil, 32 x 31.5

15. Time Between, 1948-1989, oil on canvas, 120 x

zahvale | acknowledgements
Snježana Jevšovar Knežević

13. Untitled, 1989, pencil, eraser, 50 x 35.5 cm

oil on canvas, 54 x 65 cm
13. Blue-Framed Third Coat, 1986, acrylic on canvas,

Printed in Croatia, 2013

tel. 01 4810 714

05. Confirming the Surface III, 1963, marker on paper,
31.5 x 23.5 cm

oil on canvas,146.3 x 114.3 cm
01. Slikar i akt, 04.X.1956., lavirani tuš, 21.8 x 28 cm

Kerschoffset, Zagreb

gf@kic.hr

02. Female Nudes, 1958, ink, 13.5 x 21 cm

31.5 x 23.5 cm

06. Yellow in Black, 1958, oil on canvas, 55 x 67 cm
crteži

tisak | printing

tel. 01 4810 710
x 28 cm

19. Ratne misli, 1992., akrilik na platnu, 50.3 x 60.3 cm
ulje na platnu, 130.3 x 110.3 cm

Galerija Forum, Teslina 16, Zagreb

Jevšovar Knežević | Exhibited works - courtesy of

grafičko oblikovanje | design

Mrs Snježana Jevšovar Knežević

Tomislav Turković, www.tTom.info