Autor se pita: što se događa s umjetnošću kad elite shvate vrijednost umjetnosti, umjetnika i kritičara za svoje potrebe, to jest potrebe onih koji određuju što je politički korektno, odnosno što doprinosi njihovim političkim, društvenim i novčanim interesima. Pri tome je autor beskompromisan, ne štedi niti naručitelje, niti umjetnike, niti kritičare, niti publiku, niti struku povijesti umjetnosti, pa niti nespretne i ignorantske birokrate EU. No ta kritička oštrina koja je u potpunosti opravdana, iznesena je na maštovit i duhovit način, kao analiza i dobrodošla kritika ljudske gluposti, hipokrizije i taštine uopće. Autor zaključuje da je usprkos svih pritisaka i povijesnih vrludanja umjetnost kao otjelotvorenje duha najbolje što imamo, uz kreativnu znanost i ljubav, te prepoznaje vrlo maštovit, no ustvari i vrlo uvjerljiv i logičan vid umjetničkog stvaranja u kojem svako biće može biti (odnosno podsvjesno i jest) umjetnik-stvaratelj i umjetnik doživljavanja.
In the contemporary society, creativity is one of the most desirable abilities which an individual can possess in all the fields of human activity. On the other hand, educational policy and national curriculums marginalize the importance of art subjects in most countries in the world, while the advantage is given to STEM disciplines (science, technology, engineering, mathematics). Although creativity, according to many educational standards, is one of the key abilities, in teaching practice routine activities are still valued more than creative ones. However, it is the art subjects which develop creativity (constructive) potential within an individual, although this also heavily depends on a teacher/professor, on his/her methodological approach and abilities within the scope of professional activity. Therefore, we conducted empirical research in Visual Arts Teaching Methodology training and non-training primary schools. We expected that we would foster students' development of creativity through regular collaboration with university, problem-based learning of art and artistic language, inventiveness in creating art assignments and through increasing public awareness of harmfulness of stereotypical artistic expression. Among a large number of verified tests of creativity, Urban-Jellen test "The Test for Creative Thinking - Drawing Production (TCT-DP)", which is based on the activity of drawing, was selected and used in this study. We wanted to know whether there was a statistically significant difference between training and non-training schools in students' performance on the test used to examine the level of creativity. The level of statistically significant difference between the control group and the experimental group was determined by a chi-squared test. The research has been carried out in elementary schools in the area of the city of Zagreb, on the sample that included the students of fourth and eighth grade. The results of the research indicate that there is a possible influence of collaboration between the mentors and university professors and students of teacher-training college within the scope of Visual Arts Teaching Methodology course on students' creativity. ; U suvremenom je društvu kreativnost jedna od najpoželjnijih sposobnosti koju pojedinac posjeduje u svim područjima ljudskog djelovanja. S druge strane, obrazovna politika i nacionalni kurikuli u većini zemalja svijeta umjetničke predmete marginaliziraju po važnosti, a prednost se daje STEM (engl. science, technology, engineering, mathematics) disciplinama. Iako je, prema mnogim obrazovnim standardima, kreativnost jedna od ključnih kompetencija u nastavničkoj praksi, i dalje se vrednuju rutinske više nego kreativne aktivnosti. Upravo umjetnički predmeti u obrazovanju razvijaju u pojedincu kreativni (stvaralački) potencijal, ali to uvelike ovisi i o učitelju/nastavniku, o njegovu metodičkom pristupu i kompetencijama u okviru profesionalnog djelovanja. Stoga smo proveli empirijsko istraživanje u mentorskim (za Metodiku likovne kulture) i nementorskim osnovnim školama. Očekivalo se da će se redovitom suradnjom s fakultetom, putem likovnojezične problemske nastav, inventivnosti u osmišljavanju likovnih zadataka i osvještavanjem problematike štetnosti stereotipnog likovnog izražavanja utjecati na razvoj kreativnosti kod učenika. Između većeg broja provjerenih testova kreativnosti, upotrijebljen je Urban - Jellen "The Test for Creative Thinking - Drawing Production (TCT-DP)", koji se temelji na crtačkoj aktivnosti. Zanimalo nas je postoji li statistički značajna razlika između mentorskih i nementorskih škola u rješavanju testa kojim se ispituje stupanj kreativnosti. Stupanj značajnosti razlike između kontrolne i eksperimentalne skupine statistički je utvrđen hi-kvadrat testom. Istraživanje je provedeno u osnovnim školama na području Grada Zagreba, na uzorku koji je obuhvaćao učenike četvrtih i osmih razreda. Rezultati istraživanja ukazuju na moguć utjecaj suradnje učitelja mentora sa sveučilišnim nastavnicima i studentima učiteljskih studija u okviru Metodike likovne kulture na kreativnost učenika.
U radnji se analizira nekoliko djela s istočne obale Jadrana nastalih u periodu od XV. do XVII. st. u kojima se kao tema javlja ustrojstvo Katoličke crkve i posebice ideja Ecclesiae militans. Autorica ističe da u tim umjetninama, koje prikazuju nekoliko poznatih protuturskih saveza, možemo prepoznati i onodobne aktualne teološke sadržaje i stavove. ; Uno dei temi teologici chiave - l 'organizzazione ecclesiastica- appare in maniera specifica come tema delle arti figurative in Dalmazia dal XV fino al XVII secolo. Il corpo mistico della Chiesa - secondo l' interpretazione di quell'epoca- è costituito dalla Chiesa mili tante sulla terra, con il papa alla sua testa, dalla Chiesa trionfante in cielo e dalla Chiesa sofferente in Purgatorio. Il tema in cui si rappresenta in mani era simbolica l 'Ecclesia militans è l'alleanza papale contro la Turchi a, la lega del papa, dei cardinali, dei monarchi e dei popoli cristiani il cui scopo è la liberazione dei territori occupati dai Turchi e il cui fine è l'affermazione del Regno di Cristo in terra. La Dalmazia come regione circondata e in gran parte occupata dai Turchi per quattro secoli , vide nelle alleanze militari dell'esercito unito della cristianità una fonte di salvezza. Per questo motivo alcune delle leghe papali di maggiore successo comparvero come tema dell'arte dalmata. Si tratta di opere d'arte di carattere commemorativo e votivo. L'esemplare più imponente è il fregio di teste opera di Giorgio Dalmata sulla cattedrale di Sebenico, che raffigura i rappresentanti della lega di papa Eugenio IV. L'autrice cerca di dimostrare che tra le teste di Giorgio e le figure di santi sul tetto , opera della bottega di Niccolò Fiorentino , esiste un legame simbolico. Infatti, essi guardati nell'insieme, si possono complessivamente interpretare come una rappresentazione del Trionfo di Cristo che è legata all'idea della teologia della salvezza. Si tratta dell'idea escatologica che pervade tutto il complesso figurativo ali 'es terno della cattedrale sibenicense. Nella seconda parte dello studio l 'autrice analizza l'elaborazione dell'organizzazione della Chiesa sulla pala della Madonna di Loreto di Lazzaro Basti ani nella chiesa dei Francescani a Zara, che risale al 1476, e su alcune pale della Madonna del Rosario e del Carmine di pittori veneziani della fine del XVI e del XVII secolo, sulle quali appaiono rappresentazioni della lega di papa Pio V. Nell o spirito della concezione cristiana della visione escatologica gli avvenimenti storici sono completati da consignificati allegorici e anagogicomistici. Seguendo la logica dell'esegesi cristi ana l'autrice avverte che nelle opere d'arte descritte oltre alloro significato letterale (storico), si deve riconoscere anche quello spirituale, rispettivamente allegorico, morale e anagogico. Dimostra, inoltre , che in queste opere oltre ai contenuti ecclesiastici ed escatologici e ai messaggi teologici, possiamo intuire la posizione cristologica o rispettivamente mariologica dei loro committenti e del tempo in cui ebbero origine.
U članku se analiziraju načini na koje odabrani suvremeni umjetnici iz Rumunjske, Hrvatske i Srbije koriste vizualni jezik arhitektonskih maketa u svome radu. Nakon prikaza povijesti arhitektonskih maketa autorica se u prvim dvama dijelovima članka bavi umjetnicima koji koriste makete muzejâ suvremenih umjetnosti (Zlatko Kopljar, Radoš Antonijević, subREAL, Călin Dan, Iosif Kiraly, Mihai Balko i Irina Botea). Naglašava se razlika između muzeja suvremenih umjetnosti u post-socijalističkim zemljama i globalnih "muzeja moći" kao što su MoMA, Tate Modern ili Guggenheim. Treći dio članka bavi se dokumentarnim aspektom arhitektonskih maketa i dovodi radove Lane Stojićević u vezu s konceptom dokumentaliteta Hito Steyerl. Ističe se kako su makete, kao i sama arhitektura, označitelji ideologija, politika i društava koji ih grade. Suvremeni umjetnici često se bave zgradama koje su u procesu tranzicije izmijenjene, revitalizirane ili uništene, i stoga arhitektonske makete uključene u procese suvremene umjetnosti zahtijevaju dublju analizu. ; The paper analyses the ways in which selected contemporary artists from Romania, Croatia, and Serbia use the visual language of architectural scale models in their work. After presenting the history of architectural models, the first two parts of the paper focus on artists who use scale models of museums of contemporary art (Zlatko Kopljar, Radoš Antonijević, subREAL, Călin Dan, Iosif Kiraly, Mihai Balko, and Irina Botea). They emphasize the difference between museums of contemporary art in post-socijalist countries and the global "power-museums" such as MoMA, Tate Modern, or Guggenheim. The third part of the paper focuses on the documentary aspect of architectural models and relates Lana Stojićević's works to Hito Steyerl's concept of documentality. It is argued that the scale models, as architecture itself, are signifiers of the ideologies, politics, and societies that build them. Contemporary artists often focus on buildings that have been changed, revitalised, or destroyed in the transition process, and for this reason architectural models require a deeper analysis when included within contemporary art practices.
Rad istražuje model društvenosti, interakcije i participacije kao političke elemente postmoderne umjetnosti. Postmoderno stanje nastupa nakon propasti glavne ideje modernizma, što se temelji na vjeri u napredak i emancipaciju čovječanstva odnosno nakon kraha velikih spekulativnih pripovijesti poput idealizma, scijentizma, marksizma ili utopije o promjeni svijeta pomoću umjetnosti. Otuda se kao opće mjesto nadaje teza da umjetnost nema više onu ulogu kakva joj se pripisivala od XIX. stoljeća nadalje, kao što je politička borba, kritika društva ili socijalni angažman, odnosno da više nema funkciju kritike, onoga što upozorava i što se avangardno suprotstavlja svemu postojećem. Nasuprot takvom stavu, rad nastoji podastrijeti kritički i politički potencijal postmoderne umjetnosti, pri čemu se usmjerava na umjetničku praksu nakon 1990-ih te njezino isticanje relacija, susreta i interakcije s publikom. Riječ je o aproprijaciji avangardnih strategija, ali s povijesnim odmakom i drukčijim kontekstom. ; The paper explores the model of sociability, interaction and participation as political elements of postmodern art. The postmodern condition emerged after the failure of the main idea of modernism, which was based on the belief in the progress and emancipation of humanity, namely, after the collapse of large speculative narratives such as idealism, scientism, Marxism or a utopia of changing the world through art. Not surprisingly, therefore, the principal thesis in it is that art no longer has the role attributed to it since the 19th century, the one of political struggle, criticism of society or social engagement, namely, it no longer has the function of criticism, of something that acts as a warning and is avant-gardly opposed to everything that exists. Contrary to this view, this paper seeks to present the critical and political potential of postmodern art, focusing on post-1990s artistic practice and its emphasis on relationships, encounters and interaction with audiences. It is an appropriation of avant-garde strategies, but with a historical distance and in a different context.
Autor se ovim radom fokusirao na dvije od mnogih izlagačkih aktivnosti u Rijeci u razdoblju između dvaju ratova, u vrijeme talijanske vlasti u čijoj su interpretaciji uključene aktualne regionalne, talijanske državne i šire europske političke prilike. Iznesen pregled ovih bijenalnih izložbi uveliko progovara o izoliranim, nepatvorenim umjetničkim trenucima unutar precizno određenoga vremena i prostora. Analizom prvih bijenalnih izložbi u Rijeci održanih 1925. i 1927. godine koje su raznovrsnošću obuhvaćenih iskaza umjetničkoga opusa iznimno širokoga i raznolikoga broja stvaralaca određene društveno-političkim okolnostima, potiče se na promišljanje o općoj zanemarenosti u sveopćem prihvaćanju Rijeke kao grada u stagnaciji po dolasku talijanske vlasti u njezinu međuratnom razdoblju. ; The paper focuses on two of the many exhibiting activities in Rijeka during the Italian rule in the interwar period, interpreted in the context of current regional, Italian state and wider European political circumstances. The presented overview of these biennial exhibitions largely speaks of isolated, authentic artistic moments within well-defined temporal and spatial framework. The analysis of the first biennial exhibitions in Rijeka held in 1925 and 1927, determined by socio-political circumstances through the variety of artistic expressions of an extremely broad and diverse number of artists, prompts a reflection on the general neglect of Rijeka as a city in stagnation in the period that followed the arrival of the Italian authorities.
Rad se bavi mapiranjem i teorijskim konceptualiziranjem polemika vezanih uz "re- lacijsku formu". Pri tome ne predstavlja pokušaj pacifikacije različitih pozicija niti zauzimanja "strane" u polemikama, već se temelji na studiji koncepata (concept-based metodology) koja služe kao pomagala boljem razumijevanju objekta istraživanja. Premda je forma suvremene umjetnosti, bilo da je čine procesi ili postupci, prema tradicionalnom shvaćanju "razbijena", cilj rada je ispitati suprotno. U prvom dijelu analizirat će se pojam "relacijske forme" te diskursi vezani uz njezino artikuliranje. U drugom se dijelu istražuju tehnike i postupci odnosno strategije konceptualnih avangardi 1990-ih i 2000-ih. Zaključno se razmatraju napori, prijepori i mogućnosti umjetnosti u proširenom polju relacijskih praksi. Istraživanje će poslužiti za pobliže određenje ontološkog statusa suvremenih umjetničkih formi. ; The paper aims at mapping and theoretically conceptualizing the controversies around the "relational form." It does not, however, seek to conciliate the different positions or take "sides" in the debate; instead, it is based on a concept-based methodology as an instrument offering better insight into the researched object. Even though the form of contemporary art, be it as a process or as a procedure, is "broken" according to the traditional idea, the aim of this work is to examine the opposite. In the first part, the notion of "relational form" and the discourses related to its articulation are analyzed. The second part focuses on the techniques and procedures or strategies of the conceptual avant-gardes during the 1990s and 2000s. Eventually, the conclusion considers the efforts, debates, and possibilities of art in the extended field of relational practices. The aim of this research is to define more precisely the ontological status of contemporary art forms.
U članku se prvi put donosi umjetnička topografija zapadnog dijela Dalmatinske zagore, koja je politički i crkveno kroz svoju povijest bila podijeljena na trogirski i splitski dio. Na ovom se području tek definitivnim odlaskom Turaka razvija život te donose barokne umjetničke forme. Uz podatak iz biskupskih vizitacija 17. i 18. st. analiziraju se crkve i umjetnine iz vremena baroka. ; Western part of the Dalmatian Hinterland which belongs geographically to Split and Trogir throughout centuries had different historic and cultural development than litoral parts of Dalmatia. The teritory between mountains Svilaja and Kozjak, Moseć and the pass of Klis has rarely been a subject of any research except maybe Middle ages. This article is the first survvey of the Baroque art of the 17th and 18th century on this teritory. Historic background of the 17th and 18th century events in Dalmatia are Venetian-Turkish wars which swept over the Dalmatian Inland leaving it practically inhabited. The border between Venetian Republic and the Otoman Empire cut Dalmatia in two parts changing from Nani line, after war of Candia, which left the Inland in the Turkish iurisdiction, to Grimani line and Mocenigo line after the war of Morea which brought it back under the Venetian dominion. The Turkish retreat ment new life for the whole teritory. New population came form Bosnia and Herzegovina which remained Turkish. Together with these christian settlers come their priests. Churches were built together with new villages and new roads. Churches from the 17th and 18the centuries are analized with particular interest in the modest baroque forms which appear. The formal analysis is accompanied with documents, mostly ecclesiestical visitations of the churches of the area. Few baroque, paintengs are preserved, among them Gaspare Diziani's All Saints in the church of Zlopolje. Venetian import is also obvious in numerous silver calices and reliquaries. The general characteristic of the baroque art here is unity between import, mostly Venetian in connection with church and few nobile families who from Serenissima gained estates in Inland for special war merits, and original baroque taste so obvious in wooden sculpture and carvings. These, naive crucifixes with their strong expressiveness are original achievment of the local carvers, plain peasants who living far away from Split and Trogir had in their minds mental pictures of the venetion crucifixes which they tried to repete. Baroque in the Dalmatian Hinterland has not the category of the style. It is more a chronological sequence of the onehundered and fifty years in which this most poor part of Dalmatia tried to develop certain artistic forms which is spite of all efforts remained very modest and provincial.
Na temelju teza Hannah Arendt i posebno Judith Butler, u tekstu se promišlja o "krizi" u suvremenoj umjetnosti u uvjetima ideološke prekarizacije. Postoje li savezništva u razmišljanju i djelovanju? Metodom slobodne navigacije kroz recentnu umjetničku praksu nailazi se na geste koje je moguće dovesti u vezu s oblicima savezništva, zajedništva i prijateljstva. ; Based on Hannah Arendt's thesis, and especially Judith Butler's body of work, the paper examines "the crisis" in contemporary art under the conditions of precarization. Are there any alliances in thought or action? By using the method of free navigation through recent art practices, it is possible to find gestures which can be associated with forms of alliances, community and friendship.
Autor u kratkim crtama daje pregled razvitka umjetnosti medalje na području priobalne Hrvatske od 15. st. do druge austrijske dominacije. Materijal je grupi ran u sljedeće skupine: Istra, Mletačka Dalmacija, Dubrovnik, Napoleonovo doba, Prva austrijska vlast, svetačke medaljice. Sam katalog sadrži 52 komada medalja, poznatih bilo iz zbirki, bilo iz stručne literature. ; Among the older Istrian medals there is one of Francesco Biondi, a Florentine monk, bishop of Capodistria (Justinopolis, Kopar), made in 1448. Other Istrian medals of interest are a rough cast-bronze one from 1693, made for a corporate body for the distribution of hay in Pula and a small cast bronze medal, made in Rome on the occasion of the renewal of St. Euphemia's church in Rovinj in 1756. Of course, there is also a modest medal presented by the Poreč community to the last Venetian podesta in 1797. Speaking of Dalmatian medals, one ought to mention two of the great names of the Renaissance, who excelled in the art of the medal: Paolo de Ragusa and Francesco Laurana. Several famous Dalmatians who lived abroad in the 16th c. were depicted on medals: Jacobus Banisius, Francesco Niconizio and Antonio Veranzio. One of the earliest Dalmatian medals is the one made in 1600 for the Procuratori dell' Area di S. Simeone in Zadar. There is also a medal struck on the occasion of the liberation of Castelnuovo (Hercegnovi) in 1687. The Scuola Dalmata in Venice also hat its own small silver medals depicting S. George and S. Tripone. The numerous Dalmatian magistrates' medals from the 17th and 18th c. are usually of little artistic value, having been made by local gold or silversmiths, according to the wishes of the local nobility, who wanted to honour a departing provveditore generale or conte (various provveditori generali of Dalmatia and Albania, podesta of Poreč, counts of Korčula, Split, Šibenik and Zadar, provveditori of Imotski, Makarska and Sinj). Speaking about medals of the ancient Republic of Dubrovnik one ought to mention that only trace left there by Paolo de Ragusio are the delicate copper follari. Matteo de' Pasti made a medal of Timoteo Maffei, the archbishop of Ragusa. Three 16th c. Ragusan patricians: Giovanni Nale-Nalješković, Domenico Ragnina and Luca Cerva-Crijević were depicted on medals. A medal by St. Urbain was dedicated to Giorgio Baglivi, a Ragusan surgeon. The first medal was struck in Dubrovnik on the occasion of the reconstruction of St. Blaise's church in 1707. In 1771 the relics of St. Stephen King of Hungary were presented by the Ragusan Senate to Emperor Joseph Il. and Empress Maria Theresia; the event was marked by a medal. The other two remarkable medals of Dubrovnik were the one to commemorate the death of the rector Orsat Gozze Gučetić, 1798; Gioacchino Hamerani's 1803 Luigi Alvise Mozzi medal. Napoleon Bonaparte's Marshal Marmont dissolved the government of the reverend and feeble Republic of Ragusa on January 31. 1808. Napoleon's massive numismatic propaganda was very well organized. An entire team of artists worked for Napoleon in Paris, but there were also many medallists elsewhere producing medals, in order to celebrate his victories, thus for instance the 1806 medal commemorating the conquests of Dalmatia, of Istria, and of Illyricum. Several of the Dalmatian Napoleonic medals have not been attributed to any of the known medallists, thus for instance the rare Zaratine Lycaeum medal from 1809. A more rudely made medal was presented by the inhabitants of Sinj to Pierre Bouillerot, a French surgeon, in 1811 . During the first Austrian rule, in 1801 a decoration by I. N. Wirt was distributed, with the bust of Emperor Franc is II. on the obverse and the inscription DALMATAE BEN EMERENTI/ 1801 on the reverse . One of the earliest Austrian medals struck for Dalmatia was the Zara tine medal of 1804 by Luigi Ferrari, which commemorated the Dalmatian nobility paying respect to Emperor Franc is II. (1792- 1806-1 835), represented by Count Peter von Goess, Governor of Dalmatia between 1802 and 1805. One should not forget the most popular of all medals: the saints' medals and tokens, which were struck, cast or engraved in very large quantities and were cheap and therefore accessible to the masses of pilgrims. The most popular were those of Madonna of Trsat, made chiefly after 1715, when the Madonna was solemnly crowned .
Brendiranje gradova s nasilnom poviješću obilježeno je srcima, no kakva ljubav pogoduje uspostavljanju i unaprjeđivanju demokratskih zajednica – i kako umjetnici ovoj temi mogu pristupiti na vjerodostojan način? U Belfastu, u Sjevernoj Irskoj, dužnosnici su odlučili srušiti zgradu umjetničke škole, nazvanu po Orfeju, prvome umjetniku i graditelju mira koji je riskirao smrt za ljubav svoje žene i bio brutalno ubijen. Ovaj esej bavi se radom Sandre Johnston, koja se tamo školovala, a kasnije i predavala. Sama žrtva nasilja, svojim hrabrim performansima, instalacijama i videografijom analizira i prikazuje ljubav koja prihvaća: nešto što Martha Nussbaum ističe kao vjerodostojan odraz zrelog, demokratskog stava. ; City branding of contested cities with violent histories has taken hold of hearts, but what kind of love is conducive to establishing and furthering democratic communities - and how can artists approach this subject matter in a credible way? In Belfast, Northern Ireland, officials decided to demolish the art school's building, named after Orpheus, the first artist and peace-builder, who braved death for the love of his wife, and was brutally murdered. This essay reflects on the work of Sandra Johnston, who studied and then taught there. Herself a victim of violence, her courageous performance, installation and video work analyses and models accepting love: that which Martha Nussbaum put forward as credible reflection of a mature, democratic attitude.
Članak se, iz perspektive »primijenjene makijavelistike«, bavi Machiavellijevim Umijećem ratovanja (Dell'arte della guerra) i drugim djelima (Vladar, Rasprave o prvoj dekadi Tita Livija) u kojima autor, između ostalog, daje i savjete za uspješniju borbu, vojnu i političku. Znakovito je da ti savjeti renesansnog filozofa i nakon petsto godina imaju velik odjek. Nekoliko relevantnih autora, dobrih poznavatelja njegova djela, zadnjih godina objavilo je knjige u kojima se Machiavellijeva misao reaktualizira u kontekstu borbi i odluka u 21. stoljeću, bilo da se radi o savjetima za menadžere u »ratovima« u poslovnom svijetu, bilo da se radi o pomoći biračima na izborima kako bi izabrali boljeg vladara. Analizirajući ta djela koja aktualiziraju Machiavellija kao vodiča i savjetnika u suvremenim borbama i odlukama, pokazuje se u kojoj mjeri takav pristup banalizira Machiavellijevu misao, a koliko pridonosi novoj, kreativnoj recepciji njegova djela. ; From the perspective of "applied 'machiavelistics'", the paper deals with Machiavelli's The Art of War (Dell'arte della guerra) and other works (The Prince, Discourses on Livy) in which the author, among other things, gives advice for successful struggle, military and political. It is significant that these advices of Renaissance philosopher have a strong impact even after five hundred years. Few relevant authors that are familiar with his work recently published several books that reactualize Machiavelli's thought in the context of the struggle and decision making in the 21st century, whether it is about advising managers in the "wars" within the business world, or it is offering assistance to voters in elections in order to choose a better ruler. Analysing these works, which updated Machiavelli as guide and counselor in contemporary struggles and decisions, shows the extent to which this approach trivializes Machiavelli's thought, but also in how many ways it contributing to new, creative reception of his work.
Mithad Kozličić is a historian of navigation and geography. He was born in Zenica on April 14, 1954. He finished the Military Maritime Academy in Split, nautical orientation in 1978, and received his MSc in history in Dubrovnik in 1985. He received PhD in historical sciences at the Faculty of Humanities and Social Sciences in Zagreb in 1988 with the dissertation Historical Geography of the Eastern Adriatic in Light of Results of Researching Antique Geographic Work. He was assistant director and custodian of the Military Maritime Museum in Split until 1991, after which he was the director of the Croatian Maritime Museum in Split. He has been a professor at the Department o History of the Faculty of Humanities and Social Sciences in Zadar and the University of Zadar. In 2005, he became a permanent full professor of humanistic sciences, scientific field of history, branch Croatian history. He lectures History of Navigation in the Croatian Adriatic, Historical Geography and History of Cartography. He initiated and led postgraduate scientific master and doctoral studies History of Croatian Navigation at the same Faculty. He led several scientific-research projects on the history of Eastern Adriatic navigation. Professor Kozličić's scientific research concerns history of navigation and cartography and historical geography of the Eastern Adriatic. He published a dozen scientific books and more than 100 studies and articles. He participated in numerous domestic and international conferences and prepared several museum exhibitions. After a long research of map collections in Croatian and foreign archives, museums and libraries, he published Atlas – Cartographic Monuments of the Croatian Adriatic in 1995. It contains a concise overview of cartographic representations of the Croatian Adriatic from the antique to the end of the 17th century, with analyses of 275 maps, plans and views by 53 authors. Special attention is paid to older cartographic material and one intended for navigation, and charts by 12 cartographers produced between the beginning of the 13th century and the end of the 16th century are researched. The central chapter is dedicated to numerous cartographers and their perception of the Croatian Adriatic. The book contains basic map data, including toponymy, name of the collection and scientific and expert commentary. A list of bibliographic units and a terminology index can be found at the end. We would like to single out Professor Kozličić's monographs Panoramas of Dalmatia by Giuseppe Rieger, published by the Hydrographic Institute of the Republic of Croatia, Split 2003, Regiones Flumina Unnae et Sanae in Veteribus Tabulis Geographicis, Una-Sana Area on Old Geographic Maps, published by the National and University Library of Bosnia and Herzegovina, Sarajevo and the Una-Sana Canton Archive, Bihać, 2003 and Eastern Adriatic in Work of Beautemps-Beaupré, published in 2006. Prof. Dr. Mithad Kozličić is a member of several expert societies, including the Croatian Cartographic Society, in which he was a member of the Court of Honour for several years. He received several awards and acknowledgments and this year became a member of the Academy of Sciences and Arts of Bosnia and Herzegovina ("a member outside of working team" – citizen of Bosnia and Herzegovina living abroad).Congratulations! ; Mithad Kozličić je povjesničar pomorstva i geografije. Rođen je 14. travnja 1954. u Zenici. U Splitu je završio Vojnopomorsku akademiju, diplomiravši na nautičkom smjeru 1978, a magistrirao povijest u Dubrovniku 1985. Doktorirao je povijesne znanosti 1988. na Filozofskom fakultetu u Zagrebu s disertacijom Historijska geografija istočnog Jadrana u svjetlu rezultata istraživanja antičkih geografskih djela. Pomoćnik ravnatelja i kustos u Vojnopomorskom muzeju u Splitu bio je do 1991, a nakon toga ravnatelj Hrvatskog pomorskog muzeja u Splitu. Od 1994. profesor je u Odjelu za povijest Filozofskog fakulteta u Zadru, odnosno Sveučilišta u Zadru. Odlukom toga Sveučilišta 2005. izabran je u redovitog profesora u trajnom zvanju za znanstveno područje humanističkih znanosti, znanstveno polje povijest, grana hrvatska povijest. Predaje kolegije Povijest pomorstva hrvatskog Jadrana, Povijesni zemljopis i Povijest kartografije. Utemeljitelj je i voditelj poslijediplomskih znanstvenih magistarskih i doktorskih studija Povijest hrvatskog pomorstva na istom fakultetu. Voditelj je nekoliko znanstveno-istraživačkih projekata iz povijesti istočnojadranskog pomorstva. Znanstveno istražuje povijest pomorstva, povijest kartografije i historijsku geografiju istočnog Jadrana. Objavio je desetak znanstvenih knjiga te više od stotinjak studija i čla-naka. Sudjelovao je na mnogobrojnim domaćim i inozemnim znanstvenim skupovima. Priredio je nekoliko muzejskih izložbi. Nakon višegodišnjih istraživanja po kartografskim zbirkama hrvatskih i stranih arhiva, muzeja i knjižnica objavio je 1995. Atlas – kartografski spomenici hrvatskog Jadrana. Sadrži sažeti pregled kartografskog prikazivanja hrvatskog Jadranskog mora od antike do kraja 17. stoljeća, obrađeno je 275 karata, planova i veduta 53 autora. Osobito je pozornost dana starijoj kartografskoj građi te onoj za plovidbu, a istražene su plovidbene karte 12 kartografa koje su nastale od početka 13. do kraja 16. stoljeća. Središnje poglavlje posvećeno je brojnim kartografima i njihovu viđenju hrvatskoga Jadrana. Knjiga sadrži osnovne podatke o kartama, uključujući prikaz toponimije, naziv zbirke u kojoj se čuvaju te znanstveni i stručni komentar. Na kraju je popis bibliografskih jedinica i indeks nazivlja s proučenih karata. Posebno izdavajmo monografije Panorame Dalmacije Giuseppea Riegera u izdanju Hrvatskoga hidrografskog instituta, Split 2003., Regiones Flumina Unnae et Sanae in Veteribus Tabulis Geographicis, Unsko-sansko područje na starim geografskim kartama u izdanju Nacionalne i univerzitetske biblioteke BiH, Sarajevo i Arhiva Unsko-sanskog kantona, Bihać, 2003. i Istočni Jadran u djelu Beautemps-Beaupréa, objavljena 2006. Prof. dr. sc. Mithad Kozličić član je nekoliko stručnih društava, među kojima je i Hrvatsko kartografsko društvo u kojemu je više godina bio član Suda časti. Dobitnik je nekoliko nagrada i priznanja, a ove godine izabran je za člana Akademije nauka i umjetnosti BiH ("član van radnog sastava" – državljanin BiH koji živi u inostranstvu/inozemstvu).Čestitamo!
U ovome radu analizirana je studija Krste Hegedušića za fresku Golgota u hrvatskom nacionalnom svetištu u Mariji Bistrici. Studija je nastala 1944. godine. U svom punom kolorističkom sjaju realizirana je nekoliko desetljeća kasnije 2008. godine od slikarsko restauratorskog dvojca Eugena Kokota i Egidia Budicina. Razlog zbog kojeg fresku nije dovršio sam Hegedušić nije poznat. Iznijete su nedaće koje su Hegedušića pratile na putu ka ostvarenju navedene freske. Radi svog političkog opredjeljenja nekoliko puta je zatvaran, ali nikad nije odustao od svojih teza. Njegova likovna ostvarenja možemo pratiti od dolaska u Hlebine, malo podravsko mjesto koje je zauvijek ostalo utisnuto u njegovom srcu. Za boravka u Parizu uvidio je nove mogućnosti te nakon povratka u Zagreb počinje djelovati unutar Likovnog udruženja Zemlja čiji je iznimno vjeran član. Svoj rukopis otisnuo je i na zidu, a jedno od najreprezentativnijih djela zidnog slikarstva Krste Hegedušića svakako je Golgota. ; In this paper a study byKrsto Hegedušić for his fresco Golgota in Croatian national sanctuary in Marija Bistrica has been analized. Study was made in 1944. in it's fully coloristical shine and realized a few decades later, in 2008. by painters-restaurators couple Eugen Kokot and Egidio Budicin. The reason why Krsto Hegdušić didn't finish the fresco himself remains unkown. Some of the challanges that followed Hegedušić on the way to complete the fresco have been described in this paper. He has been inprisoned a couple of times, because of his political views, but he never gave up on his thesis. His art can be followed from his arrival in Hlebine, little village in Podravina, that for ever remained written in his heart. While he resided in Paris, he saw new opportunities, so as he came back, he got involved in the ''Zemlja" art association, and was one of the most prominent members. Krsto Hegedušić left his signatures on the walls as well, and one of his most representative wall painting is surely Golgota.