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I z l o ž b a p o v o d o m s t o g o d i š n j i c e r o đ e n j a
Đorđe Andrej ević-KunRadovi na
Galerija Fakulteta likovnih umetnosti, Beograd
5 -18. april 2004.
f
Fakultet likovnih umetnosti se mjlepse zahvaljuje m sarad- nji u organizaciji izložbe porodici Kun i Muzeju grada Beograda.
Od figuralnog
do figurativnog Hi
od realizma do
simboličkog romantizma
Tokom sedam decenija postojanja Akademije likovnih umetnosti (od 1973. Fakulteta likovnih ume- tnosti u Beogradu), kroz profesorski kolegijum prošlo je vise od stotinu značajnih umetnika, od kojih su mnogi svojim stvaralaštvom obeležili jugoslovensku i srpsku umetnost dvadesetog veka. Ova najstarija umetnička škola u nas razvija se u skladu sa zahtevima vremena, ali istovremeni su i napori da se održi konti- nuitet upoznavanjem sadašnjih studenata i profesora sa onima koji su im prethodili. Sa tom idejom u Galeriji Fakulteta likovnih umetnosti povremeno su organizo- vane izložbe posvećene radu nekadašnjih profesora, koji podsećaju na njihov pedagoški i umetnički dopri- nos, a stručnoj javnosti nude na uvid rede izlagana dela ovih umetnika i podstiču na neka druga sagledavanja i verifikaciju.
Povodom stogodišnjice rođenja Đorđa Andrejevića- Kuna (1904-1964.) slikara, grafičara, profesora ALU, rektora Univerziteta umetnosti i člana SANU, Fakultet likovnih umetnosti priređuje izložbu radova na papiru ovog umetnika. Fragmentarnom prezentacijom saču- vanih skica, crteža, beležaka, studija, izvršena je gruba rekonstrukcija osnovnih obrisa Kunove poetike. Za umetnika koji je poistovetio svoje životne i umetničke ideale, to istovremeno znači i sumarno skiciranje portreta stvaraoca. Većina radova na izložbi su pre svega svedočanstva o njegovoj autentičnoj posvećeno- sti umetnosti od najranije mladosti. Kopije i studije po delima majstora italijanske renesanse i manirizma, fascinacija Tintoretom, bili su presudni za formiranje
From the Figural to the
Figurative or
from Realism to Symbolic
Romanticism
Since the founding of the Academy of Fine Arts in Belgrade (renamed the Faculty of Fine Arts in 1973) seven decades ago, more than a hundred eminent artists have taught at the school, many of whom made their mark in twentieth-century Yugoslav and Serbian art. The Academy of Fine Arts - the oldest art school in the country - has striven to keep up with the changing demands of the times, but at the same time, it has sought to preserve continuity by enabling new generations of students and teachers to become familiar with the work of their predecessors. To this end, the Gallery of the Faculty of Fine Arts occasionally mounts exhibitions of the works of former professors, to commemorate their educational and artistic achievements and present the less frequently seen works of these artists for reconsideration and reappraisal.
On the occasion of the one hundredth anniversary of the birth of Đorđe Andrejević-Kun (1904-1964), painter, printmaker, professor at the Academy of Fine Arts, Chancellor of the University of Arts in Belgrade and member of the Serbian Academy of Sciences and Arts, the Faculty of Fine Arts has organized an exhibition of Kun's works on paper. The fragmentary presentation of preserved sketches, drawings and studies attempts to reconstruct a rough outline of the artist's poetics. Since Kun was an artist who equated his personal and artistic ideals, an outline of the artist's life and personality might also be seen to emerge from the works exhibited. Most of these works testify to his authentic commitment to art since his early youth. Copies and studies
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crtačkog rukopisa u kome se otkriva pronicljivost gledanja, razumevanje suštine videnog i mudra sele- kcija vizuelnih podataka koji su beleženi na papir. Aktovi i portreti iz tog perioda, izvedeni su "svilenom mekoćom" poteza, brižljivo senčenim partijama, evoci- rani senzualnom linijom... Tako odnegovana linija oču- vana je u paralelnom svetu njegove zvanične umetnos- ti, u intimnim, neposrednim beleškama sa terena, u hitrim reakcijama na vizuelne podsticaje iz nepo- srednog okruženja.
Kroz čitav opus Đorđa Andrejeviča-Kuna može se pratiti uspešna harmonizacija slikarskog temperame- nta i racionalizacije izražajnih sredstava, od najranije tenebrističke dramatike do snažne ekspresije elemen- tarnih crno-belih kontrasta ostvarenih kroz grafičke otiske. Pouke starih majstora sprovedene su ne samo u definisanju sopstvenog umetničkog jezika, već i kao kompozicione sheme koje će poslužiti kao armatura arhitekturi Kunove slike sa Velikim temama. Građa za Velike teme nalazi se u korpusu njegovih crteža, među kojima neki dejstvuju svojim likovnim dokumentari- zmom, dok drugi preuzimaju metaforička značenja do personifikacije ljudskih patnji, stradanja, snažnih osečanja, etičkih principa.
Umetnik sa beležnicom u ruci u muzeju, u prirodi, na bojištu, na gradilištu, uvek posmatra ljudsko telo u pokretu ili statici kao faktičkog ili simboličkog nosioca značenja. Figura je često leđima okrenuta posmatraču, a umetnik ekspresiju pronalazi više u telesnom tonusu, nego u samom izrazu lica ili gestu. Svaki mali crtež je fragment jedne velike freske života, koja se filmično, u kadrovima, prostire pred gledaoca. Budnost umetnika sa beležnicom u ruci da mu ne promakne neka značaj- na sekvenca, koja će svojom likovnom istinitošču doprineti dramskom naboju, narativu Velike teme, ne podrazumeva verističko poklonstvo u interpretaciji. Kunovo temeljno likovno obrazovanje mu je omoguc'ilo da izbegne velika iskušenja koja vrebaju stvaraoca u vodama angažovane umetnosti. Ziveći u skladu sa svojim životnim (ideološko-političkim) idealima i za njih,
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Devojka sa teretom na glavi1955. tuš na papiru, 63,5 x 48,5 cm
A girl with bundle1955. ink on paper, 63,5 x 48,5 cm
Devojka sa korpom1955. tempera na kartonu, 58 x 25 cm
A girl with the basket1955. tempera on cardboard, 58 x 25cm
made from the works of the masters of the Italian Renaissance and Mannerism, as well as his fascination with the works of Tintoretto, were a crucial formative influence on his drawing style, which is characterized by keen powers of observation, a grasp of the essence of that which is observed, and a flair for selecting visual information to be recorded on paper. The nudes and portraits from this period are executed with strokes of "silky gentleness", carefully shaded areas, and sensual lines... The same style characterizes the parallel world of his official art, the intimate sketches executed with immediacy in the field, his prompt reactions to visual stimuli from his immediate surroundings.
Đorđe Andrejević-Kun's entire oeuvre shows a successful harmonization of his painter's temperament with the rationalization of expressive means, from his earliest tenebrous works full of drama to the powerfully expressive elementary black-and-white contrasts in his prints. He used the lessons learned from the old masters not only to define his personal artistic idiom, but also as compositional schemes which were to serve as the architectural frame in Kun's paintings of his Great Themes. The motifs of his Great Themes are to be found in the body of his drawings, some of which are notable for their visual documenary qualities, while others develop metaphorical meanings into a personification of human suffering, hardship, powerful emotions, or ethical principles.
The artist with his sketchbook in his hand, in museums, out of doors, on the battlefield, on construction sites, constantly observes the human body in motion or at rest as an actual or symbolic bearer of meaning. The human figure often has its back turned to the observer, and the artist finds expressivity more in the body's tone than in facial expressions or gestures. Every small drawing is a fragment of a great fresco of life, which unfolds, film-like, frame by frame, before the viewer's eyes. The alertness of the artist, who, with sketchbook in hand, tries not to miss any important sequences whose visual authenticity might contribute to the overall dramatic charge and narrative of the Great Theme, does not entail verism in the interpretation.
Đorđe Andrejević-Kun je uspeo da sačuva svoj ume- tnički integritet ne podležući diktatima programske umetnosti koji bi ugrozili likovnost njegovog dela. U to ime propagatorski program umetnosti sprovodio je kroz svoj grafički opus i kroz angažman na likovnoj obradi simbola nove države i društva. Rudimentarnost grafičkog izraza, bavljenje heraldikom kao procesom svođenja na simbolički iskaz, kao i ukupna sinteza iskustava bavljenja različitim likovnim disciplinama, dovela ga je u poslednjoj deceniji života i stvaralaštva do naglašene stili- zacije u crtačkom i slikarskom rukopisu.
Izlaskom iz dvodecenijskog perioda tzv. borbenog reali-zma, uplovivši u mirnodopski život,Đorđe Andrejević-Kun se vrača mirnodopskim tema-ma, ali u novom jezičkom idiomu. Sve naglašenije geo-metriziranje forme, pojačava-nje konture i povratak boji, vidnije su promene u koncipiranju slike ovog autora. Nove vizuelne pod- sticaje traži i nalazi u folkloru, što je i slučaj sa njegovim mlađim savremenicima, nekim od pripadnika Decembarske grupe. To nas sve uverava da je potrebno kompleksnije sagleda- vanje opusa ovog autora, čija se umetnička aktivnost uglavnom razmatra u istorijskim okvirima socijalnog i socijalističkog realizma.
Radovi na papiru na ovoj izložbi otvaraju pitanje novog problemskog lociranja poetike Đorđa Andrejevića-Kuna u likovnim dešavanjima u šestoj deceniji prošlog veka.
Kun's found artistic education enabled him to avoid the pitfalls of socially committed art. By living in accordance with and for his personal (ideological-political) ideals, Kun managed to preserve his artistic integrity without succumbing to the dictates of propaganda art which might have compromised the visual quality of his work. Instead, he implemented the political agenda of his art in his graphic work and through the visual
design of the symbols of the new state and the new society. The rudimentary quality of his graphic expression, his work on heraldry as a process of reduction to a symbolic expression, and the overall synthesis of his experience in different art forms and media, led to a marked styli- sation of his drawings and paintings in the last decade of his life.
Leaving behind a twenty-year period of so-called militant realism and returning to peacetime life, Đorđe Andrejević-Kun again took up peacetime subjects, but in a new idiom, the most notable changes being an ever more pronounced geometry of form, a stronger outline and a return to color. Like some of his younger contemporaries, members of the December Group, Kun looked for and found new visual inspira
tion in folk costumes. All this calls for a more complex approach to Kun's artistic work, since most approaches so far have been limited to the historical framework of social and socialist realism.
His works on paper presented at this exhibition point to the need for a new interpretation and a reappraisal of Đorđe Andrejevič-Kun's poetics within the context of the fine arts scene of the 1950s and 1960s.
Autoportret, 1926. sepija, 11 x 8 an
Selfportrait, 1926. sepia, 11 x 8 cm
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Sa omladinske pruge, 1947. tuš i akvarel na papiru, 47 x 68 cm
Young people building railroud, 1947. ink, aquarel on paper. 47 x 68 cm
Biografija Biography
1904. Roden 31. marta u Vroclavu (Poljska). 1904 Born on March 31 in Wroclaw, Poland.
1914. Porodica se nastanjuje u Beogradu, očevom rodnom gradu.
1914 The family settles in Belgrade, fathers native city.
1917-21. U grafičkoj radionici oca, Veljka Kuna, uči zanat i uporedo, (privatno) završava četiri razreda gimnazije.
1917-21 He learns the printing trade in his father's, Veljko Kun, printing workshop, and finishes privately four years of secondary school.
1921-26. Pohađa Umetničku školu u Beogradu kod profesora Ljube Ivanovica, Petra Dobrovića, Milana Milovanovića i Ilije Šobajića.
1921-26 He studies at the Art School in Belgrade under professors Ljuba Ivanovic, Petar Dob- rovic, Milan Milovanović and Ilija Šobajić.
1926-29. Zahvaljujući privatnoj stipendiji beogradskog industrijalca gospodina Rankica, slikarske studije nastavlja u Italiji (Venecija, Firenca, Rim) i Francuskoj (Pariz).
1926-29 Thanks to a scholarship provided by the Belgrade industrialist Rankič, he continues his art studies in Italy (Venice, Florence, Rome) and in France (Paris).
I
Jit Mladi u pokretu, 1950. tempera na papiru, 195 x 18 cm / Youth on the move, 1950. tempera on paper, 195 x 18 cm
1929. Izlaže na jesenjoj izložbi u Umetničkom paviljonu "Cvijeta Zuzorić". Postaje clan ULU-a i sledec'ih deset godina redovno učestvuje na prolećnim i jesenjim izložbama ULU-a.
1930. Prva samostalna izložba u maloj sali Umetničkog paviljona "Cvijeta Zuzorić" u Beogradu.Postaje član umetničke grupe "Oblik” s kojom izlaže do 1933. godine.
1931. Dobija prvu nagradu na konkursu za nacrt grba grada Beograda.Druga samostalna izložba u Zagrebu.
1933. Izlaže sa Lazarom Ličenoskim i Antunom Huterom u Novom Sadu.
1934. Jedan je od osnivača grupe "Život".
1937. Izdaje prvu mapu grafika "Krvavo zlato", ciklus od 28 drvoreza, koji ilustruju život rudara u Boru.
1929 He takes part in the Autumn Exhibition at the Cvijeta Zuzorić Art Pavilion. He becomes a member of the Association of Fine Artists, and over the next decade his works are regularly exhibited at the Spring and Autumn Exhibitions of the Association of Fine Artists.
1930 He has his first solo exhibition in the small salon of the Cvijeta Zuzorić Art Pavilion in Belgrade.He joins the art group Oblik (Shape), with whose members he exhibits until 1933.
1931 His design wins first prize at a competition for the coat-of-arms of the city of Belgrade. His second solo exhibition is organized in Zagreb.
1933 He has an exhibition together with Lazar Ličenoski and Antun Huter in Novi Sad.
1934 He is a co-founder of the group Život (Life).
B
1937-38. Kao dobrovoljac učestvuje u Španskom građanskom ratu.
1939. Izdaje drugu mapu grafika "Za slobodu", ciklus od 20 drvoreza, posvečenu borbi špa- nskog naroda protiv fašizma.
1940. Interniran u koncentracioni logor u Bilec'i zbog političkih stavova koje je ispoljavao i u svojim umetničkim radovima.Izdaje mapu od 20 crteža sa socijalnim motivima.
1941-45. Aktivno učestvuje u Narodno-oslobodilačkoj borbi. Vec'nik je Drugog zasedanja AVNOJ-a u Jajcu. Kao član Propagandnog odeljenja Vrhovnog štaba NOV i POJ, grafički i likovno rešava mnoge zadatke koji predstavljaju kulturno-istorijske dokumente NOB-a (nacrt za grb, nacrt i kliše za marku, nacrt za novčanice, nacrti za prva partizanska odliko- vanja, plakate i drugo).
1945. Postavljen je za vanrednog profesora na Akademiji likovnih umetnosti u Beogradu.
1946. Izdaje mapu "Partizani", zbirku od 20 crteža sa motivima iz narodno-oslobodilačke borbe, koja je nagradena prvom nagradom Komiteta za kulturu i umetnost vlade FNRJ.
1947. Odlukom Komiteta za nauku i kulturu vlade FNRJ dodeljeno mu je zvanje majstora- slikara.
1948. Postavljen je za redovnog profesora Akademije likovnih umetnosti.
1949. Nagraden Prvom nagradom za slikarstvo Predsedništva vlade FNRJ.
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1937 He issues his first set of prints, Bloody Gold, which consists of 28 woodcuts depicting the life of miners in the town of Bor.
1937-38 He joins the republican forces in the Spanish civil war.
1939 He issues another set of 20 woodcuts entitled For Freedom, depticting the struggle of the Spanish people against the fascists.
1940 He is incarcerated in the prison camp in Bilec'a for his political views which he also expresses in his art works.He issues a set of 20 socially committed drawings.
1941-45 He joins the Yugoslav war for national liberation. He is a delegate at the second session of the Anti-Fascist Council of National Liberation of Yugoslavia in the town of Jajce. As a member of the propaganda department of the national liberation army supreme command, he designs the coat-of-arms, postal stamp, banknotes, medals, posters, etc. which today represent cultural-historic documents of the Yugoslav war for national liberation.
1945 He is appointed associate professor at the Academy of Fine Arts in Belgrade.
1946 He issues a set of drawings entitled Partizani (The Partisans) with motifs from the war for national liberation, which wins the first prize of the Committee for Art and Culture of the government of the Federal People's Republic of Yugoslavia.
1947 He is awarded the title of master-painter by the Committee for Science and Culture
Na terenu1947. tuš na papiru, 23 x 30 cm
In the field1947.ink on paper, 23 x 30 cm
Muzikanti1962. tuš na papiru, 26,5 x 36 cm
Musicians1962. ink on paper, 26,5x36cm
1950. Postavljen za upravnika majstorske radionice, samostalne obrazovne ustanove za postdi- plomske studije.
1951. Otvorena je majstorska radionica u ateljeu, u Konavljenskoj ulici broj 2, na Dedinju, u kojoj je radio do kraja života.
1952. Pripada umetničkoj grupi "Samostalni".
1953. Samostalne izložbe u Kragujevcu i Beogradu.
1955. Majstorska radionica prestala je sa radom, a svu imovinu i osoblje preuzela je Akademija likovnih umetnosti u Beogradu.
1956. U Galeriji Doma JNA u Beogradu, otvorena je izložba saradnika Državne-majstorske radio- nice Đorđa Andrejevića-Kuna (Zareta Đorđe- vića, Miloša Gvozdenoviča, Raše Matejiča i Nade Hude).
1957. Izabran je za predsednika Saveza likovih umetnika Jugoslavije. Ovu dužnost obavljao je do 1960. godine.U Ivanjici je otkriven spomenik palim borci- ma izveden u mozaiku.U Parizu, u Memorijalu nepoznate jevrejske žrtve 1939-1945, postavljen je mozaik, kopija freske iz Markovog manastira iz XIV veka "Rahela oplakuje decu".
1958. Izabran je za redovnog člana SAN. Samostalna izložba u Cačku.
1959. Skupština SAN potvrđuje izbor Đ. A. Kuna za sekretara Odeljenja likovne i muzičke umetnosti. Ovu aktivnost obavljaće do kraja života. Samostalna izložba u Beogradu.Izabran je za rektora Univerziteta umetnosti u Beogradu (na ovoj dužnosti ostao je do 1963.)
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Committee of the government of the Federal People's Republic of Yugoslavia.
1948 He is appointed full professor at the Academy of Fine Arts.
1949 He receives the First Prize for Art awarded by the Yugoslav government's Committee for Culture and Art.
1950 He becomes head of a master's studio for independent postgraduate studies.
1951 Establishing of a master's studio in his studio at 2, Konavljanska Street in Belgrade, in which he continues to work until the end of his life.
1952 He belongs the art group Samostalni (The Independents).
1953 He has one-man shows in Kragujevac and Belgrade.
1955 His master's studio closes down, and it is taken over along with the staff by the Academy of Fine Arts in Belgrade.
1956 An exhibition of the associates of Đorđe Andrejević Kun's master's studio (Zare Đorđević, Miloš Gvozdenović, Raša Matejić and Nada Huda) opens at the Gallery of the Yugoslav People's Army Hall.
1957 He is elected president of the Federation of Fine Artists of Yugoslavia, and holds the office until 1960.His monument to fallen soldiers is unveiled in the town of Ivanjica.In Paris, his mosaic "Rachel Mourning for her Children", which is a copy of a fourteenth-
Na radu1951. kreda, sepija na papiru,
93,5 x 63,5 cm
At work1951. chalk, sepia on paper,
93,5x63,5cm
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1961. Izložba grafika u Zemunu i Somboru.Izložba slika u Nišu i Skoplju.
1963. Izabran je za dopisnog člana Jugoslovenske akademije znanosti i umjetnosti u Zagrebu. Samostalna izložba u Berlinu.
1964. Preminuo je 17. januara u Beogradu.
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century fresco from St Mark's monastery, is placed within the Memorial to the Unknown Jewish Victim 1939-1945. The mosaic was commissioned by the Presidency of the Socialist Federal Republic of Yugoslavia.
1958 He is elected full member of the Serbian Academy of Sciences.He has a one-man show in Cačak.
1959 He is elected secretary of the art and music department of the Serbian Academy of Sciences by the Academy assembly, a position he will continue to hold until the end of his life.He has a solo exhibition in Belgrade.He is elected Chancellor of the University of Arts in Belgrade (he will remain in office until 1963).
1961 Exhibitions of his prints are organized in Zemun and Sombor.His paintings are exhibited in Niš and Skopje.
1963 He is elected corresponding member of the Yugoslav Academy of Sciences and Arts in Zagreb.He has a solo exhibition in Berlin.
1964 He dies in Belgrade on Jan. 17.
U svom ateijeu1958. Beograd
At studio1958. Belgrade
Impresum
Galerija Fakulteta likovnih umetnostiKnez Mihailova 53,11 000 Beograd, tel/faks: 011/ 630-635, e-mail: bojanaC«'flu.bg.ac.yu
Umetnički savetDragana Die, Aleksandar Mladenović, Dimitrije Pecic'
Koncepcija izložbe i tekst Bojana Buric'
KonsultantNikola Vukosavljevic'
Biografija Olivera Eric'
Prevod na engleski Ana Popovic'
Tehnička oprema izloibe Dušan Jankovic'
Fotografije Zoran Mirčetic'
Uređenje, dizajn i grafička obrada kataloga Ivana Broćic', Miodrag Veselinović, METROPOLIS
Štampa kataloga Štamparija ARAK, Beograd
Objavljivanje katalaga su omoguciliVeljko Broćić, Srdan Andrejevic' i Miodrag Veselinović, unuci Đorđa Andrejevića-Kuna.
