| Abstract | Tema diplomskog rada je karlovačka javna skulptura 20. stoljeća. Obuhvaćena je sva samostojeća javna plastika izuzev nadgrobnih spomenika. Rad donosi kataloški pregled javne skulpture kroz 20. stoljeće. Skulpture su analizirane u kontekstu kulturno-političkih prilika koje uvjetuju njihovu podjelu. Stoljeće započinje radom velikog hrvatskog kipara Ivana Rendića, a cijela prva polovica stoljeća kvantitativno je siromašnija u odnosu na drugu te obuhvaća svega dva djela. Druga polovica stoljeća podijeljena je na cjeline koje uključuju spomeničku baštinu Narodno-oslobodilačke borbe (socijalni realizam), novih umjetničkih praksi iz 1960-ih (socijalni modernizam), lokalnu scenu okupljenu oko Udruženja likovnih amatera Karlovca te razdoblje 1980-ih i 1990-ih. Skulpturu NOB-a obilježava režimska ikonografija, socijalni realizam i hiperprodukcija memorijalne plastike. Nove umjetničke prakse 1960-ih obuhvaćaju manifestaciju Koranski park skulptura te djelovanje Fonda „13. srpanj“ koji je zaslužan za najveće narudžbe u drugoj polovici stoljeća. Fond 13. srpanj otkupio je djela Prizemljeno Sunce Ivana Kožarića, Majku u razmišljanju Ivana Meštrovića i dr. Krajem stoljeća dominiraju likovni umjetnici amateri okupljeni oko Udruge likovnih autora Karlovac koji u svojim naivnim manirama obogaćuju grad za niz drvenih skulptura. Rad istražuje slojevitost značenja i poimanja pojedinačnih djela. Povijesno-umjetnička analiza ponajviše se ističe u promatranju selekcije skulpture važnih autora 20. stoljeća. Kroz rad se proteže i kritički osvrt na odnos publike, građana i građanki grada Karlovca, kulturnih institucija i javnih politika prema umjetnosti u javnom prostoru. |
| Abstract (english) | The topic of the thesis is the public sculpture in Karlovac of the 20th century. All free-standing public sculptures are included, excluding tombstones. The paper provides a catalog overview of public sculpture through the 20th century. The sculptures were analyzed in the context of cultural and political circumstances, so their division is conditioned by the mentioned. Due to the cultural and political turmoil over the century, public sculptures were erected, removed, or devastated. The century begins with the work of the great Croatian sculptor Ivan Rendić, but the entire first half of the century is quantitatively impoverished and includes only two works. The second half of the century is divided into units that include the monumental heritage of the People's Liberation War, new curatorial practices from the 1960s and 1970s including modernist sculpture, and finally, the local art scene gathered around the Association of Amateur Artists of Karlovac in the 1990s. The sculpture of the People's Liberation War is marked by regime iconography, socialistic realism, and hyper-production of sculptures of monumental characters. New curatorial practices of the 1960s include the Koranski park skulptura event and the work of the Fund „13. srpanj“, which is credited with the largest orders in the second half of the century. The Fund „13. srpanj“ brings to Karlovac the Sun of Ivan Kožarić, the Mother in Thinking by Ivan Meštrović, and the First Steps of Frano Kršinić. At the end of the century, amateur artists gathered around the Udruga likovnih autora Karlovac dominated, enriching the city with a series of wooden sculptures in their naive manners. The work explores the stratification of the meaning and understanding of individual works. Historical-artistic analysis stands out most in the analysis of modernist sculpture by important authors of the 20th century. The paper also provides a critical review of the attitude of the public, citizens of the city of Karlovac, cultural institutions, and public policies towards art in public space. |
