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Jovan Bijelić, PREDEO IZ EČKE, 70x80cm, ulje na lesonitu
EČKA LANDSCAPE, 70x80cm, oil on hardboard
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Peđa Milosavljević, PTICE, 1956, 89x116, ulje na platnu
BIRDS, 1956, 89x116, oil on canvas
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Milan Konjović, KAMARE NA KRAJU SELA, 1956, 45x80cm,
ulje na šper-ploči
PILES AT THE AND OF THE VILLAGE, 1956, 45x80cm,
oil on plywood
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Bogomil Karlavaris, ULICA U EČKI, 1960, 73x100cm, ulje na platnu
STREET IN EČKA, 1960, 73x100cm, oil on canvas
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Stojan Ćelić, SEVERNI DEO GRADA, 1958, 69x85cm,
ulje na platnu
NORTH PART OF THE TOWN, 1958, 69x85cm, oil on canvas
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Milenko Šerban, ŽENA SA KNJIGOM, 62x44cm, ulje na platnu
WOMAN WITH THE BOOK, 62x44cm, oil on canvas
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Olga Jančić, FIGURE, 50x45x24cm, drvo
FIGURES, 50x45x24cm, wood |
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231 strana, format: 30x23,5cm, ilustrovano, tvrd povez, jezik: srpski i engleski
Izdavač: Savremena galerija Zrenjanin
Za izdavača: Radovan Živankić
Zrenjanin, 2009.
Tekst: Bela Duranci, Sava Stepanov
Kataloški podaci: Sunčica Lambić, Dragana Mihaljević, Olja Salma
Dizajn korice: Marijan Baroš
Prevod teksta: Nikola Nešković
Prelom i kompjuterska priprema: Art concept
Bela Duranci
UMETNIČKA KOLONIJA EČKA (1956-2006)
Pet decenija ili jedno stoleće, više ili manje, bilo pa prošlo. Zaborav, oduvek, pogoduje kratkoj pameti. Iluzija da od nas počinje svet hrani sujetu skorojevića u svim oblastima života. Naravno, tako je i u likovnim umetnostima. Ečka je, naime, treći pokušaj da ambiciozna varoš, zvana Veliki Bečkerek, danas Zrenjanin, dobije vlastitu umetničku koloniju. Posrećilo se napokon! Ugledni istoričar umetnosti, Arnold Hauzer (Hauser Arnold,1892-1978), rekao je svojedobno: „Svaka kultura ima svoje vlastite pretke, svoje vlastite junake; do svake vodi drugi put,i to put koji postaje vidljiv tek onda kad je postignut cilj.“Tako i nastojanja da se osnuje umetnička kolonija, moramo smestiti u tri posve različite konstelacije: jedinstvenu ineponovljivu „prekretnicu vekova“ (XIX/XX); potom razdoblje između dva svetska rata; na kraju, pedesete godine dvadesetog veka.
Prekretnica vekova
Veliki Bečkerek je sedište Torontalske županije. Ovde je živeo i radio Konstantin Danil, najznačajniji stvaralac srpskog bidermajer slikarstva. Preminuo je 25. maja 1873. godine. Tada je već, fotograf Oldal (Oldal István,1829-1916), došljak iz Segedina, „vlasnik najstarijeg fotografskog ateljea“* u nekadašnjem kulturnom prostoru, sada bivše Jugoslavije, snimio „Vršidbu u Padeju, 1859-1862, parnjačom“ potvrđujući visok nivo poljoprivrede u Banatu. Isto tako, njegov „Dečak sa šeširom, 187(?)“, sa knjigom u ruci, nedvosmisleno, da naslutiti ambicije građanskog staleža. Možda se Danil i Oldal, zaista, uzajamno nisu razumeli, iako su podjednako govorili tri jezika i jedan i drugi. Prvi, bio je najznačajniji, ne samo banatski portretista koji je prezirao sve te novotarije slikanja i „portretiranja“. Drugi je, doduše „svetlopisac“, tada već sigurno „video“ fotografskim okom, prepoznatljivosti i mogućnosti nastupajućeg doba.
Takođe došljak, Antal Štrejtman, od 1884. vodi tkačku školu. Njegov kreativni angažman će odigrati istorijsku ulogu na vojvođanskoj likovnoj sceni, prvenstveno u tapiseriji. On je ćilimarstvo Srba i tkanice drugih etničkih skupina u celom banatskom („torontalskom“) prostoru, smatrao ishodištem. Devojkama i ženama sa sela, lično je predavao kapitalne predmete: crtanje kartona za tkanice, odnosno poznavanje boja. Zanosom rasnog „dizajnera“ je svoje učenice iz tradicionalnog narodnog znalaštva prevodio u visoko kvalifikovane tkalje moderne primenjene umetnosti.
Ubrzo, posle osnivanja 1894. godine, „Torontalska fabrika tepiha“, čiji je spiritus movens svestrani umetnik Štrejtman, počela je sticati ugled diplomama i medaljama osvajanim na međunarodnim izložbama, izrađujući tapiserije po kartonima poznatih umetnika. Jedan od njih, Pal Horti (Horti Pál, 1865- 1907), slikar i primenjeni umetnik, prvi je mađarski „dizajner“. Nagradama, Svetske izložbe u Parizu 1900, odnosno u Torinu (Gran pri) 1902. godine, međunarodnim ugledom će „stvaralačku klimu“ kao i postignute uspehe Bečkereka, pre i posle prekretnice, dodatno potvrditi.
Jedan ovdašnji mladić, student u Parizu, 1906, kao dopisnik peštanskih novina, redovno šalje svoje priloge. Tako će 31.oktobra, među prvima ovde, u svom tekstu naslovljenom Paul Cezanne, pored ostalog napisati: „Koliko je ljudi još i danas, načisto sa značajem događaja, da je jedan umetnik imenom Sezan živeo i umro?“* Svakako, znao je to on, Lajoš Filep (Fülep Lajos,1885-1970), nedavno, 1902. godine, još maturant bečkerečke gimnazije, đak omiljenog profesora likovnog vaspitanja Štrejtmana.
Antal Štrejtman (Streitmann Antal, 1850-1918), bio je jedinstvena ličnost: slikar, dizajner, profesor, etnolog, „kulturtreger” u pravom i najlepšem smislu te reči. Među prvim pedagozima u granicama tadašnje države, baš on proučava crteže dece „nastale kroz stvaralačku igru”. Tako je Štrejtman kao prvi u državi, 1903. godine, priredio izložbu dečjeg crteža! Naredne godine, održao je zapaženo predavanje u Budimpešti, namenjeno stručnjacima, pedagozima. O pionirskoj delatnosti u likovnom obrazovanju, svoga profesora, pisao je u lokalnoj štampi Lajoš Filep već juna 1902. godine.* Kao Štrejtmanov đak, maturirao je i Todor Manojlović (1883- 1968), pesnik, likovni kritičar, profesor istorije umetnosti na Umetničkoj akademiji u Beogradu. Njegov portret naslikao je Reže Novak (Novák Rezső,1883-1909) prijatelj, takođe Štrejtmanov maturant, slikar i profesor u Temišvaru, koji je ostvarenjem: „Portret Toše M.” oko 1906. godine, potvrdio da je njegovom ranom smrću, umetnost u Vojvodini, na žalost, izgubila autentičnog slikara jedinstvene prekretnice vekova. U Velikom Bečkereku, danas Zrenjaninu, uvodnikom lista „Torontál”, 29. marta 1899. godine, potvrđena je nesvakidašnja ambicija varoši na Begeju!
„Poslednjih dana takva je ideja ugledala sveta da bi se u Velikom Bečkereku mogla osnovati umetnička kolonija, po formi slična onoj u Nađbanji“ – na početku već - piše autor, ukazujući na činjenicu da je „županija u godini milenijumskoj, dala izgraditi atelje za slikara Pala Vagoa“.** Na kraju, dr Vincehidi (Vinczehidy Ernő), podvlači: „Slavom male Nađbanje cela država odjekuje. Isto to može sebi zavrediti Torontal i Veliki Bečkerek.“
Uzgred, autor je i svedok kome se može verovati! Iznosi kao primer izložbu: „ Svi smo videli da odjednom umetnost interesuje svakoga, društvo se oduševilo, na vernisažu ljud su se tiskali jedni preko drugih. Treba to Velikom Bečkereku. Sedište županije je u svakom slučaju civilizovano mesto.(...) Imamo publiku koja kupuje. Na ovoj izložbi, koja je jedva dve nedelje trajala, od trideset izloženih odkupljeno je dvadeset slika. Potvrđuje to da je umetnost ovde poštovana, prema tome postoje svi činioci pozvani da sedište naše županije, malopomalo, preobraze u malu umetničku koloniju. Jer, čarolija je slika što predamnom lebdi u maglovitom prostranstvu...Zamišljam tako, da će nam posle ovog skromnog početka nastavak biti lepši od lepšeg. Posle prvog ateljea podići će se drugi a zatim ostali. Videćemo u Bečkereku mladu gardu umetnika, koji će potom sjajnim delima postati trajna imena istorije umetnosti, ukazujući mladalačkim ostvarenjima ovamo. Tu će cvetati, jedan po jedan cvet umetnosti, nastajati jedno po jedno ime kojim se diči naše slikarstvo.”
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ENGLISH VERSION
ART COLONY EČKA (1956-2006)
Five decades or one century has, more or less, been and gone. Short mind has always favored oblivion. Illusion that the world begins with us, feeds the pride of snobs in all areas of life. This is the case with visual arts as well. Art Colony Ečka is a third try of an ambitious community called “Veliki Bečkerek”, today known as Zrenjanin, to establish its own art colony. They finally got it! Renown art historian, Arnold Hauzer (Hauser Arnold,1892- 1978), said : “Each culture has its own predecessors, its own heroes; each takes a different path, the path that becomes visible only when the goal has been achieved.“ Ambitions to establish art colony must be examined in three, completely different periods: unique “ turn of the centuries” (XIX/
XX); then “ period between two world wars”; and finally ,”fifties of the twentieth century”.
Turn of the centuries
„Veliki Bečkerek” was the seat of Torontal parish. This was where Konstantin Danil the most significant author of the Serbian Bydermayer style of painting lived and worked. He passed away on May 25th, 1873. This was already when photographer Oldal (Oldal István, 1829-1916), immigrant from Segedin, the owner of the „oldest photography atelier”* on the cultural territory of now former Yugoslavia, photographed „Vršidba u Padeju, 1859-1862“, with steam engine, recording advanced level of agricultural progress in Banat. His „Dečak sa šeširom, (Boy with hat) from 187(?) “ with the book in his hands, clearly indicated the ambitions of the urban class. Perhaps Danil and Oldal did not mutually understand although they both spoke three languages. First one was the most significant portrait painter in Banat who despised all those „newfangled“ pictures and portraits. Second one, although a
„lightscribe“, had most certainly „seen“, with photographic eye uniqueness and opportunities of the coming age.
Antal Streitmann, also an immigrant, run weaving school from 1884. His creative participation would play a historical role on Vojvodina’s visual art scene, mainly in tapestry. He considered gobelins manufactured by Serbs and other ethnic groups in the entire Banat („Torontal“) region to be unique and original. He personally delivered significant objects to women and girls in villages: drawing cards for weaving, or color concepts. With his zeal of a true „designer“, he transformed his traditional folk art students into highly qualified creators of the modern applied arts.
Shortly after opening in 1894, „Torontalska fabrika tepiha“ („Torontal Carpet Factory“), whose spiritus movens was versatile artist Streitmann, began to receive recognition at the international exhibitions, with tapestries created based on works of recognized artists. One of them, Pal Horti (Horti Pál,1865-1907), painter and applied artist, is the first Hungarian „designer“. Awards won in 1900 Paris Fair and 1902 Torino Fair (Grand Prix) further solidified „creative environment“of Bečkerek before and after the turn of the century.
One local young man, student in Paris in 1906, correspondent of Pesta’s newspapers, regularly sent his contributions. On October 31st, he would be one of the first ones to mention in his text, titled Paul Cezanne: “How many people today understands the significance of the fact that an artist by the name of Cezanne lived and died?”* Obviously he knew, Lajos Fülep (Fülep Lajos, 1885-1970), 1902 graduate of Bečkerek gymnasium, student of the favorite art teacher Streitmann.
Antal Streitmann (Streitmann Antal,1850-1918), was a unique personality: painter, designer, ethnolog, „kulturtraeger” in the best and the truest sense of that term. He was one of the first pedagogues inside the borders of that country to examine children’s drawings „made through creative play”. This was how Antal Streitmann in 1903 was the first in the country to organize exhibition of the children’s drawings. The following year he held a significant lecture in Budapest for experts and pedagogues. Lajos Fülep reported in the local newspapers already in June of 1902, about the pioneering activities of his professor in visual art education.
Another one of Streitmann’s graduate students was Todor Manojlovic (1883-1968), poet, art critic and professor of art history at the Art Academy in Belgrade. His portrait was painted by a friend Reže Novak(Novák Rezső,1883-1909) also one of Streitmann’s graduates, painter and professor in Timisoara. His work: „Portret Toše M.” of cca. 1906, confirmed that his early death robbed Vojvodina of one of its authentic artists from the turn of the centuries.
In Veliki Bečkerek, today known as Zrenjanin, editorial of the „Torontál”, newspapers from March 29th of 1899, confirmed unique ambition of this city on Begej! „In recent days, an idea for creation of the art colony has been born, similar in form to the one in Nađbanja“ – wrote the author in the beginning pointing out the fact that „parish has built an atelier for the painter Pal Vagoa in the year of the millennium.“
Finally Dr. Vinczehidy Ernő, stressed: „Fame of small Nađbanja resonates through out the whole country. Same can be accomplished by Torontal and Veliki Bečkerek. “
Author was also a witness that could be trusted! He used the exhibition as an example: „ We all suddenly saw that art interests everyone, society was ecstatic, people were crowding on top of each other at vernissage. Veliki Bečkerek needs that. Seat of the parish is definitely a civilized community. (...) We have a buying public. During the two weeks that this exhibit lasted, twenty out of thirty paintings were sold. This confirms that the art is appreciated here and that the conditions to slowly transform the seat of our parish into a small art colony exist.Because the painting is the magic that levitates before me ina misty expanse... I imagine that after this modest beginning continuation will be better and better. After the first atelier, second will be created and so on. We will see in Bečkerek new generation of young artists, which will with their works, become permanent names in art history, promoting us with their youthful works. One by one, the beautiful flowers of art will bloom, one by one, proud names of our painting will be created“.
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