Papers by Predrag Dragojević
међународни тематски зборник Методолошки изазови историјске науке (ур. Здравко Делетић, Далибор Елезовић), 2018
ИСТОРИЈА УМЕТНОСТИ И ИСТОРИЈА Апстракт. У раду се прати развој схватања српских писаца о уметност... more ИСТОРИЈА УМЕТНОСТИ И ИСТОРИЈА Апстракт. У раду се прати развој схватања српских писаца о уметности о односу историје уметности и историје. Током 20. века, историчари уметности заснивали су то схватање на историографском слоју текстова и на основу тематске блискости наглашавали постојање тесних веза између две дисциплине. У новијим истраживањима (крај 20. и почетак 21. века), посматрају се методолошки и теоријски слој текстова о уметности и тиме добија доста сложенија слика о елементима и развоју историје уметности као дисциплине. Ти налази мењају досадашњу представу о односу историје уметности према историји. Уједно, они могу да понуде моделе за разрешавање појединих недоумица у историјским наукама уопште, укључујући одговоре на стратешке изазове.
Међународни тематски зборник Уметност и њена улога у историји: између трајности и пролазних -изама, посвећен сећању на проф. др Миодрага Јовановића (1932-2013), 2014
MYTHS AND DOCUMENTS ABOUT FORMING OF A SERBIAN ARTIST
Abstract
This paper presents the formation ... more MYTHS AND DOCUMENTS ABOUT FORMING OF A SERBIAN ARTIST
Abstract
This paper presents the formation of a Serbian artist at the turn of the 19th to the 20th century. Content of some unpublished archival material regarding his studies (correspondence, requests, opinions, etc.) was compared to the artist’s later statements, so that some myths about him were recognized. Sources reveal how the visual talents of an individual, guided by personal desires and ambitions, „intersected“ with the cultural influences (the degree of development of art, artistic training, the audience) and social impacts (scholarships, awards, jobs), directing the newly formed artist to achieve some specifi c forms of art.
Записи 4, 2015
ON ABSENCE FROM CLASSES – THE EXAMPLES FROM THE RECORDS BY THE MINISTRIES OF THE KINGDOM OF SERBI... more ON ABSENCE FROM CLASSES – THE EXAMPLES FROM THE RECORDS BY THE MINISTRIES OF THE KINGDOM OF SERBIA
Abstract
There are numerous records by the Ministry of Education and Ministry of National Economy of the Kingdom of Serbia about a Serbian painter who worked as an art teacher in the Third Belgrade Gymnasium. They provide an insight into a segment of Serbian education at the end of the 19th and the beginning of the 20th century. Among other things, they show the way in which absence from classes was permitted to students. The procedure included producing several documents (requests, directives, notices, offi cial decisions...). A teacher used to write a request to the Ministry of Education; a head teacher used to forward it, adding his own opinion (recommendation); an authorized offi cial used to give a decision in the form of a note; the decision was forwarded to a teacher and, if required, to other concerned people. The practice was the same regardless of the reason of absence – private matters, public aff airs, illness (a sick leave was treated as absence). Students studying abroad were in the similar situation, having to write requests for absence during summer holidays. The examples mentioned imply a segment of the Ministry’s policy aimed at preventing the squandering of funds and a potential misuse. The further development of school system rendered such centralized control impossible.
О уделу археологије у заснивању историје уметности у Србији, 2011
Универзитет у Београду, Филозофски факултет-Одељење за историју уметности, Београд О уделу археол... more Универзитет у Београду, Филозофски факултет-Одељење за историју уметности, Београд О уделу археологије у заснивању историје уметности у Србији Апстракт: У раду се разматрају ставови српских историчара уметности из прве половине и средине 20. века којима се дефинише део методологије историје уметности, као и њен однос према другим наукама, посебно према археологији. У ставовима се препознаје присуство и утицај археолошког метода, преузетог посредством М. М. Васића и С. Ренака.
Зборник Народног музеја у Београду 22-1, археологија , 2015
Наслеђе (Крагујевац), 2011
Зборник Матице српске за ликовне уметности, 36, 2008
THE ANALYSIS OF ONE TEXT BY WINCKELMAN IN THE SERBIAN PRESS
OF THE 19th CENTURY
One of the texts ... more THE ANALYSIS OF ONE TEXT BY WINCKELMAN IN THE SERBIAN PRESS
OF THE 19th CENTURY
One of the texts on art published in Serbian journals during the 19th century which was filed, reprinted and signed by the name of Winckelman (Johann Joachim Winckelman, 1717—1768) was published in 1848 in Sremski Karlovci in the paper Zimzelen. It attracts attention because it is one of the rare translations of Winckelman into Serbian and is interesting because it has no title, no closer allusions about the source and no information on the translator. The authorial principles are no different from other attempts to translate Winckelman into Serbian both in the 19th and in the 20th centuries. Although it briefly pointed to many new subjects in the Serbian artistic literature of the time (the relationship of the artist, the piece and the observer, the evaluation), the text showed no serious knowledge of Winckelman's work on the side of the translator, no clear publisher's intention, no persistence of preparation and no respect for
the original. It was just one paragraph which, at a first glance, left the impression of a slightly longer aphorism. The source can easily be identified as Winckelman's text "Erinerung über die Betrachtung der Werke der Kunst" from 1759. The word for word analysis of the source and the translation leads us to conclude that the Serbian translation from 1848 is an abbreviated, concise and simplified version of Winckelman's article on the observation of artistic pieces, which does not transfer most of the content and meaning of the original text and can, therefore, sooner be called an adaptation than translation. The cause of such great difference between the original and the translation (adaptation) lies in the history of text creation, but also in the intellectual climate and essential differences between Winckelman's way of thinking about art, expressed in his texts during the 18th century, and the state of affairs in the Serbian theory of art one hundred years later. Winckelman built his theory completely dedicating his life to science and interpretation of art, relying on the contemplation and learning, working systematically and intensely in the course of ten years. Serbian authors wrote about art in addition to their main educational, historic, artistic, linguistic, religious and other topics, relying
on experience and feelings for art and certain interests, working without establishing connections for a long time in an unconnected manner for almost a hundred years until they built their version of the history of art. Then they turned towards Winckelman's texts which in the meantime became theoretically obsolete and could be used only as a source of practical and anecdotal sections and of concise thoughts which became aphorisms about art.
Vojnoistorijski glasnik 2-3, 1995
Interpretation of Works of Art created in Yugoslavia 1941–1945: from the ideological to informati... more Interpretation of Works of Art created in Yugoslavia 1941–1945: from the ideological to information approach
– Summary –
Identification of works of art created in the Second World War with their
ideological contents limited their analysis and made their inclusion into wider frames of history of fine arts impossible.
During the war and the first few postwar years works of art were considered a "weapon" that shows the only real truth. The value of an artwork and author were assessed according to author’s political activity: the works created in the war years were indiscriminately praised, and
their authors were identified with the people and “militant masses”. During the period of “socialistic realism” the war works of art became signposts for a “new art”, although some of them were criticized as unbecoming, and sometimes also destroyed.
After the official abandonment of the soc-realistic comprehension of fine arts, however, was not soon clarified whether the works of art created in the war were one of sources of this dogma or was the dogma itself their victim. A standstill in their interpretation followed, and they became convenient illustrations for state festivities. By the end of the fifties and during the sixties, scientific establishment of facts on these works was started. The works of art created in the war were in a mechanical and stylistically inappropriate manner being connected and put in a line with the prewar “social” art and the postwar “socialistic realism”.
Using a variant of the information approach it is possible to analyse the
works of art from the war period, by considering (1) the expertness of the author, (2) his motives in creating a work, (3) the result, i.e. the work itself, and (4) functions that a work was later assigned. Each of these elements has a number of possible values and behaves as a separate dimension. This model covers many variants of works of art created in the war, including two extremes: that a self-made author, who only during the war began his artistic expression, creates a work of art in the line of his carrying out a given task, or that an already formed and experienced master, working with an artistic motivation, creates an artwork of not a notable artistic value. This is also a methodological basis for consideration and assessment of a work of art created in the war (or under similar circumstances) independently from political and ideological motives anda functions. Thus the studying of these works is directed to analysis and clarification of their forms and to assessment of their artistic value.
Простори памћења. Зборник радова, том 2: Уметност - баштина, 2013
Српски књижевни гласник, трећа серија, год. III, књ. I, бр. 1-4, 1994
Зборник Народног музеја, 1994
Историја историје уметности занима се за средњошколску наставу као за извор грађе о савременој ис... more Историја историје уметности занима се за средњошколску наставу као за извор грађе о савременој историји уметности, у оном делу истраживања где се занима за почетке формирања једног историчара уметности. При томе се као проблем уочава да средња школа недовољно припрема ученика за студије историје уметности. Проблеми нису само недостатак знања, радних навика и мотивације, него и једно усвојено погрешно схватање просветних институција, процеса наставе, учења, знања, па и самосталног мишљења. Анализа извора (програма, уџбеника...) показује да је реч о кризи ове научне дисциплине у оквирима средње школе, али и о кризи средње школе у целини. Закључак је да историја уметности мора активније преносити своју самосвест у средњошколску наставу. То је тачка на којој би историја струке требало да помогне дидактици.
Тематски зборник радова са 7. међународног научног скупа Српски језик, књижевност, уметност, књ. 3, Музика и неизрециво & Историја уметности - методи и методологија и њихова примена, Крагујевац: Филолошко-уметнички факултет, 2013
...
Vojnoistorijski glasnik 3, 1998
Anton Springer — Engagement of a Historian of Arts in the Public Life
— Summary —
For the pur... more Anton Springer — Engagement of a Historian of Arts in the Public Life
— Summary —
For the purpose of a fuller understanding of the fact that the outstanding Serbian politician of XIX century Ilija Garašanin engaged a German historian of arts to defend and advocate interests of Serbia, the author gives a portrait of Springer.
Anton Springer (1825-1891) was a prominent scientist of his time. He strived to develop the history of arts as an exact science — the science that can register facts, as in a laboratory, in the way it can be done in biology or chemistry, and to be able to prove the correctness of its allegations. In his striving towards the exactness of methods applied by such history af arts he was developing the necessary morphology rather than its contents and meanings, and was insistent in criticising the literary interpretations and improvisations in this fiels. He was connecting the pictorial or visual form with different external factors, and in so doing he combined the history of arts with other disciplines: psychology, history of culture, history of society, literature... By his researches and methodological innovations Springer left a deep trace in the science on arts. He reared up generations of researchers who were recognized as excellent experts owing to their application of his methods.
Based on his believing in the scientific value of his methods and the correctness of results of the analytical history of arts, Springer was particularly advocating its legitimacy and the improvement of its position among other sciences, also in culture and the public life in general. He was on the same basis engaged also as a humanist and owing to him the word of the historian of arts gained in importance as the word of a scholar, a man of science, culture and thought.
We can say that Schpringer’s scientific reputation and thought added a considerable weight to his engagement in public affairs. The author concludes that his texts in which he defended and advocated interests of Serbia were historically very significant and that they are worth of particular study.
Годишњак града Београда 42, 1995
A Contribution to the history of Art School in Belgrade (1919-1939): Montenegrin Artists and Prob... more A Contribution to the history of Art School in Belgrade (1919-1939): Montenegrin Artists and Problem of Generation
Свеске, Панчево, 1991
(делимично цензурисано у уредиштву)
Uploads
Papers by Predrag Dragojević
Abstract
This paper presents the formation of a Serbian artist at the turn of the 19th to the 20th century. Content of some unpublished archival material regarding his studies (correspondence, requests, opinions, etc.) was compared to the artist’s later statements, so that some myths about him were recognized. Sources reveal how the visual talents of an individual, guided by personal desires and ambitions, „intersected“ with the cultural influences (the degree of development of art, artistic training, the audience) and social impacts (scholarships, awards, jobs), directing the newly formed artist to achieve some specifi c forms of art.
Abstract
There are numerous records by the Ministry of Education and Ministry of National Economy of the Kingdom of Serbia about a Serbian painter who worked as an art teacher in the Third Belgrade Gymnasium. They provide an insight into a segment of Serbian education at the end of the 19th and the beginning of the 20th century. Among other things, they show the way in which absence from classes was permitted to students. The procedure included producing several documents (requests, directives, notices, offi cial decisions...). A teacher used to write a request to the Ministry of Education; a head teacher used to forward it, adding his own opinion (recommendation); an authorized offi cial used to give a decision in the form of a note; the decision was forwarded to a teacher and, if required, to other concerned people. The practice was the same regardless of the reason of absence – private matters, public aff airs, illness (a sick leave was treated as absence). Students studying abroad were in the similar situation, having to write requests for absence during summer holidays. The examples mentioned imply a segment of the Ministry’s policy aimed at preventing the squandering of funds and a potential misuse. The further development of school system rendered such centralized control impossible.
OF THE 19th CENTURY
One of the texts on art published in Serbian journals during the 19th century which was filed, reprinted and signed by the name of Winckelman (Johann Joachim Winckelman, 1717—1768) was published in 1848 in Sremski Karlovci in the paper Zimzelen. It attracts attention because it is one of the rare translations of Winckelman into Serbian and is interesting because it has no title, no closer allusions about the source and no information on the translator. The authorial principles are no different from other attempts to translate Winckelman into Serbian both in the 19th and in the 20th centuries. Although it briefly pointed to many new subjects in the Serbian artistic literature of the time (the relationship of the artist, the piece and the observer, the evaluation), the text showed no serious knowledge of Winckelman's work on the side of the translator, no clear publisher's intention, no persistence of preparation and no respect for
the original. It was just one paragraph which, at a first glance, left the impression of a slightly longer aphorism. The source can easily be identified as Winckelman's text "Erinerung über die Betrachtung der Werke der Kunst" from 1759. The word for word analysis of the source and the translation leads us to conclude that the Serbian translation from 1848 is an abbreviated, concise and simplified version of Winckelman's article on the observation of artistic pieces, which does not transfer most of the content and meaning of the original text and can, therefore, sooner be called an adaptation than translation. The cause of such great difference between the original and the translation (adaptation) lies in the history of text creation, but also in the intellectual climate and essential differences between Winckelman's way of thinking about art, expressed in his texts during the 18th century, and the state of affairs in the Serbian theory of art one hundred years later. Winckelman built his theory completely dedicating his life to science and interpretation of art, relying on the contemplation and learning, working systematically and intensely in the course of ten years. Serbian authors wrote about art in addition to their main educational, historic, artistic, linguistic, religious and other topics, relying
on experience and feelings for art and certain interests, working without establishing connections for a long time in an unconnected manner for almost a hundred years until they built their version of the history of art. Then they turned towards Winckelman's texts which in the meantime became theoretically obsolete and could be used only as a source of practical and anecdotal sections and of concise thoughts which became aphorisms about art.
– Summary –
Identification of works of art created in the Second World War with their
ideological contents limited their analysis and made their inclusion into wider frames of history of fine arts impossible.
During the war and the first few postwar years works of art were considered a "weapon" that shows the only real truth. The value of an artwork and author were assessed according to author’s political activity: the works created in the war years were indiscriminately praised, and
their authors were identified with the people and “militant masses”. During the period of “socialistic realism” the war works of art became signposts for a “new art”, although some of them were criticized as unbecoming, and sometimes also destroyed.
After the official abandonment of the soc-realistic comprehension of fine arts, however, was not soon clarified whether the works of art created in the war were one of sources of this dogma or was the dogma itself their victim. A standstill in their interpretation followed, and they became convenient illustrations for state festivities. By the end of the fifties and during the sixties, scientific establishment of facts on these works was started. The works of art created in the war were in a mechanical and stylistically inappropriate manner being connected and put in a line with the prewar “social” art and the postwar “socialistic realism”.
Using a variant of the information approach it is possible to analyse the
works of art from the war period, by considering (1) the expertness of the author, (2) his motives in creating a work, (3) the result, i.e. the work itself, and (4) functions that a work was later assigned. Each of these elements has a number of possible values and behaves as a separate dimension. This model covers many variants of works of art created in the war, including two extremes: that a self-made author, who only during the war began his artistic expression, creates a work of art in the line of his carrying out a given task, or that an already formed and experienced master, working with an artistic motivation, creates an artwork of not a notable artistic value. This is also a methodological basis for consideration and assessment of a work of art created in the war (or under similar circumstances) independently from political and ideological motives anda functions. Thus the studying of these works is directed to analysis and clarification of their forms and to assessment of their artistic value.
— Summary —
For the purpose of a fuller understanding of the fact that the outstanding Serbian politician of XIX century Ilija Garašanin engaged a German historian of arts to defend and advocate interests of Serbia, the author gives a portrait of Springer.
Anton Springer (1825-1891) was a prominent scientist of his time. He strived to develop the history of arts as an exact science — the science that can register facts, as in a laboratory, in the way it can be done in biology or chemistry, and to be able to prove the correctness of its allegations. In his striving towards the exactness of methods applied by such history af arts he was developing the necessary morphology rather than its contents and meanings, and was insistent in criticising the literary interpretations and improvisations in this fiels. He was connecting the pictorial or visual form with different external factors, and in so doing he combined the history of arts with other disciplines: psychology, history of culture, history of society, literature... By his researches and methodological innovations Springer left a deep trace in the science on arts. He reared up generations of researchers who were recognized as excellent experts owing to their application of his methods.
Based on his believing in the scientific value of his methods and the correctness of results of the analytical history of arts, Springer was particularly advocating its legitimacy and the improvement of its position among other sciences, also in culture and the public life in general. He was on the same basis engaged also as a humanist and owing to him the word of the historian of arts gained in importance as the word of a scholar, a man of science, culture and thought.
We can say that Schpringer’s scientific reputation and thought added a considerable weight to his engagement in public affairs. The author concludes that his texts in which he defended and advocated interests of Serbia were historically very significant and that they are worth of particular study.
Abstract
This paper presents the formation of a Serbian artist at the turn of the 19th to the 20th century. Content of some unpublished archival material regarding his studies (correspondence, requests, opinions, etc.) was compared to the artist’s later statements, so that some myths about him were recognized. Sources reveal how the visual talents of an individual, guided by personal desires and ambitions, „intersected“ with the cultural influences (the degree of development of art, artistic training, the audience) and social impacts (scholarships, awards, jobs), directing the newly formed artist to achieve some specifi c forms of art.
Abstract
There are numerous records by the Ministry of Education and Ministry of National Economy of the Kingdom of Serbia about a Serbian painter who worked as an art teacher in the Third Belgrade Gymnasium. They provide an insight into a segment of Serbian education at the end of the 19th and the beginning of the 20th century. Among other things, they show the way in which absence from classes was permitted to students. The procedure included producing several documents (requests, directives, notices, offi cial decisions...). A teacher used to write a request to the Ministry of Education; a head teacher used to forward it, adding his own opinion (recommendation); an authorized offi cial used to give a decision in the form of a note; the decision was forwarded to a teacher and, if required, to other concerned people. The practice was the same regardless of the reason of absence – private matters, public aff airs, illness (a sick leave was treated as absence). Students studying abroad were in the similar situation, having to write requests for absence during summer holidays. The examples mentioned imply a segment of the Ministry’s policy aimed at preventing the squandering of funds and a potential misuse. The further development of school system rendered such centralized control impossible.
OF THE 19th CENTURY
One of the texts on art published in Serbian journals during the 19th century which was filed, reprinted and signed by the name of Winckelman (Johann Joachim Winckelman, 1717—1768) was published in 1848 in Sremski Karlovci in the paper Zimzelen. It attracts attention because it is one of the rare translations of Winckelman into Serbian and is interesting because it has no title, no closer allusions about the source and no information on the translator. The authorial principles are no different from other attempts to translate Winckelman into Serbian both in the 19th and in the 20th centuries. Although it briefly pointed to many new subjects in the Serbian artistic literature of the time (the relationship of the artist, the piece and the observer, the evaluation), the text showed no serious knowledge of Winckelman's work on the side of the translator, no clear publisher's intention, no persistence of preparation and no respect for
the original. It was just one paragraph which, at a first glance, left the impression of a slightly longer aphorism. The source can easily be identified as Winckelman's text "Erinerung über die Betrachtung der Werke der Kunst" from 1759. The word for word analysis of the source and the translation leads us to conclude that the Serbian translation from 1848 is an abbreviated, concise and simplified version of Winckelman's article on the observation of artistic pieces, which does not transfer most of the content and meaning of the original text and can, therefore, sooner be called an adaptation than translation. The cause of such great difference between the original and the translation (adaptation) lies in the history of text creation, but also in the intellectual climate and essential differences between Winckelman's way of thinking about art, expressed in his texts during the 18th century, and the state of affairs in the Serbian theory of art one hundred years later. Winckelman built his theory completely dedicating his life to science and interpretation of art, relying on the contemplation and learning, working systematically and intensely in the course of ten years. Serbian authors wrote about art in addition to their main educational, historic, artistic, linguistic, religious and other topics, relying
on experience and feelings for art and certain interests, working without establishing connections for a long time in an unconnected manner for almost a hundred years until they built their version of the history of art. Then they turned towards Winckelman's texts which in the meantime became theoretically obsolete and could be used only as a source of practical and anecdotal sections and of concise thoughts which became aphorisms about art.
– Summary –
Identification of works of art created in the Second World War with their
ideological contents limited their analysis and made their inclusion into wider frames of history of fine arts impossible.
During the war and the first few postwar years works of art were considered a "weapon" that shows the only real truth. The value of an artwork and author were assessed according to author’s political activity: the works created in the war years were indiscriminately praised, and
their authors were identified with the people and “militant masses”. During the period of “socialistic realism” the war works of art became signposts for a “new art”, although some of them were criticized as unbecoming, and sometimes also destroyed.
After the official abandonment of the soc-realistic comprehension of fine arts, however, was not soon clarified whether the works of art created in the war were one of sources of this dogma or was the dogma itself their victim. A standstill in their interpretation followed, and they became convenient illustrations for state festivities. By the end of the fifties and during the sixties, scientific establishment of facts on these works was started. The works of art created in the war were in a mechanical and stylistically inappropriate manner being connected and put in a line with the prewar “social” art and the postwar “socialistic realism”.
Using a variant of the information approach it is possible to analyse the
works of art from the war period, by considering (1) the expertness of the author, (2) his motives in creating a work, (3) the result, i.e. the work itself, and (4) functions that a work was later assigned. Each of these elements has a number of possible values and behaves as a separate dimension. This model covers many variants of works of art created in the war, including two extremes: that a self-made author, who only during the war began his artistic expression, creates a work of art in the line of his carrying out a given task, or that an already formed and experienced master, working with an artistic motivation, creates an artwork of not a notable artistic value. This is also a methodological basis for consideration and assessment of a work of art created in the war (or under similar circumstances) independently from political and ideological motives anda functions. Thus the studying of these works is directed to analysis and clarification of their forms and to assessment of their artistic value.
— Summary —
For the purpose of a fuller understanding of the fact that the outstanding Serbian politician of XIX century Ilija Garašanin engaged a German historian of arts to defend and advocate interests of Serbia, the author gives a portrait of Springer.
Anton Springer (1825-1891) was a prominent scientist of his time. He strived to develop the history of arts as an exact science — the science that can register facts, as in a laboratory, in the way it can be done in biology or chemistry, and to be able to prove the correctness of its allegations. In his striving towards the exactness of methods applied by such history af arts he was developing the necessary morphology rather than its contents and meanings, and was insistent in criticising the literary interpretations and improvisations in this fiels. He was connecting the pictorial or visual form with different external factors, and in so doing he combined the history of arts with other disciplines: psychology, history of culture, history of society, literature... By his researches and methodological innovations Springer left a deep trace in the science on arts. He reared up generations of researchers who were recognized as excellent experts owing to their application of his methods.
Based on his believing in the scientific value of his methods and the correctness of results of the analytical history of arts, Springer was particularly advocating its legitimacy and the improvement of its position among other sciences, also in culture and the public life in general. He was on the same basis engaged also as a humanist and owing to him the word of the historian of arts gained in importance as the word of a scholar, a man of science, culture and thought.
We can say that Schpringer’s scientific reputation and thought added a considerable weight to his engagement in public affairs. The author concludes that his texts in which he defended and advocated interests of Serbia were historically very significant and that they are worth of particular study.