marijan
jevovar
15 godina poslije
15 years on
24. 4. 25. 5. 2013.
15 godina poslije
antun marai
Omotni list od savrenih crtea,
1963.-1966., olovka, tinta, flomaster |
Perfect drawings wrapper, 1963 -1966,
pencil, ink, marker
Izlobom Marijana Jevovara Galerija Forum obiljeava petnaestu godinjicu autorove smrti (5. srpnja 1998.), no takoer i
petnaestu godinjicu njegove posljednje
samostalne izlobe koja se odrala upravo
u Galeriji Forum od 22. sijenja do 10. veljae 1998. Istodobno, dakle, ovom izlobom Galerija ostvaruje onaj dio svojeg
programa u kojem evocira najvitalnije dionice hrvatske umjetnosti druge polovine
20. stoljea, kao i najvrjednije vlastite povijesne trenutke.
Marijan Jevovar je autor koji je ve ranih
1960-ih godina prakticirao radikalne postupke u slikarstvu. Razmilja o plohi, formatu, boji, namazu, potezu... svim onim
elementima koji tvore sliku kao materijalnu injenicu. Izbjegavajui ne samo bilo
kakav oblik naracije i predstavljanja izvanmedijskih sadraja, nego i emocionalne
apstraktno-ekspresionistike iskaze, Jevovar je, iako se pojavljuje u razdoblju ra-
dikalnog informela, informelist tek uvjetno.
Ekspresivitet njegovog djela tek je neizbjena posljedica runoradne aktivnosti
koja pokree samostalni govor slikarske
materije. No u biti Jevovar je prethodnik
elementarnog, primarnog, odnosno analitikog slikarstava koje se u Europi pojavilo poetkom 70-ih godina 20. stoljea.
Parafrazirajui talijansku sintagmu pittura pittura kojom se istie neovisnost takve
prakse od bilo kakve primjenjenosti i balasta vanjskih sadraja - Jevovar je slikar
slikar. Iako se on istodobno smatrao i antislikarem koji je, alergian i na najmanje
natruhe dopadljivosti (uzaludno) pokuavao naslikati runu sliku.
Dijelei egzistencijalistiki duhovni ustroj i
ponaanje svojih gorgonakih drugova razliitih naina izraavanja - Knifera, Koaria, Mangelosa... on se, jednako kao i
oni, vraao uvijek istim oblicima i gestama,
neprestano ispitujui temelj, nultu toku
slikarstva, a klonei se nadgradnje i vatrometa kratkotrajnih improvizacija. U cijelom svom gotovo polustoljetnom slikarskom stau, Jevovar je, prema vlastitim
rijeima, tek uporno traio tajnu koja pojedino ostvarenje ini umjetnikim djelom.
Zbog silnog autorskog uloga i dosljednosti
u svojem plemenito-utopijskom konceptu
Jevovarovo djelo, kako vrijeme odmie,
postaje sve snanije i vanije.
Vjerujemo da e ova izloba to jasno pokazati.
15 years on
dubina povrine
uto u crnom, 1958., ulje na platnu |
antun marai
In this exhibition of works by Marijan Jevovar, the Forum Gallery is commemorating the 15th anniversary of the artists 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 Jevovar 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, Jevovar, 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, Jevovar
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 Jevovar 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 Koari, 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
4
show of short-lasting improvisations. In
the whole of his almost half century-long
career in painting, in his own words, Jevovar 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, Jevovars 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 suoiti s apsurdom, besmislu postojanja suprotstaviti mogunost umjetnikog djela ili, kako bi autor filozofije to poiva na tom pojmu spretnije rekao, samom
igrom svijesti prometnuti u ivotno pravilo
ono to je bio poziv na smrt. Jedan od njih
bio je Marijan Jevovar. inio je to cijelim
svojim umjetnikim djelovanjem, bez imalo
patetike i s jasnim opredjeljenjem. Dogaaji smisla na trpkoj povrini njegovih platna
nikada nisu bili ni estetski dopadljivi ni ideoloki eksplicitni; bili su prije svega analitiki funkcionalni, jasno elaborirajui zakone
slikarskog medija odreenog povrinom i
rubom, materijom i kretnjom te drugim parametrima slike. Tek u pozadini ili, bolje rei,
pride tog konceptualno skrupuloznog programa, ta su apstraktna likovna zbivanja
bila i ekspresivno snana, potresna u priguenom, suzdranom posredovanju egzistencijalnog osjeaja raspoluenosti izmeu stranosti i pripadnosti svijetu.
Za takvo poetiko opredjeljenje Marijan
Jevovar se odluio gotovo na poetku
svojega slikarskog vijeka, u vremenu kada
je ono impliciralo ne samo umjetniki nego
Yellow in Black, 1958, oil on canvas
i svjetonazorski, pa i politiki stav. Na u osnovi istom poetikom temelju njegovo je
slikarstvo preivjelo i mijene sljedeih desetljea, dobro podnosei dnevne definicije umjetnosti, u rasponu od analitikog i
primarnog do postmodernog, i to upravo
zato to su pitanja koja je ono postavljalo
bila ne samo naelno univerzalna nego i intimno prouena. U toj svojoj umjetnikoj
posveenosti, Jevovar je cijelog radnog
vijeka ostao natprosjeno priseban, pronalazei pravu mjeru izmeu dosljednosti
vlastitom opredjeljenju i dosluha s povijesnim vremenom, pa je i ovom prilikom, to
je otvara petnaesta obljetnica umjetnikove smrti, njegovo slikarstvo prije svega poziv na trezvenost u vremenu u kojem posezanje za utjehama odavno vie ne namee
moralne dvojbe.
Izloena djela tee obuhvatiti gotovo cijeli
raspon Jevovarova stvaralatva premda posrijedi nije kritika retrospektiva; opseg umjetnikove osobne ostavtine bio je
dostatan da se napravi izbor koji dokumentira gotovo sve vane momente njegova slikarskog puta. Kronoloki najraniji radovi na
ovoj izlobi nastali su u razdoblju Jevova5
rovih viekratnih boravaka u Parizu izmeu
1953. i 1956. godine. Unato viesmjernim
stilskim traenjima, djela iz tog razdoblja
svjedoe o ubrzanom apstrahiranju predmetnih sadraja i simbolikom poopavanju motiva: mrtve prirode, ljubavni parovi i
prizori iz ateljea naputaju dokumentarnu,
denotativnu funkciju, pretvarajui se u alegorijske prizore openite egzistencijalne
tematike. Prizor para naslovljen Ljubav iz
1954. slikarski je izveden radikalno plonim
tretmanom forme zagasitom paletom koja
najavljuje koloristiku gamu buduih slika;
mutno ozraje ponitava predmetnost linearno ve pojednostavnjenih organikih
oblika, nasluujui njihovo konano ieznue, simboliki utjelovljeno i lubanjom
motivom koji se takoer esto ponavlja na
kompozicijama iz toga vremena, primjerice, na Mrtvoj prirodi iz 1955. Ta e djela i
iz perspektive kasnijeg Jevovarova opusa zadrati povlateni status; frapantna parafraza ljubavnog para s lubanjom iz 1986.
doima se poput sablasnog ukazanja: vie
od dva desetljea nakon potpunog nestanka figurativnih sadraja sa slike, amblematski par se ponovno pojavljuje prevladavaju-
i zakon apstraktnog izraza, probijajui se
sao njegovih intervencija postaje jo stroe
jo jedanput kroz bojom i potezom zasie- analitiki funkcionalan. Slika abc iz 1977.,
nu povrinu slike u domenu prikazivog svi- permutacija elemenata podloge i linearnog
jeta.
crtea u okviru jednog formata, jasno poPotpuno naputanje figurativnih sadra- kazuje temeljno konceptualni interes slike.
ja kao bitnog rezona slike dogodit e se
ak i kada izgledaju oblikovno atraktivno,
ve potkraj pedesetih godina 20. stolje- Jevovarove slike manifestacija su jasnog
a. Dok apstraktni ciklusi s kraja pedese- analitikog programa, o emu svjedoe i
tih jo podrazumijevaju minimalni iluzioni- njihovi nazivi: Istraivanje oker-plavo-crstiki prostor slike, od poetka ezdesetih
no iz 1979. ili Smei namaz valjkom iz iste
enformelno artikulirana povrina slike sa- godine. Osamdesetih godina, slikarska e
svim potiskuje imaginarni vizualni sadraj. izvedba postati sasvim rudimentarna: sliNa slici uto u crnom iz 1959. geometrij- ke e nastajati uzastopnim premazivaski likovi u tragovima kao da su zaostali
njem itavog platna monokromnim slojena podlozi koja bi mogla funkcionirati kao
vima boje i uokvirivanjem oslikane plohe ili
monokromna. Na poznatoj Sivoj povrini
odreenog 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 saet u nazivu: Plazivanjem i struganjem boje do iscrpljenja
vo uokvireni trei namaz i Trei namaz, obje
podloge, vie ih nema. Poetika enforme- iz 1986.). U svim ciklusima iz osamdesetih,
la bit e, dakle, cijepna podloga Jevova- ponitavanje je glavni poetiki postupak
rovih djela iz vremena sudjelovanja u Gor- - sloja slojem, podloge crteom, ravnine
goni: u rasponu od spomenutog svoenja
okvirom. Premda takva prividno nelogina,
slike na minimum vlastitih mogunosti do
apsurdna intervencija u kojoj idui poredak
eksplozivnih oitovanja poetske snage sli- ponitava prethodni naizgled tei dokidakarske tvari koja tei prevladati apsurd vla- nju polja slike, rezultat je upravo suprotan:
stita pojavljivanja u vremenu i prostoru, kao
potpuno liena dopadljivosti, slika se pona ovom prilikom izloenoj, a inae za Jev- javljuje u svojem bitnom konceptualnom
ovara atipino dramatinoj slici Dogaaj
odreenju naslikane povrine zadane ruu sivom, nastaloj izmeu 1960. i 1963. go- bom, ali i u svojoj uvijek prisutnoj, priguedine.
noj ekspresivnoj kvaliteti.
Usvojeno iskustvo slikarske ravnine kao hi- Djela s poetka devedesetih slijedit e isti
postazirane osnove slikarskoga dogaaja, koncept, no neprimjetno mijenjati ugoostat e temeljnim polazitem Jevovaro- aj: svijetla gama boja, s mnogo magloviva slikarstva jo dugo nakon faze enformel- te bjeline, u sliku unosi melankoliju prazninog izraza. Ve od poetka sedamdesetih, ne. Osim niza bijelo-sivih slika, poetkom
povrina slike e se rasteretiti od vika devedesetih pojavljuje se i ciklus posveen
materije, ustupajui prostor gestualno slo- ratu. Prvi put u svojem slikarstvu izravno
bodnijem potezu. Unato takvoj stilskoj
tematizirajui neki izvanjski povijesni dopromjeni u samoj slikarskoj izvedbi, smi- gaaj, Jevovar nee napustiti generiko
naelo izgradnje slike, ve e temu izraziti izborom boje nakon vie desetljea egzistencijalnog sivila pojavljuje se agresivna
crvena, zastirui vidno polje slike poput kakvog krvavog mraka.
Izbor iz slikarskog opusa zavrava neoekivano razigranim ciklusom Dijalog s etverokutom iz 1995. Nakon to je vei dio
svojega opusa posvetio enformelno artikuliranoj povrini slike, u navedenom nizu
Jevovar sliku gradi iskljuivo na propoziciji ruba; neodreene geometrijske forme
pojavljuju se rubno u polju slike ili iz njega
nestaju, dok ostatak miruje u bjelini. Nakon
dugo vremena, slici je opet doputeno da
funkcionira kao iluzionistiki kadar, i to kadar koji se prema umjetnikovu naputku slobodno moe rotirati, varirajui niz u svim
moguim kombinacijama.
Cijelog radnog vijeka Jevovar je i kontinuirano crtao; crte nije bio samo priprema slike, ve i njezina refleksija. Veina crtakog
opusa prati slikarski ili obratno; pronalaze se korespondentna grafika rjeenja za
probleme koji se elaboriraju i slikarski.
I petnaest godina nakon smrti, Jevovarov opus ostaje primjer ivotne upornosti,
emotivne snage i misaone jasnoe. Prihvativi sizifovsku narav svojega posla, Jevovar je oistio slikarstvo od svega bez ega
slikarstvo moe motiva, prie, prostornog iluzionizma, kolorizma, dopadljivosti
svake vrste, zadravi tek vrsti koncept i
elementarnu ekspresivnost slikarske materije i ljudskog traga u njoj. U takvom je reduciranom slikarstvu izdrao cijeli radni vijek
a da nijedanput nije posumnjao u ispravnost svoje odluke. A takva postojanost prije svega zahtijeva unutarnju samou, kakvu izdravaju samo rijetki.
Smei namaz valjkom (Namaz/1), 1979., ulje na platnu |
Brown Coat with Roller (Coat/1), 1979, oil on canvas
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 Jevovar. 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
Marijan Jevovar 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,
Jevovar 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 artists 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 Jevovars work in art although it is not a
critical retrospective, the scope of the artists 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 Jevovars 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,
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 Jevovars 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., tu | 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 dtre 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 Jevovars 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 Jevovar 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 |
Sjeanje 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 Jevovars 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, Jevovars
paintings are a manifestation of clear an-
10
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, Jevovar 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-
11
vovar 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 artists instruction can be rotated at will, varying the
sequence in all possible combinations.
During the whole of his career, Jevovar
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 painters death,
Jevovars oeuvre is an example of vital
persistence, emotional strength and intellectual clarity. Accepting the Sisyphean nature of his work, Jevovar 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.
Dogaaj u sivom (Velika siva slika), 1960.-1963., ulje na platnu |
Naranasta povrina (U poast 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
12
13
Dijalog s etverokutom, 4 A, triptih, 1997., akrilik na platnu | Dialogue with Quadrangle, 4 A, triptych, 1997, acrylic on canvas
14
15
Marijan Jevovar, 1992.
samostalne izlobe, izbor
ni salon doma, Banja Luka, BiH
| individual exhibitions, a
1960. Jugoslawische Kunstler der Gegenwert:
nagrade | prizes and awards
selection
Malerei und Plastik, Tubingen , Njemaka
13. Zagrebaka izloba jugoslavenskog crtea,
Galerie Deutscher Bucherbund, Mnchen, Nje-
Umjetniki paviljon, Kabinet grafike JAZU, 1991.
1959. Jevovar - izloba slikarskih radova, Mala
maka (s Ivom Gattinom, Miom Popoviem i
Nagrada ocjenjivakog suda.
galerija, Opatija
Rudolfom Sabliem)
28. Zagrebaki salon, Muzejsko-galerijski centar,
1961. Izloba Marijana Jevovara, Studio G, Za-
1961. Trijenale likovnih umjetnosti, Beograd
1993. Nagrada ocjenjivakog suda za sliku Los
greb
1963. Salon 63, Galerija likovnih umjetnosti, Rije-
desastres dela guerra
1972. Marijan Jevovar 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 Jevovar, Galerija suvremene um-
muzeja, Zadar
jetnosti, Zagreb
1977. Informel 1956-1962, Galerija Nova, Zagreb
1990. Galerija Sebastian, Varadin
Gorgona, Galerija suvremene umjetnosti, Za-
1992. Susret na svjetlu, Galerija Dante, Umag
greb, Galerija studentskog kulturnog centra, Be-
1993. Marijan Jevovar crtei, Muzej suvreme-
ograd; Stadtisches Museum, Monchengladba-
ne umjetnosti, Zagreb
ch, Njemaka
1995. Dijalog s etverokutom, Galerija Beck, Za-
Moderne Kunst in Kroatien, Rathaus, Mainz, Au-
greb;
strija
Crtei Marijana Jevovara, Galerija Keleia, Celje
1980. Jugoslavensko slikarstvo este decenije,
izloeni 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 Jevovar 1922-1988, Galerija 11,
1981. XI Sao Paulo Biennial (Gorgona), Sao Pau-
04. Pejza, 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 analitiko slikarstvo odrednice
the artists there as well as the freedom of artistic
2008. Marijan Jevovar (iz ciklusa izlobi Odsut-
1987. Jugoslovenska dokumenta 87, Collegium
06. uto u crnom, 1958., ulje na platnu, 55 x 67 cm
su koje se uobiajeno veu uz njegov rad, a re-
expression. From 1959 to 1966 he took part in
ni-prisutni), Galerija Kranjar, Zagreb.
artisticum, Sarajevo
07. Dogaaj u sivom (Velika siva slika), 1960.-1963.,
Marijan Jevovar roen 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 naglaenog mentalnog i duhovnog
programmatic framework radicalised the expe-
centar Skenderija, Sarajevo
biografija
ulje na platnu,146.3 x 114.3 cm
08. abc (Istraivannje smee-sivo), 1977., kombinira-
nosti na nastavnikom smjeru u klasi Marina
istraivakog procesa koji je odredio cjelokupno
rimental, the contemplative and the spiritual in
skupne izlobe, izbor |
1992. Celjski mednarodni slikarski tedni, Celje
Tartaglie i polazio njegovu specijalku do 1948.
Jevovarovo stvaralatvo. 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. esto je boravio u
u Zagrebu.
Gorgona (1962), on the bibliophile publications
selection
Croatia, Museum of Contemporary Art, Sydney,
10. Istraivanje oker-plavo-crno, 1979., akrilik na plat-
1950. Izloba ULUH-a, Umjetnika galerija, Du-
1995. Suvremena umjetnost nesvrstanih zemalja,
Parizu, upoznavajui parike umjetnike i slobo-
Postgorgona (from 1985) and Postscriptum (from
du umjetnikog izraavanja. Od 1959. do 1966.
1989). He was also into graphic design, book de-
sudjeluje u aktivnostima grupe Gorgona, unu-
biography
tar ijeg programatskog okvira radikalizira ek-
Australija
sign and illustration. Abstract painting, Informel,
brovnik, Umjetniki paviljon, Zagreb;
Nacionalna galerija, akarta, Indonezija
anti-painting, primary and analytical painting are
1956. Salon 56, Galerija likovnih umjetnosti, Ri-
1996. Suvremeni hrvatski crte, Palaa kulture
jeka
radnog naroda, Beijing, Kina
sperimentalno, kontemplativno i duhovno u sli-
Marijan Jevovar 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. Smei namaz valjkom (Namaz/1), 1979., ulje na
platnu, 70 x 100 cm
12. Sjeanje na monotip iz 1956., 1956.-1986., ulje na
platnu, 54 x 65 cm
13. Plavo-uokviren trei namaz, 1986., akrilik na plat-
karstvu. Suraivao je u antiasopisu Gorgona
1946 he took his BFA at the Academy of Fine Arts
work. They are all the result of a radical rejection
Izloba ULUH-a, Umjetniki 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 grafi-
Marino Tartaglia, whose post-graduate course
tal and spiritual research process that defined the
Izloba hrvatske grafike, Galerija grafiki kolek-
ja Karas, Zagreb
14. Trei 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 Jevovars creative work. Marijan Jev-
tiv, Beograd
2003. Monokromije, Umjetniki paviljon, Zagreb
15. Vrijeme izmeu, 1948.-1989., ulje na platnu,120
knjiga. Apstraktno slikarstvo, informel, antislikar-
he spent a lot of time in Paris, getting to know
ovar died in 1998 in Zagreb.
1959. Suvremena jugoslavenska grafika, Izlobe-
2004. udovino, Umjetniki 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 povrina, 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. Naranasta povrina (U poast J. Cageu), 1992.,
03. Painter and Nude (Nude in Studio), 1955, oil on
21. Dijalog s etverokutom, 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. enski aktovi, 1958.,tu, 13.5 x 21 cm
03. Potvrivanje povrine I, 1963., flomaster na papiru, 31,5 x 23,5 cm
04. Potvrivanje povrine II, 1963., flomaster na papiru, 31,5 x 23,5 cm
05. Potvrivanje povrine III, 1963., flomaster na papiru, 31,5 x 23,5 cm
06. Potvrivanje povrine IV,1963., flomaster na papiru, 31,5 x 23,5 cm
07. Potvrivanje povrine V, 1963., flomaster na papiru, 31,5 x 23,5 cm
08. La Forme parfaite no 1/10, 1963.-1967., tu, 51
x 71 cm
09. Omotni list od savrenih crtea, 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. |
izdava / 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
Preradovieva 5, Zagreb
naklada | edition
250
www.kic.hr
__________
za izdavaa | for the publisher
Gabrijela Krmpoti Kos
izlobu omoguili |
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 port, Zaurednik | editor
greb i Ministarstvo kulture RH | City office for
Antun Marai
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 Marai
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 Tometi
Graham McMaster
postav izlobe | exhibition set up
17. Pale Grey Surface, 1992, oil on canvas, 80 x 100.4
Antun Marai
cm
18. Positive and Negative Form, 1992, oil on canvas,
tehniki postav | technical set up
60.3 x 80.3 cm
Vanja Babi
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 Turkovi
Radovi su izloeni ljubaznou gospoe Snjeane
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
Snjeana Jevovar Kneevi
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 tu, 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
crtei
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
