APA 6th Edition Hlevnjak, B. (1998). "Nova stvarnost" u djelu Đure Griesbacha, rani radovi 1927-1939.. Peristil, 41 (1), 123-145. Preuzeto s https://hrcak.srce.hr/153855
MLA 8th Edition Hlevnjak, Barbara. ""Nova stvarnost" u djelu Đure Griesbacha, rani radovi 1927-1939.." Peristil, vol. 41, br. 1, 1998, str. 123-145. https://hrcak.srce.hr/153855. Citirano 09.04.2020.
Chicago 17th Edition Hlevnjak, Barbara. ""Nova stvarnost" u djelu Đure Griesbacha, rani radovi 1927-1939.." Peristil 41, br. 1 (1998): 123-145. https://hrcak.srce.hr/153855
Harvard Hlevnjak, B. (1998). '"Nova stvarnost" u djelu Đure Griesbacha, rani radovi 1927-1939.', Peristil, 41(1), str. 123-145. Preuzeto s: https://hrcak.srce.hr/153855 (Datum pristupa: 09.04.2020.)
Vancouver Hlevnjak B. "Nova stvarnost" u djelu Đure Griesbacha, rani radovi 1927-1939.. Peristil [Internet]. 1998 [pristupljeno 09.04.2020.];41(1):123-145. Dostupno na: https://hrcak.srce.hr/153855
IEEE B. Hlevnjak, ""Nova stvarnost" u djelu Đure Griesbacha, rani radovi 1927-1939.", Peristil, vol.41, br. 1, str. 123-145, 1998. [Online]. Dostupno na: https://hrcak.srce.hr/153855. [Citirano: 09.04.2020.]
Sažetak Đuro Griesbach, born in Mitrovica in 1911, began his career as a photographer in 1928 with the photograph of the wounded Stjepan Radić on his return to Zagreb. His work was most profoundly influenced by the idea of new reality (neue sachlichkeit), with which he became acquainted at its very source, in Berlin in 1929, during his studies. The New Reality movement focuses on photography and its forms, which can be transferred from reality without any subsequent artistic intervention, by purely photographic means: the choice of motive, cutting, angle, lighting, levels, sequences. In the interpretation of (the) new reality (the conception or objectivity) with its primacy of form, everything becomes a worthy motive. A growing interest in Japanese photographers, in reproducing and analysing their work, had a significant influence on the conception of pure photogenicity and minimalism of motive, which led photography towards the abstract picture. The work of Đuro Griesbach sprang from within these coordinates, and the above considerations were the main source of ideas and creative strategy for his photography. He himself called the photography a new palette.
The author analyses the early works of Đuro Criesbach done between 1927 and 1935 in Zagreb, and between 1935 and 1939 in Dubrovnik, within the above framework.