pasionska baština 2015 - katalog mimara - kruno bošnjak

Muzej Mimara Zagreb

21.3.-4.4. 2015.

PASIONSKABAŠTINA

KRIŽNIPUT

Kruno Bošnjak

Way of the Cross

Katalog-Mimara.indd 1 18.3.2015. 15:39:46

T he figurative expression of Kruno Bošnjak de-

veloped along the lines of classical aesthetics, paying homage to an artistic tradition within which he carved out a niche for his personal poetics. By utilizing his aptitude for volume modelling, Bošnjak has by means of chamber sculpture, along with that of a monumental (me-morial) character, built a respectable body of work among which religiously inspired pieces constitute an important component. By interweaving tactual with substance, Bošnjak shapes and bends the sur-face while cultivating his own measure of realistic descriptiveness. similar principles apply to scul-ptures of full plasticity as well as reliefs. his sequen-ce of the stations of the Cross was supposed to be exhibited in the Church of the assumption of the Blessed virgin Mary in nevesinje. however, since the church is currently being renovated, before Bošnjak’s Way of the Cross gets permanently housed the audience has received two opportunities to see it, firstly on the occasion of an exhibition held in the art gallery of the Croatian Cultural Centre established by King tomislav publis-hing House in Čapljina in 2014, and secondly – now in Zagreb.

the aforementioned showpiece was cast in low relief technique, as a sort of relief-painting, with grooves cut into the framework of the drawing, by deepening the basic silhouettes of the charac-ters and by elaborating on figurative details on their faces and the curvature of the drapery. Most of the scenes are set in a horizontal composition, whereas only three have a vertical orientation (Jesus is condemned to death, Crucifixion, Descent from the Cross) and all the stations except for the first and the fourteenth have the cross as a do-minant layout. the cross is not only a meaningful landmark integral to the Way of the Cross, but also functions as a structural form in connecting cha-racters, and as a reference point when balancing out of the relief’s rhythm. Boš-njak conceives the Way of the Cross on two distinct visual levels: the concrete figurative scene and its surroundings (partially), and interior space with imperceptible vibrancy in the surfaces of identical colour. images assembled together do not only pre-sent a neutral frame of events, in order to make them more conceivable, they also form a surface which, by the uniformity of tone coupled with the brilliant immateriality of light, augments the con-tentual shriek of each par-

ticular scene. the space of the abolition of objective associativity (if it is to be understood as an ultima-tely purified landscape) becomes a meditative belt, where a physical void grows into the concepti-on of the spiritual. in the process of organizing his scene Bošnjak, devoid of any scheme, by means of an intriguing tension of the form depicts an array of expressive coun-tenances of Christ, Mary, veronica, John, nicodemus, and even the women of Jerusalem. he has brought into balance the nuances and focuses of the masses (surfaces) accentuating by the position of charac-ters the direction of their movement, encumbrance, tactility, and most impor-tantly – their emotions. Based on a sculptural approach, the protagonists in the great theme of the via Crucis are rendered rather plastically, although by Bošnjak’s applying of a more liberal treatment they also get affected by striking lacerations, accompanied by expressi-ons of pain, care, compa-ssion, and yet of cold and detached observation. By aligning the figures in view of their contortedness and hunchedness, with an elongation beyond propor-tional legitimacy, Bošnjak moreover creates visual bonds synonymous with their content stemming from the atmosphere, both in thought and reality.

his visual artisanship is underscored by means of masterfully designed drapery (sometimes by a quite fortunate use of the ornamental), with sloping creases, cannelures of fa-bric suggestively covering the bodies, but also when depicting a bare, bruised Christ. small and large luminous abysses (thus adequately encompassing the shadows too), incited by the sensuality of the relief are integrated into the tissue of the surface, and as an art and visual adornment, they represent the Light on the Way of salvation. Bošnjak’s Way of the Cross primarily cast in plaster enables a painterly treatment of the surface. Consequentially, the chromaticism of the figurative sections of the polyptych is distinctively brown, with gilded sifting undertones, while the space itself resonates in orange variants. this is a logical and simple colo-ristic dialogue of harmo-nious sonority, based not only on the contrast value, but also on the possible symbolism of interpre-tation, pertaining to the earthly clay and infinite heaven. Colour relativizes the objective size of the relief. the dramatics of the reality of the Cross is com-pressed into the synthesis of the group’s outline, namely the characters’, as the territory of tonally enriched plains, or mounds on the ground pulsates

with vividness extending well beyond dimensional landmarks. the reason for this lies in the nature of religious thematics, faith embodied in the artistic act. ultimately Bošnjak’s subtitled his Way of the Cross as “follow him”. he justified it with convincing expression, heralding his symbolic imprint on the effigy of Christ on the Cal-vary. from a pictorial van-tage point, Bošnjak sets out with realistic diligence, even portraitistic preci-sion of characters, types, countenance, and age. there is of course no direct knowledge about their real appearance, but the past two millennia pose no obstacle when it comes to immersing oneself in time and space. in other words Bošnjak combines the des-criptiveness of events with his own intimate stru-ggles. By sheer originality of his portrayal of the Way the Cross he transforms himself into a modern simon of Cyrene, a witness who in an artistic ardour conjoins this type of de-votion commenced back in the 15th century. it was then brought to europe by a Dominican friar Álvaro of Córdoba, where it was spread throughout the old Continent by franciscans in the 17th century. even today it proves to be quite current and close to the faithful, indeed much sou-ght after in the turmoils of everyday life.

Stanko Špoljarić


Sve postaje Križnoga puta (od I-XIV) originalni su reljefi u gipsu, 81x101x5 cm all stations of the Cross (i–xiv) are original reliefs made in plaster, with their dimensions measuring 81x101x5 cm

FIguratIVnI Izraz Krune Bošnjaka ra-zvijao se po mirazu

klasične estetike, poštiva-nja umjetničke tradicije unutar koje je osvojio prostor za osobnu poetiku. Osjećajem za modelira-nje volumena Bošnjak je komornom skulpturom, i onom monumentalnog (spomeničkog) karaktera izgradio respektabilni opus u kojem su djela sakralne tematike važna sastavni-ca. taktilnim utkanim u tvarno Bošnjak oblikuje i utrobu površine njegujući vlastitu mjeru realistične opisnosti. Slična načela vrijede za skulpture pune plastičnosti i reljefe. Slijed postaja Križnog puta koje će biti postavljene u crkvi uznesenja Blažene Djevice Marije u nevesinju. Crkva je u fazi obnove pa je pu-blika Bošnjakov Križni put imala prilike vidjeti prije

definitivnog smještaja u sakralni prostor na izložbi u umjetničkoj galeriji Hr-vatskog kulturnog središta, založbe kralja tomislava u Čapljini 2014.godine, a sada i u zagrebu.

Izveden je u tehnici plit-kog reljefa, svojevrsnom slikoreljefu, s užljebljenjima na potki crteža, produblje-nim osnovnim silhuetama likova i razradom figura-tivnih detalja na plohi lica i krivuljama draperije. Ve-ćina scena horizontalne je kompozicije, tek tri imaju vertikalno usmjerenje (Isu-sa osuđuju na smrt, raspe-će, Skidanje s križa) i osim prve i četrnaeste postaje imaju u križu dominantu prikaza. Križ je smisleni orijentir čitavog križnog puta no i gradivna forma u povezivanju likova, odred-nica u ravnoteži ritma reljefa. Bošnjak Križni put osmišljava na dvije likov-

ne razine, na konkretnu figurativnu scenu i okolni (djelomično) i unutrašnji prostor s neprimjetnom vibrantnošću u plohama identične boje. Fond slike nije samo neutralni okvir zbivanja,potrebit u istica-nju čitkosti, već i površina koja jednolikošću tona s blistavošću nematerijalno-sti svjetla proširuje sadr-žajni krik pojedine scene. Prostor dokidanja asocija-tivnosti predmetnog (ako ga ne shvatimo kao krajnje pročišćeni krajolik) postaje pojas meditativnog, gdje fizička praznina prerasta u pojmovnost duhovnog.

u organizaciji scene Boš-njak, izvan svake sheme, zanimljivom napetošću forme uprizoruje motive s fundusom izražajnih lica, Krista, Marije, Veronike, Ivana, nikodema, pa i jeru-zalemskih žena. Izbalansi-rao je finese i fokuse masa

(ploha) dajući položajem likova akcente i smjer kre-tanja, opterećenja, dodire, i što je najvažnije emocije. na osnovi kiparske adrese akteri u velikoj temi Via crucis likovno su dorađeni, ali i slobodnijim pristupom zahvaćeni ogrebotinama ekspresivnog, s izrazima bola, brige, suosjećanja, ali i hladnog promatranja događaja. Bošnjak također postavom figura njihovom zgrčenošću, sagnutošću, s izduženošću izvan propor-cijskih zakonitosti stvara likovne karike, ali i sinoni-me sadržaja. I izdanke ugo-đaja, u mislima i stvarnosti. a likovnost se rezimira i majstorskim oblikovanjem draperije, (ponekad vrlo sretnom primjenom or-namentalnog), s padom nabora, kanelirama tkanine s sugeriranjem pokrivenog tijela, ali i ogoljelog, izra-njenog Kristovog. a mali i veliki svjetlosni ponori (a time adekvatno i sjene), potaknuti reljefnom pute-nošću integrirani su u tkivo površine, i kao likovna čipka i kao energija, svjetlo na putu Spasenja.

Bošnjakov Križni put pri-marno izveden u gipsu omogućava slikarski tre-tman površine. Sukladno tome kromatika figurativ-nog djela poliptiha smeđih je datosti, s prosijavanjem zlaćanog tona, dok se prostor osluškuje u va-rijantama narančastog. radi se o logičnom i jed-nostavnom kolorističkom dijalogu skladne zvučnosti, baziranog i na kontrastu vrijednosti, a i na mogućoj

simboličnosti isčitavanja, odnosa kala zemnog i be-skraja nebeskog. Bojom se i relativiziraju objektivne veličine reljefa. Drama-tika zbilje Križnoga puta zbijena je u sintezu obrisa grupa, odnosno likova, a teritorij tonski oplemenje-ne ravnice, ili uzdignuća tla pulsira doživljajnošću i izvan dimenzijskih pola-zišta. razlog za to leži i u karakteru djela sakralne tematike, vjere opredme-ćene u umjetničkom činu. Konačno Bošnjak je Križ-nom putu dao podnaslov „Slijediti njega“ . I oprav-dao ga uvjerljivošću izraza, nagovještavajući svoj sim-bolični otisak obličju kalva-rijskog Krista. S likovne pak strane Bošnjak je pošao od realistične marnosti, čak i portretne preciznosti liko-va, tipova, karaktera, dobi. Dakako ne postoji saznanja o konkretnom izgledu oso-ba, ali ipak i dva protekla tisućljeća nisu prepreka za uživljavanje u vrijeme i prostor. Drugim riječima Bošnjak spaja deskriptiv-nost događaja i vlastite bore intimnog. Izvornošću kazivanja Križnog puta i sam postaje suvremeni Simon Cirenac, svjedok koji se umjetničkim zanosom uključuje u pobožnost za-početu još u XV.stoljeću. tada ju je u Europu donio dominikanac alvaro u Cor-dobi, a u XVII. stoljeću sta-rim kontinentom proširili franjevci. a i danas je tako aktualna i bliska vjernici-ma, potrebita u nemirima života.

Stanko Špoljarić

KRIŽNIPUT

Kruno Bošnjak

Way of the Cross


PASIONSKABAŠTINA

I M P R E S U M

Izdavač:PASIONSKA BAŠTINA

Suorganizator:Založba kralja Tomislava – Čapljina

Postav:Bruno Šeper

Stanko Špoljarić

Fotografije: Ante Topić (Bošnjak)

Vedran Metelko (Blažanović)

Prijevod:Ivan Missoni

Grafičko oblikovanje:Gordan Karabogdan

Za izdavača:mr. Jozo Čikeš

Tisak:INTER NOS - Zagreb

Naklada: 200

KRuNO BOŠNJAK rođen je 1936. u Lovreću kraj Imotskog. Školu primje-njene umjetnosti završio je u Zagrebu, a potom,1964. diplomirao kiparstvo na ALu u Zagrebu. Nakon studija slijedeće četiri go-dine suradnik je majstorske radionice F.Kršinića. Kao redoviti profesor ALu umi-rovljen je 2000. Autor je velikog broja spomenika postavljenih u Hrvatskoj i Bosni i Hercegovini.

Kruno BošnjaK was born in 1936 in Lovreć near Imotski. He finished the School of applied arts in Zagreb, and then, in 1964 received a degree in sculpting at the academy of Fine arts in Zagreb. Having completed his studies, for the next four years he was an associate of F. Kršinić master works-hop. as a full professor of the academy of Fine arts, Bošnjak retired in 2000. He has authored a large num-ber of monuments erected in Croatia and Bosnia and Herzegovina.


VLaDIMIr BLažanOVIć (Donji Hasnić kod Bosan-skog Šamca,1953.) završio je Franjevačku klasičnu gimnaziju u Visokom. Di-plomirao je slikarstvo na aLu u zagrebu 1981. u klasi profesora V. Jordana. Član je grupe COntra od 1998. Sudjeluje na brojnim slikarskim projektima reli-giozne tematike.u izdanju art magazina KOntura izašla mu je monografija iz pera Margarite Sveštarov Šimat.

VLaDImIr BLažanoVIć (Donji Hasnić beside Bosanski šamac, 1953) completed the franciscan classical gymnasium in visoko. he obtained a degree in painting at the academy of fine arts in Zagreb in 1981 under professor v. Jordan. he has been a member of the Contra group since 1998. In addition, Blaženović has taken part in numerous projects of religious thematics. his monograph, penned by Margarita sveštarov šimat, was published by art Magazin Kontura.


Magdalena na grobu, 2013.tempera na papiru7ox5o cm

raspeti, 2002.ulje na platnu116x90 cm


Skidanje s križa, 2000.ulje na platnu125x90 cm

Misterij euharistije, 2012.tempera na papiru75x52 cm


susret s majkom,Isus susreće jeruzalemske žene, veronikin rubac (Križni put /I-XIV/), 2013.akril na platnu41x33 cm

pad, 2012.tempera na papiru50x64 cm

pieta, 2001.ulje na platnu85x108 cm


susret s majkom,Isus susreće jeruzalemske žene, veronikin rubac (Križni put /I-XIV/), 2013.akril na platnu41x33 cm


Skidanje s križa, 2012.tempera na papiru75x52 cm

scena golgote, 2004.tempera na papiru7ox54 cm


raspelo, 2008.tempera na papiru65x50 cm

podijeliše njegove haljine, 2008.tempera na papiru65x50 cm


ovaj zaista bijaše sin Božji, 2003.tempera na papiru64x50 cm

golgota, 2012.tempera na papiru75x52 cm




Crveni Krist, 2012.tempera na papiru61x12 cm


IStInSKa SaKraLna uMJEtnOSt i u este-tici klasičnog likovnog

izričaja i u raznovrsnim formama suvremenog umjetničkog govora mora se bazirati na unutraš-njoj potrebi umjetnika za smislenim dijalogom s biblijskim temama, s ra-zumijevanjem Evanđelja, i ukupnosti tekstova Starog i novog zavjeta. Izvan toga ostaje se na ilustrativnosti, ili pak na dosjetci, priči ili kombinatorici oblika. Iz zahtjevnosti teme proizlazi umjetnička i ljudska odgo-vornost, a i radost slikara i kipara, na tragu divne rečenice svetog pape Ivana Pavla II, „umjetnici su su-stvaratelji svijeta.“

Vladimir Blažanović veliki dio svoga opusa, u pojedi-nom periodu i dominantan, posvetio je temama biblij-ske inspiracije, slikajući ih uvjerenjem, produbljujući

ih neospornim talentom. u stvaralačkim dionica-ma kontinuirano visokog vrijednosnog dosega, ne odričući se u potpunosti i likovne tradicije, izgradio je vlastiti jezik umjetničke autentičnosti. Posebno ga zaokuplja ikonografski slijed i teološka dimenzi-ja Kristovog kalvarijskog hoda, ali i sve teme Svetog trodnevlja. Postaje Križnog puta i pojedini prizori gol-gotskog martirija duboko su doživljene i snažno likovno interpretirane u konkavno konveksnoj od-mjerenoj ritmizaciji oblika i ekspresionističkoj pokre-nutosti forme. Blažanović je složeni scenarij Križnog puta s određenim mijena-ma u izrazu interpretirao više puta, prateći sve kora-ke stilskom dosljednošću, pa i u primjeru slijeda crno bijelih slika, redukcijom na akromatske vrijednosti. u vrtlozima krajnostima pu-

nine crnila, i bijelog u kon-centratu linija, jakim lo-mnim grafizmima Blažano-vić je stupanj figurativnog podigao ekspresijom oblika i direktnom razgovornošću raspona emotivnog. ulaže-nje u patnju križnog puta za Blažanovića nije samo slikarsko prikazivanje opisa evanđelista, dakle onog povijesnog, već je to osob-no obnavljanje, mistično kretanje ususret Velikom Petku. Kumulirana bjelina nije tek likovna nužnost već je stvarno i simbolično svjetlo, iskra spasiteljskog u trenucima posvemaš-ne tjeskobe. Blažanović kadriranjem svojevrsnog zumiranja ne potencira narativno, već suprotno, osluškuje okrilje neuhvat-ljivosti duhovnog, vidljivog srcem i dušom u zbivanju svake postaje, ali i cjelo-vitosti drame. Blažanović i ljudske životne križeve predaje božanskom otkupi-

teljskom činu tako da Krist, i po naravi svoje osobe, trpi i kao Bog i kao čovjek. Ova sadržajna slojevitost ozračja svevremenosti muke i transcedentalnosti uskrsnuća kod Blažanovića je brzo sazrjela. u njego-voj umjetnosti postojano je prisutna i konstantno produbljivana. Istinski bilo bi i nemoguće ljudski i umjetnički živjeti golgotske teme i ostati na površini. „Crni“ križni put zasigurno pripada vrhuncima Blaža-novićevog sakralnog opusa, vjerojatno slikan u rela-tivno kratkom vremenu, zahvaljujući umjetničkom iskustvu, ali još više, dubo-koj povezanosti s porukom čitave Korizme. Dvanaesta postaja, scena raspeća, odnosno motivi Veroni-kinog rupca - Pokaznica Boga (Ivan golub), Pieta izdvojene od ukupnosti dramaturgije i strukture križnog puta često su na Blažanovićevom slikarskom repertoaru, potaknute skrušenošću i umjetničkim temperamentom. nadah-nuće se prostire i u posveti scene Marije s mrtvim sinom, u likovnoj optici približenoj sugeriranim vo-lumenom, snažnim crtežom i sveukupnom napetošću gotovo akromatskih oblika. Motiv raspeća, putokaz kršćanstva, Blažanović je sažeo (nikako slučajno) u neobični format izrazitog gotizirajućeg vertikaliteta (65x12 cm) čime je izdu-ženošću corpusa postigao likovnu tankoćutnost i

tenzije u daru spoznavanja. Blažanović božansko izra-žava neposrednošću likov-ne bilješke, nesputanim tijekom linija i mrljolikošću boje, s ritmičnim postavlja-njem polova (citata) u iko-nografiji muke, od natpisa InrI na križu, aureole oko glave i perizome oko stru-ka. Blažanović je istaknuo Kristovu dostojanstvenost i u smrti, približavajući se bestjelesnom, personifi-cirajući u njegovom liku žrtvovanje iz ljubavi. u va-rijacijama na temu i malim pomacima Blažanović kre-ativnošću iznenađuje rje-šenjima, u ciklusu slikarski privlačnom učenom teolo-gu i laiku. I drugi sakralni motivi kod Blažanovića jasne su slikarske razrade činjeničnog, prosvijetljene palete intenzivne zvuč-nosti, u kompozicijama klasične organiziranosti, ali i rakursima drugačijih koridora pogleda ka kli-maksu prikaza. tako kod teme Posljednje večere Blažanović napušta kon-vencije rasporeda, započete u remek djelima svjetske umjetnosti ( Leonardo, tintoretto) i svojom kon-cepcijom, s vizurom odoz-go upućuje pogled, likovno i sadržajno, na plohu stola, sveti prostor ustanovljenja Euharistije. apostoli prika-zani pretežno tek glavama, donekle tijelom, okružuju prvi oltar Kristove crkve, simboličnu plohu ispunje-nu opipljivim i duhovnim sadnicama pri blagovanju na Večeri gospodnjoj.

Stanko Špoljarić

TEME VELIKOG TJEDNA

Vladimir Blažanović

Themes of the Holy Week


A genuine saCraL art in the aesthe-tics of classical

artistic expression, as well as in various forms of contemporary artistic discourse has to be based on the artist’s inner urge for a meaningful dialogue with biblical themes, with his comprehension of the gospel, and with the to-tality of the texts of the old and new testament. Without that prerequi-site one inevitable finds himself confined to mere illustrativeness, a witty pun, a narrative, or a com-bination of shapes. the laboriousness of the theme in question brings forth an artistic and humane responsibility, bestowing nevertheless a certain joy to painters and sculptors, along the lines of an asto-unding sentence uttered by his holiness, pope John paul ii: “artists are co-cre-ators of the world.”

Vladimir Blažanović has dedicated a significant proportion of his oeuvre to biblically inspired themes, quite dominant in certain periods, painting them with conviction, making them more profound with indisputable talent. in creative intervals marked with continuously high level of achievement, wit-hout completely forgoing his pictorial tradition, he has constructed his own language of artistic authenticity. he is espe-

cially concerned with the iconographic sequence and theological dimensions of Christ’s road to Calvary, along with all the themes of the paschal triduum. stations of the Cross and particular scenes of the martyrdom at Calvary are deeply perceived and vigorously visually inter-preted in an evenly conca-ve-convex rhythmization of shapes and animated expressionistic forms. Blažanović has interpreted the complex scenario of the Way of the Cross, al-beit with certain changes in his expression, on seve-ral occasions, tracing all of its stations with stylistic consistency, even on the example of a sequence of black and white images by reducing them to their res-pective achromatic values. in tempestuous extremes between the fullness of blacks and glimmers of whites contained in the confluence of lines, by the use of strong refractive graphisms Blažanović has elevated the degree of figurativeness while expre-ssing shapes and directly articulating his emotio-nal range. Broaching the passion of the Way of the Cross for Blažanović does not only signify a painterly representation of the evangelists’ acco-unts, purely clinging on to historical portrayals, but rather a personal renewal, a mystical movement

towards good friday. accumulated whiteness is not only a visual necessity, but indeed a real and sym-bolic luminance, a spark of salvation in moments of utter anxiety. Blaža-nović does not intensify the narrative by means of zoomed in framing, but quite to the contrary, he places emphasis on the refuge of elusive spiritu-ality, perceivable by heart and soul from the events occurring at every stati-on, as well as throughout that drama in its entirety. Blažanović consigns the crosses of human life to the divine redemptive act, so that Christ, by the very nature of his persona, suffers both as god and as man. this contentual stra-tification of the ambience of the passion’s timele-ssness and the transcen-dentality of the resurrec-tion has rapidly matured within Blažanović’s art. it is constantly present and steadily deepened. it would truly be impossible to empathize as a human and an artist with the theme of the Calvary and yet remain superficial. The “Black” Way of the Cross certainly counts among Blažanović’s finest sacral works, probably painted in a relatively short time, due to his artistic experi-ence, but even more to a deep connection with the message of the entire Lent. the twelfth station, the

scene of the Crucifixion, the motifs of the veil of veronica – the indicator of god (ivan golub), (and) pietà, separated from the totality of dramaturgy and the structure of the Way of the Cross can often be found in Blažanović’s pictorial repertoire, in-duced by contrition and artistic temperament. his inspiration extends to the dedication of the scene depicting Mary with her deceased son in an artful visuality brought closer by suggested volume, masterful drawing and overall tension of almost achromatic shapes. the motif of the Crucifixion, the hallmark of Christia-nity, was summed up by Blažanović (by no means accidentally) in an unusual format of pronouncedly gothic verticality (65 x 12 cm), managing to achieve, by elongating the corpus, a plastic refinement and tension contained within the gift of comprehensi-on. Blažanović expresses the divine through the immediacy of visual notes, unrestrained line flow and smudginess of colours, setting the poles (citati-ons) rhythmically in the iconography of the passi-on, hence encompassing the inri inscription on the cross, the halo around Christ’s head and loincloth around his waist. Blažano-vić stresses Christ’s dignity even in death, approaching

his incorporeality by per-sonifying in his character a sacrifice made out of love. By variations on the theme and introducing small changes Blažanović surprises with a vast array of creative solutions in a cycle painterly attractive to an educated theologian as much as to a layman. other sacral motifs craf-ted by Blažanović reveal a clear pictorial rendering of a factual, enlightened palette of intense sonority, embedded into compositi-ons of classical organiza-tion, marked with different perspectives and corridors of vision toward the cli-max of the scene. thus within the theme of the Last Supper Blažanović de-parts from a conventional layout, set by masterpieces of world art (Leonardo, tintoretto) and by utilizing his own conception, he casts a glance from above, both artistically and the-matically, to the table sur-face, a sacred space where the establishing of the eucharist took place. the apostles are shown predo-minantly with only their heads in view, their bodies barely visible, surrounding the primary altar of the Church of Christ, a sym-bolic plane filled with tan-gible and spiritual plants whilst they partake in the Lord’s supper.

Stanko Špoljarić


PASIONSKABAŠTINA

Muzej Mimara Zagreb

21.3.-4.4. 2015.

TEME VELIKOG TJEDNA

Vladimir Blažanović

Themes of the Holy Week


pasionska baština 2015 - katalog mimara - kruno bošnjak

Documents