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EXHIBITIONS · Gallery Dulčić Masle Pulitika

THE FRAGILITY AND STRENGHT OF A WOMAN – selection of sculptures from the collection of the Museum of modern art Dubrovnik

Duration: 19.3.2021. - 30.5.2021.
Curator: Andrea Batinić

Sophisticated, sensible and elegant sculptures of women, girls and their bodies in the works of Croatian sculptors represented at the recent exhibition speak fully from a perspective of perception, but from narration too.
The delicate, linear structures of female bodies possess clearly-stated metaphorical- symbolic meanings. Their bodies seem to derive from the anthroposophy of Rudolf Steiner, and these are: physical, ethereal, astral and spiritual bodies. Female structures in their interpretation are in certain states. These are lonely and anxious women, almost static and simple in a kind of a minimal movement, drawn into some oneiric inner world of theirs. Imposted female figures of a young, sensual body are naked and asthenic, with the emphasized erotic corporeality. With their self-denial, purity, sensuality and fragility they unite the fundamental female essence – her inner strength; the strength that keeps her going on even when she is not capable to do so; the energy and the beating state of mind with which she maintains self-control even when it is most difficult for her and when she is overwhelmed by the fear of the unknown and the unpredictable.

The different stylistic and discursive affiliation of the exhibited sculptures, as well as the individual approaches to the theme, overlapping in certain segments, and united in the unique exhibited collection, make the former interesting and dynamic. The opus of the selected sculptures exudes special aura of ethereal radiation, although their basic effect is very much autonomous and core monumental. The surface of the sculptures is simple but layered, vulnerably exposed in a certain way but warm at the same time, it attracts and does not repel with these, and it is not cold as it often is in its smoothness and sharpness. The sculptures are liberated from the flat narration, while the power of expression finds its foothold in the composition (movement, eroticism). The depictions of women and the female body almost burst with different degrees of emotion and passion, and act on us with its meditative purity and noble innocence of the spirit that emanates from them.

The depictions of women and the female body in the works of Ivan Lozica are expressive, erotically naturalistic and they incline to the feminine sensibility, tenderness and a kind of spirituality that permeate each of his sculptures. The artist's true gift resulted in a rare expressiveness, purity of vision, melodic modelling and unwavering staticity of his figures.
There is so much immanent beauty and tightness in that „ feminine note“ that the ideas of purism and reduction are just being imposed. The reduction of form and beauty of pure lines is also visible in the sculpture „Concern“ of Frano Krsinic which in an elegant manner simplifies female figure with a tendency toward symbolic expression which simultaneously expresses the woman's fragility and strength. Thematically, dimensionally and volumetrically, the female figure of Djordje Oraovac is similarly treated, which achieves the harmony and elegance of the line with simple transitions, bulges and depressions. With the special sense of harmony and beauty, Nikola Njiric embodies the eroticism of form in a bronze sculpture of a woman’s torso with visible, reduced and purified elements, thus approaching the modern understanding of the sculptural form. In his „Female planter“, Robert Franges Mihanovic synthesized realistic, secessionist, symbolic artistic expression. The woman in the bent position, in addition to being performed in a realistic manner with accentuated lines, is also fixed as much in the morphological as in the psychological form. The naked female statues of Kosta Angela Radovani exude full, mature curves of cubist shapes, robustly executed with unwavering staticity and fluid frontality. With the refined sense of simple, organic mass of concise artistic details, he synthesizes his figures by which he expresses a woman's strength and power.


Exhibition marking the centenary of artist’s death
/from the MOMAD collection

Duration: 22.10.2020.-31.1.2020.
Curator: Rozana Vojvoda

South-westerly, around 1906., oil on cardboard

The Collection of Dubrovnik Museum of Modern Art holds thirty-four works1 by Mato Celestin Medović – on the whole portraits, some works with religious subjects, and landscapes, as well as various sketches and studies. Some of the works from the collection are reckoned to be among the finest that Medović created. The generic diversity that characterises Medović’s works in the Museum of Modern Art in Dubrovnik reflects, in fact, something that has never been sufficiently accentuated – that Medović was an artist who produced works of great quality in various fields of activity – in history painting, and in the religious, portrait and landscape genres.

Rozana Vojvoda

Motif from Pelješac, 1906. – 1908., oil on cardboard


Mato Celestin Medović was born on November 17, 1857 in Kuna, a village on the peninsula of Pelješac. After a year of education at the Franciscan Monastery of Our Lady of Loreto (Delorita) on Pelješac, in 1868 he left for the monastery of the Minorites in Dubrovnik, where he entered the novitiate. There, he started doing drawings and painting in oil, and in 1880 went off to study painting in Italy. He had private lessons in Rome from 1880 to 1882 (Ludwig Seitz, Francesco Grandi), and then from 1883 to 1884 in Florence (Antonio Ciseri). In 1886 he returned to Dubrovnik, but aware of the shortcomings of his incomplete training in 1888 he went to the Academy of Fine Arts in Munich (his teachers were Gabriel Hackl, Ludwig Löfftz and Aleksandar Wagner). The three last years spent in the class of Wagner left the deepest trace from this period, in the spirit of the decorative historical compositions of Karl Piloty. He spent 1893 to 1894 in Dubrovnik and Kuna, and left the order. After Munich, his conception for the making of religious paintings underwent fundamental modifications. Details of setting were rejected, and the paintings were dominated by the monumental figures of the saints. He spent 1895 to 1907 in Zagreb, where under the influence of the plein air thinking and rich colourism of Vlaho Bukovac he changed his brushstroke and invigorated his colours. He is the first of the modern Croatian painters to have emancipated still life as a freestanding subject, which also goes for landscape, which he mainly painted on Pelješac, in plein air, with a bright scale of pure colours. This new visual expression was transferred also to the historical compositions, to paintings with religious subjects and portraits. In 1908 when he returned to his native Kuna, a new period in the painting of Celestin Medović started, forming what is called the Pelješac phase, interrupted by a brief period in 1912 to 1914 when he lived in Vienna. In this period he painted almost entirely landscapes, abounding in the bright southern light and in vigorous colours, with which he made his greatest contribution to Croatian painting. Mato Celestin Medović died on January 20, 1920, in Sarajevo.

Holy Trinity (sketch for a fresco), 1899., oil on canvas



The Dulčić Masle Pulitika Gallery

Located opposite Dubrovnik Cathedral and alongside the Rector’s Palace, at the address Držićeva poljana 1, opened in 1997 as a memorial space to American diplomat Ronald Brown who perished in an aircraft crash on just before he was due to visit Dubrovnik in 1996, the Dulčić/Masle/Pulitika Gallery is devoted on the second and third floors of the building to an exhibition venue of the institution the Dubrovnik Museum of Modern and Contemporary Art. The works of the painters Dulčić, Masle and Pulitika that are the trademark of these premises are exhibited between exhibitions of other artists. Hence on the first floor, the year 2013 saw the establishment of a permanent display of the works of the three distinguished Dubrovnik painters: Ivo Dulčić (1916-1975), Antun Masle (1919-1967) and Đuro Pulitika (1922-2006). Although there are no formal links among them, what joins these painters together, apart from a dominant feeling for picturality is their powerful creative expression. Dulčić’s personality is exceptional in the rapid brushstrokes and refinement of texture; in Masle’s manner of painting the thick applications of paint are similar to the child’s drawing; Pulitika’s saturated colour triumphs in its flat monumentality. On the second floor of this exhibition space there are constantly changing temporary exhibitions, showing artists and themes of various origins, attention always being paid, however, to the high quality of the exhibits and the accompanying materials (exhibition catalogues).

The second floor of the Dulčić/Masle/Pulitika Gallery allows access to the not very distant third exhibition space of the Dubrovnik Museum of Modern and Contemporary Art, the Pulitika Studio. In the in situ space in which that painter distinguished by the vigour of his colour Đuro Pulitika for many years had his working space and in which he exhibited his works to a stream of visitors, in 2013 a faithfully recreated studio was opened, complete with paintings; in the larger, front part of this space within the Dubrovnik defensive walls is an exhibition space for temporary exhibitions.