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The Spirit of Munich in the Symbolism of Marko Murat

Jasna Jovanov ; Spomen-zbirka Pavla Beljanskog, Novi Sad

Puni tekst: hrvatski, pdf (4 MB) str. 113-120 preuzimanja: 104* citiraj
APA 6th Edition
Jovanov, J. (2012). Duh Münchena u simbolizmu Marka Murata. Peristil, 55 (1), 113-120. Preuzeto s
MLA 8th Edition
Jovanov, Jasna. "Duh Münchena u simbolizmu Marka Murata." Peristil, vol. 55, br. 1, 2012, str. 113-120. Citirano 03.04.2020.
Chicago 17th Edition
Jovanov, Jasna. "Duh Münchena u simbolizmu Marka Murata." Peristil 55, br. 1 (2012): 113-120.
Jovanov, J. (2012). 'Duh Münchena u simbolizmu Marka Murata', Peristil, 55(1), str. 113-120. Preuzeto s: (Datum pristupa: 03.04.2020.)
Jovanov J. Duh Münchena u simbolizmu Marka Murata. Peristil [Internet]. 2012 [pristupljeno 03.04.2020.];55(1):113-120. Dostupno na:
J. Jovanov, "Duh Münchena u simbolizmu Marka Murata", Peristil, vol.55, br. 1, str. 113-120, 2012. [Online]. Dostupno na: [Citirano: 03.04.2020.]

During the 19th century numerous painters from Central Europe, as well as from the Austro-Hungarian monarchy, pursued their education in Munich. One of them was the painter Marko Murat (Luka Šipanska, 1864 – Dubrovnik, 1944), who commenced his studies at the
Royal Academy of Fine Arts in 1887 under the professor Karl Raupp, first with the financial aid of Baron Luj Vranyczany, and later Velimir Todorović. His professors also included Ludwig Herterich, Wilhelm von Lindenchhmidt and Otto Seitz. The end of Murat’s studies and sojourn in Munich was marked by the painting Palm Sunday in Dubrovnik, exhibited in Glaspalast in 1893. From 1898 to 1920 he lived in Belgrade, where he worked as an educator and participated in various exhibitions. His solo exhibitions took place in 1894, 1898
and 1904; he exhibited at Yugoslav art exhibitions (from 1904 to 1922), in Sombor (1910 and 1921), Liège (1905), Rome (1911) and Paris (1919), often as a member of the »Lado« and »Medulić« associations. He was one of the founders of the School of Arts and Crafts in
Belgrade. After the First World War he was appointed head conservator of the Direction for Arts and Monuments in Dubrovnik, where he would spend the rest of his life. Having fully accepted the poetics of the Munich school of painting, in his paintings Marko Murat emphasised the symbolic elements expressed through body language, interplay of light and shadow and mysticism particularly evident in the works produced in the second half of his life. His most important paintings were painted in Dubrovnik and its surroundings before the First World War, with human figure in landscape as one of his favourite subjects.

Ključne riječi
Munich; Royal Academy of Fine Arts; symbolism; Marko Murat

Hrčak ID: 200112



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