Umetnik in umetnostni zgodovinar Marijan Tršar (1922-2010)

Šavorič, Tjaša

| | SLO | ENG | Cookies and privacy

Bigger font | Smaller font

First page > Show document

Show document

Title:	Umetnik in umetnostni zgodovinar Marijan Tršar (1922-2010)
Authors:	ID Šavorič, Tjaša (Author) ID Murovec, Barbara (Mentor) More about this mentor...
Files:	MAG_Savoric_Tjasa_2017.pdf (2,01 MB) MD5: E7FEF6024804925ADB838A0C62FF1A3E
Language:	Slovenian
Work type:	Master's thesis/paper
Typology:	2.09 - Master's Thesis
Organization:	FF - Faculty of Arts
Abstract:	Predmet pričujočega magistrskega dela je umetnik in umetnostni zgodovinar Marijan Tršar (1922–2010), ki ga je oblast zaradi kršitve kulturnega molka uvrstila v krog izdajalcev domovine. Marijan Tršar je z opremo Balantičevega Sonetnega venca in ilustriranjem domobranskih publikacij kršil predpisani kulturni molk in zato že med vojno naletel na neodobravanje s strani Osvobodilne fronte. Marijan Tršar je študiral slikarstvo v prvi generaciji študentov ljubljanske akademije za likovno umetnost, ki je bila vzgojena v tradicionalnem realizmu in se je nato pod vplivom zahodnoevropske umetnosti preusmerila k novemu likovnemu jeziku. Bil je eden od ustanoviteljev prve modernistične Skupine 53, član Ljubljanske grafične šole in pomemben kopist srednjeveških fresk. S svojimi umetnostnozgodovinskimi besedili in kritikami ter pedagoško dejavnostjo (bil je dolgoletni profesor na Akademiji za likovno umetnost v Ljubljani) je pomembno zaznamoval slovenski prostor druge polovice 20. stoletja. Razstavljal je na več kot dvestotih razstavah in napisal več kot dvajset knjig, med njimi tudi kot prvi v Jugoslaviji poglobljeno študijo o Vasiliju Kandinskem. Magistrska naloga je razdeljena na dva dela. V prvem je predstavljeno stanje raziskav, življenjepis o umetniku ter njegovo likovno in teoretično delovanje. Stanje raziskav o Marijanu Tršarju ponuja vrsto iztočnic in možnih smeri, v katerih bi umetnika veljalo raziskovati naprej. Pokazalo se je, da je Tršar bil in še zmeraj je deležen le malo pozornosti umetnostnozgodovinske stroke, zato se pri preučevanju umetnikovega življenja in ustvarjanja soočamo z umanjkanjem njunega ovrednotenja in družbene kontekstualizacije. V nalogi je biografija predstavljena s podatki, pridobljenimi iz že obstoječe literature o umetniku, dopolnjena je s pričevanji Tršarjeve družine in z dokumenti, ki se hranijo v različnih nacionalnih ustanovah in umetnikovi zapuščini. V poglavjih o likovnem in teoretičnem ustvarjanju je predstavljeno Tršarjevo delo in njegova recepcija; pri tem je izpostavljena umetnikova slaba poznanost in izločenost iz povojnega likovnega dogajanja na Slovenskem (do leta 1991). V drugem delu naloge je Tršarjevo ustvarjanje analizirano v luči njegovih dnevniških zapisov, ki so nastali med letoma 1947 in 1959. Predstavljena so Tršarjeva razmišljanja, ki jih je med drugim zaznamoval vpliv Božidarja Jakca, študij na novoustanovljeni ljubljanski akademiji upodabljajočih umetnosti, socialistični realizem in vpliv evropskih pionirjev modernistične umetnosti. V nalogi so dnevniški zapisi soočeni s sočasnimi slikarskimi, risarskimi in grafičnimi deli, ki ilustrirajo likovne težnje in poskuse mladega slikarja. Medsebojni vpliv teoretičnega in umetniškega ustvarjanja je bil zelo močan. Tršarjeve dnevniške izpovedi odražajo neposredno osebno izkušnjo slikarja, ki je preizpraševal lastno slikarsko delo in se soočal s potrebo, da v besedi predstavi zakonitosti likovnega jezika, ki so sicer skrite gledalcu in publiki. Avtorica magistrske naloge Tršarjeva neprestana razmišljanja o umetnosti, ki se kasneje kažejo v obsežni kritiški dejavnosti, razume kot nujno pomembno dodano vrednost likovne ustvarjalnosti.
Keywords:	Marijan Tršar, dnevniški zapisi, socialistični realizem, Skupina 53, Akademija za upodabljajočo umetnost, slovenska povojna likovna umetnost, kulturni molk, nadzor umetnikov
Place of publishing:	Maribor
Publisher:	[T. Šavorič]
Year of publishing:	2017
PID:	20.500.12556/DKUM-65324
UDC:	75.071.1Tršar M.(043.2)
COBISS.SI-ID:	23082248
NUK URN:	URN:SI:UM:DK:K9GAOSKP
Publication date in DKUM:	08.05.2017
Views:	2587
Downloads:	270
Metadata:
Categories:	FF
:	Copy citation

Average score:	(0 votes)
Your score:	Voting is allowed only for logged in users.
Share:

Hover the mouse pointer over a document title to show the abstract or click on the title to get all document metadata.

Secondary language

Language:	English
Title:	Artist and art historian Marijan Tršar (1922-2010)
Abstract:	The subject of the present master’s thesis is the artist and art historian Marijan Tršar (1922–2010) who was, due to his infringement of the cultural silence, accused of treason by the government. Marijan Tršar was breaching the cultural silence by illustrating Balantič’s Sonetni venec (A Wreath of Sonnets) and the Home Guard’s publications, and thus faced disapproval by the OF (the Liberation Front of the Slovene Nation) during the war period. Marijan Tršar studied painting with the first generation of students at Ljubljana’s Academy of Fine Arts. This generation, which was raised in traditional realism, then switched to the new artistic language under the influence of the Western European Art. He was one of the founders of the first modernist Group 53, a member of Ljubljana Graphic Arts School and an important copyist of the medieval frescoes. He has greatly influenced Slovene area of the second half of the 20th century with his art historical texts, art criticism and educational activity (he was a long-time professor at the Academy of Fine Arts in Ljubljana). He took part in more than 200 exhibitions and wrote over 20 books among which, the first in-depth study about Wassily Kandinsky. Master’s thesis is divided into two parts. The first part presents the state of research, author’s biography and his artistic and literary work. The state of research on Marijan Tršar offers a series of cues and possible directions for further research. It has been shown that Tršar was and still is receiving little attention from the Art History field; therefore, when examining the artist's life and work we are facing the lack of necessary evaluation and social contextualisation. In the thesis, the artist`s biography is presented through data obtained from existing literature about the artist, complemented with testimonies from Tršar’s family and with documents, which are kept in various national institutions and the artist's legacy. In chapters on theoretical and artistic creations, Tršar’s work and his reception are presented; furthermore, these chapters focus on showing the artist’s poor recognition and his exclusion from post-war art happening in Slovenia (until 1991). The second part of the thesis analyses Tršar’s art in the light of his diary entries that were written between 1947 and 1959. It presents Tršar’s reflections, which were marked by the impact of Božidar Jakac; studying at the newly established Academy of Fine Arts in Ljubljana; socialist realism and the influence of European pioneers of modernist art. In the thesis, the diary entries are confronted with concurrent painting, drawing and graphic works which illustrate the artistic aspirations and experimentations of the young painter. The interaction between theoretical and artistic creation was very strong. Tršar’s diary confessions reflect a direct personal experience of the painter, who was questioning his own artistic work, and faced the need to present the characteristics of the artistic expression in words, which were usually hidden from the spectator and the audience. The author of the master's thesis sees Tršar’s constant contemplations about art, which are later reflected in extensive critical activities, as vital to the added value of the artistic creativity.
Keywords:	Marijan Tršar, diary entries, socialist realism, Group 53, Academy of Fine Arts, Slovene post-war fine art, cultural silence, supervision of artists.

Comments

Leave comment

You must log in to leave a comment.

Comments (0)

0 - 0 / 0

There are no comments!

Back