KULTURA / CULTURE
CELEBRATING SERBIAN GREATS Nadežda forever! She holds a special place at the very top of the painter’s pantheon just as much as she has a celebrated spot in Serbia’s heroic history
Poslednje godine Nadežda Petrović provela je kao dobrovoljna bolničarka, prvo u Balkanskim ratovima, kada nije htela da ostane u sanitetu, već je izričito za- htevala da je pošalju na sam front u improvizovanu bolnicu. I u trenucima dok su kuršumi fijukali oko glave, dok je gledala smrti u oči i neumorno previja- la ranjenike, uspevala je Nadežda pomalo i da slika. Čim je buknuo Veliki rat, ponovo je na sopstveni zah- tev regrutovana za bolničarku. Nije pristala na pred- log Vrhovne komande da bude član Crvenog krsta u Švajcarskoj, nego se odmah javila na dužnost u polj- skoj bolnici Dunavske divizije. U jeku borbi, dok je u bolnici vladala epidemija pegavog tifusa, Nadežda Petrović, i sama iscrpljena, poslednjom snagom sli- kala je šatore valjevske bolnice, sve dok zarazna bo- lest nije i nju oborila. Bolovala je sedam dana, a umr- la 3. aprila 1915. godine. Posle godina negiranja i zaborava retrospektivna izložba njenih dela u paviljonu „Cvijeta Zuzorić“ u Be- ogradu 1938. vratila je Nadeždu na mesto koje joj je u srpskom slikarskom panteonu oduvek i pripadalo. Umetnička galerija „Nadežda Petrović“ Čačak, nakon obeležavanja 150 godina od rođenja naše veličanstve- ne umetnice, predstavlja analitičku izložbu Nadeždine umetničke raskoši. Slikarka, kao lučonoša promena u li- kovnosti, i ovom izložbom prikazuje kontinuitet u diskon- tinuitetu stilova i pravaca kroz bezmalo jedan i po vek. U svakom od izloženih dela naslućuju se i očitavaju prome- ne i oslobađanje od konvencionalnih stega i tradicionali- stičkog pristupa, analizirajući umetničku i društvenu mi- siju Nadežde Petrović, vodeći do rešenja koja danas čine savremenu umetničku praksu. Zato je izložba „Nadežda – Savremenici – Sledbenici“ pokušaj sagledavanja utica- ja Nadežde Petrović na srpsku umetnost i umetnike kao ogled na primerima. Izložba će biti otvorena do 14. aprila.
T he Belgrade house of the Petrović family was a place for the cultural and artistic elite to gather. The home of Dimitrije Mita Petrović, a famous collector of historical documents, and his wife Mileva, the house was always open to many renowned intellectuals of the era, but al- so the members of the Young Bosnia movements, who would reverse world history in 1914. This harmonious family brought as many as 13 children into the world, nine of whom survived to adulthood, and the most fa- mous two members of the Petrović family were certain- ly Nadežda and Rastko. The future painter was born in Čačak in 1873. After graduating from the Higher Women’s School in 1891, she sat the exam to earn a diploma as a teacher of drawing. Her further education as a painter began at the First Serbian Drawing School, but by 1898 she’d already moved on and continued her painting studies in Munich, at the school of Anton Ažbe, which had residents at the time that in- clude Wassily Kandinsky and Alexej von Jawlensky. So- cialising with Ivan Meštrović, Miroslav Kraljević, Rihard Jakopič and others also had a great influence on Nadež- da. By associating in this way at Ažbe’s studio, these young Serbian, Croatian and Slovene painters would later real- ise the first joint exhibitions of Yugoslav orientation. Na- dežda had intended to spend just a year in Munich, but she stayed for a full four years, learning German, Russian and French during that time. Nadežda organised her first and, unfortunately, on- ly solo exhibition on the premises of the Great School in Belgrade on 25 th August, 1900. Although her talent was recognised to a certain extent, the criticism she received at the time for her “novelties” was merciless, but also when it came to her impressionist painting role models, who one critic even referred to as “sick and rotten brains”. After stay-
38 | Umetnost » Art
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