ERVIN DEBEUC – Kompozicija fotoslike, 2012.

ERVIN DEBEUC IZ FUNDUSA MUZEJA GRADA RIJEKE Kompozicija fotoslike FROM THE HOLDINGS OF THE RIJEKA CITY MUSEUM Composition of a photopicture

Rijeka, svibanj / May 2012.

Kompozicija / Composition, 1959.

MGR-14549 2

Sabrina Žigo

Kompozicija fotoslike U drugoj polovici dvadesetoga stolje}a Rijeka je bila zna~ajno fotografsko sredi{te nekada{nje Jugoslavije. Prvih desetlje}a poslijeratnoga razdoblja me|u najistaknutijim je novim protagonistima rije~ke fotografske scene mladi Ervin Debeuc.

U Rijeci, jo{ suo~enoj s posljedicama te{kih ratnih razaranja, pedesete su godine pro{loga stolje}a vrijeme obnove i izgradnje u okrilju novoga dru{tvenoga ustroja – jugoslavenskoga socijalizma. Velik broj rije~kih fotografa iz me|uratnog razdoblja nastavlja tada svoje djelovanje, najistaknutiji me|u njima prenose}i novoj generaciji umije}e fotografske tehnike i umjetni~ka htijenja na liniji modernizma.1 Prve generacije poratnih fotografa stasale su u amaterskim fotoklubovima, posvema u duhu kulture kolektivizma. Razgranata mre`a fotoamaterskoga pokreta u jugoslavenskim sredi{tima sudionicima je omogu}avala prije svega edukativnu i djelatnu potporu, za ve}inu jedini na~in bavljenja fotografijom u dru{tvenoj klimi egzistencijalnih prioriteta.2 Uspore|uju}i pak rije~ku, odnosno hrvatsku i jugoslavensku fotografiju sa suvremenom me|unarodnom scenom, o~igledne su koncepcijske podudarnosti koje i tada potvr|uju pluralizam ovoga medija kao jednu od poveznica me|u oponentima, ideolo{ki i politi~ki podijeljenim stranama.3 I Ervin Debeuc je svoju karijeru amatera fotografa zapo~eo unutar klupskoga `ivota poslijeratnih godina pa je zanatsku vje{tinu u~io od generacije rije~kih fotografa me|uratnoga doba, prije svih Fernanda Soprana, potom Igora Emilija i Abdona Smokvine.4 No nije bila rije~ samo o prijenosu i usvajanju métiera, ve}, u poratnom vremenu, o prakti~nim i pragmati~nim razlozima, ponajprije o kori{tenju i nabavi fotoaparata i druge fotografske opreme, koji su ve}ini onda{njih amaterskih fotografa bili nedostupni, a i sami su ih fotoklubovi nerijetko nabavljali dovitljivo{}u i entuzijazmom („Soprano nam je svima nabavljao fotoaparate, najvi{e otkupljuju}i ih od stranaca koji su dolazili u Jugu“, E. Debeuc). Debeuc je u po~etku snimao fotoaparatima ruske proizvodnje lajka-formata filma, a potom njema~kim Rolleiflexom (veli~ina negativa 6 x 6 cm) i ~e{kim Flexaretom (veli~ina negativa 6 x 9 cm i 6 x 6 cm). Potkraj 1950-ih zagreba~ka je tvornica Fotokemika znatno pro{irila asortiman proizvodnje, posebno novim kemikalijama za obradu i raznim filtrima te postala glavni opskrbljiva~ fotomaterijalima u regiji.5 U takvu se okru`enju razvijao Debeuc fotograf, izrazito se pridr`avaju}i ~isto}e fotografske tehnike, kao ovjere ispravnosti pristupa slici („Stalno su nas u~ili da na fotografiji crno mora biti crno, bijelo bijelo, a sivo sivo“, E. Debeuc). Pristup fotografiji, ponajprije s njezinih medijskih predispozicija, pribli`io ga je paradigmi Andréa Bazina o objektivnosti fotografije determinirane tehnikom, optikom fotoaparata.6 Fotografija ga zanima kao medij vlastite izra`ajnosti, koji ima svoj racionalan i objektivan vizualni jezik zasnovan na dva elementa – kompoziciji i svjetlu. „Meni je najva`nija bila kompozicija“, uvijek }e istaknuti, a glavni kriterij prema kojemu pojedine fotografije nisu u{le u postav izlo`be bio je njihov dekomponiraju}i segment. Njega je lako detektirati jer je ravnote`a Debeucova kadra naj~e{}e sna`no kontrapunktirana, kao u oglednoj slici Detalj (1960.) koja upu}uje na omiljeno kadriranje detalja i krupnih planova. Analogno, jasno}u primjenjuje i u tretmanu svjetla koje ne gubi svoje granice ni u banalnim motivima, bilo kao vr{nih odbljesaka (Geranij, 1960.) ili sjena na neravnomjernoj podlozi (Zimski san / Zima u @urkovu, 1956.), niti u difuznom nestajanju (Semafor, 1955.). Jaki crno-bijeli kontrasti i motivi izrazito pak podsje}aju na poetiku ameri~kog filma noir (redatelji F. Lang, J. Huston, R. Walsh, B. Wilder), potvr|uju}i propusnost onda{njih granica za suvremenu zapadnja~ku umjetnost i otklon od umjetnosti socrealizma 1950-ih godina.

Postizanje `eljenih u~inaka dodatno je mogao kontrolirati jer je cijeli proces realizacije crno-bijele slike izvodio sam, od snimanja do razvijanja, stje~u}i sve ve}e iskustvo u radu s fotomaterijalima i u razvijanju fotografije. Do kakvih je rezultata pritom dolazio, vidljivo je na fotografijama uzbibane morske povr{ine s odrazima ili zrcaljenjem okoline, koje strukturom podsje}aju na slikarstvo i, dalekovidno, na animiranu kompjutorsku grafiku (Vizija, 1956., Geometrija, 1959.). Prijelazom na kolor-fotografiju

1 Ervin Dubrovi}, Povijest rije~kih fotografa, u: Arte miracolosa: stolje}e fotografije u Rijeci, (ur.) Ervin Dubrovi}, Izdava~ki centar Rijeka, Rijeka, 1995., str.

79. – 102.

2 Vladko Lozi}, Fotoamaterski pokret u Hrvatskoj (prilozi za povjesnicu), Fotoklub Zagreb, Zagreb, 2003., str. 7.

3 Želimir Koš~evi}, Fotografska slika: 160 godina fotografske umjetnosti, Školska knjiga, Zagreb, 2000., str. 85. – 105.

4 Dubravka Osre~ki Jakeli}, Fernando Soprano:fotografije / photographs: 1944. – 1974., Muzej za umjetnost i obrt, Zagreb, 2001., str. 7. – 12.

5 Hrvatska fotografija od tisu}u devetsto pedesete do danas, (ur.) Marija Gattin, Davor Mati~evi}, Tihomir Milovac, Muzej suvremene umjetnosti, Zagreb, 1997., str. 6. – 8.

6 U znamenitom eseju The Ontology of the Photographic Image, André Bazin, What is cinema?, sv. 1., University of California Press, Berkeley, 1967., str. 9. – 16.

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dio }e se te neposredne procesualnosti izgubiti jer se, zbog visokih cijena, filmovi sada {alju na razvijanje proizvo|a~u, odnosno distributeru.

Debeuc je rado isku{avao razli~ite postupke u fotografiji, bilo samo izrezima ili pak rade}i fotograme i eksperimentiraju}i sa sendvi~-negativima, od kojih najuspjeliji podra`avaju slikarsku fakturu (Impresija, 1959., SF cvijet, 1959.). Iako ga je kao nadarenog crta~a poratna oskudica odvratila od studija slikarstva, slikarski se senzibilitet odrazio na fotografijama. Atmosfera njegovih zimskih i morskih pejza`a i snje`nih prizora uz odsutnost ~ovjeka slikanih objektivnom kamerom, posjeduje tektoniku i smirenu bezvremenost kakve susre}emo na pejza`ima slikara europskoga sjevera.

7 Panorama, hrvatski fotosavez 1939. – 1999., (ur.) Predrag Bosnar, Želimir Koš~evi}, Hrvatski fotosavez, Zagreb,1999.; Hrvatska fotografija od tisu}u devetsto pedesete do danas, (ur.) Marija Gattin, Davor Mati~evi}, Tihomir Milovac, Muzej suvremene umjetnosti, Zagreb, 1997.

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Opus Ervina Debeuca, poput drugih zna~ajnih fotografa, do sada nije nai{ao na valorizaciju u slu`benim klasifikacijama povijesti hrvatske fotografije ne toliko gre{kom prire|iva~a i selektora ili zbog dominacije zagreba~ke fotografije, koliko zbog nedostatka aktualizacije ove važne baštinske teme u ishodi{nim sredinama.7 Izravan povod ove izlo`be bila je autorova donacija iz 2010. godine kojom je Muzeju grada Rijeke darovao sedamdeset svojih fotografija datiranih od 1955. do 1962. godine. Nepuno je desetlje}e od sredine 1950-ih do po~etka 1960-ih najplodnije fotografsko razdoblje Ervina Debeuca u kojem se pretežno bavi crno-bijelom fotografijom i u mladoj dobi snima fotografije potpune medijske dore~enosti, tehni~ke i sadr`ajne. Me|u doniranim je crno-bijelim fotografijama tridesetak reprezentabilnih, prvenstveno zbog njihove kreativne autenti~nosti i izvornosti, ostvarenih tipiziranom opremom i industrijskim standardima u kontekstu svoga vremena.

Vedri se / It’s Clearing Up, 1956.

MGR-14535 5

Semafor / Traffic Light, 1955.

MGR-14531 6

Sabrina Žigo

Composition of a photopicture In the second half of the 20th century, Rijeka was an important centre of photography in the former Yugoslavia. In the early decades of the post-war period the most prominent amongst the new protagonists of Rijeka’s photographic scene was Debeuc.

In the 1950s Rijeka still faced the consequences of heavy war damage, during the regeneration and construction under the auspices of a new social structure – Yugoslavian socialism. A large number of Rijeka’s photographers from the between war period continued their work, the foremost amongst them transferring to the new generati on of artistic photographic the techniques and artistic aspirations along modern lines.1 The first generation of post-war photographers grew up in amateur photography clubs, wholly in the spirit of cultural collectivism. A wide network of participants in amateur photography movements in Yugoslavian centres ensured the primary educational and operational support, for most the only way of being involved with photography in the social climate of existential priorities.2 Comparing although Rijeka apropos Croatian and Yugoslavian photography with the contemporary international scene, the conceptual similarities are apparent which at that time confirm the pluralism of the medium as one of the links between the opponents, ideologically and politically divided sides.3 Ervin Debeuc started his career as an amateur photographer in the club atmosphere of the post-war years and he learnt his craft from generations of Rijeka photographers from the interwar period, first of all Fernando Soprano, then Igor Emili, Abdona Smokvina.4 However it was not only about the transfer and adoption of métier, but also, during the post-war period, about practical and pragmatic reasons, notably about the use and supply of photographic cameras and other photographic equipment. Most of it was unavailable to the amateur photographers at that time, and they were only rarely acquired by photography clubs due to their resourcefulness and enthusiasm (“Soprano got hold of cameras for everyone, mainly by buying them up from foreigners who arrived in Yugoslavia”, E. Debeuc). Debeuc began to take photographs with Russian-made Laika format of film, and then with the German Rolleiflex (6x6 cm sized negatives) and the Czech Flexaret (6x9 cm and 6x6 cm sized negatives). At the end of the 1950s the Zagreb factory Fotokemika greatly expanded its range of products, especially the new chemicals for processing and various filters, and so became the main supplier of photographic material in the region.5 In this environment Debeuc developed as a photographer, distinctly adhering to pure photographic techniques, as an endorsement to the integrity to the approach of pictures (“We are constantly taught that in photography black must be black, white, white and grey, grey”, E. Debeuc). The approach to photography primarily with its predisposition as a medium came close to the paradigms of André Bazin about the objectivity of photography determined by the technical, optics of photographic cameras.6 Photography interested him as a medium of one’s expression, which has its own rational and objective visual language based on two elements – composition and light. “For me composition was the most important”, he will always emphasise, and the main criterion by which each individual photographer is not entered into the collections of exhibitions is their deconstructing part. It is easy to detect because of the balance of Debeuc’s frame is most frequently strongly counterbalanced, as in the sample picture Detail (1960), which shows his favoured framed details and close-ups. Analogously, clarity is also applied in the treatment of light which does not lose its boundaries even in the banal motifs, as was a peak of reflection (Geranium, 1960) or shadows on uneven surfaces (Winter Sleep / Winter in @urkovo, 1956), or in the diffusion of disappearance (Traffic Light, 1955). Strong black and white contrasts and the motifs distinctly reminiscent of poetic American film noir (directors F. Lang, J. Huston, R. Walsh, B. Wilder), confirming the penetration of the then contemporary Western art and variation of artistic social realism of the 1950s.

1 Ervin Dubrovi}, “The History of Rijeka Photographers”, Arte miracolosa : a century of photography in Rijeka, (ed.) Ervin Dubrovi}, Rijeka: Publisher’s Centre Rijeka, 1995, p. 79 – 102.

2 Vladko Lozi}, The Amateur Photography Movement in Croatia (additions to history), Zagreb: Fotoklub Zagreb, 2003, p. 7.

3 Želimir Koš~evi}, Photographic images: 160 years of photographic arts, Zagreb: Školska knjiga, 2000, p. 85 – 105 4 Dubravka Osre~ki Jakeli}, Fernando Soprano: fotografije / photographs: 1944-1974, Zagreb: Museum of Arts and Crafts, 2001, p. 7 – 12.

5 Croatian photography 1950s till today, (ed.) Marija Gattin, Davor Mati~evi}, Tihomir Milovac, Zagreb: Museum of Contemporary Art, 1997, p. 6 – 8 6 In the famous essay The Ontology of the Photographic Image, André Bazin, What is cinema?, Vol. 1, Berkeley: University of California Press, 1967: p. 9 – 16.

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In achieving the desired results he was additionally able to control because the whole implementation process of black and white pictures he did himself, from shooting till developing, gaining greater experience in the work with photographic materials and developing the photographs. In doing so, this kind of result became visible in the photographs of the swelling sea surface with reflections or mirroring of the environment, which is a structure reminiscent of that of painting and, with foresight, to animated computer graphics (Vision, 1956, Geometry, 1959). With the transition to colour photography the part of self-processing would be immediately lost due high prices, films would now be sent to developing producers, and distributors.

Debeuc readily attempted various photographic procedures, even just cut-outs, or even making photograms and experimenting with sandwich-negatives, of which the most successful portrayed artistic factors (Impression, 1959, SF Flower, 1959). Although as a talented draughtsman post-war hardships prevented him from studying painting, his artistic sensibilities were reflected in his photographs. The atmosphere of his winter and seascapes and snow scenes with the absence of people shot with an objective camera, possess tectonic and a timelessness which we meet in the landscapes of North European painters.

7 Panorama, Croatian Photo Association 1939 – 1999, (ed.) Predrag Bosnar, Želimir Koš~evi}, Zagreb: Croatian Photo Association, 1999; Croatian photography 1950s till today, (ed.) Marija Gattin, Davor Mati~evi}, Tihomir Milovac, Zagreb: Museum of Contemporary Art, 1997.

The opus of Ervin Debeuc, like other important photographers, to date has not yet been encountered in the evaluation of the official classification of the history of Croatian photography, not so much the fault of the organisers or selectors or due to the domination of photography from Zagreb, but primarily the lack of the actualisation of these important heritage themes in the source areas.7 The direct motive for this exhibition was the author’s donations from 2010 of seventy of his own photographs dating from 1955 to 1962 which he gave to the Museum of the City of Rijeka. The years from the mid1950s to the start of the 1960s was Ervin Debeuc’s most productive photographic period in which he was heavily involved in black and white photography and when at a young age he took photographs for the overall media explicitly, technically and substantially. Amongst the donated photographs are some thirty, representative primarily due to their creative authenticity and originality, created with the actual equipment and industrial standards in the context of their time.

English translation Martin Mayhew

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FOTOGRAFIJE PHOTOGRAPHS

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Jutro na Kanalu / Morning at the Channel, 1955.

MGR-14530 10

Zimski san (Zima u Žurkovu) / Winter Sleep (Winter in Žurkovo), 1956.

MGR-12597 11

Vizija / Vision, 1956.

MGR-14560 12

Detalj / Detail, 1960.

MGR-14552 13

Oronuli starci / Decrepit Old Men, 1958.

MGR-14545 14

Geometrija / Geometry, 1959.

MGR-14547 15

Prvi gost / The First Guest, 1956.

MGR-14533 16

SportaĹĄ / Athlete, 1959.

MGR-14551 17

Tri kiĹĄobrana / Three Umbrellas, 1956.

MGR-14534 18

Pono} na kiĹĄi / Midnight in Rain, 1960.

MGR-14558 19

Kocke / Cubes, 1958.

MGR-14542 20

Monstrum / Monster, 1958.

MGR-14543 21

Doru~ak / Breakfast, 1958.

MGR-14540 22

SF cvijet / SF Flower, 1959.

MGR-14550 23

Zima na otoku zaljubljenih / Winter on the Island of Love, 1958.

MGR-14544 24

ŽIVOTOPIS BIOGRAPHY IZLOŽBE EXHIBITIONS KATALOG CATALOGUE

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@IVOTOPIS

Fotograf, novinar, televizijski i filmski snimatelj i realizator, Ervin Debeuc ro|en je 28. travnja 1930. u Su{aku gdje je nakon osnovne {kole maturirao na Prvoj su{a~koj hrvatskoj gimnaziji. Studirao je na Ekonomskom fakultetu u Zagrebu i Pravnom fakultetu u Rijeci te zavr{io Vi{u novinarsku {kolu u Zagrebu (1950. – 1953.). Kao izvanredni student 1974. upisuje u Zagrebu Akademiju kazališne i filmske umjetnosti, studij kamere, preselivši se u završnom semestru na Fakultet dramskih umetnosti (pozorište, film, radio i televizija) u Beogradu, gdje je položio sve ispite, osim završne diplome. Obrazovao se usporedno s radom, promijeniv{i vi{e poslova u mla|im danima. Prvi studentski d`eparac zaradio je u Jadran filmu, u odjelu za dokumentarni film, potom radi kao novinar u Novom listu i na Radio Rijeci, a na poziv Viktora Hreljanovi}a, propagandista u Brodogradili{tu 3. maj, postaje urednik tvorni~kog lista Brodograditelj. Nakon toga prelazi u Luku Rijeka za urednika Vjesnika, {efa propagande i glasnogovornika pa se opet vra}a na Radio Rijeku. Osnivanjem rije~kog dopisni{tva Zagreba~ke televizije, dana{nje Hrvatske televizije, zapo{ljava se 1961., isprva honorarno, a od 1969. radi kao profesionalni TV snimatelj do umirovljenja 1991.

Za fotografiju se po~eo zanimati 1947. u fotosekciji tada{njega Sindikalnog kulturnoumjetni~kog dru{tva Jedinstvo. ^lanom Fotokluba Rijeka, koji se tada zvao Klub foto i kino amatera Rijeka, postaje 1954. Suosniva~ je Fotokluba Color 1961. i Kinokluba Rijeka, danas Kino video kluba Liburnija film, unutar kojega 1960-ih osniva Centar za kinodokumentaciju, prete~u digitalizacije i arhiviranja audiovizualnog gradiva. Aktivan je sudionik kinoamaterizma, me|u ostalim 1969. pokre}e KRAF, Kvarnersku reviju amaterskih filmova me|unarodnog zna~enja, te Zajednice tehni~ke kulture, nekada{nje Narodne tehnike.

Najplodnije fotografsko razdoblje su mu pedesete i rane {ezdesete godine pro{loga stolje}a, kada se vi{e okre}e filmu, u po~etku eksperimentalnom, a poslije ga najvi{e zanima dokumentarni film. Unato~ kratkom razdoblju intenzivnog bavljenja fotografijom, me|u najistak-​ nutijim je rije~kim fotografima u desetlje}u nakon Drugoga svjetskog rata. Izlagao je skupno na vi{e od pedeset izlo`aba, od 1954. do 1964. sudjeluje na svim fotografskim izlo`bama u Jugoslaviji te na me|unarodnim izlo`bama u Lisabonu, Var{avi, PhotoEurop 1959. u Parizu, Lausannei i Bruxellesu. Prvi put izla`e u Zagrebu 1955. na Prvoj izlo`bi fotoamatera po~etnika i odmah dobiva diplomu za fotografiju Jutro na Kanalu, nakon ~ega }e uslijediti dvadesetak fotografskih nagrada od klupskog do me|unarodnog ranga.

Dobitnik je niza dru{tvenih nagrada i priznanja. Me|u ostalima, primio je 1985. Nagradu Grada Rijeke za doprinos razvoju amaterskog filma, a posebno za dokumentarni film Rijeka luka – Luka Rijeka, Nagradu Tehni~ke kulture grada Rijeke 1995., a 2010. dodijeljena mu je Nagrada Hrvatske zajednice tehni~ke kulture za `ivotno djelo.

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BIOGRAPHY

Ervin Debeuc, a photographer, journalist, TV and film cameraman and director, was born on 28 April 1930 in Su{ak, where he attended primary school and graduated from the First Su{ak Croatian Gymnasium. He studied economics in Zagreb and law in Rijeka and finished the Higher School of Journalism in Zagreb (1950 – 1953). In 1974 he enrolled in camera studies at the Academy of Theater and Film Arts in Zagreb as a non-degree student, but then moved in the last semester to the Faculty of Dramatic Arts (theater, film, radio and television) in Belgrade, where he passed all the exams except for the final diploma. He worked all through his studies and changed several jobs in his young years. He earned his first student pocket money at Jadran film’s section for documentary films. Afterwards he worked as a journalist for Novi list and Radio Rijeka when, upon a call from Viktor Hreljanovi}, propagandist at the Third May Shipyard (Brodogradili{te 3. Maj), he became the editor of the factory newspaper Brodograditelj. After that he changed to the Port of Rijeka and became editor of Vjesnik, chief of propaganda and spokesman, and then went back to Radio Rijeka. When Zagreb Television, today’s Croatian Radiotelevision, opened a studio in Rijeka he started working there in 1961 on a fee basis and in 1969 as a professional TV cameraman. He stayed there until his retirement in 1991.

He got interested in photography in 1947 at the photo section of the Union’s Culture and Arts Association Jedinstvo. In 1954 he became a member of the Photo Club Rijeka, which was then called the Club of Photo and Cinema Amateurs of Rijeka. He co-founded the Photo Club Color in 1961 and the Cinema Club Rijeka, today’s cinema of the video club Liburnija film, within which he founded the Center for Cinematic Documentation, a forerunner of digitalization and archiving of audiovisual material. He actively participated in cinematic amateurism and in 1969 founded, among others, the internationally known KRAF, Kvarner Amateur Film Review, and the Associations of Technical Culture, formerly called National Techniques.

His most fruitful time as a photographer was in the 1950s and the early 1960s. After that he turned to film, in the beginning to experimental film and later increasingly to documentary films. Even though he intensively worked with photographs only for a short time, he is one of Rijeka’s most distinguished photographers of the decade following the Second World War. He exhibited his work at more than fifty group exhibitions; from 1954 to 1964 he took part in all exhibitions of photography in Yugoslavia as well as in international exhibitions in Lisbon, Warsaw, at the PhotoEurop in 1959 in Paris, in Lausanne and Brussels.

In 1955 he exhibited for the first time in Zagreb at the First Exhibition of Amateur Photographers Beginners and immediately received a diploma for the photograph Morning at the Channel. After this he won twenty awards in photography from the club to the international level.

He also won a number of social awards and acknowledgements. In 1985 he received, for instance, the Award of the City of Rijeka for his contribution to the development of amateur film, especially for his documentary film on Rijeka’s harbor „Rijeka luka – Luka Rijeka“, in 1995 the Award of Technical Culture of the City of Rijeka and in 2010 the Lifetime Achievement Award of the Croatian Association of Technical Culture.

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IZLO@BE 1955. 1. izlo`ba fotoamatera po~etnika, Zagreb

V. republi~ka izlo`ba umjetni~ke fotografije, Fotoklub Osijek, Osijek

V. izlo`ba umjetni~ke fotografije Slavonije, Fotoklub Slavonski Brod, Slavonski Brod

1956. Druga me|uklupska izlo`ba fotografije, Fotoklub Iskra, Br~ko

1. me|unarodna me|uklupska izlo`ba fotografije, Akademski foto i kinoklub Sarajevo, Sarajevo

VI. republi~ka izlo`ba fotografije, Fotoklub Vinkovci, Vinkovci

Izlo`ba „More“, Fotoklub Rijeka, Rijeka

Prva me|uklupska izlo`ba fotografije, Doboj

II. klupska izlo`ba umetni~ke fotografije, Klub foto i kino amatera Kragujevac, Kragujevac

VI. izlo`ba jugoslovenske fotografije, Fotosavez Jugoslavije, Beograd

1957. 1. me|unarodna izlo`ba umjetni~ke fotografije, Var{ava

Me|unarodna izlo`ba umjetni~ke fotografije, Lisabon

Druga me|uklupska izlo`ba fotografije, Banja Luka

I. izlo`ba foto kluba Pula Istra i Hrvatsko primorje, Fotoklub Pula, Pula

Izlo`ba fotografija Hrvatskog zagorja, Fotoklub Vara`din, Vara`din

VII. republi~ka izlo`ba umjetni~ke fotografije, Dubrovnik

1958. I. me|unarodna izlo`ba umjetni~ke fotografije „More“, Fotoklub Rijeka, Rijeka

Republi~ka izlo`ba fotografije, Savez foto i kino amatera Crne Gore, Titograd

II. me|unarodna izlo`ba fotografije, Fotoklub Sarajevo, Sarajevo

V. dalmatinska izlo`ba fotografija, Fotoklub Split, Split

1959. PhotoEurop, Bruxelles, Lausanne i Pariz

9. izlo`ba umjetni~ke fotografije, Opatija

III. me|uklupska izlo`ba umetni~ke fotografije, Ni{

1960. II. me|unarodna izlo`ba umjetni~ke fotografije „More“, Fotoklub Rijeka, Rijeka 1961. XI. republi~ka izlo`ba umjetni~ke fotografije, Fotoklub Rijeka, Rijeka 1962. I. republi~ka izlo`ba fotografija i dijapozitiva u boji, Rijeka 2009. Sedamdeset +, Izlo`ba fotografija po~asnih ~lanova Fotokluba Rijeka (Ervin Debeuc, Maksimilijan Pe~, Vojko Vukmanovi} i Borislav Ostoji}), Filodrammatica, Rijeka 2010. Rije~ki fotografi 1950.–1980., Muzej grada Rijeke, Rijeka 2011. Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka

28

EXHIBITIONS 1955 First Exhibition of Amateur Photographers Beginners, Zagreb

5th Republican Exhibition of Art Photography, Photo Club Osijek, Osijek

5th Exhibition of Art Photography of Slavonija, Photo Club Slavonski Brod, Slavonski Brod

1956 Second Interclub Exhibition of Photography, Photo Club Iskra, Br~ko

1st International Interclub Exhibition of Photography, Academic Photo Cinema Club Sarajevo, Sarajevo

6th Republican Exhibition of Photography, Photo Club Vinkovci, Vinkovci

Exhibition More (Sea), Photo Club Rijeka, Rijeka

First Interclub Exhibition of Photography, Doboj,

2nd Club Exhibition of Art Photography, Amateur Photo Cinema Club Kragujevac, Kragujevac

6th Exhibition of Yugoslav Photography, Photo Association of Yugoslavia, Belgrade

1957 1st International Exhibition of Art Photography Warsaw

International Exhibition of Art Photography, Lisbon,

Second Interclub Exhibition of Photography, Banja Luka

1st Exhibition of the Photo Club Pula Istra i Hrvatsko primorje, Photo Club Pula, Pula

Exhibition of Photographies of the Croatian Zagorje, Photo Club Vara`din, Vara`din

7th Republican Exhibition of Art Photography, Dubrovnik

1958 1st International Exhibition of Art Photography More, Photo Club Rijeka, Rijeka

Republican Exhibition of Photography, Amateur Photo Cinema Association of Montenegro,Titograd

2nd International Exhibition of Photography, Photo Club Sarajevo, Sarajevo

5th Dalmatian Exhibition of Photography, Photo Club Split, Split

1959 PhotoEurop, Brussels, Lausanne and Paris

9th Exhibition of Art Photography, Opatija

3rd Interclub Exhibition of Art Photography, Ni{

1960 2nd International Exhibition of Art Photography More, Photo Club Rijeka, Rijeka 1961 11th Republican Exhibition of Art Photography, Photo Club Rijeka, Rijeka 1962 1st Republican Exhibition of Photography and Color Slides, Rijeka 2009 Seventy+, Exhibition of Photography of Honorary

Members of the Photo Club Rijeka (Ervin Debeuc,Maksimilijan Pe~, Vojko Vukmanovi} and Borislav Ostoji}), Filodrammatica, Rijeka

2010 Rijeka’s Photographers 1950–1980, Rijeka City Museum, Rijeka 2011 From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka

29

KATALOG 1.

5.

10.

15.

Jutro na Kanalu, 1955.

Prvi gost, 1956.

Zaboravljeno sidro, 1957.

Monstrum, 1958.

autorsko pove}anje, c/b 24 x 26 cm MGR-14530 1.izlo`ba fotoamatera po~etnika, Zagreb, 1955.; Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

autorsko pove}anje, c/b 29,9 x 40 cm MGR-14533 Izlo`ba More, Fotoklub Rijeka, Rijeka, 1956.; I. me|unarodna izlo`ba umjetni~ke fotografije, Var{ava, 1957.; Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

autorsko pove}anje, c/b 30,3 x 39,7 cm MGR-14539 Druga me|uklupska izlo`ba fotografije Banja Luka, 1957.; Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

autorsko pove}anje, c/b 39,7 x 29,9 cm MGR-14543 Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

2.

Semafor, 1955. autorsko pove}anje, c/b 24 x 24 cm MGR-14531 Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

3.

Zimski san (Zima u @urkovu), 1956. autorsko pove}anje, c/b 37,5 x 29,9 cm MGR-12597 VI. izlo`ba jugoslovenske fotografije, Fotosavez Jugoslavije, Beograd, 1956.; VI. republi~ka izlo`ba fotografije, Fotoklub Vinkovci, Vinkovci, 1956.; I. me|unarodna izlo`ba umjetni~ke fotografije, Var{ava, 1957.; Me|unarodna izlo`ba umjetni~ke fotografije, Lisabon 1957.; I. izlo`ba foto kluba Pula Istra i Hrvatsko primorje, Fotoklub Pula, Pula, 1957.; Izlo`ba fotografija Hrvatskog zagorja, Fotoklub Vara`din, Vara`din, 1957.; VII. republi~ka izlo`ba umjetni~ke fotografije, Dubrovnik, 1957.; V. dalmatinska izlo`ba fotografija, Fotoklub Split, Split, 1958.; PhotoEurop, Bruxelles, Lausanne i Pariz, 1959.; Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

4.

Vizija, 1956. autorsko pove}anje, c/b 30,1 x 39,7 cm MGR-14560 I. izlo`ba foto kluba Pula Istra i Hrvatsko primorje, Fotoklub Pula, Pula, 1957.; II. me|unarodna izlo`ba fotografije, Fotoklub Sarajevo, Sarajevo, 1958.; III. me|uklupska izlo`ba umetni~ke fotografije, Ni{, 1959.; Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

30

6.

Tri ki{obrana, 1956. autorsko pove}anje, c/b 30,4 x 40 cm MGR-14534 XI. republi~ka izlo`ba umjetni~ke fotografije, Fotoklub Rijeka, Rijeka, 1961.; Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

7.

Lotosov cvijet, 1956. autorsko pove}anje, c/b 38,7 x 30,4 cm MGR-14532 Druga me|uklupska izlo`ba fotografije, Fotoklub Iskra, Br~ko, 1956.; Prva me|uklupska izlo`ba fotografije, Doboj, 1956.; Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

8.

Vedri se, 1956. autorsko pove}anje, c/b 35 x 30 cm MGR-14535 VI. republi~ka izlo`ba fotografije, Fotoklub Vinkovci, Vinkovci, 1956.; II. klupska izlo`ba umetni~ke fotografije, Klub foto i kino amatera Kragujevac, Kragujevac, 1956.; I. me|unarodna izlo`ba umjetni~ke fotografije, Var{ava, 1957.; Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

9.

Pla`a, 1957. autorsko pove}anje, c/b 39,7 x 30 cm MGR-14538 Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

16.

Doru~ak, 1958.

11.

Zima na otoku zaljubljenih, 1958. autorsko pove}anje, c/b 39,6 x 29,8 cm MGR-14544 VI. republi~ka izlo`ba fotografije, Fotoklub Vinkovci, Vinkovci, 1956.; Me|unarodna izlo`ba umjetni~ke fotografije, Lisabon 1957.; V. dalmatinska izlo`ba fotografija, Fotoklub Split, Split,1958.; Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

12.

Vitlo snage, 1958. autorsko pove}anje, c/b 38,7 x 30 cm MGR-14546 I. me|unarodna izlo`ba umjetni~ke fotografije „More“, Fotoklub Rijeka, Rijeka, 1958.; Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

13.

Kapljice su mora, 1958. autorsko pove}anje, c/b 32,6 x 30 cm MGR-14541 I. me|unarodna izlo`ba umjetni~ke fotografije „More“, Fotoklub Rijeka, Rijeka, 1958.; Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

14.

Kocke, 1958. autorsko pove}anje, c/b 36,7 x 20,4 cm MGR-14542 II. me|unarodna izlo`ba fotografije, Fotoklub Sarajevo, Sarajevo, 1958.; Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

autorsko pove}anje, c/b 39,8 x 29,9 cm MGR-14540 Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

17.

Oronuli starci, 1958. autorsko pove}anje, c/b 40 x 29,8 cm MGR-14545 I. me|unarodna izlo`ba umjetni~ke fotografije „More“, Fotoklub Rijeka, Rijeka, 1958.; 9. izlo`ba umjetni~ke fotografije, Opatija, 1959.; Rije~ki fotografi 1950.–1980., Muzej grada Rijeke, Rijeka, 2010.; Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

18.

Geometrija, 1959. autorsko pove}anje, c/b 29,7 x 34,7 cm MGR-14547 I. me|unarodna izlo`ba umjetni~ke fotografije „More“, Fotoklub Rijeka, Rijeka, 1958.; Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

19.

Sporta{, 1959. autorsko pove}anje, c/b 35,8 x 29,9 cm MGR-14551 Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

20.

Kompozicija, 1959. autorsko pove}anje, c/b 18,1 x 24 cm MGR-14549 Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

21.

Impresija, 1959. autorsko pove}anje, c/b 36 x 28,7 cm MGR-14548 III. me|uklupska izlo`ba umetni~ke fotografije, Ni{, 1959.; Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

22.

SF cvijet, 1959. autorsko pove}anje, c/b 39,8 x 29,9 cm MGR-14550 Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

23.

Dva prijatelja, 1960. autorsko pove}anje, c/b 39,5 x 30 cm MGR-14553 Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

24.

Ukleti Holandez, 1960. autorsko pove}anje, c/b 40,2 x 29,7 cm MGR-14555 II. me|unarodna izlo`ba umjetni~ke fotografije „More“, Fotoklub Rijeka, Rijeka, 1960.; Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

25.

Detalj, 1960. autorsko pove}anje, c/b 40 x 30,4 cm MGR-14552 II. me|unarodna izlo`ba umjetni~ke fotografije „More“, Fotoklub Rijeka, Rijeka, 1960.; Rije~ki fotografi 1950.–1980., Muzej grada Rijeke, Rijeka, 2010.; Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

26.

Pono} na ki{i, 1960. autorsko pove}anje, c/b 23,2 x 39,9 cm MGR-14558 II. me|unarodna izlo`ba umjetni~ke fotografije „More“, Fotoklub Rijeka, Rijeka, 1960.

27.

Geranij, 1960. autorsko pove}anje, c/b 30,6 x 29,9 cm MGR-14554 Ervin Debeuc – Iz fundusa Muzeja grada Rijeke, samostalna izlo`ba, Muzej grada Rijeke, Rijeka, 2011.

CATALOGUE 1

Morning at the Channel,

The First Guest, 1956

5

10

Forgotten Anchor, 1957

Monster, 1958

author’s enlargement, b/w 30,3 x 39,7 cm MGR-14539 Second Interclub Exhibition of Photography, Banja Luka, 1957; Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011

author’s enlargement, b/w 39,7 x 29,9 cm MGR-14543 Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011

2

author’s enlargement, b/w 29,9 x 40 cm MGR-14533 Exhibition More (Sea), Photo Club Rijeka, Rijeka, 1956; 1st International Exhibition of Art Photography Warsaw, 1957; Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011

1955 author’s enlargement, b/w 24 x 26 cm MGR-14530 First Exhibition of Amateur Photographers Beginners, Zagreb, 1955; Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011

Traffic Light, 1955 author’s enlargement, b/w 24 x 24 cm MGR-14531 Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011 3

Winter Sleep (Winter in Žurkovo), 1956 author’s enlargement, b/w 37,5 x 29,9 cm MGR-12597 6th Exhibition of Yugoslav Photography, Photo Association of Yugoslavia, Belgrade, 1956; 6th Republican Exhibition of Photography, Photo Club Vinkovci, Vinkovci, 1956; 1st International Exhibition of Art Photography Warsaw, 1957; International Exhibition of Art Photography, Lisbon, 1957; 1st Exhibition of the Photo Club Pula Istra i Hrvatsko primorje, Photo Club Pula, Pula, 1957; Exhibition of Photographies of the Croatian Zagorje, Photo Club Varaždin, Varaždin, 1957; 7th Republican Exhibition of Art Photography, Dubrovnik, 1957; 5th Dalmatian Exhibition of Photography, Photo Club Split, Split, 1958; PhotoEurop, Brussels, Lausanne and Paris, 1959; Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011 4

Vision, 1956

author’s enlargement, b/w 30,1 x 39,7 cm MGR-14560 1st Exhibition of the Photo Club Pula Istra i Hrvatsko primorje, Photo Club Pula, Pula, 1957; 2nd International Exhibition of Photography, Photo Club Sarajevo, Sarajevo, 1958; 3rd Interclub Exhibition of Art Photography, Niš, 1959; Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011

6

Three Umbrellas, 1956

author’s enlargement, b/w 30,4 x 40 cm MGR-14534 11th Republican Exhibition of Art Photography, Photo Club Rijeka, Rijeka, 1961; Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011 7

Lotus Flower, 1956 author’s enlargement, b/w 38,7 x 30,4 cm MGR-14532 Second Interclub Exhibition of Photography, Photo Club Iskra, Br~ko, 1956; First Interclub Exhibition of Photography, Doboj, 1956; Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011 8

It’s Clearing Up, 1956 author’s enlargement, b/w 35 x 30 cm MGR-14535 6th Republican Exhibition of Photography, Photo Club Vinkovci, Vinkovci, 1956; 2nd Club Exhibition of Art Photography, Amateur Photo Cinema Club Kragujevac, Kragujevac, 1956; 1st International Exhibition of Art Photography Warsaw, 1957; Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011 9

Beach, 1957

author’s enlargement, b/w 39,7 x 30 cm MGR-14538 Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011

11

Winter on the Island of Love, 1958 author’s enlargement, b/w 39,6 x 29,8 cm MGR-14544 6th Republican Exhibition of Photography, Photo Club Vinkovci, Vinkovci, 1956; International Exhibition of Art Photography, Lisbon, 1957; 5th Dalmatian Exhibition of Photography, Photo Club Split, Split, 1958; Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011 12

The Winch of Strength,

1958 author’s enlargement, b/w 38,7 x 30 cm MGR-14546 1st International Exhibition of Art Photography More, Photo Club Rijeka, Rijeka, 1958; Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011 13

It’s Sea Droplets, 1958 author’s enlargement, b/w 32,6 x 30 cm MGR-14541 1st International Exhibition of Art Photography More, Photo Club Rijeka, Rijeka, 1958; Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011 14

Cubes, 1958 author’s enlargement, b/w 36,7 x 20,4 cm MGR-14542 2nd International Exhibition of Photography, Photo Club Sarajevo, Sarajevo, 1958; Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011

15

16

Breakfast, 1958 author’s enlargement, b/w 39,8 x 29,9 cm MGR-14540 Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011

21

Impression, 1959

author’s enlargement, b/w 36 x 28,7 cm MGR-14548 3rd Interclub Exhibition of Art Photography, Niš, 1959; Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011 22

SF Flower, 1959

author’s enlargement, b/w 39,8 x 29,9 cm MGR-14550 Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011 23

17

Decrepit Old Men, 1958 author’s enlargement, b/w 40 x 29,8 cm MGR-14545 1st International Exhibition of Art Photography More, Photo Club Rijeka, Rijeka, 1958; 9th Exhibition of Art Photography, Opatija, 1959; Rijeka’s Photographers 1950– 1980, Rijeka City Museum, Rijeka, 2010; Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011 18

Geometry, 1959

author’s enlargement, b/w 29,7 x 34,7 cm MGR-14547 1st International Exhibition of Art Photography More, Photo Club Rijeka, Rijeka, 1958; Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011 19

Athlete, 1959 author’s enlargement, b/w 35,8 x 29,9 cm MGR-14551 Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011 20

Composition, 1959 author’s enlargement, b/w 18,1 x 24 cm MGR-14549 Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011

Two Friends, 1960

author’s enlargement, b/w 39,5 x 30 cm MGR-14553 Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011 24

A Cursed Dutch, 1960

author’s enlargement, b/w 40,2 x 29,7 cm MGR-14555 2nd International Exhibition of Art Photography More, Photo Club Rijeka, Rijeka, 1960; Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011 25

Detail, 1960

author’s enlargement, b/w 40 x 30,4 cm MGR-14552 2nd International Exhibition of Art Photography More, Photo Club Rijeka, Rijeka, 1960; Rijeka’s Photographers 1950– 1980, Rijeka City Museum, Rijeka, 2010; Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011 26

Midnight in Rain, 1960

author’s enlargement, b/w 23,2 x 39,9 cm MGR-14558 2nd International Exhibition of Art Photography More, Photo Club Rijeka, Rijeka, 1960 27

Geranium, 1960

author’s enlargement, b/w 30,6 x 29,9 cm MGR-14554 Ervin Debeuc – From the Holdings of the Rijeka City Museum, independent exhibition, Rijeka City Museum, Rijeka, 2011

31

Impresija / Impression, 1959.

MGR-14548