APA 6th Edition Župan, I. (2013). Svjetlosni oblici Vojina Bakića. Ars Adriatica, (3), 209-226. Preuzeto s https://hrcak.srce.hr/112389
MLA 8th Edition Župan, Ivica. "Svjetlosni oblici Vojina Bakića." Ars Adriatica, vol. , br. 3, 2013, str. 209-226. https://hrcak.srce.hr/112389. Citirano 13.07.2020.
Chicago 17th Edition Župan, Ivica. "Svjetlosni oblici Vojina Bakića." Ars Adriatica , br. 3 (2013): 209-226. https://hrcak.srce.hr/112389
Harvard Župan, I. (2013). 'Svjetlosni oblici Vojina Bakića', Ars Adriatica, (3), str. 209-226. Preuzeto s: https://hrcak.srce.hr/112389 (Datum pristupa: 13.07.2020.)
Vancouver Župan I. Svjetlosni oblici Vojina Bakića. Ars Adriatica [Internet]. 2013 [pristupljeno 13.07.2020.];(3):209-226. Dostupno na: https://hrcak.srce.hr/112389
IEEE I. Župan, "Svjetlosni oblici Vojina Bakića", Ars Adriatica, vol., br. 3, str. 209-226, 2013. [Online]. Dostupno na: https://hrcak.srce.hr/112389. [Citirano: 13.07.2020.]
Sažetak Bakić’s cycle Luminous Forms marks a significant conceptual shift and radicalization of expression in relation to the pre-existing tradition in Croatian sculpture. At the same time, it corresponds to the
movements in European sculpture of the 1960s at which time the visual language changed in order to match a dynamic construction of forms, where a sculptor leaves out the inner core and disintegrates it with more liberal combinations and sequencing of elements.
Within the limits of his own range and scope, Bakić constantly manifested a number of overall coincidences with particular issues and ideas present
at a specific moment in the global artistic sphere, and he did this in a surprisingly intense and exciting way which was at the same time polemical, competitive and rooted in principles. He took an active part in
the radical changes in the visual, aesthetic, social and spiritual aspect of art of his time, including the issue of language and form as an optical phenomenon of light and movement.
His work in the 1960s contains some other features which were always favoured by the modern movement such as technological innovation, a youthful spirit, a soupçon of subculture, emancipatory pretensions,
dynamism, novel, fresh aesthetics… In his cycles, Bakić embodied faith in the future and the creation of new blueprints for the world, in a spontaneous and uninterrupted creativity, and in numerous modern
stylistic modalities which he realized very successfully in the corresponding form, shape and iconography.
Bakić was convinced that his sculpted object could be an organic, constituent and functional part of the architectural and urban structure, and hoped that architects and urban planners would begin to understand
the importance of a sculptor’s participation not only in the process of architectural and urban design itself, but also in the autonomous mediation of a sculptor in both of those fields.
With regard to their expressive and material aspect, Luminous Forms fit relatively easily into the international domain of contemporary art and, most of all, confirm that Bakić is a sculptor who is adept at supple forms
within the context of innovations focusing on problemsolving because
they are based on the idea that incessant innovation is necessary, as it is to be inclined towards experimental approach to art.