Petar Lubarda

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Petar Lubarda on a Serbian Post stamp. The picture shows his painting Konji from the Museum of Modern Art in Belgrade

Petar Lubarda ( Cyrillic  Петар Лубарда ; born July 27, 1907 in Ljubotinj, Rijeka Crnojevića ; † February 13, 1974 in Belgrade ) was a Yugoslav painter from Montenegro .

Lubarda is considered an outstanding modern painter of ex-Yugoslavia, whose greatest importance lies in the coloratura of his pictures. In the monumental pictures of his most important creative period from 1950, themes of the mythological past or the events of the war were thematized. Lubarda was a permanent member of the Serbian Academy of Sciences and Arts (SANU) and an associate member of the Yugoslav Academy of Sciences and Arts (JAZU, now HAZU).

Life

Since the father was Lubarda's officer, Petar often moved as a child. He attended the middle schools of Herceg Novi , Sinj , Split and Nikšić . In 1925 he attended the Belgrade Art School, where he studied with Bete Vukanović, I. Šobajić and Lj. Ivanović. In 1926 he went to Paris for the first time , where he briefly attended the Académie des Beaux-Arts . Lubarda stayed in Paris until 1932. He had exhibitions in the Salon des Indépendants (1927) and a solo exhibition in Rome (1929). In 1932 he returned to Belgrade, where he exhibited in 1932 in the Ratničkom domu and in 1934 in the Umetničkom paviljon. In 1938 he returned to Paris, where he stayed until 1940. He spent the war in German and Italian captivity. After the liberation he lived in Cetinje from 1947, where he opened an art school and taught there until 1950. From 1950 Lubarda lived permanently in Belgrade. From 1950 Lubarda exhibited his works in France, Italy, Germany, Spain, the USSR, England, Belgium, Brazil, India, Lebanon and Syria.

technology

Lubarda painted in oils, pastels and frescoes .

plant

“Guslar”, 1952. The “Guslar” from Lubarda's cycle on the mythological past evokes the national mythological past. The figure of Guslaren is the central symbol of the male figure of death. It is considered one of the most important works of modern Yugoslav painting. Museum of Contemporary Art, Belgrade
Petar Lubarda "Kosovski boj" (1953), wall fresco in the festive hall of the New Castle in Belgrade

Lubarda did not belong to any school and created his own identity as an artist. After his first stay in Paris from 1927, he mostly shows landscapes in Paris and the surrounding area in characteristic silver-green and ocher-colored chromatics in which reddish accents appear. With the second stay in Belgrade the color structure becomes richer; In addition to the silver palette, there are dark brown and olive green shades. In the color palette, a more dramatic composition is achieved in warm and cold tones.

Lubarda's painting reached a completely new dimension with the famous 1951 exhibition in Belgrade, which also had cultural-political significance as a departure from socialist realism for the whole of Yugoslavia. His pictures took on the well-known expressive color and structure in which Lubarda abandoned classical, objective forms in representation. From then on, the color scheme dominated his work. It is most effectively developed in the monumental works through the rhythmic relationship between strong and pure colors ( Bitka na Vučjem dolu , Boj na Kosovu , Sutjeska ).

In Lubarda's œuvre in monumental fresco painting, the painting Kosovski boj is the most important. Created on behalf of the Serbian government, its pictorial representations broke with the common topos of the “battle on the blackbird field” and the tradition of pseudo-historical interpretations. At its inauguration, it created an artistic sensation, as it broke not only radically with tradition, but in particular with all forms of socialist realism . Preliminary studies are in the possession of the National Museum in Cetinje and formerly the National Library of Serbia and today in the painter's legacy, which is housed in his former studio. The central work was intended for the ballroom of the former Izvršno Veče Narodne Republike Srbije in the New Castle, in which the Serbian President resides today. It is a monumental, 56 m² large mural that by the figurative abstraction of details of the two armies invading each other, the partly grotesque faces of people and horses, their partly sculptural representation and the use of bright colors, in which red, violet and Dominating green, ushering in a new era in painting Serbia. Without descriptive means or literary allusion, the painting also uses universal symbols and sublimated impressions in the general depiction of the horrors of war. Generally regarded as the main work of modern painting in post-war Yugoslavia, it is also the first modern battle painting in Serbian art.

meaning

The importance of Lubarda's work lies in the transposition of national media and themes into visions of a universal character. Lubarda combines abstract visual structures of a purely plastic nature with allusions of the concrete world. In his work, the living is characterized by bright, fiery colors, which are surrounded by the dark edges of death and infinity, which is even more pronounced in the later works, which are quotations from his large frescoes due to the few-figurative paintings.

Web links

Individual evidence

  1. ↑ Likovna Enciklopedija Jugoslavije, 2, K-Ren 1987. Jugoslavenski Leksikografski Zavod Miroslav Krleža, Zagreb. Pp. 209-210
  2. ↑ Politika, August 30, 2013 Remek-dela jugoslovenskog područja
  3. ↑ Enciklopedija Likovnih Umjetnosti, 3, Inj-Portl, Izdanje Naklada Jugoslavenskog Leksikografskog Zavoda, Zagreb, 1964. pp. 343-344
  4. ↑ Politika, August 30, 2013 Remek-dela jugoslovenskog područja
  5. ↑ Zoran Kržišnik 1957: Neke tendencije našeg Ekspresionizma . In: Oto Bihalj-Merin (ed.), 1957: Savremeno Jugoslovensko Slikarstvo . P. 118. Časopis Jugoslavija, Beograd.
  6. ^ Dejan Medaković, 1990: Kosovski boj u likovnim umetnostima . Kosovska spomenica 1389-1989, vol. 2, p. 51, ISBN 86-379-0198-0
  7. ↑ Novosti, July 25, 2011 Država najveća riznica umetničkih dela
  8. ↑ Politika, December 16, 2014 Legate Petra Lubarde otvara vrata posle trideset godina
  9. ^ Dejan Medaković, 1990: Kosovski boj u likovnim umetnostima . P. 51
  10. ↑ Lazar Trifunovic, Oslobođenje, Aug. 1, 1954, page 1. Reprint in the Museum of Modern Art Belgrade, 1990 Lubardina Slika "Kosovski boj"
  11. ↑ Lazar Trifunovic, Oslobođenje, Aug. 1, 1954, page 3. Reprint in the Museum of Modern Art Belgrade, 1990 Lubardina Slika "Kosovski boj"
  12. ↑ Lazar Trifunovic, Oslobođenje, Aug. 1, 1954, page 4, reprint in the Museum of Modern Art Belgrade, 1990 Lubardina Slika "Kosovski boj"
  13. ↑ VREME, 899, March 27, 2008 Slike iz srca epohe
  14. ^ RTS, Aug. 19, 2011 Restauracija Lubardinih dela
personal data
SURNAME Lubarda, Petar
BRIEF DESCRIPTION Yugoslav painter
DATE OF BIRTH July 27, 1907
PLACE OF BIRTH Ljubotinj, Rijeka Crnojevića
DATE OF DEATH February 13, 1974
Place of death Belgrade