Izložba Murtić 100, Dom HDLU, 25.5.-18.7.2021. by HDLU

SADRŽAJ / CONTENT

TOMISLAV BUNTAK UVOD / INTRODUCTION

IZLOŽBA MURTIĆ 100 / EXHIBITION MURTIĆ 100 MEŠTROVIĆEV PAVILJON / DOM HDLU // MEŠTROVIĆ PAVILION / HOME OF HDLU

BRANKO FRANCESCHI PREDGOVOR / PREFACE

GALERIJA BAČVA / BAČVA GALLERY

GALERIJA PM / PM GALLERY

GALERIJA PRSTEN / PRSTEN GALLERY

131

NOVA APSTRAKCIJA / NEW ABSTRACTION LAUBA - KUĆA ZA LJUDE I UMJETNOST LAUBA - THE HOUSE FOR PEOPLE AND ART

171

GESTA I SLOBODA / GESTURE AND FREEDOM MEĐUNARODNI SIMPOZIJ / INTERNATIONAL SYMPOSIUM

183

FONDACIJA MURTIĆ / MURTIĆ FOUNDATION

187

POPRATNI PROGRAM / SIDE PROGRAM

188

REINTERPRETACIJA EDE MURTIĆA KROZ STREET ART / REINTERPRETATION OF EDO MURTIĆ THROUGH STREET ART

191

LIKOVNE RADIONICE / ART WORKSHOPS

197

SURADNJA S TIFLOLOŠKIM MUZEJOM U ZAGREBU / COLLABORATION WITH THE TYPHLOLOGICAL MUSEUM IN ZAGREB

198

PROJEKCIJA RADOVA EDE MURTIĆA / PROJECTION OF WORKS BY EDO MURTIĆ

202

EDO MURTIĆ BIOGRAFIJA / BIOGRAPHY

210

IMPRESUM / IMPRESSUM

Zadovoljstvo i veliki izazov bilo je organizirati izložbu i popratna događanja povodom obilježavanja 100 godina od rođenja velikog hrvatskog slikara Ede Murtića. Velik broj suradnika, obitelj Murtić, velik broj poslovnih partnera, sponzora i donatora uspio je u sinergiji predstaviti i podsjetiti na nezaobilaznu umjetničku, ljudsku i političku osobnost, koja je obilježila razvoj suvremene umjetnosti te dala identitet hrvatskoj likovnoj sceni i dala značaj umjetniku kao pojedincu i nositelju promjena, kako u bivšoj Jugoslaviji tako i unutar razvoja europske likovne umjetnosti u vremenu hladnog rata. Danas sve izgleda jednostavno i dohvatljivo. Informacije kolaju neshvatljivom brzinom te nam se njihova dostupnost čini normalnim pravom svakog pojedinca. U doba umjetničkog sazrijevanja Ede Murtića nije se lako dolazilo do informacija, a kad je do njih došao, Edo Murtić se hrabro i odlučno usudio pomaknuti granice umjetničke stvarnosti i vizije. Murtić je svakako odgovorio na pitanje svoga vremena svojim djelovanjem. Između partizana i novih umjetničkih izvora tada “kapitalističkog Zapada” bila je igra hodanja na žici, a on je svladao umijeće balansiranja u takvom vremenu kad su u zatvoru ili na Golom otoku lako završavali, kako politički protivnici tako i pripadnici iste političke opcije. Lako je reći da je uživao podobnosti sustava kojemu je bio podoban, no za razliku od ostalih umjetnika koji su vjerovali ili se oslanjali na prošli sustav, nije prihvatio ograničenja malog prostora i hrabro je svoju viziju nametnuo okruženju. Veliki formati, otvorene boje, široki potezi, miris slobode, reprezentativnost istupa i predstavljanja pomaknuli su granice pristupa i ambicije za mlade generacije likovnih umjetnika i umjetnica. Miris širine svijeta i takvih mogućnosti za umjetničku realizaciju svojih snova sigurno je dao vjetar u leđa mnogim generacijama, a u sivom socijalističkom društvu nagovijestio raskoš boja života i nadu. Možda je i zabavno da je propaganda tadašnjeg SAD-a koristila svoje slikare apstrakcije u kampanji protiv komunizma, a kod nas je takav izraz postao standard drukčijeg tipa socijalističke umjetnosti upravo zahvaljujući Murtiću. Naravno da je u doba hladnog rata to izgledalo kao neka vrsta čuda, bez obzira na to što smo svjesni političkih manipulacija u propagandi s obje strane. Od mog ranog djetinjstva ime Edo Murtić je općepriznata i općepoznata mjera za iznimnu umjetničku karijeru i uspješnost, neovisno o općoj generacijskoj poziciji rođenih 1970.-tih ili pak nas koji smo vezani uz likovnu umjetnost. Murtić je kao općepoznato slikarsko ime uspostavljao nove standarde poimanja mjere, značenja i kvalitete u okruženju socijalističkog društva i nametnuo se u mijenama demokratskih previranja. Njegovo slikarsko djelo i opće umjetničko djelovanje bilo je oznaka za suvremenu umjetničku produkciju. Spretan, uvjerljiv, talentiran, vješt, hrabar i svjestan komunikacije s okruženjem ili okuženju usprkos. On je svakako javnosti osvijestio činjenicu da, osim nesretnog umjetnika na margini društva, postoji uspješan i talentiran umjetnik koji mu gradi identitet. Za umjetničko i slikarsko nasljeđe Murtić znači nevjerojatnu energiju te predstavlja mjeru za zaljubljenost u magiju likovne umjetnosti i jezika. Predstavlja lakoću stvaranja punu strasti i uvjerenja, umjetnika - slikara koji sanja slikarstvo i čini ga, svojom umjetničkom osobnošću, važnim i nezaobilaznim. On je umjetnik koji je integrirao suvremenu umjetnost u nesklono društveno okruženje, vizualno ga obilježio te nepovratno promijenio. Omogućio je stvaranje identiteta i svijesti da je umjetnik onaj koji pomiče granice i otvara svjetove aktivno mijenjajući svoju sredinu. Od Murtića svaka generacija novih likovnih umjetnika i umjetnica treba učiti kako se boriti i razvijati svoj umjetnički izraz. Može se reći odličan case study kako se opstaje i postaje velik i odličan umjetnik te kako se stvara vizualni identitet u društvu, u vremenu proširenog značenja pojma države, baš kao i danas. Naravno, postavlja se pitanje kako bi u sadašnjem, izrazito širokom, kontekstu državne zajednice EU, da ju je doživio u punoj snazi i stvaralačkoj energiji, s pozicije umjetnika koji dolazi iz manje države članice, nametnuo svoj umjetnički identitet i svjetonazor. Vjerujem da bi pronašao svoje načine.

TOMISLAV BUNTAK

It was a pleasure and a great challenge to organize an exhibition and accompanying events to mark the 100th anniversary of the birth of the great Croatian painter Edo Murtić. A large number of associates, the Murtić family, a large number of business partners, sponsors, and donors managed to present and remind of the inevitable artistic, human, and political personality, which marked and gave identity to the Croatian art scene in complete synergy. A personality that marked the development of contemporary art and gave importance to the artist as an individual and was the bearer of change, both in the former Yugoslavia and within the development of European fine arts during the Cold War. Today, everything seems simple and accessible. Information circulate at an incomprehensible speed, and its availability seems to us a normal right of every individual. At the time of Edo Murtić’s artistic maturation, information was not easy to obtain, and when he came across it, Edo Murtić bravely and decisively dared to push the boundaries of artistic reality and vision. Murtić certainly answered the question of his time with his actions. Between the partisans and the new artistic sources of the then “capitalist West” was a slippery slope, and he mastered the art of balancing at a time when both political opponents and members of the same political option ended up in prison or on Goli Otok. It is easy to say that he enjoyed his suitability to the system, but unlike other artists who believed in or relied on the past system, he did not accept the limitations of small space and boldly imposed his vision on the surroundings. Large formats, open colors, wide strokes, the smell of freedom, the representativeness of his appearances and presentations have pushed the boundaries of approach and ambition for the young generations of artists. The smell of the width of the world and such possibilities for the artistic realization of one’s dreams certainly became wind beneath the wings for many generations, and in the gray socialist society hinted at the splendor of a colorful life and hope. Perhaps it is amusing that the propaganda of the then USA used its abstract painters in the campaign against communism, and in our country, such an expression became the standard of a different type of socialist art, thanks to Murtić. Of course, during the Cold War, this seemed like a certain kind of miracle, although we are aware of the political manipulations in the propaganda on both sides. Since my early childhood, the name Edo Murtić has been a widely recognized and well-known measure for an exceptional artistic career and success, regardless of general generational position of those born in the 1970s or us who are related to the fine arts. As a well-known artistic name, Murtić established new standards of understanding the measure, meaning, and quality in the socialist environment and imposed himself in the changes during democratic turmoil. His painting and general art work were a label for contemporary art production. He was dexterous, persuasive, talented, skilled, brave, and aware of communication with the surroundings, or in spite of it. He certainly made the public aware of the fact that, apart from the unfortunate artist on the margins of society, there is a successful and talented one who builds its identity. For the artistic and painting heritage, Murtić means incredible energy and is a measure for falling in love with the magic of fine arts and language. He represents the ease of creation full of passion and belief, an artist - a painter who dreams of painting and makes it, with his artistic personality, important and unavoidable. He is an artist who has integrated contemporary art into an unfriendly social environment, visually marked it, and irreversibly changed it. He has enabled the creation of identity and awareness that the artist is the one who pushes boundaries and opens worlds by actively changing his environment. From Murtić, every generation of new artists should learn how to fight and develop their artistic expression. It could be said it´s an excellent case study of how to survive and become an excellent artist, one of the great, and how to create a visual identity in society, in a time of the expanded meaning of the notion of country, as it is now as well. Of course, the question arises as to how, in the current, extremely broad context of the EU state union, if he had experienced it in full force and creative energy, from the position of an artist coming from a smaller member state, would he impose his artistic identity and worldview. I believe he would find his way.

IZLOŽBA MURTIĆ 100 / EXHIBITION MURTIĆ 100

MEŠTROVIĆEV PAVILJON / DOM HDLU // MEŠTROVIĆ PAVILION / HOME OF HDLU

Obilježavanje stogodišnjice rođenja Ede Murtića pred organizatore i kustosa postavlja posebno težak i izazovan zadatak. Murtić je jedan od onih toliko poznatih umjetnika za koje pretpostavljamo da su dio opće kulture, odnosno umjetnika čiji je opus dobro obrađen i dostatno interpretiran. Za vrijeme života, u skladu sa svojom vehementnom umjetničkom produkcijom, Murtić je održao mnogobrojne izložbe, od kojih i više retrospektivnih. Treba istaknuti i da se zanimanje galerija i muzeja za priređivanje njegovih izložbi, zahvaljujući koliko njegovoj reputaciji jednog od najvažnijih umjetnika i najvećih slikara druge polovice dvadesetog stoljeća, toliko i neprekinutom interesu publike za njegov rad, nije smanjilo ni nakon njegove smrti 2005. godine. Murtić dijeli poziciju s onim malobrojnim umjetnicima čije se slava i reputacija zasnivaju podjednako na umjetničkom radu i na osobnoj karizmi, što ih uz umjetnički značaj čini i nezaobilaznim društvenim akterima vlastite epohe. Umjetnici su to čija se slava ostvaruje u naponu njihove kreativne snage i potom ne blijedi niti onda kad više nisu prisutni. Uz uvažavanje ovih faktora mora se odgovoriti i na činjenicu da kod publike obilježavanje stogodišnjice budi očekivanja prema retrospektivnom prikazu umjetnikovog rada. Ovaj tradicionalni, u suštini usko znanstveni pristup, nakon više ambicioznih pregleda Murtićevog stvaralaštva, za ovu nam se prigodu učinio pomalo banalan i odveć školski. Obitelj Murtić, HDLU kao organizator i ja kao kustos željeli smo kardinalnu obljetnicu obilježiti na slojevitiji način kako bismo uz širi program kolateralnih događanja, izložbi i znanstvenog simpozija, na središnjoj izložbi publici omogućili onako snažan vizualni efekt i emotivnu reakciju kakve su pri premijernom prikazivanju uvijek izazivale Murtićeve ekspresivne kompozicije. Želja nam je bila i da na primjeru Murtićevog opusa pokažemo kako je i danas, nasuprot supostojanju mnogo zasićenijih medija komunikacije vizualnog sadržaja, slikarstvo spektakularan medij. Konačnom razrješenju ovih dilema o sadržaju i formatu izložbe uvelike je pridonio izabrani izloženi prostor. Uvjerljivost svake izložbe u mnogome zavisi o funkcionalnoj korelaciji, o dobroj ugođenosti izabranih umjetnina s prostorom izlaganja. Meštrovićev paviljon koji je zahvaljujući inicijativi samog Hrvatskog društva likovnih umjetnika na posljetku izabran za prostor središnje izložbe projekta, najgrandiozniji je od svih lijepih zagrebačkih izložbenih prostora. Prostorna dispozicija njegovih nesvakidašnjih kružnih dvorana, otvorenost sveobuhvatnom pogledu koji u središnjim galerijama u trenutku upije sva izložena djela, njihova povezanost po visini u središnjoj, dvoetažnoj vertikali paviljona ispod Kavurićeve kupole, visina zidova, kružno nizanje galerija na prvom katu, uz diskretni, ali sveprisutan energetski naboj geometrijske strukture prostora, omogućili su entuzijastični pristup predstavljanju Murtićeve obimne ostavštine. Konačno, svojim su se djelima susrela dva velikana naše umjetnosti dvadesetog stoljeća i potvrdila da se, jednostavno rečeno, velika umjetnička ostvarenja bez obzira na vrijeme njihovog nastanka ili formalne odrednice njihovog stila, uvijek upotpunjuju i dobro međusobno podržavaju. Izložba Murtić 100, iako obuhvaća radove iz svih perioda umjetnikovog stvaralaštva i predstavlja sve likovne discipline i tehnike u kojima je stvarao, uključujući i multimedijski prikaz njegovih radova u javnom prostoru i institucijama, crkvama i hotelima, uz dokumentarne fotografije umjetnika, nema ambiciju ultimativne retrospektive. Velebna arhitektura Meštrovićevog paviljona ipak nema dovoljnu kvadraturu da se u njoj predstavi cjelokupna ostavština jednog od naših najproduktivnijih umjetnika. Stoga smo se, u želji da u kardinalnoj obljetnici podsjetimo na ono što nam predstavljaju Murtić i njegovo djelo, odlučili za ekspresiv12

BRANKO FRANCESCHI

Celebrating the centenary of Edo Murtić’s birth presents the organizers and curators with a particularly difficult and challenging task. Murtić is one of the artists of such a fame that we readily assume they must be part of the general culture, that is, artists whose oeuvre is well processed and sufficiently interpreted. During his life, in accordance with his vehement artistic production, Murtić held numerous exhibitions, including several retrospective ones. It should also be noted that the interest of galleries and museums in organizing exhibitions of his works did not diminish after his passing in 2005, thanks to his reputation as one of the most important Croatian artists and greatest painters of the second half of the 20th century, as well as the continuous interest of the public. Murtić shares this position with those few artists whose fame and reputation are based equally on their artistic work and personal charisma, which, in addition to their artistic significance, also makes them the significant social contributors of their own epoch. They are the artists who become famous at height of their creative power and that fame never fades away, even when they are no longer present among us. In addition to taking these factors into account, one must also respond to the fact that celebration of the centenary raises certain expectations at the public regarding a retrospective presentation of the artist’s work. After several ambitious reviews of Murtić’s work, this traditional, essentially strictly scientific approach, we found a bit banal and too scholastic for this occasion. The Murtić family, HDLU as the organiser and I as the curator of the exhibition wanted to celebrate this cardinal anniversary in a more complex way, so that along attending an extensive programme consisting of collateral events, exhibitions and scientific symposium, the audience would also be enabled at the central exhibition to experience powerful visual effects and emotional reactions as those that Murtić’s expressive compositions always provoked at their premiers. We wished to show, through Murtić’s oeuvre as an example, that even today, in contrast to the coexistence of much more saturated media of communication of visual content, painting is a spectacular medium. The final resolution of dilemmas about the content and format of the exhibition was greatly affected by the choice of the exhibition space. The persuasiveness of every exhibition largely depends on functional correlation and fine adjustments between the selected art works and chosen exhibition space. Meštrović’s pavilion, which was eventually selected as the central exhibition space for this project thanks to the initiative of the Croatian Society of Fine Artists, is the grandest of all beautiful exhibition spaces in Zagreb. Spatial disposition of its unusual circular halls, the openness to the all-encompassing view of all works exhibited in central galleries, and how they are linked vertically by the pavilion’s two-storey central shaft, positioned below the dome designed by Zvonimir Kavurić, the height of its walls, circular array of galleries on the first floor, and the discreet, but omnipresent energetic charge of its geometric structure, all of that was in service of an enthusiastic approach to the presentation of Murtić’s extensive legacy. Finally, the two greats of the Croatian 20th century art have met through their respective works and thus confirmed that, simply put, great artistic achievements, regardless of the time of their creation or the formal determinants of their style, always complement and support each other well. The exhibition Murtić 100 - although it includes works from all periods of Murtić’s art work and presents all art disciplines and techniques in which he created, including a multimedia presentation of his works executed for public spaces and institutions, churches and hotels, with documentary photographs of the artist – 13

nu prezentaciju ključnih likovnih i sadržajnih specifičnosti Murtićevog opusa. Kad umjetnika više nema, kad postupno odlaze i svjedoci njegovog dnevnog, radnog i javnog habitusa, umjetnička djela i njihova recepcija preostaju kao jedini pouzdani elementi slagalice koja u konačnici određuje izgled i format svog autora. Na istaknutim se ličnostima prelamaju silnice vremena, a radoznalost koju u nama nadahnjuju često isticani formalni aspekti Murtićeve umjetnosti - energija geste i boje - otvara nas prema razumijevanju umjetnika i vremena s kojim je neraskidivo vezan. Ne možemo se jednostavno zaustaviti na fenomenu Murtićeve prepoznatljive geste i kolorita, a da se ne zapitamo zašto je, na primjer, svakih pet do deset godina mijenjao slikarsku paradigmu kojom je ostvario uspjeh, ne vodeći računa o egzistencijalnom riziku kojeg je takva odluka donosila jednom slobodnom stvaratelju. I zašto uopće umjetnik Murtićevog kalibra nije predavao na jednoj od državnih akademija ili škola, budući da mu ostvarivanje sinekure u bilo kojem tipu državne institucije ne bi predstavljalo nikakav problem? Ono što povezuje formalne, sadržajne i socijalne aspekte ovih odluka poimanje je slobode koju je Murtić intuitivno osjećao kao nezamjenljiv temelj umjetničkog stvaralaštva u njegovom formalnom i društvenom vidu. Stoga se taj mladi umjetnik kao sudionik NOB-a, antifašist i intelektualac ljevičar 1945. godine, u razdoblju agitpropa i kolektivizacije odlučio za sasvim suprotnu društvenu umjetničku poziciju, onu krajnjeg individualiteta: profesiju slobodnog umjetnika. Ova hrabra, tada društveno nepopularna, čak i provokativna odluka od koje i danas mnogi pragmatično zaziru, opstojnost umjetnikove svakodnevne egzistencije svodi na rezultate osobnog talenta i zanatske umješnosti, alfu i omegu uspješne umjetničke karijere, na koje se oslanjala i Murtićeva nesvakidašnja poslovna poduzetnost. O kakvom je prosedeu riječ možemo razaznati iz geneze prvog od njegovih ključnih ciklusa, glasovitog Doživljaja Amerike kojeg je stvarao mahom u SAD-u 1951. i 1952., a domaćoj javnosti predstavio 1953. godine. Do svog prvog odlaska na sjevernoamerički kontinent koji će rezultirati ciklusom i prvom drastičnom promjenom stila slikarske izvedbe, Murtić je već afirmirani autor, poznat po svojim socijalno osviještenim crtežima i prikazima ratnih stradanja, a nadasve po ilustracijama poeme Jama Ivana Gorana Kovačića u koautorstvu sa Zlatkom Pricom koje se smatraju vrhuncem partizanske likovne produkcije. Kao slikar Murtić djeluje izvan postulata nametane estetike socrealizma stvarajući kompozicije širokim pastoznim nanosima rasvijetljene game boja u najboljoj europskoj tradiciji lirskog kolorističkog realizma. Murtićeve kompozicije odišu radošću stvaralač-

Brodogradilište u Šibeniku / Šibenik Shipyard, 1944. Highway, 1952. © Nacionalni muzej moderne umjetnosti / National Museum of Modern Art

Nebo nad New Yorkom / Sky above New York, 1952. © Galerija umjetnina Split / Museum of Fine Arts Split

does not aim at being the ultimate retrospective. The magnificent architecture of Meštrović’s pavilion, after all, does not have enough square footage to present the entire legacy of one of our most productive artists. Therefore, in order to remind ourselves on the occasion of the cardinal anniversary of what Murtić and his art represent to us, we decided for an expressive presentation of the key artistic and content specifics of Murtić’s oeuvre. When an artist is gone, when witnesses of his daily, creative and public habitus gradually leave, his art works and their reception remain as the only reliable elements of the puzzle that ultimately determines the appearance and format of its author. The forces of time refract on prominent personalities, and our curiosity inspired by the often emphasized formal aspects of Murtić’s art - the energy of gesture and colour - opens us to the understanding of the artist and the time with which he is inextricably linked. We cannot simply dwell on the phenomenon of Murtić’s recognizable gesture and colour without wondering why, for example, every five to ten years he changed the painting paradigm that brought him success, without taking into account the existential risk that such a decision brought to him as a freelance artist. And why, after all, an artist of Murtić’s calibre didn’t teach at one of the state academies or schools, since achieving a sinecure in any state institution would not be a problem for him? What connects the formal, substantive and social aspects of these decisions is the notion of freedom that Murtić intuitively felt as the irreplaceable foundation of artistic creation in both its formal and social form. Therefore, this young artist, a participant of the National Liberation War and after it, in 1945, an anti-fascist and leftist intellectual, at the times of agitprop and collectivisation, chose a completely diverse social artistic position, very one of the ultimate individuality: the profession of freelance artist. This brave, at the time socially unpopular, even provocative decision from which many still pragmatically shy away, reduces the artist’s everyday living to the results of his personal talent and craftsmanship, the alpha and omega of a successful artistic career, on which Murtić’s unusual business entrepreneurship relied. What his artistic procedure was like can be discerned from the genesis of the first of his key cycles, the famous Experience of America, which he created mostly in the USA in 1951 and 1952, and presented to the local public in 1953. Already before his first trip to the North American continent, the one that will result in the celebrated cycle and the first drastic change in his painting style, Murtić is already an established artist, known for his socially aware drawings and depictions of war sufferings, but above all for the illustrations of Ivan Goran Kovačić’s poem The Pit, co-authored with Zlatko Prica, which are considered the pinnacle of the wartime partisan art production. As a painter, Murtić works beyond the postulates of the imposed aesthetics of social realism, creating compositions with wide pasty layers of illuminated colours in the best European tradition of lyrical Colour realism. Murtić’s compositions exude joy of creative zeal opposing the formal tasks, even in scenes such as ruins of Zadar in the light of a clear day, with two doves settled on a truncated ancient pillar as a motif of hope. From this aesthetic position, in 1948 Murtić accepted the invitation of the architect Đuro Kavurić to paint Yugoslav pavilions at the exhibition in Toronto, a sort of 15

Cijepanje atoma, Institut Ruđer Bošković, Zagreb, 3 x 5,3 m, 1953. / Splitting the Atom, Ruđer Bošković Institute, Zagreb, 3 x 5,3 m, 1953

Emajli, Kockica, Zagreb / Enamels, Kockica, Zagreb

kog žara u srazu s rješavanjem formalnih zadataka čak i u prizorima poput zadarskih ruševina u svjetlosti vedrog dana i s motivom nade u vidu dviju golubica koje su se nastanile na vertikali presječenog antičkog stupa. S ove estetske pozicije Murtić 1948. prihvaća poziv arhitekta Đure Kavurića da oslika paviljone za izložbu u Torontu, vrstu posla s kojom je zahvaljujući metijerskoj vještini, brzini i kvaliteti izvedbe privređivao za život. Murtić tom prilikom posjećuje i New York, novu globalnu kulturnu prijestolnicu, i smišlja odvažan plan. Vraća se u domovinu, slika primorske pejzaže i vedute putujući od Istre do Cavtata, pa cijelu izložbu brodom prevozi u SAD gdje će, izdržavajući se prodajom slika i portretiranjem, boraviti 1951. i 1952. godine,. Bogata, uspješna Amerika nasuprot europskih ruševina, umjetnost apstraktnog ekspresionizma, slučajni susret i kolegijalno razumijevanje s Jacksonom Pollockom i njegovim slikarskim eksperimentom čiste slobode izraza, nadahnuli su seriju slika Doživljaj Amerike. Po povratku u Jugoslaviju, izložba koja traumatiziranoj domaćoj publici predstavlja ne samo dinamične urbane motive jedne za njihove životne prilike egzotične svakodnevice, već i dijelove kompozicije, izvedene u Murtićevoj inačici, oslobođene forme tipične za apstraktni ekspresionizam, iz temelja će prodrmati uspostavljene kanone likovnog realizma i otvoriti publiku prema revoluciji apstraktne umjetnosti i političkoj transformaciji društva prema slobodnijem modelu. Uz uspjeh Doživljaja Amerike, Murtić 1953. izvodi i niz radova u javnom prostoru. Unatoč polemici o njegovoj zidnoj dekoraciji u klubu Ritz koja je u javnom diskursu zapravo inaugurirala širinu polazišta i razvojnih tendencija umjetnosti visokog modernizma, naznaka Murtićeve vehementne energije najuočljivija je na i danas sačuvanoj monumentalnoj, u formi potpuno apstraktnoj zidnoj kompoziciji izvedenoj za modernističku arhitekturu Instituta Ruđera Boškovića koju je projektirao arhitekt Kazimir Ostrogović. Vizija oslobađanja energije pri cijepanju atoma zapravo je u duhu ondašnjeg shvaćanja napretka, metafora slobode koju je Murtić osjetio u radu Jacksona Pollocka i kasnije opisao riječima: „Kult apsolutne slobode i vlastite likovne avanture.“, što možemo shvatiti i kao načelo koje će u svom radu intenzivno provoditi tijekom decenija koje dolazile. Vraćajući se na postav u Meštrovićevom paviljonu, a nadasve postav u Galeriji Bačva, svjesni činjenice da je riječ o prvom kontaktu publike s izložbom, a za neke i prvi put s Murtićevim djelom, odlučili smo omogućiti sveobuhvatni pogled na postav i otvoriti se maksimalnom doživljaju Murtićeve energije i stvaralačke slobode. Predmet postava u Galeriji Bačva ikoničke su slike nastale od 1957. do 2004. godine, a koje predstavljaju sve stilske paradigme po kojima Murtićev opus sudjeluje u našoj kolektivnoj memoriji. Imajući u vidu spomenutu Murtićevu odluku da cijelog života djeluje kao samostalni umjetnik, dakle egzistencijalno ovisan o tržišnoj recepciji svog rada, željeli smo naglasiti u kojoj se mjeri slobodno odnosio prema riziku promjene uspješne formule i koliko je uspješno zauzvrat svaka njegova stilska promjena bila prihvaćena. Slike nam ukazuju i na Murtićevo zanimanje za likovne tendencije što se događaju na području likovnog izraza koje je osobno smatrao relevantnim, kao i na njegovu sposobnost da ih apsorbira i integrira u prepoznatljivo svoj likovni izraz. Riječ je o tendencijama koje su likovnost razvijale „iznutra“, utemeljenima na tradicionalnom shvaćanju umjetničkog rada kao procesa stvaranja umjetničkog objekta u svim likovnim disciplinama i tehnikama, namijenjenog publici u svim vidovima društvenog i privatnog sustava prezentacije i tržišta. Murti20

Darovi zemlje / Gifts of the Earth, 1980.

work that, thanks to his skill in the métier as well as speed and quality of performance, he pursued to earn a living. On that occasion, Murtić also visited New York, the new global cultural capital, and devised a bold plan. He returns to his homeland, paints coastal landscapes and vistas from Istria to Cavtat, transports the entire exhibition by boat to the USA, where he will support himself by selling the paintings and painting portraits in 1951 and 1952. A rich, prosperous America versus European ruins, the art of Abstract expressionism, a chance encounter and a collegial understanding with Jackson Pollock and his painting experiment of pure freedom of expression, inspired the Experience of America series of paintings. Upon his return to Yugoslavia, the exhibition - which to the still traumatized domestic audience presents not only dynamic urban motifs of, for them, almost exotic everyday life, but also parts of the compositions executed in Murtić’s version of the liberated form typical of Abstract expressionism - will shake the fundaments of the established canons of artistic realism and push towards the revolution of abstract art and the political transformation of society towards a looser model allowing more freedom. In addition to the success of the Experience of America, in 1953 Murtić also realised a number of works in public spaces. Despite the controversy over his wall decoration at the Ritz Club in Zagreb, which actually inaugurated the breadth of the outset and developmental tendencies of the art of High modernism in public discourse, the indication of Murtić’s vehement energy is most noticeable in the still preserved monumental abstract composition on the wall of the modernist architecture of Ruđer Bošković Institute in Zagreb, designed by the architect Kazimir Ostrogović. His vision of the energy released when splitting atoms is actually in the spirit of the then understanding of progress, a metaphor of freedom that Murtić felt in the work of Jackson Pollock and later described in the words: “The cult of absolute freedom and one’s own artistic adventure.” We can understand this as a principle that he was going to implement intensively over the decades to come. Returning to the exhibition in Meštrović’s pavilion, and above all the display in the Bačva Gallery, aware of the fact that this is the first contact of the audience with the exhibition, and for some even the first time with Murtić’s work, we decided to provide a comprehensive view of the exhibition and open it to the total experience of the artist’s energy and creative freedom. The subject of the display in the Bačva Gallery are iconic

Bijela podloga / White Background, 1959.

ćevo slikarstvo pedesetih i šezdesetih svjesno je svih sastavnica planetarnih odraza slikarstva apstraktnog ekspresionizma što je bez manifesta i programa prihvaćalo sve individualne likovne postupke koji su stremili oslobađanju od metijerskih i kompozicijskih ograničenja. Prihvatio je tašizam i enformel i izgradio vlastitu inačicu ekspresivne geste i otvorene palete boja. Kasnije će, na samom početku osamdesetih, iznenadnim povratku figuraciji s izložbom Jedno ljeto, ne samo iznenaditi publiku i kritiku, već i najaviti slikarstvo postmoderne. Dinamičan odnos figuracije i apstrakcije koji je generalno obilježio slikarstvo dvadesetog stoljeća, na primjeru Murtićevog opusa predstavili smo u najvećoj galeriji prvog kata Meštrovićevog paviljona. Ovaj segment Galerije Prsten omogućio nam je da s jedne strane predstavimo slike koje su izvedene četrdesetih godina u maniri Murtićeve zrele interpretacije lirskog kolorističnog realizma, a da im s druge kronološki suprotstavimo amplitude njegovog odmicanja od figuracije u prostor čiste geste i valera boje, potom povratak u figuraciju tijekom već spomenutog opusa iz osamdesetih godina i konačan odlazak u prostor nesputanog apstraktnog izraza s kojim je završio njegov profesionalni i s njim neraskidivo povezan životni put. Postav omogućuje i da se sagleda koliko je iskustvo slobodne geste i boje iz perioda čiste apstrakcije odredilo morfologiju izvedbe pejzažnih kompozicija u osamdesetima, odnosno, u kojoj je mjeri taj figurativni Murtić različit od onog iz četrdesetih godina. Izložba nam u Galeriji PM predstavlja još jednu Murtićevu distinktnu slikarsku dionicu. Riječ je o simboličkom i figurativnom ciklusu koji izražava umjetnikovu egzistencijalnu tjeskobu. Ove mračne kompozicije koje u ciklusu Oči straha izvedenom od 1982. do 1984. godine predstavljaju potisnute traume prošlosti i naslućivane užase koji slijede, Murtićevske su po ekspresiji forme, energiji poteza i morfologiji, ali kao da je istovremeno neki siloviti vjetar s njih otpuhao poslovično otvoreni kolorit ostavljajući jetke ljubičaste i zelene tonove. Ovi pejzaži tjeskobe duše s lubanjama iskolačenih očiju i iskeženih usta, nastaju paralelno s Murtićevim vitalističkim pejzažima u kojima snažni kolorit potpuno nepovezan s lokalnim bojama, a njegove i inače raskošne interpretacije pretvaraju naše primorske pejzaže u egzotične, pa čak i nestvarne prizore. Ciklus Oči straha izveden je uljem na platnu, a u postavu smo izabrane slike razdvojili dionicama ciklusa Kadaveri koji su tijekom devedesetih izvedeni kombiniranom tehnikom na papiru. Kadaveri s motivom povampirenih

Hommage A Raoul Goldoni, 1983.

paintings created from 1957 to 2004, representing all the stylistic paradigms according to which Murtić’s oeuvre remains in our collective memory. Having in mind the mentioned Murtić’s decision to be a freelance artist all his life, which meant existentially dependent on the market reception of his work, we wanted to emphasise to which extent he freely accepted the risks of this position when changing his successful formula and how in return his stylistic change was always successfully embraced. These paintings also show Murtić’s interest in artistic tendencies occurring in the domain of visual expression, which he personally considered relevant, as well as his ability to absorb and integrate them into his recognisable visual expression. This is about the tendencies thanks to which the visual arts were developing “from within”, based on the traditional understanding of art - in all disciplines and techniques - as a process of creating of art object, intended for audiences in all aspects of social and private system of presentation and market. Murtić’s painting of the 1950s and 1960s shows his awareness of all the components of planetary reflections of the Abstract Expressionism, which without manifestos or programs accepted all individual artistic procedures aiming at breaking off from every limitation of métier and composition. He embraced Tachism and Informel and built his own version of the expressive gesture and open colour palette. Later, at the very beginning of the 1980s, with his sudden return to figuration at the exhibition One Summer, he will not only surprise both audience and critics, but also announce the Postmodern painting. The dynamic relationship between figuration and abstraction that generally marked the painting of 20th century, on the example of Murtić’s oeuvre are presented through the works displayed in the largest gallery on the first floor of Meštrović’s pavilion. This segment of the Prsten Gallery allowed us to present, on one side, paintings from the 1940s, made in the manner of Murtić’s mature interpretation of lyrical Colour realism, and on the other, to chronologically contrast the amplitudes of his departure from figuration into the realm of pure gesture and pureness of colour, only to return to the figuration during the already mentioned works from the 1980s and the final departure into the space of unrestrained abstract expression with which his professional and inseparably connected life path ended. This display also allows us to see how much the experience of free gesture and colour from the period of pure abstraction determined the morphology of landscape compositions in the 1980s, that is, to what extent these figurative works are different from the ones from the 1940s. In the PM Gallery the exhibit shows another distinctive sequence of Murtić’s painting. It is a symbolic and figurative cycle that expresses the artist’s existential anxiety. The dark compositions of the cycle Eyes of Fear (1982-1984) represent the repressed traumas of the past and the foreboding of horrors that will follow. They belong to Murtić’s oeuvre by the expressions of form, energetic strokes and morphology, but at the same time they look as if some violent wind blew off them all the proverbial bright colours, leaving only caustic purple and green tones. These landscapes of anguished soul, represented by skulls with bulging eyes and distorted mouths, are created in parallel with Murtić’s vitalistic landscapes in strong colours completely unrelated to local palette, in which his usual lavish interpretations turn our coastal landscapes into exotic and even unreal scenes. The cycle Eyes of Fear was executed in oil on canvas, and in its display we have separated the selected paintings with pieces from the cycle Cadavers, executed in a combined technique on paper during the 1990s. Cadavers, with the motif of vampire skeletons that rule over life and death, represent the reality of war carnages and testify to the horrors that marked the beginning and end of Murtić’s career. The themes that these macabre cycles share are presented in a continuous, precise sequence by which we suggest the mechanism of a modern killing machine that brings to memory the medieval motif of Danse Macabre, so common on frescoes in the archipelago of Istrian churches. The constellation of Meštrović’s pavilion under the canopy of the imposing dome dissolved by glass prisms, designed by Vladimir Kavurić, allows us to visually connect paintings displayed in the Bačva Gallery with those from the PM Gallery, that is, the vitalistic Murtić in the lower with the anguished in the upper exhibition space. This inversion, in which hedonistic performances are displayed on a black background at the bottom of the pavilion, while hell is showed in bright light at its top, has been planned on purpose as a signal for understanding of the ethical dimension of Murtić’s work, which most often remained in the shadow of his cheerful painting formula. His position as a freelance artist whose living didn’t depend on official political doctrines as well as that of an distinguished artist and prominent cultural worker, Murtić understood as an opportunity to realise and represent his liberal attitude and general left-wing political values based on his working-class background and leftist, anti-fascist intellectual environment of the 1930s that had shaped his worldview. While the three largest exhibition spaces of the pavilion are dedicated to Murtić’s painting, the series of spaces that close the Prsten Gallery celebrate his masterful performances in all traditional art disciplines 23

kostura koji su preuzeli gospodarenje nad životom i smrti, predstavljaju stvarnost ratnih klaonica i svjedočanstva užasa koji su obilježili početak i kraj Murtićeve karijere. Tematsko zajedništvo ovih makabrističkih ciklusa predstavljeno je u kontinuiranom, preciznom nizu kojim sugeriramo mehanizam novovjekovne mašine za ubijanje što u sjećanje priziva srednjovjekovni motiv Plesa smrti, tako čest u arhipelagu istarskih crkvica. Konstelacija Meštrovićevog paviljona pod nebom impozantne Kavurićeve kupole rastvorene staklenim prizmama, omogućuje nam vizualno povezivanje slika iz Galerije Bačva s onima iz Galerije PM, odnosno, vitalističkog Murtića u donjem s onim tjeskobnim u gornjem izložbenom prostoru. Ovu inverziju u kojoj su hedonistička uprizorenja na crnoj pozadini na dnu paviljona, a pakao u punoj svjetlosti na njegovom vrhu, planirali smo i kao signal za razumijevanje etičke dimenzije Murtićevog rada koja je najčešće ostala u sjeni njegove vedre slikarske formule. Svoju poziciju samostalnog umjetnika egzistencijalno nevezanog za službene političke doktrine, Murtić je kao eksponirani umjetnik i istaknuti kulturni djelatnik koristio kao mogućnost realizacije i zastupanja svog liberalnog životnog stava i opće lijevih političkih vrijednosti utemeljenih na njegovom radničkom porijeklu i ljevičarskom, antifašističkom intelektualnom okruženju tridesetih godina po kojem je oblikovao svoj životni svjetonazor. Dok su tri najveća izložbena prostora Meštrovićevog paviljona posvećena Murtićevom slikarstvu, niz galerija koji zatvaraju Prsten slave njegove maestralne izvedbe u svim tradicionalnim likovnim disciplinama kojima se koristio. Murtić je tijekom svog rada paralelno stvarao u više disciplina, tako da su stilske odrednice u svakom periodu imale svoju varijaciju u grafici, emajlu, keramici, mozaiku i gvašu. Središnje mjesto u prostoru predložaka za grafičke mape pripada novoj Jami u kojoj se u potpunosti iskazuje majstorstvo Murtićevog zrelog doba u usporedbi s mladenačkom ekspresijom izvorne Jame zasnovane na figurativnoj evokaciji žrtava pokolja. Nova mapa zasnovana je na simboličkom govoru, zlu reduciranom preciznim crtežom na efikasne ubojite himere lišene moralnih skrupula i dvojbi, zlu koje je tragična konstantna ljudske prirode. Mapa posvećena, pak, stradanju i kulturocidu nad Dubrovnikom tijekom Domovinskog rata, s aspekta umjetnika koji je mnogobrojnim do rata izvedenim dubrovačkim vedutama potvrdio baštinu šarenog dubrovačkog slikarstva, izvedena je reducirano kroz efekt bravuroznih crteža razorene arhitekture na crnoj podlozi, pathos i ethos u savršenstvu sublimne jednostavnosti izvedbe. U prostoru slijede izvedbe u emajlu i keramici, dva otporna i dugovječna materijala, koji su Murtića privukli mogućnostima dodatne izražajnosti boje i postavom u javnim i vanjskim prostorima. Kod emajla je svakako vidljivo umješno korištenje sjaja glazure kao pojačivača efekta kolorističke ekspresije, a kod keramike dodatna mogućnost variranja sjajne i mat površine iste boje što je osim obogaćivanja vizualnog dojma rezultiralo i većom razinom taktilne kvalitete ovih dodiru otvorenih imponirajućih kompozicija. Predstavljeni pak monumentalni gvaševi izvedeni su početkom 21. stoljeća, u posljednjem periodu Murtićevog stvaralaštva kojeg danas zovemo Novim apstrakcijama. Gvaš je bio jedna od Murtićevih omiljenih likovnih tehnika. Razlog je potrebna brzina stvaranja budući da se razrijeđeni pigment na upijajućoj papirnoj podlozi brzo suši, pa se kompozicije stvara u jednom dahu, ali se iz istog razloga pogreška ne smije dogoditi. Dokumentarni film Milana Bešlića Murtić 1921. -2004. u jednoj nam sekvenci pokazuje upravo izvedbu gvaša u ateljeu na Tomislavovom trgu. Kamera se fokusira na koncentriran izraz Murtićevog lica i ruku koja izvodeći bogatu kaligrafiju poteza doslovno lebdi iznad papira i širokih polja boje. Nema stanke, odmaka, provjere, sve je čista intuicija i bogato stvaralačko iskustvo. Središnji prostor ovog dijela izložbe šestokanalnom video instalacijom koju je animirao Ivan Marušić Klif, predstavlja fotografsku dokumentaciju Murtićevih radova u javnom prostoru u alternaciji s portretima umjetnika, snimkama stvaranja i druženja u njegovom atelijeru, najprije u Martićevoj ulici, a potom na Tomislavovom trgu u Zagrebu. Ova nedjeljna druženja jedne kompaktne grupe intelektualaca, pjesnika, slikara, kipara, arhitekata, uz raznolike goste iz svijeta uspješnih profesionalaca i političara, jedan su od legendarnih toposa kronike zagrebačkog kulturnog života druge polovice dvadesetog stoljeća. Po Murtićevim riječima naprosto se radilo o njegovoj potrebi i potrebi grupe prijatelja za druženjem kroz dijalog o svim relevantnim pitanjima o umjetnosti, društvu i politici. Redovitim namjernicima ili slučajnim posjetiteljima i bilo čijim gostima privučenim Murtićevom karizmom, riječ je bila o ljubavi prema umjetnosti i mogućnosti rasprave u slobodnom i tolerantnom okruženju. Premda bi bilo zanimljivo sada vidjeti koliko su ova druženja imala utjecaja po kulturni život izvan užeg Murtićevog kruga, a za pretpostaviti je da je na njima začet uspješan koncept Galerije Forum, to će ostati predmetom nekog novog istraživanja i moguće jedne druge izložbe. Za fokus naše izložbe koja se bavi Murtićevim likovnim opusom, značajno je prostorno specifično rješenje predstavljanja dokumentacije mnogobrojnih 24

he used. During his career, Murtić created in several disciplines at the same time, so that the stylistic determinants of each period had their variations in graphics, enamel, ceramics, mosaic and gouache. Here the central position is dedicated to the templates for graphic maps of the new illustrations for the poem The Pit, which fully expresses the mastery of Murtić’s mature age compared to the youthful expression of the original based on the figurative evocation of the victims of massacre. The new map is based on symbolic speech, the evil is reduced by precise drawing to efficient, murderous chimeras devoid of moral scruples and doubts, the very evil that is a tragic constant of human nature. The map dedicated to the suffering and culturicide of Dubrovnik during the Homeland War - from the aspect of an artist who with numerous vedutas of Dubrovnik, executed in pre-war times, already confirmed the legacy of colourful Dubrovnik painting – is executed with reductive boldness, with drawings showing destroyed architecture on black background, pathos and ethos, perfect in sublime simplicity of execution. In this space works in enamel and ceramics follow. These two resistant and long-lasting materials attracted Murtić because they offered the possibilities of additional expressiveness of colour and display in public and outdoor spaces. The enamel certainly shows the skilful use of glossy glaze as an enhancer of the effect of colour, while the ceramics present the additional possibility of varying the lustrous and matte surfaces of the same colour, which in addition to enriching the visual impression also resulted in a higher level of tactile quality of these impressive compositions. The presented monumental gouaches were made at the beginning of the 21st century, in the final period of Murtić’s career, which we now call the New Abstractions. Gouache was one of Murtić’s favourite techniques. The reason for that is the necessary speed of creation since the diluted pigment dries quickly on the absorbing paper, so that the composition is created in one breath, but for the same reason there errors are not allowed. In one sequence from the documentary film by Milan Bešlić, Murtić 1921 -2004, the artist is shown while creating a gouache in his studio on Tomislav Square in Zagreb. The camera focuses on his face expressing concentration and his hand, which, while performing rich calligraphy strokes, literally hovers above the paper and broad expanse of colour. There is no pause, detachment, checking, everything is just pure intuition and rich creative experience.

Mozaik / mosaic, Kockica, Zagreb

The central space of this part of the exhibition, together with a six-channel video installation animated by Ivan Marušić Klif, displays photographic documentation of Murtić’s works in public spaces alternating with his portraits of artists, snaps of painting and socialising in his studio, first in Martićeva Street and then on Tomislav Square in Zagreb. This Sunday gatherings of a compact group of intellectuals, poets, painters, sculptors, architects, with various guests from the world of successful professionals and politicians, is one of the legendary topoi of the chronicle of Zagreb’s cultural life in the second half of the 20th century. According to Murtić, it was simply that he and his friends felt the need to gather, socialise and deliberate about all relevant issues of art, society and politics. To regular passers-by or casual visitors and to anyone’s guests attracted by Murtić’s charisma, it was a matter of love for art and the possibility of discussion in a free and tolerant environment. We can assume that the successful concept of the Forum Gallery in Zagreb was conceived during these gatherings. Now it would be interesting to see what impact these gatherings had on cultural life outside Murtić’s inner circle, but it will be left to be the subject of some new research and possibly some other exhibition. This exhibition is about Murtić’s artistic oeuvre and therefore a space specific solution for 25

Murtićevih radova u javnom prostoru. Među njima najpotresnije su svakako sekvence koje predstavljaju povijest nekih od spomenika, kao što je na primjer Spomenik poginulim borcima Narodnooslobodilačke borbe moslavačkog kraja u Čazmi. Na kubusu iznad kosturnice kojeg je projektirao arhitekt Fedor Wenzler, Murtić je 1970 godine izveo mozaik, a Belizar Bahorić izveo je brončane reljefe za zid kosturnice. Spomenik je između 2010. i 2012. morao biti restauriran i očišćen od oštećenja uslijed vandalizma kakvog je pretrpio velik broj spomenika posvećenih NOB-u. Marušićeva animacija pokazuje nam izvorno stanje spomenika, njegov vandaliziran izgled i stanje nakon restauracije. Kad je riječ o Murtićevom radu u javnom prostoru, impresionira činjenica da se Murtić jednakim intenzitetom i kvalitetom izvedbe postavlja prema svakom projektu, pa ga bez obzira na značaj prostora, temu ili naručitelja, sadržajno i formalno uspješno usklađuje s arhitekturom. Murtićevi radovi ekumenski su raspoređeni po najvišim administrativnim političkim institucijama, spomeničkoj plastici, hotelima, barovima, javnim uredima, službenim prostorima i crkvama. Murtićeva sveprisutnost po vertikali i horizontali javnog prostora bila je rezultat njegove sposobnosti da arhitektu i investitoru osmisli i realizira metijerski i umjetnički vrstan rad bez obzira je li riječ o tehnici fresko slikarstva, sgrafita, murala, mozaika, emajla ili keramike. Umjetniku koji se na samom početku karijere odlučio za profesiju samostalnog umjetnika samo svestranost tehničke izvrsnosti kakvu je Murtić izražavao i prakticirao radeći u mnogobrojnim likovnim disciplinama, omogućuje opstojnost i čvrsto uporište slobodnog statusa. Ali kod Murtića nije riječ samo o karijeri efikasnog metijerskog znalca. Njegova karijera kao model umjetničkog uspjeha nadilazi velik broj realizacija i prestižnih izložbi, obim i likovnu svestranost, pa i neupitnu i višestruku kroz godine ostvarenu i međunarodno nagrađivanu kvalitetu. Murtić je kao likovni umjetnik svojim nekonvencionalnim pristupom konvencionalnom mediju zarana ostvario razinu javne prepoznatljivosti koja je išla pod ruku s kritičkom recepcijom. Njegovo slikarstvo je u oslobađanju boje i geste bilo u skladu s internacionalnim tendencijama svog vremena, ali za nas kao društvo važnije je da je bilo u rezonanci s potrebom i očekivanjima lokalne publike za životom većim od ideološkog sivila i poslijeratnog zadovoljenja tek elementarnih egzistencijalnih potreba, za vedrim životom oslobođenom od društvenog diktata. Umjetnikova karizma gradi se na mogućnosti kanaliziranja prevladavajućeg duha vremena u subjektivni izraz kolektivnog nesvjesnog. Time umjetnik postaje akterom društvenog razvoja. U ozračju stogodišnjice rođenja, ova nam izložba predstavlja Murtića u njegovom izvanrednom kapacitetu stvaranja uspješne komunikacije likovnog sadržaja po kojem je upravo on publici postao licem apstraktne umjetnosti, umjetnik po čijoj su uvijek prepoznatljivoj likovnoj formuli zavoljeli apstraktnu umjetnost i osoba koja je postala otjelotvorenjem emancipatorskih, liberalnih i humanih vrijednosti kakve je u svom pozitivnom nasljeđu na području društvenih odnosa zastupala epoha visokog modernizma.

Januar / January, 1978.

presentation of the documentation of numerous Murtić’s works in public spaces is very important. Among these the most disturbing are certainly the sequences that represent the history of some of the monuments, such as the Monument to the Soldiers Fallen in the National Liberation War in Moslavina Region and Čazma. On the cube above the ossuary, designed by the architect Fedor Wenzler, Murtić in 1970 created a mosaic and Belizar Bahorić bronze reliefs for the wall of the ossuary. Between 2010 and 2012, the monument had to be restored and cleaned because of the damage done due to the vandalism, just as it happened to a large number of other monuments dedicated to the National Liberation War. Marušić’s animation shows us the original condition of the monument, its vandalised state and the condition after restoration. When it comes to Murtić’s work in public space, it is impressive how Murtić sets out with the same intensity and quality of performance for each project thus successfully harmonising its form and content with given architecture, regardless of the importance of space, theme or client. Murtić’s works are ecumenically distributed over administrative political institutions of highest rank, memorials, hotels, bars, public offices, various official spaces and churches. Murtić’s omnipresence in public spaces, in both vertical and horizontal distribution, was the result of his ability to design and realise works of highest artistic and métier quality for every architect and investor, be it fresco painting, sgraffito, mural, mosaic, enamel or ceramics.

Crveno zlato / Red Gold, 1964.

If an artist who, at the very beginning of his career, decides to become a freelance artist, only the versatility of technical excellence - as expressed and practiced by Murtić while working in numerous art disciplines – will help him to earn a living and firmly support his independent status. But with Murtić it is not just about the professional choice of an efficient specialist in his métier. His career as a model of artistic success goes beyond the large number of realisations and prestigious exhibitions, their scope and artistic versatility, as well as the unquestionable and frequently internationally awarded quality achieved over the years. As an artist, Murtić, with his unconventional approach to the conventional medium, early on achieved a level of public recognition that went hand in hand with critical reception. When it comes to liberating the colour and gesture, his painting was in line with the international tendencies of the time, but for our society it is more important that it resonated with the needs and expectations of local audiences aspiring for life beyond the post-war ideological greyness and satisfying of only the basic existential needs - a cheerful life free from the social dictate. The artist’s charisma is built on his capacity to channel the prevailing spirit of the time into the subjective expression of collective unconscious. Thus the artist becomes an active contributor to the social development. In the atmosphere of the centenary of his birth, this exhibition presents Murtić’s remarkable capacity to successfully communicate visual content after which for the local audience he himself became not only the face of abstract art, but the artist whose always recognisable visual formula made them love it and a person who became the embodiment of emancipatory, liberal and humane values that are the intrinsic part of the High modernism and its positive legacy for social relations.

GALERIJA BAČVA / BAČVA GALLERY SLIKE / PAINTINGS 1957. - 2004. Ikoničke slike izvedene od 1957. do 2004. godine predstavljaju sve dionice razvoja kolorita i geste kojima je Edo Murtić svoju snažnu životnu energiju unio u povijest slikarstva i odredio svoj nezaobilazni doprinos slikarstvu apstraktnog ekspresionizma i stilskom razdoblju visokog modernizma. Iconic paintings created between 1957 and 2004 represent development of colour scheme and gesture by which Edo Murtić left the mark of his zestful performance in the history of painting and established his unavoidable contribution to the painting of abstract expressionism and the style of high modernism.

Kamen i zemlja / Stone and Soil, 1959.

Daleko smeđe / Far Brown, 1959.

Rašćenje u moru / Growth in Sea, 1956.

Klijanje / Sprouting, 1957.

Crveni znak / Red Sign, 1975. Februar / February, 1978. Crveni putokaz / Red Signpost, 1978.

Agresivni prostor / Aggressive Space, 1975.

Jesenje putovanje / Autumn Journey, 1977.

O.K., 1978.

Ofenziva / Offensive, 1978.

Alfa / Alpha, 1979.

Dobar dan crveno / Good Day Red, 1980.

Meje / Boundaries, 1980.

Mediteranski vrt / Mediterranean Garden, 1990.

Putovanje / Journey, 2002.

Ranjeni galeb II / Wounded Seagull II, 2004.

Razgovor sa zidom / Conversation with a Wall , 2002.

Raskrižje nade / Crossroads of Hope, 2004.

Luna žuta / Yellow Moon, 2004.

GALERIJA PM / PM GALLERY OČI STRAHA _ KADAVERI / EYES OF FEAR _ CADAVERS Edo Murtić je kao istaknuti umjetnik i javna ličnost zastupao humanističke, liberalne i demokratske stavove, a njegova vitalna gesta i snažan kolorit otjelotvorenje su principa slobode umjetničkog izražavanja. Ciklus slika Oči straha (1982. – 1984.) odraz su njegove svijesti o tinjajućoj prijetnji, a serije crteža Kadaveri svjedočanstva o posljedicama proboja fašističkih ideologija u stvarnost kakve je proživio na početku i na kraju svoje duge i bogate likovne karijere. As a prominent artist and public figure, Edo Murtić advocated humanistic, liberal, and democratic views, and his vital gesture and vivid colours are the embodiment of the principle of freedom of artistic expression. The Eyes of Fear (1982-1984) series of paintings reflects his awareness of the smouldering threat, and the Cadavers series of drawings testifies to the consequences of the infusion of fascist ideologies into reality such as he experienced at the beginning and the end of his long and prosperous artistic career.

Pogled noći / View of the Night, 1982.

Opasan pogled / Dangerous View, 1982.

Oči straha / Eyes of Fear, 1983.

Crno sunce / Black Sun, 1982.

Opiplivi strah / Tangible Fear, 1983.

Ljubičasti san / Purple Dream, 1983.

Ljubičasti strah / Purple Fear, 1983.

Gvaševi iz ciklusa Kadaveri / A series of gouache paintings Cadavers 1995. - 2000. 68

Gvaševi iz ciklusa Kadaveri / A series of gouache paintings Cadavers, 1995. - 2000.

Gvaševi iz ciklusa Kadaveri / A series of gouache paintings Cadavers 1995. - 2000. 72

GALERIJA PRSTEN / PRSTEN GALLERY SLIKE / PAINTINGS 1941. - 2004. Postav slika što ih je Edo Murtić izveo između 1941. i 2004. godine na primjeru njegovog opusa predstavlja amplitude dinamičnog odnosa figuracije i apstrakcije koje su obilježile likovnu umjetnost dvadesetog stoljeća. Edo Murtić’s oeuvre, represented here with paintings created from 1941 to 2004, is a case study of the amplitudes and dynamic relationship between figuration and abstraction that characterized art of painting during the twentieth century.

Koloseum / Colosseum, 1941.

Autoportret / Self-portrait, 1941.

Model, 1941.

Portret žene / Portrait of a Woman, 1943.

Djevojčica, ZAVNOH / Girl, SACNLC, 1943.

Na straži / On Watch, 1946.

Ulične demonstracije / Street Demonstrations, 1950.

Brodovi u luci / Ships in the Port, 1950. Stara zadarska luka / Old Zadar Port, 1950. Bura pod Velebitom / Bora Beneath Velebit, 1950. 80

Zadar, 1950.

Manhattan, 1952.

New York, 1952.

Bijela podloga / White Background, 1957.

Sjećanje na modro / Memory of Blue, 1958.

Klijanje / Sprouting, 1959.

Bez naziva / Untitled, 1959.

Vertikalni koncept / Vertical Concept, 1965.

Prodor u crno / Penetration in Black, 1965.

Paunov dan / Peacock’s Day, 1965.

Bez naziva / Untitled, 1978.

Užareni vinogradi / Glowing Vineyards, 1981.

Kao san / Like a Dream, 1980.

Goruća krila / Burning Wings, 2004.

Izlazak iz tišine / Coming Out of Silence, 2004.

Događaj na crvenom / Event on Red, 2000.

Bez naziva / Untitled, 2002. Bez naziva / Untitled, 2002.

Bez naziva / Untitled, 2002. 100

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Bez naziva / Untitled, 2002.

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Bez naziva / Untitled, 2002.

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Ivan Marušić Klif, Bez naziva / Untitled, 2021. Šestokanalna video instalacija - fotografska dokumentacija Murtićevih radova u javnom prostoru u alternaciji s portretima umjetnika, snimkama stvaranja i druženja u njegovom ateljeu / Six-channel video installation - photographic documentation of Murtić’s works in public spaces in alternation with portraits of the artist, recordings of his creation and socializing in his studio. 104

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Bez naziva / Untitled, 2001. Alfa / Alpha, 2003. 108

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Bez naziva / Untitled, 2001.

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Emajli / Enamels, 1977. 112

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Emajli / Enamels, 1977.

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Mapa Jama / The Pit map, 1984. Originalni listovi za grafičku mapu / Original prints for the graphic map

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Mapa Neruda / Neruda map, 2004. Originalni listovi za grafičku mapu / Original prints for the graphic map

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Mapa Dubrovnik / Dubrovnik map, 1993. Originalni listovi za grafičku mapu / Original prints for the graphic map

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IZLOŽBA / EXHIBITION MURTIĆ 100

POPIS RADOVA / LIST OF ARTWORKS

Dom HDLU (Meštrovićev paviljon) / Home od HDLU (Meštrović pavilion) Trg žrtava fašizma 16, Zagreb 25. 5. - 18. 7. 2021. / May 25 – July 18, 2021

Autoportret / Self-portrait, 1941. ulje na platnu / oil on canvas, 41 x 33 cm Zahvalnošću / Courtesy of Murtić family

Kustos / Curator: Branko Franceschi

Koloseum / Colosseum, 1941. ulje na platnu / oil on canvas, 44 x 57 cm Zahvalnošću / Courtesy of Murtić family

Asistentica kustosa i voditeljica galerija / Curator assistant and gallery coordinator: Nika Šimičić

Model, 1941. ulje na platnu / oil on canvas, 57 x 48 cm Zahvalnošću / Courtesy of Murtić family

Izvršni producenti / Executive producers: Ivana Andabaka, Nika Šimičić

Portret žene / Portrait of a Woman, 1943. ulje na platnu / oil on canvas, 35 x 28 cm Zahvalnošću / Courtesy of Murtić family

Umjetnički producent za Fondaciju Murtić / Creative producer for Murtić Foundation: Ranko Murtić Voditelj tehničke službe / Head of technical service: Mihael Pavlović Tehničari / Technicians: Tin Antunović, Darko Jelenc, Zdenko Mikša, Nikola Pjevačević, Josip Rončević. Dušan Stupar Voditelj studentske službe / Student service coordinator: Dino Medvedec

Djevojčica, ZAVNOH / Girl, SACNLC, 1945. ulje na platnu / oil on canvas, 65 x 49 cm Zahvalnošću / Courtesy of Murtić family Na straži / On Watch, 1946. ulje na platnu / oil on canvas, 138 x 109 cm Zahvalnošću Nacionalnog muzeja moderne umjetnosti / Courtesy of National Museum of Modern Art Zadar, 1950. ulje na platnu / oil on canvas, 81 x 115 cm Zahvalnošću Nacionalnog muzeja moderne umjetnosti / Courtesy of National Museum of Modern Art

Sudenti (čuvari i vodiči) na izložbi Murtić 100 / Students (guards and guides) on Murtić 100 exhibition: Sonja Bakota, Magdalena Biškup, Sara Butković, Jelena Bužanić, Eva Cvetko, Nika Dobrić, Petra Galović, Andrea Grdenić, Dora Jakopić, Antonija Jurić, Irena Karadža, Mia Markoč, Lucija Martić, Ema Matijašević, Dino Medvedec, Alma Milanovski, Lucija Pušonjić, Lora Rajčić, Marija Rojko, Dora Šahinpašić, Tessa Šreng, Martina Tabulov-Truta, Juraj Tomaić, Mia Vujčić

Ulične demonstracije / Street Demonstrations, 1950. ulje na platnu / oil on canvas, 97 x 146 cm Privatno vlasništvo / Private ownership

Posuditelji / Lenders: Obitelj Murtić, Muzej suvremene umjetnosti u Zagrebu, Nacionalni muzej moderne umjetnosti i privatne zbirke / Murtić family, Museum of contemporary art in Zagreb, National museum of modern art and private collections

Stara zadarska luka / Old Zadar Port, 1950. ulje na platnu / oil on canvas, 89 x 117 cm Privatno vlasništvo / Private ownership

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Brodovi u luci / Ships in the Port, 1950. ulje na platnu / oil on canvas, 81 x 116 cm Privatno vlasništvo / Private ownership Bura pod Velebitom / Bora Beneath Velebit, 1950. ulje na platnu / oil on canvas, 97 x 130 cm Privatno vlasništvo / Private ownership

Manhattan, 1952. ulje na platnu / oil on canvas, 151,5 x 161,5 cm Zahvalnošću Muzeja suvremene umjetnosti

u Zagrebu / Courtesy of Museum of Contemporary Art Zagreb, MSU 22 New York, 1952. ulje na platnu / oil on canvas, 65 x 94 cm Privatno vlasništvo / Private ownership Rašćenje u moru / Growth in Sea, 1956. ulje na platnu / oil on canvas, 130 x 194 cm Zahvalnošću / Courtesy of Murtić family Bijela podloga / White Background, 1957. ulje na platnu / oil on canvas, 66 x 121 cm Zahvalnošću / Courtesy of Murtić family Klijanje / Sprouting, 1957. ulje na platnu / oil on canvas, 130 x 195 cm Zahvalnošću / Courtesy of Murtić family Suvenir na plavom / Souvenir on Blue, 1958. ulje na platnu / oil on canvas, 132 x 147 cm Zahvalnošću / Courtesy of Murtić family Plavo-crveno na smeđem / Blue-red on Brown, 1959. ulje na platnu / oil on canvas, 120 x 77 cm Zahvalnošću / Courtesy of Murtić family

1965. ulje na platnu / oil on canvas, 150 x 220 cm Privatno vlasništvo / Private ownership Agresivni prostor / Aggressive Space, 1975. ulje na platnu / oil on canvas, 147 x 220 cm Zahvalnošću / Courtesy of Murtić family Crveni znak / Red Sign, 1975. ulje na platnu / oil on canvas, 220 x 150 cm Zahvalnošću / Courtesy of Murtić family Jesenje putovanje / Autumn Journey, 1977. ulje na platnu / oil on canvas, 147 x 220 cm Zahvalnošću / Courtesy of Murtić family Emajli / Enamels, 1977. emajl ploče / enamel panels 200 x 550 cm, Zahvalnošću / Courtesy of Murtić family Paunov dan / Peacock’s Day, 1978. ulje na platnu / oil on canvas, 147 x 220 cm Privatno vlasništvo / Private ownership

Kamen i zemlja / Stone and Soil, 1959. ulje na platnu / oil on canvas, 110 x 22 cm Zahvalnošću / Courtesy of Murtić family

Ofenziva / Offensive, 1978. ulje na platnu / oil on canvas, 190 x 460 cm Zahvalnošću Nacionalnog muzeja moderne umjetnosti / Courtesy of National Museum of Modern Art

Klijanje / Sprouting, 1959. ulje na platnu / oil on canvas, 121 x 77 cm Zahvalnošću / Courtesy of Murtić family

Februar / February, 1978. ulje na platnu / oil on canvas, 197 x 130 cm Zahvalnošću / Courtesy of Murtić family

Daleko smeđe / Far Brown, 1959. ulje na platnu / oil on canvas, 110 x 221 cm Privatno vlasništvo / Private ownership

Bez naziva (diptih) / Untitled (diptych), 1978. ulje na platnu / oil on canvas, 320 x 126 cm Zahvalnošću / Courtesy of Murtić family

Bez naziva / Untitled, 1962. ulje na platnu / oil on canvas, 163 x 130 cm Zahvalnošću / Courtesy of Murtić family Tri bijela svjetla / Three White Lights, 1965. ulje na platnu / oil on canvas, 190 x 240 cm Zahvalnošću / Courtesy of Murtić family Vertikalni koncept / Vertical Concept, 1965. ulje na platnu / oil on canvas, 160 x 130 cm Zahvalnošću / Courtesy of Murtić family Prodor u crno / Penetration in Black,

Crveni putokaz / Red Signpost, 1978. ulje na platnu / oil on canvas, 195 x 128 cm Zahvalnošću / Courtesy of Murtić family O.K., 1978. ulje na platnu / oil on canvas, 95 x 196 cm Zahvalnošću / Courtesy of Murtić family Alpha, 1979. ulje na platnu / oil on canvas, 130 x 97 cm, Zahvalnošću / Courtesy of Murtić family Dobar dan crveno / Good Day Red, 1980. ulje na platnu / oil on canvas, 100 x 81 cm 127

Zahvalnošću / Courtesy of Murtić family

Meje / Boundaries, 1980. ulje na platnu / oil on canvas, 199 x 183 cm Zahvalnošću / Courtesy of Murtić family

Hommage à Raoul Goldoni / Hommage à Raoul Goldoni, 1983. ulje na platnu / oil on canvas, 146 x 194 cm Zahvalnošću / Courtesy of Murtić family

Otok / Island, 1980. ulje na platnu / oil on canvas, 90 x 115 cm Zahvalnošću / Courtesy of Murtić family Kao san / Like a Dream, 1980. ulje na platnu / oil on canvas, 146 x 195 cm Zahvalnošću / Courtesy of Murtić family Užareni vinogradi / Glowing Vineyards, 1981. ulje na platnu / oil on canvas, 146 x 199 cm Privatno vlasništvo / Private ownership Opasno oko / Dangerous Eye, 1982. ulje na platnu / oil on canvas, 162 x 130 cm Zahvalnošću / Courtesy of Murtić family Krikovi / Screams, 1982. ulje na platnu / oil on canvas, 162 x 130 cm Zahvalnošću / Courtesy of Murtić family Leptir neman / Butterfly Monster, 1982. ulje na platnu / oil on canvas, 146 x 195 cm Zahvalnošću / Courtesy of Murtić family Opasan pogled / Dangerous View, 1982. ulje na platnu / oil on canvas, 146 x 195 cm Zahvalnošću / Courtesy of Murtić family Pogled noći / View of the Night, 1982. ulje na platnu / oil on canvas, 146 x 195 cm Zahvalnošću / Courtesy of Murtić family Crno sunce / Black Sun, 1982. ulje na platnu / oil on canvas, 146 x 195 cm Zahvalnošću / Courtesy of Murtić family Ljubičasti san / Purple Dream, 1983. ulje na platnu / oil on canvas, 146 x 194 cm Zahvalnošću / Courtesy of Murtić family Oči straha (triptih) / Eyes of Fear (triptych), 1983. ulje na platnu / oil on canvas, 161 x 339 cm Zahvalnošću Nacionalnog muzeja moderne umjetnosti / Courtesy of National Museum of Modern Art Opiplivi strah / Tangible Fear, 1983. ulje na platnu / oil on canvas, 146 x 195 cm 128

Ljubičasti strah (diptih) / Purple Fear (diptych), 1983. ulje na platnu / oil on canvas, 162 x 260 cm Zahvalnošću / Courtesy of Murtić family Mapa Jama, The Pit map, 1984. kombinirana tehnika na papiru / mixed media on paper 40 x (60 x 98 cm) Zahvalnošću / Courtesy of Murtić family Mediteranski vrt / Mediterranean Garden, 1990. ulje na platnu / oil on canvas, 200 x 300 cm Zahvalnošću / Courtesy of Murtić family Izgorena zemlja (diptih) / Burnt Soil (diptych), 1993. ulje na platnu / oil on canvas, 200 x 600 cm Zahvalnošću / Courtesy of Murtić family Mapa Dubrovnik / Dubrovnik map, 1993. kombinirana tehnika na papiru / mixed media on paper 24 x (68 x 98 cm) Zahvalnošću / Courtesy of Murtić family Gvaševi iz ciklusa Kadaveri / A series of gouache paintings Cadavers 1995.-2000. gvaš na papiru / gouache on paper, Zahvalnošću / Courtesy of Murtić family Događaj na crvenom (triptih) / Event on Red (triptych), 2000. akril na platnu / acrylic on canvas 140 x 420 cm Zahvalnošću / Courtesy of Murtić family Bez naziva / Untitled, 2001. keramičke ploče / ceramic tiles 240 x 1200 cm Zahvalnošću / Courtesy of Murtić family Bez naziva / Untitled, 2002. gvaš na papiru / gouache on paper 110 x 200 cm Zahvalnošću / Courtesy of Murtić family

Bez naziva / Untitled, 2002. gvaš na papiru / gouache on paper 110 x 200 cm Zahvalnošću / Courtesy of Murtić family Bez naziva / Untitled, 2002. gvaš na papiru / gouache on paper 110 x 200 cm Zahvalnošću / Courtesy of Murtić family Bez naziva / Untitled, 2002. gvaš na papiru / gouache on paper 110 x 200 cm Zahvalnošću / Courtesy of Murtić family

Zahvalnošću / Courtesy of Murtić family Izlazak iz tišine / Coming Out of Silence, 2004. akril na platnu / acrylic on canvas 200 x 260 cm Zahvalnošću / Courtesy of Murtić family Ranjeni galeb II / Wounded Seagull II, 2004. akril na platnu / acrylic on canvas 200 x 340 cm Zahvalnošću / Courtesy of Murtić family

Bez naziva / Untitled, 2002. gvaš na papiru / gouache on paper 110 x 200 cm Zahvalnošću / Courtesy of Murtić family

Između sjene i prostora / Between Shadow and Space, 2004. akril na platnu / acrylic on canvas 230 x 180 cm Zahvalnošću / Courtesy of Murtić family

Bez naziva / Untitled, 2002. gvaš na papiru / gouache on paper 110 x 200 cm Zahvalnošću / Courtesy of Murtić family

Luna žuta / Yellow Moon, 2004. akril na platnu / acrylic on canvas 180 x 300 cm Zahvalnošću / Courtesy of Murtić family

Bez naziva / Untitled, 2002. gvaš na papiru / gouache on paper 110 x 200 cm Zahvalnošću / Courtesy of Murtić family

Raskrižje nade / Crossroads of Hope, 2004. akril na platnu / acrylic on canvas 180 x 300 cm Zahvalnošću / Courtesy of Murtić family

Putovanje (diptih) / Journey (diptych), 2002. akril na platnu / acrylic on canvas 200 x 600 cm Zahvalnošću / Courtesy of Murtić family Razgovor sa zidom (diptih) / Conversation with a Wall (diptych), 2002. akril na platnu / acrylic on canvas 210 x 680 cm Zahvalnošću / Courtesy of Murtić family

Mapa Neruda / Neruda map, 2004. kombinirana tehnika na papiru / mixed media on paper 28 x (50 x 35 cm) Zahvalnošću / Courtesy of Murtić family Goruća krila / Burning Wings, 2004. akril na platnu / acrylic on canvas 180 x 230 cm Zahvalnošću / Courtesy of Murtić family

Tri crne u boji (triptih) / Three Blacks in Color (triptych), 2002. akril na platnu / acrylic on canvas 300 x 460 cm Zahvalnošću / Courtesy of Murtić family Španjolski prozor / Spanish Window, 2003. akril na platnu / acrylic on canvas 200 x 220 cm Zahvalnošću / Courtesy of Murtić family Alpha, 2003. mozaik / mosaic, 305 x 222 cm 129

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NOVA APSTRAKCIJA / NEW ABSTRACTION

LAUBA – KUĆA ZA LJUDE I UMJETNOST / LAUBA - THE HOUSE FOR PEOPLE AND ART

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BRANKO FRANCESCHI

Koncept predstavljanja dijela Murtićevog opusa na paralelnoj izložbi u Laubi, kući za ljude i umjetnost osmišljen je u duhu tog po programskoj koncepciji alternativnog zagrebačkog kulturnog prostora koji je svojom strategijom podigao novu i drugačiju publiku. Sinergija tri generacije obitelji Murtić: Edine slike, Markov koncept postava i Makov glazbeni program koji uključuje ansambl Živa voda s gostima Darkom Rundekom i Damirom Urbanom, zacijelo će ostati zapamćene kao inovativan pristup organizaciji izložbi koji predstavljanje slika povezuje s izvedbama uživo što se kao i kretanje publike odvija između slika ovješenih na više razina u prostoru, a manje na zidovima galerije. Izložene slike nastale su u razdoblju kad je Murtić slikao na nekoliko formata platna, pa ih je bilo moguće povezati po poleđini, što je omogućilo da u slobodnom prostornom postavu funkcioniraju kao objekti s dva lica. Izbor monumentalnih kompozicija za izložbu u Laubi izvedenih akrilom na platnu dio je posljednjega slikarskog ciklusa Ede Murtića na kojem je radio između 1998. i 2004. godine. Proslavljeni francuski likovni kritičar Pierre Restany nazvao ga je Murtićevom Novom apstrakcijom. Uistinu, riječ je o Murtićevom povratku apstraktnom slikarskom idiomu nakon osamdesetih godina kad je u kontekstu međunarodnoga pokreta transavangarde ili Nove slike, kako je prozvana njegova domaća inačica, izveo niz antologijskih pejzažnih kompozicija i veduta. Murtić je najveći domaći i regionalni predstavnik one linije apstraktnog slikarstva visokog modernizma koje se razvilo metodom reduciranja pojavnog svijeta na oblike, boje i linije emancipirane od vizualnih referenci prema stvarnosti, unutar kojeg je izgradio svoju prepoznatljivu inačicu dinamične geste i intenzivnoga kolorita. Formalne specifičnosti Nove apstrakcije Murtić je razvio devedesetih godina slikajući ciklus nadahnut lokalitetom kamenoloma Montraker u blizini Vrsara. Iz ovoga će ciklusa Murtić spontano prijeći u potpuno novu apstraktnu fazu oslobođenu bilo kakvih poveznica s vanjskim svijetom. Zadržao je tektoniku kompozicije čije je uporište gradio na dominantnom središnjem motivu u obliku znaka izvedenog energičnom gestom sa širinom poteza koja ju je činila gotovo slikanim poljem. Oko ovog konstruktivnog elementa kompozicije izvedenog najčešće crnom, a ponekad i nekom od primarnih boja, Murtić razvija dinamični koloplet linija, poteza, gestualnih i kolorističkih eksplozija koje bujaju uokolo statične mase središnjeg motiva i razvijaju se vlastitim životom i specifičnom murtićevskom energijom. Posebnu dionicu predstavljaju kompozicije koje izvodi na sirovom, negrundiranom platnu. Značajne partije platna Murtić ostavlja neoslikanima, pa njegova struktura i boja postaju čimbenikom sveukupne dinamike kompozicije i najbolja potvrda teze da je suština apstraktnog ekspresionizma sraz materijala kojeg nanosi slikar s materijalom koji čini podlogu iz čega se spontano razvija slika.

LIKOVNI POSTAV / EXHIBITION SET UP: MARKO MURTIĆ 135

The concept of presenting a part of Murtić’s oeuvre at a parallel exhibition in Lauba, house for people and art, was conceived in the spirit of the programmatic concept of an alternative cultural space in Zagreb, which with its strategy raised a new and different audience. The synergy of three generations of the Murtić family: Edo’s paintings, Marko’s concept and Mak’s music program, which includes the ensemble Živa voda with guests Darko Rundek and Damir Urban, will surely be remembered as an innovative approach to organising exhibitions that connects the presentation of art works with live performances, which, just like the mingling audience, take place between paintings hung free in space from different heights and less on gallery walls. The exhibited paintings were created in the period when Murtić painted on several canvas formats, so it was possible to connect them back to back, which enabled them to function as objects with two faces hanging in a free spatial display. The selection of monumental compositions for the exhibition in Lauba, executed with acrylic on canvas, is part of the last painting cycle of Edo Murtić, on which he worked between 1998 and 2004. Renowned French art critic Pierre Restany called it Murtić’s New Abstraction. Indeed, it does represent his return to the abstract painting idiom after the 1980s when, in the context of the international movement of the Transavantgarde or New Painting, as its local version was called, he created a series of anthological landscape compositions and vedutas. Murtić is the greatest Croatian and regional representative of the variation of abstract painting of High modernism that was developed by reducing the phenomenal world to shapes, colours and lines emancipated from visual references to reality, within which he built his recognisable version of dynamic gesture and intense colour. The formal specifics of the New Abstraction were developed by Murtić in the 1990s while painting a cycle inspired by the Montraker quarry near Vrsar in Istria. From this cycle, Murtić will spontaneously move onward into a completely new abstract phase, free of any links to the outside world. He retained the tectonics of composition, the base of which he built on dominant central motif in form of a sign, which he carries out with the energetic gesture and broad stroke that almost turn it into a painted section. Around this constructive element of the composition, mostly in black and sometimes in some of the primary colours, Murtić develops a dynamic whirl of lines, strokes, gestural and colouristic explosions that flourish around the static mass of central motif and develop within their own life with specific Murtićesque energy. A separate section is represented by compositions performed on raw, unprimed canvas. Murtić leaves significant parts of the canvas unpainted, so its structure and colour become a factor in the overall dynamics of the composition and the best confirmation of the thesis that the essence of Abstract Expressionism is in the collision of material applied by the painter with the material that forms the background of painting from which an image develops spontaneously.

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Veliki dodir / Big Touch, 2000.

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Bijela šuma / White Woods, 2000.

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Konac stoljeća / The End of the Century, 2000.

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Susret / Encounter, 2000.

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Molitva za boju / A Prayer for Color, 2003.

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Katedrala / Cathedral, 2003.

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Pogled između / A Look Between, 2003.

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Priča o grani / Branch Story, 2003.

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Uspomena / Memory, 2003.

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Razigrana budućnost / Playful Future, 2003.

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Katedrala / Cathedral, 2004.

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Jesenja grana / Autumn Branch, 2004.

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Crno žuto / Black Yellow, 2004.

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Vatra, krilo crnine / Fire, Wing of Blackness, 2004.

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IZLOŽBA NOVA APSTRAKCIJA / EXHIBITION NEW ABSTRACTION Lauba - Kuća za ljude i umjetnost / Lauba - House for People and Art Prilaz baruna Filipovića 23a 1. - 10. 6. 2021. / June 1 – June 10, 2021 Partner projekta / Project partner: Tomislav Kličko, vlasnik Laube / Lauba owner Likovni postav / Exhibition setup: Marko Murtić Izvršni producent / Executive producer: Marko Murtić Tekst za katalog / Catalogue text: Branko Franceschi Tekst brošure i otvorenje izložbe / Brochure text and exhibition opening: Feđa Gavrilović Zatvaranje izložbe / Closing of the exhibition: Milan Bešlić Slide prezentacije / Slide presentations: Dalibor Kušenić Tehničar i majstor rasvjete / Tehnician and lighting technician Dražen Seifert GLAZBENI PROGRAM / MUSIC PROGRAM: Otvorenje izložbe / Opening of the exhibition: Mak Murtić: Skladba „Murtić 100“ (I. dio) za ansambl Živa voda i gosta Darka Rundeka / Mak Murtić: Composition “Murtić 100” (Part I) for the ensemble Živa voda and guest Darko Rundek Darko Rundek - vokal, performans, čitanje, hodogram / režija // vocals, performance, reading, timeline / direction Mak Murtić - skladbe, saksofon, puhaći instrumenti, hodogram / režija // compositions, saxophone, wind instruments, timeline / direction Maja Rivić - vokal / vocals Nika Bauman - flauta / flute Josip Šustić - el. gitara, klasična gitara, 166

zither / electric guitar, classical guitar, zither Hrvoje Nikšić - elektronika, sintisajzeri / electronics, synthesizers Marko Ferlan - kontrabas, bas gitara, mandolina / double bass, bass guitar, mandolin Gordan Tudor - bas klarinet / bass clarinet Vedran Peternel - elektronika, looping / electronics, looping Leo Beslać - sintisajzeri, el. gitara, flauta / synthesizers, electric guitar, flute Hiwote Tadesse - viola Nenad Kovačić - udaraljke / percussion Udaraljkaški ansambl Nenada Kovačića / Percussion ensemble of Nenad Kovačić Zatvaranje izložbe / Closing of the exhibition: Mak Murtić: Skladba „Murtić 100“ (II. dio) za ansambl Živa voda i gosta Damira Urbana / Mak Murtić: Composition “Murtić 100” (Part I) for the ensemble Živa Voda and guest Damir Urban Damir Urban - vokal, performans, čitanje, hodogram / režija // vocals, performance, reading, timeline / direction Mak Murtić - skladbe, saksofon, puhaći instrumenti, hodogram / režija // compositions, saxophone, wind instruments, timeline / direction Maja Rivić - vokal / vocals Nika Bauman - flauta / flute Josip Šustić - el. gitara, klasična gitara, zither / electric guitar, classical guitar, zither Hrvoje Nikšić - elektronika, sintisajzeri / electronics, synthesizers Marko Ferlan - kontrabas, bas gitara, mandolina / double bass, bass guitar, mandolin Gordan Tudor - bas klarinet / bass clarinet Vedran Peternel - elektronika, looping / electronics, looping Leo Beslać - sintisajzeri, el. gitara, flauta / synthesizers, electric guitar, flute Hiwote Tadesse - viola Nenad Kovačić - udaraljke / percussion Udaraljkaški ansambl Nenada Kovačića / Percussion ensemble of Nenad Kovačić Posuditelji / Lenders: Obitelj Murtić

POPIS RADOVA / LIST OF ARTWORKS Buđenje / Awakening, 2000. akril na platnu / acrylic on canvas 180 x 290 cm Zahvalnošću / Courtesy of Murtić family Jutarnji pozdrav I / Morning Greetings I, 2000. akril na platnu / acrylic on canvas 200 x 280 cm Zahvalnošću / Courtesy of Murtić family Jutarnji pozdrav II / Morning Greetings II, 2000. akril na platnu / acrylic on canvas 200 x 280 cm Zahvalnošću / Courtesy of Murtić family Konac stoljeća I (kvadriptih) / The End of the Century I (quadriptych) 2000. akril na platnu / acrylic on canvas 200 x 300 cm Zahvalnošću / Courtesy of Murtić family Konac stoljeća II (kvadriptih) / The End of the Century II (quadriptych) 2000. akril na platnu / acrylic on canvas 200 x 300 cm Zahvalnošću / Courtesy of Murtić family Konac stoljeća III (kvadriptih) / The End of the Century III (quadriptych) 2000. akril na platnu / acrylic on canvas 200 x 300 cm Zahvalnošću / Courtesy of Murtić family Konac stoljeća IV (kvadriptih) / The End of the Century IV (quadriptych) 2000. akril na platnu / acrylic on canvas 200 x 300 cm Zahvalnošću / Courtesy of Murtić family Let / Flight, 2000. akril na platnu / acrylic on canvas 180 x 290 cm Zahvalnošću / Courtesy of Murtić family Let II / Flight II, 2000. akril na platnu / acrylic on canvas 180 x 290 cm Zahvalnošću / Courtesy of Murtić family

Veliki dodir / Big Touch, 2000. akril na platnu / acrylic on canvas 200 x 400 cm Zahvalnošću / Courtesy of Murtić family Bijela šuma / White Woods, 2000. akril na platnu / acrylic on canvas 200 x 300 cm Zahvalnošću / Courtesy of Murtić family Susret / Encounter, 2000. akril na platnu / acrylic on canvas 200 x 400 cm Zahvalnošću / Courtesy of Murtić family Put između / The Road Between, 2001. akril na platnu / acrylic on canvas 200 x 220 cm Zahvalnošću / Courtesy of Murtić family Između plavog / Between Blue, 2001. akril na platnu / acrylic on canvas 220 x 200 cm Zahvalnošću / Courtesy of Murtić family Zadnji montraker / The Last Montracker, 2002. akril na platnu / acrylic on canvas 220 x 200 cm Zahvalnošću / Courtesy of Murtić family Dolazak II (diptih) / Arrival II (diptych), 2002. akril na platnu / acrylic on canvas 300 x 200 cm Zahvalnošću / Courtesy of Murtić family Odlazak (diptih I) / Departure (diptych I), 2002. akril na platnu / acrylic on canvas 300 x 200 cm Zahvalnošću / Courtesy of Murtić family Crni rast / Black Growth, 2002. akril na platnu / acrylic on canvas 200 x 220 cm Zahvalnošću / Courtesy of Murtić family Događaj u jutro / Event in the Morning, 2003. akril na platnu / acrylic on canvas 200 x 200 cm Zahvalnošću / Courtesy of Murtić family Katedrala / Cathedral, 2003. akril na platnu / acrylic on canvas 167

210 x 340 cm Zahvalnošću / Courtesy of Murtić family Rano jutro / Early Morning, 2003. akril na platnu / acrylic on canvas 210 x 340 cm Zahvalnošću / Courtesy of Murtić family Razigrana budućnost / Playful Future, 2003. akril na platnu / acrylic on canvas 200 x 218 cm Zahvalnošću / Courtesy of Murtić family Uspomena I (diptih) / Memory I (diptych), 2003. akril na platnu / acrylic on canvas 180 x 200 cm Zahvalnošću / Courtesy of Murtić family akril na platnu / acrylic on canvas Uspomena II (diptih) / Memory II (diptych), 2003. akril na platnu / acrylic on canvas 180 x 200 cm Zahvalnošću / Courtesy of Murtić family Zasićeno vrijeme / Saturated Time, 2003. akril na platnu / acrylic on canvas 210 x 300 cm Zahvalnošću / Courtesy of Murtić family Žarki znak / Hot Sign, 2003. akril na platnu / acrylic on canvas 200 x 180 cm Zahvalnošću / Courtesy of Murtić family Bogata zemlja / Rich Land, 2003. akril na platnu / acrylic on canvas 180 x 300 cm Zahvalnošću / Courtesy of Murtić family Grana zagrljaja / Embrace Branch, 2004. akril na platnu / acrylic on canvas 200 x 260 cm Zahvalnošću / Courtesy of Murtić family Jesenja grana / Autumn Branch, 2004. akril na platnu / acrylic on canvas 180 x 230 cm Zahvalnošću / Courtesy of Murtić family Korijeni / Roots, 2004. akril na platnu / acrylic on canvas 210 x 340cm Zahvalnošću / Courtesy of Murtić family 168

Teško svitanje / Heavy Dawn, 2004. akril na platnu / acrylic on canvas 210 x 340 cm Zahvalnošću / Courtesy of Murtić family Vatra, krilo crnine / Fire, Wing of Blackness, 2004. akril na platnu / acrylic on canvas 210 x 340 cm Zahvalnošću / Courtesy of Murtić family Crno žuto / Black Yellow, 2004. akril na platnu / acrylic on canvas 180 x 230 cm Zahvalnošću / Courtesy of Murtić family Stara maslina / Old Olive Tree, 2004. akril na platnu / acrylic on canvas 200 x 186 cm Zahvalnošću / Courtesy of Murtić family Vrata nade / Doors of Hope, 2004. akril na platnu / acrylic on canvas 180 x 230 cm Zahvalnošću / Courtesy of Murtić family Zemlja Istra / Land of Istria, 2004. akril na platnu / acrylic on canvas 180 x 230 cm Zahvalnošću / Courtesy of Murtić family Katedrala / Cathedral, 2004. akril na platnu / acrylic on canvas 200 x 340 cm Zahvalnošću / Courtesy of Murtić family Crna rijeka I / Black River I, 2004. akril na platnu / acrylic on canvas 180 x 300 cm Zahvalnošću / Courtesy of Murtić family Crna rijeka II / Black River II, 2004. akril na platnu / acrylic on canvas 180 x 300 cm Zahvalnošću / Courtesy of Murtić family

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GESTA I SLOBODA / GESTURE AND FREEDOM

MEĐUNARODNI SIMPOZIJ / INTERNATIONAL SYMPOSIUM

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GESTA I SLOBODA / GESTURE AND FREEDOM MEĐUNARODNI SIMPOZIJ UZ PROJEKT OBILJEŽAVANJA STOGODIŠNJICE ROĐENJA EDE MURTIĆA / INTERNATIONAL SYMPOSIUM WITH THE PROJECT OF MARKING THE CENTENARY OF THE BIRTH OF EDO MURTIĆ Organizatori / Organizers: HDLU i Nacionalni muzej moderne umjetnosti Vrijeme održavanja / Time: 8. - 13. 6. 2021. / June 8 – 13, 2021

Simpozij nosi naziv Gesta i sloboda, a obilježava stotu obljetnicu rođenja Ede Murtića, najznačajnijeg predstavnika gestualne apstrakcije i visokog modernizma Hrvatske i Jugoslavije, kao i 60. godišnjicu izložbe Suvremena umjetnost iz SAD-a koja se održala u Modernoj galeriji u Zagrebu 1961. Kustos izložbe bio je Harvard Arnason, a na njoj su izložena djela 33 najistaknutija predstavnika američkog apstraktnog ekspresionizma. Ključna ideja simpozija (prilično utopijskog) temelji se na shvaćanju da su u političkom kontekstu socijalističke Jugoslavije slobodne geste umjetnika unijele vizualni jezik apstraktnog ekspresionizma i simbolizirale društvenu emancipaciju prema demokratskijem društvu. Naravno, riječ je o daleko složenijoj priči koja ima u vidu geostratešku političku stvarnost tog doba. U vrijeme dok se kultura još uvijek koristila kao argument, jugoslavenski je kulturni program trebao promicati apstraktnu umjetnost kao znak odstupanja od kišobrana SSSR-a i njegove doktrine socrealizma. Taj su politički stav podržale SAD i bio je u skladu s američkom agendom za promicanje vlastite političke nadmoći, izlažući ono što je u to vrijeme bilo najutjecajniji umjetnički pokret. ** Izložba suvremene američke umjetnosti imala je ogroman utjecaj u zemlji. Edo Murtić, koji se bavio gestualnom apstrakcijom i nakon povratka iz SAD-a gdje je 1953. upoznao Pollocka, postao je najutjecajniji i najslavniji slikar druge polovice stoljeća u Hrvatskoj i Jugoslaviji. Simpozij kontekstualizira njegov opus unutar te ere.

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The symposium is entitled Gesture and Freedom, and it marks the centenary of the birth of Edo Murtić, the most notable representative of gestural abstraction and high modernism in Croatia and Yugoslavia, as well as the 60th anniversary of the exhibition Contemporary Art from the USA held in our museum in 1961. The exhibition was curated by Harvard Arnason and featured works by 33 most distinguished representatives of US abstract expressionism. The key idea of the symposium (a quite utopian one) is based on the notion that within political context of socialist Yugoslavia the artists’ free gesture(s) brought in the visual language of abstract expressionism and symbolised social emancipation towards a more democratic society. Of course, it is a far more complex story minding geostrategic political realities of the era. At the time when culture was still used as an argument, Yugoslavian cultural agenda was to promote abstract art as a sign of departure from the SSSR umbrella and its doctrine of social realism. That political attitude was backed by the USA and was in accordance with the US agenda to promote own political supremacy by exhibiting what was the most influential art movement at the time. ** The contemporary American art exhibition has had a huge impact in the country. Edo Murtić, who was pursuing gestural abstraction ever after he had returned from the USA where he met Pollock in 1953, became the most influential and celebrated painter of the second half of the century in Croatia and Yugoslavia. The symposium contextualises his oeuvre within that era.

BRANKO FRANCESCHI

PROGRAM SIMPOZIJA

SYMPOSIUM PROGRAM

11:00 - Branko Franceschi, ravnatelj Nacionalnog muzeja moderne umjetnosti, Zagreb, kustos izložbe Murtić 100, uvod 11:30 - Lina Džuverović, predavač, Arts Management and Policy, Birkbeck College, University of London, Odjel za film, medije i kulturalne studije, Soft-power, kulturna diplomacija i jugoslavenski internacionalizam 12:00 - Zvonko Maković, povjesničar umjetnosti, pjesnik, esejist, Rane godine Ede Murtića: polemike oko apstrakcije 12:30 - Mišela Blanuša, muzejska savjetnica, Muzej savremene umetnosti, Beograd, Pozicija Murtićevog opusa unutar korpusa apstraktne umetnosti jugoslovenskog modernizma 15:00 - Branko Franceschi, ravnatelj Nacionalnog muzeja moderne umjetnosti, Zagreb, kustos izložbe Murtić 100 Rekapitulacija jutarnjih izlaganja i uvod u poslijepodnevnu sesiju 15:30 - Budimir Lončar, diplomat i osobni prijatelj Ede Murtića Murtić u New Yorku, opservacije prijatelja 16:00 - Helen A. Harrison, ravnateljica, PollockKrasner House and Study Center, New York, USA Murtićev New York 1951. godine 16:30 - Joana Grevers, predsjednica, Joana Grevers Fondacija Edo Murtić u kontekstu apstraktnog ekspresionizma iza željezne zavjese i poslijeratnih globalnih modernizama 17:00 - Laura Carlini Fanfogna, ravnateljica, Muzeji i knjižnice grada Trsta Boje i geste izvan granica

11:00 - Branko Franceschi, director of the National Museum of Modern Art, Zagreb, curator of the exhibition Murtić 100, introduction 11:30 - Lina Džuverović, Lecturer, Arts Management and Policy, Birkbeck College, University of London, Department of Film, Media and Cultural Studies, Soft-power, Cultural Diplomacy and Yugoslav Internationalism 12:00 - Zvonko Maković, art historian, poet, essayist, Edo Murtić’s Early Years: Controversies over Abstraction 12:30 - Mišela Blanuša, Museum Advisor, Museum of Contemporary Art, Belgrade, The position of Murtić’s opus within the corpus of abstract art of Yugoslav modernism 15:00 - Branko Franceschi, director of the National Museum of Modern Art, Zagreb, curator of the exhibition Murtić 100 Recapitulation of morning presentations and introduction to the afternoon session 15:30 - Budimir Lončar, diplomat and personal friend of Edo Murtić, Murtić in New York, observations of a friend 16:00 - Helen A. Harrison, Director, Pollock-Krasner House and Study Center, New York, USA Murtić’s New York 1951 16:30 - Joana Grevers, President, Joana Grevers Foundation, Edo Murtic in the context of Abstract Expressionism behind the Iron Curtain and PostWar Global Modernisms 17:00 - Laura Carlini Fanfogna, Director, Museums and Libraries of the City of Trieste Colours and gestures beyond border

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LINA DŽUVEROVIĆ, predavač, Arts Management and Policy, Sveučilište Birkbeck, Odjel za film, medije i kulturalne studije / Lecturer, Arts Management and Policy, Birkbeck College, University of London, Department of Film, Media and Cultural Studies Soft-power, kulturna diplomacija i jugoslavenski internacionalizam

Soft-power, Cultural Diplomacy and Yugoslav Internationalism

Prezentacija se bavila umjetnošću i ideologijom, s ciljem propitivanja na koje načine se kulturni radnici mogu postaviti u odnosu na ideologije sustava u kojem žive, a govoreći u kontekstu bivše Jugoslavije i pozivajući se na alate za izgradnju nacije poput meke moći i kulturne diplomacije. Iako govorimo o 60-ima kada je Murtić aktivno stvarao i bio jedan od ključnih glasova socijalističke Jugoslavije na međunarodnoj kulturnoj sceni, ova prezentacija nije se bavila njime. Ona je bila više kontekstualna u svojoj prirodi te je nastojala dati širu sliku kulturnog i sociopolitičkog okruženja u kojem je Murtić djelovao. Džuverović tvrdi da višestruke umjetničke pozicije i izrazi, koji su koegzistirali u Jugoslaviji, a među njima i apstraktni ekspresionizam, doista pokazuju oblik slobodoumlja i društvene emancipacije, ali ne kroz samu umjetničku gestu. Sloboda izražavanja koju su umjetnici uživali tijekom tog razdoblja nije proizašla iz određenog stilskog ili konceptualnog pristupa njihovoj praksi, već upravo iz mnoštva dostupnih opcija. Dolazila je iz napetosti, proturječnosti i dinamike stalnih pregovora o umjetnikovoj ulozi u društvu te njegovom odnosu prema moći. Za razliku od krutih i preskriptivnih pristupa umjetnosti viđenih u sovjetskom bloku, s binarnom podjelom između disidentnih i službenih umjetnika, i za razliku od zapadnog, komercijalno vođenog i tržišno ovisnog umjetničkog okruženja, jugoslavenski umjetnici imali su priliku kontinuirano se preispitivati i prepozicionirati u odnosu na društveno-politička zbivanja i hitnosti. Unatoč državnom sveopćem naginjanju apstrakciji, upravo su napetosti, proturječja i razlike tijekom tog razdoblja ono što je bivšu SFRJ činilo mjestom umjetničke slobode i dinamičnosti.

The presentation addressed art and ideology, asking what ways are available to cultural workers to position themselves in relation to ideological underpinnings of the system in which they live. This was discussed in the context of the former Yugoslavia, examining the nation-building tools that are soft power and cultural diplomacy. Although speaking of the 1960s, when Edo Murtić was actively working and was a key voice representing socialist Yugoslavia on the international cultural scene, this presentation did not focus on his work. Instead, it was a contextual perspective, seeking to paint a broader picture of the cultural and sociopolitical environment in which Murtić operated. Džuverović argued that multiple artistic positions and expressions that co-existed in Yugoslavia at this point among them abstract expressionism - demonstrated a form of free-thinking and social emancipation, but not through the artistic gesture itself. The freedom of expression that artists enjoyed during this period did not come from one particular stylistic or conceptual approach to their practices, but precisely from the multiplicity of options available to them. It came from the tensions, contradictions, and the dynamism of continuous renegotiations of the artist’s role in society and its relationship to power. Unlike the rigid and prescriptive approaches to art seen in the Soviet bloc, with the binary division between dissident and official artists, and unlike the western, commercially-driven and market-dependent art environments, Yugoslav artists had the opportunity to continuously question and reposition themselves in relation to socio-political events and urgencies. Despite the country’s overarching leaning towards abstraction, the tensions, contradictions, and differences in this period are precisely what rendered the former SFRY a site of artistic freedom and dynamism.

ZVONKO MAKOVIĆ, povjesničar umjetnosti, pjesnik, esejist / art historian, poet, essayist Rane godine Ede Murtića: polemike oko apstrakcije

Edo Murtić’s Early Years: Polemics About Abstraction

Pojava Ede Murtića na hrvatskoj/jugoslavenskoj umjetničkoj sceni početkom pedesetih godina popraćena je polemikama. Djela s dviju njegovih

Edo Murtić’s appearance on the Croatian / Yugoslav art scene in the early 1950s was accompanied by controversy. Works from his first two exhibitions

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prvih izložaba iz 1953. i 1954. godine dio kritike i umjetnika žestoko su napadali. Razlozi napada temeljili su se s jedne strane na pitanju apstrakcije koju su prepoznavali u ovim slikama i u njoj vidjeli nedvosmisleni iskorak iz lokalne tradicije. S druge strane dio kolega, koji se javljaju u isto vrijeme inaugurirajući također apstrakciju, osporavao je Murtićevu umjetnost jer se ona nije uklapala u njihove norme. Ciklus slika Ede Murtića nazvan Doživljaj Amerike nastao je 1951. i 1952. tijekom njegova boravka u Americi i pokazao stanovite stilske obrasce svojstvene umjetnosti te sredine, pri čemu se osobito isticala prisutnost geste koja je slici davala pojačane ekspresivne osobine. Međutim, uspoređujući djela nastajala ranijih godina s onima iz New Yorka na kojima je gesta postala bitan konstitutivni element slikanoga polja, nije teško prepoznati da slikar tek radikalizira ono što je već artikulirao na jezičnoj razini. To bi značilo da se razlike prepoznaju više na narativnome, a ne slikarskome aspektu. Nadalje, pojam apstraktne, odnosno nefigurativne umjetnosti, koji se redovito pripisivao ovim djelima i služio kao argument napada, uopće nije točan. U svemu tome Edo Murtić je postao najisturenijom umjetničkom ličnošću ranih pedesetih godina u svojoj sredini. Međutim, u njegovu su se djelu prelamali problemi koji nisu uvijek imali samo umjetnički, nego podjednako tako ideološki i politički karakter. Promatrajući s tog aspekta ovu umjetnost ona nedvosmisleno dobiva na širem kulturološkome, pa i društvenome značenju.

in 1953 and 1954 were fiercely attacked by some critics and artists. The reasons for the attack were based on the one hand on the issue of abstraction, which they recognized in these paintings and saw in it an unequivocal step out of the local tradition. On the other hand, some colleagues, who appear at the same time inaugurating also abstract art, challenged Murtić’s art because it did not fit into their norms. A series of paintings by Edo Murtić called The Experience of America was created in 1951 and 1952 during his stay in America and showed certain stylistic patterns characteristic of the art of that environment, with the presence of gestures that gave the painting enhanced expressive features. However, comparing works created in earlier years with those from New York where gesture became an essential constitutive element of the painted field, it is not difficult to recognize that the painter is only radicalizing what he has already articulated on a linguistic level. This would mean that differences are recognized more in the narrative rather than the painterly aspect. Furthermore, the notion of abstract or non-figurative art, which was regularly attributed to these works and served as an argument for an attack, is not correct at all. In all this, Edo Murtić became the most prominent artistic figure of the early fifties in his environment. However, in his work, problems broke out that did not always have only an artistic, but equally an ideological and political character. Observing this art from this aspect, unequivocally acquires a broader cultural and even social significance.

MIŠELA BLANUŠA, muzejska savjetnica, Muzej savremene umetnosti, Beograd / Museum Advisor, Museum of Contemporary Art, Belgrade Pozicija Murtićevog opusa unutar korpusa apstraktne umetnosti jugoslovenskog modernizma

The Position of Murtić’s Opus Within the Corpus of Abstract Art of Yugoslav Modernism

Umjetnički opus Ede Murtića je važan za sveobuhvatno sagledavanje korpusa apstraktne umjetnosti unutar jugoslavenskog modernizma, kao jednog

Edo Murtić’s artistic opus is important for a comprehensive view of the corpus of abstract art within Yugoslav modernism, as one of the postulates of

Lijevo / Left: Lina Džuverović predavanje preko video poziva / Lecture through video call Desno / Right: Mišela Blanuša

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od postulata izgradnje novoetabliranog političkog ustrojstva poslijeratne socijalističke Jugoslavije, ali i težnje ka emancipaciji moderne umjetnosti s ovih prostora, u skladu s najsuvremenijim svjetskim umjetničkim tendencijama. Nakon raskida s umjetničkim iskustvima nastalim pod dogmom socijalističkog realizma, jugoslavenska umjetnička scena se otvara za uplive i utjecaje internacionalne apstraktne umjetnosti, kao nečeg novog i progresivnog - kao što se tada službeno prezentiralo i novo socijalističko društveno-političko uređenje SFRJ, u odnosu na ostale države istočnog socijalističkog bloka. Međutim, razvoj novih likovnih praksi tijekom pedesetih i šezdesetih godina XX. stoljeća u jugoslavenskoj umjetnosti neće biti ravnolinijski. Taj period će obilježiti niz turbulencija koje će dolaziti iz različitih sfera društva i ogledati na trenutke u osporavanju apstrakcije od strane državne vlasti, koja ju je neposredno poslije rata i raskida sa socrealizmom, formalno podržavala. S vremenom, apstraktna umjetnost će biti etablirana kao najznačajniji umjetnički pravac u okviru korpusa visokog modernizma, koji će biti službeno prihvaćen kao dominantan umjetnički pravac, podržan od strane državnih umjetničkih institucija, kao što su muzeji, najznačajnije galerije, ali i postavi na internacionalnim prezentacijama, u sklopu velikih umjetničkih smotri širom svijeta. U takvom društvenom i umjetničkom kontekstu, stvaralaštvo Ede Murtića se može iščitati kao veoma značajan i osoben umjetnički opus koji je objedinio iskustva američkog i europskog apstraktnog ekspresionizma, kao i spremnost da se jedno lokalno stvaralaštvo suvereno pozicionira unutar tekućih svjetskih kretanja u umjetnosti XX. stoljeća.

building the newly established political structure of post-war socialist Yugoslavia, but also striving for the emancipation of modern art from these areas following world contemporary artistic tendencies. After breaking with the artistic experiences created under the dogma of socialist realism, the Yugoslav art scene opens to the influences of international abstract art, as something new and progressive as then officially presented and also the new socialist socio-political system of SFRY, in relation to other states of the Eastern Socialist Bloc. However, the development of new art practices during the 1950s and 1960s in Yugoslav art will not be straightforward. This period will be marked with a series of turbulences coming from various spheres of society reflecting on the moments where the state government disputed abstraction even though it, immediately after the war and the break with social realism, formally supported it. Over time, abstract art will be established as the most important artistic direction within the corpus of high modernism, which will be officially accepted as the dominant artistic direction, supported by state art institutions such as museums, the most important galleries, but also exhibited at international presentations, as part of major art festivals around the world. In such a social and artistic context, Edo Murtić’s work can be read as a very significant and special artistic opus that combines the experiences of American and European abstract expressionism, as well as the willingness to position local art within the current world art movements of the 20th century.

Zvonko Maković

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BUDIMIR LONČAR, diplomat i osobni prijatelj Ede Murtića / diplomat and personal friend of Edo Murtić Murtić u New Yorku, opservacije prijatelja

Murtić in New York, Observations of a Friend

O Edi Murtiću nije lako pričati. Prijateljstvo sa sobom povlači i emocije, ali prije svega zbog kompleksnosti i njegove veličine kao povijesne ličnosti. Prvi susret dogodio se New Yorku, uz pomoć zajedničkog prijatelja – Jure Kaštelana, u najintenzivnijem periodu života obojice. Usred hladnog rata i vrlo složenih političkih previranja diljem bipolarnog svijeta. SAD su Murtića osvojile svojom dinamikom, brzinom i ponudom. Putovao je polovnim Cadillacom za 150 dolara na drugu stranu kontinenta i upijao iskustva, ali mu je likovna scena, u počecima njegova susreta s njom, bila razočaravajuća. Pokazivao je snažan otpor prema Pollocku i apstrakciji općenito, no s druge ga je strane on, svojom novošću i drukčijosti izazivao na konfrontaciju te ga u konačnici natjerao da se u apstrakciji i sam okuša. Njegove slike počinju odisati tom dinamikom i snagom Amerike. Jednom će prilikom reći da apstrakcija izaziva emocije, ali i potiče bezgranična razmišljanja, baš kao glazba. Njegovo je slikarstvo time dobilo neku vrstu okvira kroz koju se ogledala i njegova društvena angažiranost. On je bio čovjek slobode i borac za socijalnu pravdu. Nedjeljna druženja koja je organizirao u svom ateljeu okupljala su društvenu kremu često posve različitih mišljenja. Time su postala ujedno i svojevrsni laboratorij demokracije i svestrane razmjene gledišta, a atelje društvena institucija. Edo Murtić postao je i ostao nezaobilazna točka svoga vremena.

It is not easy to talk about Edo Murtić. Friendship also brings emotions with it, but above all because of his complexity and greatness as a historical figure. The first meeting took place in New York, with the help of a mutual friend - Jure Kaštelan - in the most intense period of our lives. Amid the Cold War and very complex political turmoil throughout the bipolar world. The USA won over Murtić with its dynamics, speed, and offer. He traveled in a used Cadillac which he bought for $ 150 to the other side of the continent and absorbed the experience, but its art scene, in the beginning, was disappointing to him. He showed strong resistance to Pollock and abstraction in general, but on the other hand, Pollock, with his novelty and otherness, challenged him to confront him and ultimately forced him to try abstraction himself. His paintings are beginning to exude the dynamism and power of America. On one occasion he will say that abstraction evokes emotions, but also encourages boundless thinking, just like music. His painting thus gained a kind of framework through which his social engagement was reflected. He was a man of freedom and a fighter for social justice. The Sunday gatherings he organized in his studio brought together a social crème de la crème who often had completely different opinions. Thus, they became both a kind of laboratory of democracy and a laboratory of comprehensive exchange of views and the studio a social institution. Edo Murtić became and remained an unavoidable figure of his time.

Budimir Lončar

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HELEN A. HARRISON, ravnateljica, Pollock – Krasner fondacija, New York, USA / Director, Pollock-Krasner House and Study Center, New York, USA, Murtićev New York 1951. godine

Murtić’s New York 1951

U proljeće i jesen 1951. Edo Murtić proveo je oko šest mjeseci u New Yorku, koji je tada istiskivao Pariz kao središte napredne umjetnosti. Posjetio je muzeje i galerije te upoznao neke od umjetnika koji su prednjačili u američkom apstraktnom ekspresionizmu - termin koji su i sami umjetnici tek trebali prihvatiti. Uz izložbe pojedinih umjetnika u galerijama na Manhattanu, Murtić je imao priliku razgledati izložbu Muzeja moderne umjetnosti Abstract Painting and Sculpture in America - 50-godišnje istraživanje, koje je obuhvatila brojne europske i američke primjere, te izložbu American Painting Today – 1950 u Metropolitanu. Također je vidio i izložbu 9th Street Exhibition of Painting and Sculpture, koja je predstavljala mnoge avangardne umjetnike, kao i samostalne izložbe Willema de Kooninga i Jacksona Pollocka. Njegovi susreti s ta dva umjetnika, a posebno posjet Pollockovom ateljeu u East Hamptonu, ostavili su dubok trag na Murtiću te potaknuli razvoj njegovog jedinstvenog i osobnog pristupa gestualnoj apstrakciji.

In the spring and fall of 1951, Edo Murtić spent about six months in New York City, which was then supplanting Paris as the center of advanced art. He visited museums and galleries and met some of the artists who were in the forefront of American abstract expressionism - a term that the artists themselves had yet to embrace. In addition to exhibitions by individual artists at Manhattan galleries, the Museum of Modern Art’s Abstract Painting and Sculpture in America, a 50-year survey that included many European and American examples, and the Metropolitan Museum of Art’s American Painting Today – 1950, were on view during Murtić’s stay. He also saw the 9th Street Exhibition of Painting and Sculpture, which represented many vanguard artists, as well as solo exhibitions by Willem de Kooning and Jackson Pollock. His encounters with those two artists, and especially his visit to Pollock’s East Hampton studio, had a profound impact on Murtić and encouraged his development of a uniquely personal approach to gestural abstraction.

Helen A. Harrison predavanje preko video poziva / Lecture through video call Jackson Pollock u svom ateljeu u East Hamptonu / Jackson Pollock in his East Hampton studio, 1951. Fotografija / Photograph by Hans Namuth © Hans Namuth Ltd. Zahvaljujući / Courtesy of Pollock-Krasner House and Study Center, East Hampton, NY Poster invitation for Jackson Pollock’s 1951 exhibition at the Betty Parsons Gallery. Designed by Pollock / Plakat za izložbu Jacksona Pollocka u Betty Parsons Gallery 1951. godine. Dizajn: Jackson Pollock Poster for the 9th Street Show, 1951, designed by Franz Kline / Plakat za the 9th Street Show, 1951. Dizajn: Franz Kline Time Square, New York, oko / ca. 1951. Stara razglednica / Vintage postcard

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JOANA GREVERS, predsjednica, Joana Grevers Fondacija / President, Joana Grevers Foundation Edo Murtić u kontekstu apstraktnog ekspresionizma iza željezne zavjese i poslijeratnih globalnih modernizama

Edo Murtić in the context of Abstract Expressionism behind the Iron Curtain and Post-War Global Modernisms

Namjera ove prezentacije je inicirati povezivanje Ede Murtića i drugih umjetnika koji su bili dio izložbe Abstract Expressionism behind the Iron Curtain, održane u Pollock-Krasner House and Study Center East Hampton, NY 2017. godine1, s globalnim modernizmima nakon 1945. godine. Poznato je da je u doba hladnog rata MoMA NY organizirala putujuće izložbe po Europi, pa time i u Beogradu, kao jedinom gradu u istočnoj Europi. Te su povijesne izložbe postale kamenom temeljcem, omogućujući transparentnost između Zapada i Istoka. Sjedinjene Države su putem CIA-e bile uključene u propagandu, prezentirajući apstraktni ekspresionizam kao umjetnost slobodnog demokratskog kapitalističkog svijeta naspram socijalističkog realizma diktatorskih zemalja.2 Istočna Europa već je u to vrijeme imala iskustva s umjetnicima i institucijama izvan neposrednog izvora. Rumunjska, u kojoj sam rođena, nagrađena posebnom izložbom, koju je organizirala američka vlada, u kontekstu posjeta predsjednika Nixona 1969. godine: Disappearance and Reappearance of the Image: American Painting After 1945. Izložbu je osmislio Smithsonian Institute iz Washingtona, a održala se u Bukureštu i Temišvaru. Ovaj jedinstveni događaj imao je snažan utjecaj na umjetnike koji su izložbu mogli posjetiti. Romul Nutiu, kojeg sam otkrila 2007. godine, bio je jedan od njih. U to je vrijeme već radio apstrakciju. Gledajući unatrag, on je sada rumunjski apstraktni ekspresionist iza željezne zavjese broj jedan. Nakon njega, dobila sam poticaj pronaći i druge umjetnike iz srednje i istočne Europe, među njima Edu Murtića, Jana Ko-

This presentation intends to initiate relating Edo Murtić and the other artists who were part of the exhibition Abstract Expressionism behind the Iron Curtain, held at the Pollock-Krasner House and Study Center East Hampton, NY in 20171 - to the global Modernisms after 1945. During the Cold War period, it is known that especially the MoMA NY has organized travel exhibitions to Europe, including Belgrade as the only city from Eastern Europe. These historical exhibitions became cornerstones by allowing transparency between the Western and Eastern worlds. The United States by means of the CIA were involved in the propaganda of claiming Abstract Expressionism as the art of the free democratic capitalistic world versus the Socialistic Realism of dictatorial countries.2 Eastern Europe has already in those times experienced with artists and institutions outside the immediate source. Romania, where I was born, benefitted from an extra special exhibition, which was organized by the American government, in the context of President Nixon’s visit in 1969, Disappearance and Reappearance of the Image: American Painting After 1945. The exhibition was conceived by the Smithsonian Institute Washington DC and took place in Bucharest and Timisoara. This unique event had a strong impact on the artists, who were able to visit it. Romul Nutiu, whom I discovered in 2007, was one of them; he was already working in an abstract manner during those times. Looking back, he is now THE Romanian Abstract Expressionist behind the Iron Curtain. Later I was challenged to research for other artists from Central and Eastern Europe,

Postav / Exhibition view, Abstract Expressionism Behind the Iron Curtain, ©Pollock – Krasner House and Study Center Postav / Exhibition view, Abstract Expressionism Behind the Iron Curtain at Steinberg Museum of Art, ©Steinberg Museum of Art

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tica, Thadeusza Kantora i Andreja Jemca, tako da je spomenuta izložba iz 2017. zaživjela. To se naravno ne bi dogodilo bez početne vizije i inicijative s moje strane te iznimno važne podrške i razumijevanja Helen Harrison. Godine 2016. poznati kustos i ravnatelj Haus der Kunst u Münchenu, Okwui Enwezor, napravio je povijesno važnu, monumentalnu izložbu u Münchenu u Haus der Kunst, pod nazivom Postwar: Kunst zwischen Pazifik und Atlantik, 1945-1965.3, navodeći da se modernizam nakon 1945. nije događao samo u New Yorku i zapadnoj Europi, već i na drugim mjestima našeg planeta, poput Južne Amerike, Azije, Afrike i, na kraju, ali ne i manje važno, u Istočnoj Europi. Ova revolucionarna izložba postavila je nov DNK u pisanju i prekrajanju povijesti umjetnosti nakon ‘45. Povezivanje međunarodno još nedovoljno poznatih pionirskih umjetnika iz istočne Europe s globalnom umjetničkom scenom nakon 1945. godine mora postati naša dužnost. Trebat će mnogo istraživanja, posebnih kustoskih vještina i puno umrežavanja kako bi se umjetnici Istočne Europe oslobodili političke stigmatizacije i izolacije te postali međunarodno poznati. Svijetu tek treba otkriti kako je njihova umjetnost nastajala sinkrono sa zapadnoeuropskim i američkim umjetničkim pokretom, a duh toga se već osjeća u zraku. Zaključak Simpozija Murtić 100 u svjetlu dugo očekivane i proslavljene izložbe u Meštrovićevom paviljonu još je jedan kamen temeljac za ocjenu i preispitivanje položaja Ede Murtića u kontekstu apstraktnog ekspresionizma.

among them Edo Murtić, Jan Kotic, Thadeusz Kantor, and Andrej Jemec, so the exhibition Abstract Expressionism behind the Iron Curtain came to life. This would of course not have happened without initial vision and initiative from my part and the essential support and understanding of Helen Harrison. In 2016, the famous curator and director of Haus der Kunst in Munich, Okwui Enwezor, made a historically important, monumental exhibition in Munich at Haus der Kunst, called Postwar: Kunst zwischen Pazifik und Atlantik, 1945-1965.3, stating that Modernism after 1945 did not happen only in NY and Western Europe but also in other places of our planet, such as South America, Asia, Africa, and last but not least Eastern Europe. This groundbreaking exhibition has planted a new DNA in writing and rewriting the art history after ‘45. Connecting the internationally not yet well-known enough pioneer artists from Eastern Europe to the global art scene after 1945 has to become our duty. It will require much research, special curatorial skills, and lots of networking to liberate Eastern European artists from the political stigmatization and isolation and make them known internationally. Their synchronicity and the serendipity of the Western European and American art movements must be revealed. This spirit is now in the air. The conclusion of the Murtić 100 Symposium in the light of the highly anticipated and celebrated exhibition at the Meštrović pavilion is another cornerstone to evaluate and re-evaluate the position of Edo Murtić in the context of Abstract Expressionism.

Abstract Expressionism Behind the Iron Curtain | Pollock – Krasner House and Study Center, Helen Harrison, Charlotta Kotik, Philip Rylands Conceived by Joana Grevers, director Fundatia Joana Grevers Organized by Helen A. Harrison, director Pollock – Krasner House and Study Center 2 The Cold War and the United States Information Agency: American Propaganda and Public Diplomacy, 1945-1989, by Nicholas J. Cull Cambridge University Press, 2008 pp. 162-168 3 Postwar: Kunst zwischen Pazifik und Atlantik, 1945-1965 © 2016 Random House FSC 1

Joana Grevers Branko Franceschi Laura Carlini Fanfogna

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LAURA CARLINI FANFOGNA, ravnateljica, Muzeji i knjižnice grada Trsta / Director, Museums and Libraries of the City of Trieste Boje i geste izvan granica

Colours and Gestures Beyond the Borders

Iako vodeća i priznata figura umjetničkog svijeta, Edo Murtić zadobiva adekvatnu pažnju u Trstu i sjeveroistočnom pograničnom području Italije tek na prijelazu stoljeća. Prije dvadeset godina tako je u Trstu, u muzeju Revoltella, postavljena njegova samostalna izložba te se proslavio njegov osamdeseti rođendan. To je ujedno bila i prva monografska izložba nekog umjetnika iz jugoistočne Europe, što pokazuje kompleksnost talijanskog kulturnog okruženja i stavova u poslijeratno doba. Rezultat izložbe je i uvođenje Murtićevih djela u stalni postav muzeja i kolekciju poslijeratnog razdoblja, koja je do tada prezentirala isključivo talijanske autore. Iako je Murtić proveo vrijeme u SAD-u te sudjelovao na najznačajnijim smotrama suvremene umjetnosti - Venecijanskom bijenalu i Documenti u Kasselu, ovaj prvak poslijeratne umjetnosti, predvodnik suvremenih umjetničkih trendova 50-ih godina, morao je čekati 50 godina za izložbu u Trstu. Ova se prezentacija bavi vrlo specifičnom kulturnom i geopolitičkom situacijom na ovim prostorima sredinom XX. stoljeća, te nastoji objasniti dug, ali na koncu uspješan, put brisanja svih granica (stvarnih, političkih ili kulturnih) kad je umjetnost u pitanju.

Although a leading and recognized figure in the art world, Edo Murtić gained adequate attention in Trieste and Italy north-east border area only at the turn of the century. Twenty years ago, his solo exhibition was set up in Trieste, at the Museo Revoltella, and his eightieth birthday was celebrated. It was also the first monographic exhibition by an artist from Southeast Europe, showing the complexity of the Italian cultural environment and attitudes in the post-war period. The result of the exhibition is the introduction of Murtić’s works into the permanent exhibition of the museum and the collection of the post-war period, which until then had presented exclusively Italian authors. Although Murtić spent time in the USA and participated in the most important contemporary art festivals - the Venice Biennale and Documenta in Kassel, this champion of post-war art, the leader of contemporary art trends in the 1950s, had to wait 50 years for an exhibition in Trieste. This presentation deals with a very specific cultural and geopolitical situation in this area in the middle of the 20th century and seeks to explain the long, but ultimately successful, path of erasing all boundaries (real, political, or cultural) when it comes to art.

Tomislav Buntak Branko Franceschi Laura Carlini Fanfogna Budimir Lončar Ivana Andabaka Ranko Murtić Joana Grevers Marijana Kolarić Mišela Blanuša Zvonko Maković

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FONDACIJA MURTIĆ / MURTIĆ FOUNDATION

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FONDACIJA MURTIĆ Fondacija Murtić zasnovana je na materijalnoj i nematerijalnoj ostavštini Ede Murtića, jednog od najutjecajnijih likovnih umjetnika i kulturnih djelatnika dvadesetog stoljeća u Hrvatskoj i regiji, koji je svojim djelom unutar internacionalne paradigme slikarstva zrelog modernizma i gestualne apstrakcije ostvario prepoznatljivu i prepoznatu inačicu snažne kolorističke izražajnosti. Materijalnu ostavštinu Ede Murtića čine više tisuća umjetničkih djela: slika, radova na papiru, grafičkih mapa i cjelina, keramike, emajla, skulptura, blokova skica, modela, fotografske, video, filmske i pisane dokumentacije i arhiva; a nematerijalnu autorska i intelektualna prava. Osnivači fondacije članovi su uže Murtićeve obitelji objedinjeni nastojanjem prikupljanja, istraživanja i predstavljanja umjetnikove materijalne i zaštite njegove nematerijalne ostavštine. U svrhu ostvarenja svog poslanja Fondacija Murtić je od početaka svog rada 2005. godine organizirala niz izložbi različitih formata u zemlji i inozemstvu, stručne skupove i konferencije, producirala niz kataloga i dokumentarnih filmova te koncipirala monografska izdanja; što sve zajedno javnosti predstavlja različite modele i vidove njenog budućeg djelovanja. Cilj fondacije je izgradnja sjedišta otvorenog javnosti u kojem će opus Ede Murtića biti predmetom interdisciplinarnog istraživanja i obrade s ciljem dinamičnog predstavljanja, te njegove komparacije sa srodnim umjetničkim stvaralaštvom i pokretima kroz suradnju s odgovarajućim fondacijama u zemlji i svijetu. U ovom pogledu Fondacija će sudjelovati u upravljanju i koncipiranju programa Donacije Murtić, javnom institucijom s reprezentativnim izborom djela iz svih faza i disciplina umjetnikovog stvaralaštva, te surađivati sa svim drugim referentnim muzejima, fondacijama, institutima, kulturnim i obrazovnim institucijama. Fondacija će svojom djelatnošću, na tragu Murtićevog društvenog angažmana, njegovati humane i demokratske vrijednosti za koje se umjetnik zalagao cijelog života, obogaćivati znanja o epohi i umjetnosti visokog i kasnog modernizma s obje strane kulturno-političke podjele na Istočnu i Zapadnu Europu, kritički razmatrati doprinos Ede Murtića umjetnosti i kulturnom životu njegove epohe, te međunarodnim izložbenim i rezidencijalnim programom promovirati reflekse modernizma u radu suvremenih umjetnika, likovnih kritičara, povjesničara umjetnosti i teoretičara. Paralelni smjer djelovanja Fondacije Murtić odnosi se na Istru, a nadasve područje Vrsara s kojim umjetnik i obitelj osjećaju posebnu povezanost. 184

Ranih šezdesetih godine Murtići su na tada ogoljenom brijegu kupili ruševine gospodarskog objekta koji će postati njihovom ljetnom kućom i ateljeom. Danas je riječ o kući koja u sebi spaja robusnu osnovu nekadašnjeg objekta s elementima estetike arhitekture visokog modernizma, oko koje je odnjegovan sjenovit vrt ispunjen Murtićevim skulpturama i radovima u keramici. Za ljetnih mjeseci Murtić je u Vrsaru godinama razvijao sve svoje slikarske aktivnosti, tamo su nastala njegova mnogobrojna remekdjela, a iz vrta se pruža i fascinantan pogled na posebno mu drag motiv razvedenog vrsarskog arhipelaga. Institucija koju Fundacija Murtić planira za Vrsar u pogledu umjetnikove ostavštine zasniva se na ciklusu nadahnutim obližnjim kamenolomom Montraker koji je Murtiću poslužio kao svojevrsni most kojim je iz figurativne faze osamdesetih godina postupno svoje slikarstvo razvio prema ciklusu Nove apstrakcije, zaključnom poglavlju svoje bogate umjetničke karijere. Planirana institucija motivom i sjećanjima uklopljena u okoliš, razvit će složenu priču o dinamičnom odnosu apstrakcije i figuracije koji je odredio likovnu umjetnost XX. stoljeća. Jednu od najboljih dionica ovog složenog odnosa upravo u Vrsaru ostvario je Edo Murtić.

BRANKO FRANCESCHI

Edo na Montrakeru / Edo in Montraker Edo Murtić i Pierre Restany u Vrsaru / Edo Murtić and Pierre Restany in Vrsar

MURTIĆ FOUNDATION The Murtić Foundation is based on the tangible and intangible legacy of Edo Murtić, one of the most influential artists and cultural professionals of the 20th century in Croatia and the region, whose work within the international paradigm of mature modernism and gestural abstraction formed a recognizable and recognized variant of powerful colorist expression. The tangible legacy of Edo Murtić comprises several thousands of works of art: paintings, works on paper, graphic portfolios and units, ceramics, enamels, sculptures, sketch blocks, models, photographic, video, film, and written documentation and archives; his intangible legacy refers to copyrights and intellectual property rights. The founders of the Foundation are members of Murtić’s immediate family, united in their effort to collect, research, and present the artist’s tangible legacy and protect his intangible legacy. To achieve its mission, the Murtić Foundation has, since the beginning of its work in 2005, organized a variety of exhibitions in different formats at home and abroad, as well as conferences and symposiums, produced a multitude of catalogs and documentaries, and conceived monographs, thus presenting to the public the numerous models and aspects of its future work. The goal of the foundation is to build a center open to the public, where Edo Murtić’s opus will be the subject of interdisciplinary research and analysis with the aim of dynamic presentation and comparison of his work

Keramika u vrtu, kuća Ede Murtića, Vrsar / Ceramics in the garden, Edo Murtić’s house, Vrsar

with related forms of artistic creation and movements through cooperation with reference foundations in Croatia and beyond. In this regard, the Foundation will participate in the management and design of the Murtić Donation Program, a public institution with a representative selection of works from all stages and disciplines of the artist’s opus, and cooperate with all other related museums, foundations, institutes, cultural and educational institutions. Following in the steps of Murtić’s civic engagement, the work of the foundation will nurture humane and democratic values that the author advocated his whole life, expand the knowledge of the era and the art of heyday and late modernism on both sides of the cultural and political divide (Eastern and Western Europe), critically discuss the contribution of Edo Murtić to the art and cultural life of his time, and promote the reverberations of modernism in the work of contemporary artists, art critics, art historians and theorists through an international exhibition and residency program. A parallel direction of the Murtić Foundation activities refers to Istria, primarily the area of Vrsar, which the artist and his family feel a special connection to. In the early 1960s, the Murtić family bought the ruins of a farm building on the then bare hill, which would become their summer house and studio. Today, this is a house that combines the robust base of the former building with elements of the aesthetics of high modernist architecture, surrounded by a well-maintained shady garden filled with Murtić’s sculptures and works in ceramics. During many summer months, Murtić developed all his painting activities in Vrsar; a lot of his masterpieces were created there, and the garden offers a fascinating view of the particularly dear motif of the indented Vrsar archipelago. The institution planned by the Murtić Foundation for Vrsar in terms of the artist’s legacy is based on a cycle inspired by the nearby Montraker quarry, which Murtić used as a kind of bridge from his figurative phase of the 1980s towards the New Abstraction cycle, the final chapter of his vast art career. The planned institution, blended into the environment with motifs and memories, will develop a complex story about the dynamic relationship between abstraction and figuration that determined the fine arts of the 20th century. It was in Vrsar that Edo Murtić accomplished one of the best parts of this complex relationship. 185

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POPRATNI PROGRAM / SIDE PROGRAM

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REINTERPRETACIJA EDE MURTIĆA KROZ STREET ART / REINTERPRETATION OF EDO MURTIĆ THROUGH STREET ART Koordinacija projekta / Project coordination: red.prof.art. Tomislav Buntak, dr.art. Melinda Šefčić i izv.prof. art. Danko Friščić Mentor: Grgur Akrap Studenti / Students: Jakov Pašalić, Petra Koleš, Neva Kosić, Marcela Bencek, Astrid Jakšić, Jana Karaula, Ivona Katalinić, Lea Krmpotić, Lea Plaščar, Ante Šabić, Paulina Švaić, Antonela Beli, Dorotea Budić, Žaklina Sohor, Sara Mićković Maksimirska cesta 124 | 8.- 9. 5. 2021. / May 8 – May 9, 2021

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Mentor: Danko Friščić Studenti / Students: Nikolina Žapčić, Helena Bosnić Ilica 85, Zagreb | Zid ljevaonice ALU / Foundry wall of ALU | 22. - 23. 5. 2021. / May 22 – May 23, 2021

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Mentor: Fedor Fischer, Studenti / Students: Marta Katavić, Marta Dijak, Una Küttenbaum Prilaz baruna Filipovića 18, Zagreb | 5. - 6. 7. 2021. / July 5 – 6, 2021

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LIKOVNE RADIONICE / ART WORKSHOPS

Go big Voditeljica / Educator: Mia Maraković Dom HDLU (Meštrovićev paviljon) / Home of HDLU (Meštrović pavilion), Trg žrtava fašizma 16, Zagreb 29. 5. 2021. / May 25, 2021

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Radionica gvaša / Gouache workshop Voditelji / Educators: Monika Milas, Robert Fenrich Lauba - Kuća za ljude i umjetnost / Lauba - House for People and Art, Prilaz baruna Filipovića 23a 5. 6. 2021. / June, 5, 2021

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Afterwork Playdate Voditeljica / Educator: Tara Beata Ratz Lauba - Kuća za ljude i umjetnost / Lauba - House for People and Art, Prilaz baruna Filipovića 23a 8. 6. 2021. / June 8, 2021

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Igra Murtićevih boja / A Game of Murtić’s Colors Voditeljica / Educator: Romana Nikolić Dom HDLU (Meštrovićev paviljon) / Home of HDLU (Meštrović pavilion), Trg žrtava fašizma 16, Zagreb 12. 6. 2021. / June 12, 2021

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To i ja mogu naslikati / I can paint that too Predavač / Lecturer: Vlado Rismondo Dom HDLU (Meštrovićev paviljon) / Home of HDLU (Meštrović pavilion), Trg žrtava fašizma 16, Zagreb 26. 6. 2021. / June 26, 2021

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Apstrahiranje prirode / Abstraction of Nature Voditeljica / Educator: Mia Matijević Dom HDLU (Meštrovićev paviljon) / Home of HDLU (Meštrović pavilion), Trg žrtava fašizma 16, Zagreb 3. 7. 2021. / July 3, 2021

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SURADNJA S TIFLOLOŠKIM MUZEJOM U ZAGREBU / COLLABORATION WITH THE TYPHLOLOGICAL MUSEUM IN ZAGREB

U suradnji s Tiflološkim muzejem u Zagrebu, keramički mural Ede Murtića pretvoren je u taktilnu sliku za slijepe s audiodeskripcijom te tekstom na brajici za slijepe kao i na uvećanom tisku za slabovidne. Također, organizirano je i vodstvo na znakovnom jeziku. / In collaboration with the Typhlological Museum in Zagreb, a ceramic mural by Edo Murtić was transformed into a tactile image for the blind with audio description and text in Braille for the blind as well on an enlarged print for the visually impaired. Also, a sign language guided tour was organized

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PROJEKCIJA RADOVA EDE MURTIĆA / PROJECTION OF WORKS BY EDO MURTIĆ Fontana ispred NSK / The fountain in front of National and University Library, Zagreb 4. 5. 2021. / May 4, 2021

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EDO MURTIĆ BIOGRAFIJA / BIOGRAPHY

1921. Velika Pisanica (kraj Bjelovara) Velika Pisanica (near Bjelovar) 1925. Obitelj Murtić seli u Zagreb. Murtić family moves to Zagreb. 1935. Upisuje Obrtnu školu u Zagrebu (današnja Škola za primijenjenu umjetnost) Edo enrols at the Arts and Crafts School in Zagreb (today’s Applied Arts School). 1936. Radi svoja prva grafička oblikovanja plakata i prve scenografije. Formira se njegovo političko uvjerenje snažne lijeve orijentacije (pod utjecajem Miroslava Krleže i ostalih tada angažiranih intelektualaca). Oblikuje plakat za Ujedinjene radničke sindikate. His first poster and stage designs. His strongly leftist political convictions are formed (under the influence of Miroslav Krleža and other then progressive intellectuals). Design of the poster for United Workers’ Unions.

1939. Upisuje Akademiju likovnih umjetnosti u Zagrebu, klasa prof. Ljube Babića. Edo enrols at the Fine Arts Academy in Zagreb; he is tutored by Ljubo Babić. 1940. Odlazi u Beograd i pohađa slikarsku školu Petra Dobrovića. He leaves for Belgrade and attends classes at Petar Dobrović’s painting school. 1940. - 1945. Na preporuku Ljube Babića 1941. dva mjeseca boravi u Rimu studirajući scenografiju. Za zbirku pjesama Jure Kaštelana Crveni konj radi seriju grafika u tehnici linoreza. U vrijeme Drugoga svjetskog rata sudjeluje u partizanskoj antifašističkoj borbi u koju se aktivno uključuje 1943. godine. U ratnim godinama radi brojne crteže koji, osim dokumentarne, imaju i visoke umjetničke vrijednosti. Također, u ratnoj 1944. godini u suradnji sa Zlatkom Pricom, po stihovima tragične poeme Jama velikoga hrvatskog pjesnika Ivana Gorana Kovačića radi grafike snažne ekspresivnosti. In 1941, on Ljubo Babić’s recommendation, Murtić stays in Rome for two months, studying stage design. He designs a series of linocut prints for Jure Kaštelan’s “Red Horse“ poem collection. During the Second World War, he participates in the anti-fascist fight for freedom, which he actively joins in 1943. His numerous drawings from the war years, apart from their documentary value, also carry a great artistic value. In the war year of 1944, in collaboration with Zlatko Prica, he creates very expressive prints based on the tragic poem “The Pit“ by the great Croatian poet Ivan Goran Kovačić. 1951. - 1952. Boravi u SAD-u gdje upoznaje američke umjetnike Jacksona Pollocka, De Kooninga, Richarda Diebenkorna, Jamesa Brooksa i druge. U tom razdoblju radi ciklus

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slika Doživljaj Amerike, koji je imao veliki odjek u javnosti. Murtić spends these years in the USA, where he meets the American artists Jackson Pollock, De Kooning, Richard Diebenkorn, James Brooks, and others. His painting cycle “Impressions of America“, created in that period, is very well received by the public. 1957. Jedan je od osnivača slikarske grupe Mart. Murtić is one of the founders of the “Mart“ artist group. 1958. Izlaže na XXIX. bijenalu u Veneciji, te na Documenti u Kasselu, na izložbi Die Kunst nach 1945. Objavljivanje monografije Edo Murtić (autor: Božo Bek, Naprijed, Zagreb). He exhibits his works at the 29th Venice Biennial and the “Documenta“ in Kassel, in the exhibition “Art after 1945“. The monograph entitled “Edo Murtić“ is published (author: Božo Bek, “Naprijed“, Zagreb). 1963. Izlaže u Milanu (Gallerie Bergamini) i u Parizu (Gallerie Raymond Creuze - predgovor Jean Cassou), gdje dobiva prestižnu nagradu Marzotto Prix. Nagrađen je Zlatnom medaljom Predsjednika Republike Italije na Premio di pittura Citta di Faenza. Dobitnik je i zlatne medalje Premio Morgan’s Paint, Rimini. Te godine dobiva i Grand Prix na Tradicesimo Premio Lissone. 1963 His works are exhibited in Milan (Bergamini Gallery) and Paris (Raymond Creuze Gallery - catalog preface by Jean Cassou), where he receives the prestigious “Marzotto Prize“. At the “Premio di pittura Citta di Faenza“ he is presented with the gold medal by the President of the Republic of Italy. He also wins the gold medal at the “Premio Morgan’s Paint in Rimini“. In the same year he also receives the Grand Prix at the “Tradicesimo Premio Lissone“. 1965. Zagreb, Moderna galerija, monografska izložba. 1965 Zagreb, Modern Gallery, monographic exhibition. 1967. Sudjeluje na IX. bijenalu u São Paulu.

Spomenik u mozaiku, Poreč. He participates in the 9th São Paulo Biennial. Monument in mosaic technique, Poreč. 1968. Musée de l’Athénée, Ženeva, samostalna izložba (autor postava: Emille Langui). U tehnici mozaika izvodi spomenik Šušnjari, Slavonska Požega. Solo exhibition at the Musée de l’Athénée, Geneva (author of the display: Emilie Langui). He executes the monument in Šušnjara, Slavonska Požega in mosaic technique. 1969. S grupom umjetnika osniva Galeriju Forum u Zagrebu. Together with a group of fellow artists he founds the Forum Gallery in Zagreb. 1970. Spomenik u mozaiku, Spomen-kosturnica, Čazma. Monument in mosaic technique, Memorial Ossuary, Čazma. 1971. Milano, Palazzo Reale, samostalna izložba. Milano, Palazzo Reale, solo exhibition. 1972. Srebrna plaketa pape Pavla VI., Rim. Grand Prix, III. međunarodna izložba originalnog crteža, Moderna galerija, Rijeka. Receives silver plaque from Pope Paul VI, 203

Rome. Grand Prix, 3rd International Exhibition of Original Drawings, Modern Gallery, Rijeka. 1976. Narodni muzej u Beogradu i beogradski Salon muzeja savremene umetnosti. Biella, međunarodna nagrada. National Museum in Belgrade and the Belgrade Salon of the Museum of Contemporary Art. Biella, international prize. 1977. Genova, Galleria Rinaldo Rotta, samostalna izložba. Solo exhibition in Genova. Rinaldo Rotta Gallery, solo exhibition.

São Paulo Biennial, solo exhibition. Receives the Grand Prix at the “Art et Papier“, Le Touquet. 1985. Nagrada AVNOJ-a za životno djelo te Nagrada Vladimir Nazor za slikarstvo. AVNOJ Life Achievement Award and “Vladimir Nazor Prize“ for painting.

1978. Izlazi monografija Murtić (autor: Vladimir Maleković, Centro Iniziative Culturali, Pordenone). Sudjeluje na VI. međunarodnoj izložbi originalnog crteža u Rijeci, gdje dobiva Grand Prix. La Spezia, Centro Allende, samostalna izložba. “Murtić“ monograph published (author: Vladimir Maleković. “Centro Initiative Culture“, Pordenone). He takes part in the 6th International Exhibition of Original Drawings in Rijeka, winning the Grand Prix. Solo exhibition in La Spezia, “Centro Allende“. 1983. XVII. bijenale São Paulo, samostalna izložba.

Grand Prix bijenala Art et papier, Le Touquet. 204

1988. Museum of Modern Art, Seul, međunarodna izložba prigodom Olimpijskih igara. Francusko Ministarstvo kulture dodjeljuje mu naslov Chevalier de l’ordre des Arts et des lettres, visoko priznanje na području kulture i umjetnosti. Museum of Modern Art, Seoul, international exhibition for the Olympic Games. French Ministry of Culture awards him with the title of “Chevalier de l’Ordre des Arts et des Lettres“, a high recognition in the field of culture and art.

1989. Izdavačka kuća Globus u Zagrebu i Paris Art Centre objavljuju monografiju Edo Murtić (autor: Michael Gibson). “Globus“ Publishing House in Zagreb and “Paris Art Centre“ jointly publish a monograph entitled “Edo Murtić“ (author: Michael Gibson). 1990. Zagreb, Muzej za umjetnost i obrt, retrospektiva 1938 - 1990. 1990 Museum of Arts and Crafts, Zagreb, retrospective exhibition 1938-1990. 1997. Izlazi knjiga Plovidbe atelierom Ede Murtića (autor: Čedo Prica, Naprijed, Zagreb). Mediteranski bijenale u Dubrovniku, Grand Prix. Postaje redoviti član Hrvatske akademije znanosti i umjetnosti (HAZU). The book “Sailing through Edo Murtić´s Atelier“ is published (author: Čedo Prica, “Naprijed“, Zagreb). Mediterranean Biennial in Dubrovnik, Grand Prix. He becomes a regular member of the Croatian Academy of Science and Arts (HAZU). 1998. Dubrovnik, Umjetnička galerija, mono-

grafska izložba. Dubrovnik, Museum od Modern Art, monographic exhibition. 2000. Trst, Civico Museo Revoltella, retrospektivna izložba. Zagreb, Hrvatsko društvo likovnih umjetnika (HDLU), Nova apstrakcija, samostalna izložba Monografija istarskoga ciklusa Istra (autor: Zvonko Maković, nakladnici: Skaner Studio Zagreb, INART, Poreč). Udine, Galerija suvremene umjetnosti, predstavljen ratni ciklus Viva la Muerte. Trieste, Civico Museo Revoltella, retrospective exhibition. Zagreb, Croatian Association of Fine Artists (HDLU), “New Abstraction“, solo exhibition. Monograph of the Istrian cycle “Istria“ (author: Zvonko Maković, publishers: “Skaner studio“, Zagreb, “INART“, Poreč). Udine, Gallery of Contemporary Art, presentation of the “Viva la Muerte“ war cycle. 2001. Zagreb, Nagrada Vladimir Nazor za životno djelo. Nagrada galerije Forum, Zagreb. Dobiva Red hrvatskog pletera, odličje predsjednika Republike Hrvatske. Zagreb, “Vladimir Nazor Award“ for life achievement

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“Forum Gallery Award“, Zagreb “Order of Croatian Wattle“, awarded by the President of the Republic of Croatia

Beč, Kunsthistorisches Museum, Palais Harrach, samostalna izložba. Venecija, Premio Internazionale di Grafica Do Forni i medalja gradonačelnika Venecije.

2002.

Bjelovar, Nasta Rojc Gallery of the Bjelovar City Museum, solo exhibition. Poreč, Istrian Parliament and Palazzo Zuccato, solo exhibition. Ljubljana. Cankar Centre Gallery, solo exhibition. Vienna, Kunsthistorisches Museum, Palais Harrach, solo exhibition. Venice, “Premio Internazionale di Grafica Do Forni“ and a medal from the Mayor of Venice.

Zagreb, Moderna galerija, retrospektivna izložba. Moskva, Novi Manjež, monografska izložba. Proglašen počasnim građaninom grada Bjelovara.

Zagreb, Modern Gallery. retrospective exhibition. Moscow, New Manjež, monographic exhibition. Proclaimed honorary citizen of the City of Bjelovar. 2003. Lissone, Civica Galleria d’Arte Contemporanea, monografska izložba i dodjela nagrade Premio Lissone za životno djelo.

Lissone, Civica Calleria d’Arte Contemporanea, monographic exhibition and “Premio Lissone“ life achievement award. 2004. Bjelovar, Galerija Nasta Rojc Gradskog muzeja Bjelovar, samostalna izložba. Poreč, Istarska sabornica i Palazzo Zuccato, samostalna izložba. Ljubljana, Galerija Cankarjevog doma, samostalna izložba.

2005. Umro u Zagrebu. Zagreb, Umjetnički paviljon, izložba Slike 2003. - 2004. Died in Zagreb. Zagreb. Art Pavilion, exhibition “Paintings 2003-2004“. 2006. Izložba Hommage á Edo Murtić 1921. 2005., Galerija Forum, Zagreb.

Exhibition “Homage to Edo Murtić 19212005“, Forum Gallery, Zagreb. 2008. Monografska izložba Ede Murtića u galeriji Adris u Rovinju. Sarajevo, stara Vijećnica, Ratni ciklus 1992. 2004.

Edo Murtić monographic exhibition in the Adris Gallery in Rovinj Sarajevo, old City Hall, “War Cycle 1992-2004“ 2009. Izložba Murtić - Džamonja, posljednji radovi, Galerija Juraj Šporer, Opatija.

Exhibition “Murtić - Džamonja. Last Works“, Juraj Šporer Gallery, Opatija. 2010. Zagreb, Umjetnički paviljon, izložba Rat.

Exhibition “War“, Art Pavilion, Zagreb.

Fotografije Ede Murtića / Edo Murtić’s photographs: Fondacija Murtić / Murtić Foundation

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IMPRESUM / IMPRESSUM

PROJEKT / PROJECT MURTIĆ 100 Suorganizatori / Co-organizers: Hrvatsko društvo likovnih umjetnika, Fondacija Murtić / Croatian Association of Fine Artists, Murtić Foundation Posebna zahvala gospođi Goranki Vrus Murtić za bezgranični entuzijazam i svesrdnu podršku / Special thanks to Mrs. Goranka Vrus Murtić for the boundless enthusiasm and wholehearted support Autori projektnog koncepta / Project concept authors: Branko Franceschi, Ranko Murtić Producenti / Producers: Ivana Andabaka, Tomislav Buntak, Ranko Murtić Savjetnik za produkciju / Production adviser: Damir Kanaet (Cloverfield) Savjetnica za kulturni turizam / Cultural tourism adviser: Martina Bienenfeld, ravnateljica TZGZ / director of Zagreb Tourist Board Izvršne producentice / Executive producers: Ivana Andabaka, Nika Šimičić Kustos izložbe Murtić 100 / Murtić 100 exhibition curator: Branko Franceschi Umjetnički producent za izložbu Murtić 100 / Creative producer for Murtić 100 exhibition: Ranko Murtić Umjetnički producent za izložbu Nova apstrakcija / Creative producer for New Abstraction exhibition: Marko Murtić Voditelj simpozija Gesta i sloboda / Gesture and Freedom symposium coordinator: Branko Franceschi (Nacionalni muzej moderne umjetnosti / The National Musem of Modern Art) 210

Voditelji programa Reinterpretacija Ede Murtića kroz street art / Reinterpretation of Edo Murtić through street art program coordinators: red.prof.art. Tomislav Buntak, dr.art. Melinda Šefčić i izv.prof. art. Danko Friščić (Akademija likovnih umjetnosti, Zagreb / Academy of Fine Arts, Zagreb) Marketing: Damir Kanaet (Cloverfield) Odnosi s javnošću / Public relations: Dijana Karabašić Vizualni identitet / Visual identity: Duje Medić Voditeljica edukativnog programa / Educational program coordinator: Jelena Bračun Prilagodba programa za gluhe, nagluhe, slijepe i slabovidne osobe / Program adaption for deaf, hard of hearing, blind and partially sighted people: Željka Bosnar, Morana Vouk (Tiflološki muzej, Zagreb / The Tiflological Museum, Zagreb) Stručni suradnik (Fondacija Murtić) / Associate (Murtić Foundation): Damir Ruljančić Stručne suradnice (TZGZ) / Associates (Zagreb Tourist Board): Darja Dragoje, Petra Maršić Buljan, Martina Tomljenović Stručni suradnici (HDLU) / Associates (Croatian Association of Fine Artists): Maja Demšar Branković, Miran Jurić, Verica Pavušek Suradnica (Akademija likovnih umjetnosti, Zagreb) / Associate (Academy of Fine Arts, Zagreb): Irena Brezović

KATALOG / CATALOGUE Nakladnik / Publisher: Hrvatsko društvo likovnih umjetnika / Croatian Association of Fine Artists Trg žrtava fašizma 16, 10 000 Zagreb hdlu@hdlu.hr, www.hdlu.hr Za nakladnika / For the publisher: Tomislav Buntak, predsjednik HDLU / president of HDLU

Arhivske fotografije Ede Murtića / Archive photographs of Edo Murtić: Arhiv Fondacije Murtić / Murtić Foundation Archive (str. / pp. 202 - 203) Branimir Baković (str. / pp. 204) Renzo Kosinožić (str. / pp. 205 - 207) Damir Ruljančić (str. / pp. 208 - 209) Grafičko oblikovanje kataloga / Catalogue design: Duje Medić Tisak / Printed by: Kerschoffset d.o.o.

Ravnateljica / Director: Ivana Andabaka Upravni odbor HDLU / Executive board of CCA: Tomislav Buntak (predsjednik / president), Ida Blažičko (potpredsjednica / vice president), Josip Zanki (potpredsjednik / vice president), Fedor Fischer, Alen Novoselec, Monika Meglić, Melinda Šefčić Urednici kataloga / Catalogue editors: Ranko Murtić, Nika Šimičić

Naklada / Edition: 700 ISBN: 978-953-8098-51-2 CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 001105631. / CIP record is available in the computer catalogue of the National and University Library in Zagreb under no. 001105631. Zagreb, 2021.

Uvod / Introduction: Tomislav Buntak Predgovor / Preface: Branko Franceschi Prijevod na engleski jezik i lektura / English translation and proof-reading: Zana Šaškin, Daria Torre Fotografije likovnog postava i reprodukcija (Murtić 100) / Photographs of the exhibition set up and reproductions (Murtić 100): Goran Vranić Fotografije otvorenja izložbi i popratnog programa / Photographs of the exhibition openings and side program: Juraj Vuglač Fotografije likovnog postava i reprodukcija (New Abstraction) / Photographs of the exhibition set up and reproductions (New Abstraction): Juraj Vuglač 211

Glavni pokrovitelji / Main sponsors:

Medijski pokrovitelji / Media sponsors:

Organizatori / Organizers:

Partneri / Partners:

Pokrovitelji / Patrons:

Uz potporu / Supported by:

Sponsori / Sponsors:

Ulaznice / Tickets:

Tiskano na papiru / Printed on paper: Magno Satin 150g i 300g by Sappi Sponzor papira / Paper sponsor: Igepa Plana d.o.o. 212

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