Милева Мица Тодоровић : (1897–1981)
Mileva Mica Todorović (1897–1981)
Аутори
Вујковић, СаритаОстала ауторства
Милошевић-Ђорђевић, НадаКнежевић, Зоран
Лечић-Тошевски, Душица
Конференцијски прилог (Објављена верзија)
Метаподаци
Приказ свих података о документуАпстракт
Током дуге умјетничке каријере стваралаштво Милеве Мице Тодоровић често је презентовано, културна јавност је имала похвалан суд о њеном дјелу, а постојећа ликовна критика њен рад је сагледавала с различитих методолошких и идеолошких позиција. Иако су о њеном дјелу писани
бројни текстови, већа студијска анализа, која је обухватила цјелокупни
опус уз обимну периодизацију и систематизацију, написана је непосредно
пред њену смрт, кроз педантан и исцрпан истраживачки приступ историчарке умјетности Азре Бегић, поводом ретроспективне изложбе у Умјетничкој галерији Босне и Херцеговине у Сарајеву 1980. године. Овај студиозан
аналитички рад врсне познаватељке њеног дјела, уз примјену релевантне
научне методологије, сасвим је нехотично омогућио правовремену вало ризацију и позиционирање дјела Мице Тодоровић у босанскохерцеговачкој историји умјетности (Begić 1980 [13]). Она је била прва босанскохерцеговачка сликарка којој је током живота приређена велика ретроспективна
изложба уз обимн...у и студиозну монографску публикацију, као најтемељитији допринос домаће историографије у проучавању живота и рада неке
умјетнице. Драгоцјене али парцијалне секвенце у проучавању њеног дјела дали су бројни историчари умјетности, књижевници и умјетници који су
се између два рата, а и касније, бавили проучавањем њеног стваралаштва
или су приказивали колективне изложбе на којима је учествовала, а међу
њима су се истицали: Ђоко Мазалић, Павле Васић, Љубица Младеновић,
Сида Марјановић, Смиљка Шиник, Смаил Тихић, Ибрахим Крзовић и Никола Ковач. Њихови критички осврти и проучавања с различитих идеолошких или естетичких полазишта дали су драгоцјена тумачења појединих
стваралачких опуса, уз сегментиране дескрипције и парцијалне анализе
у тумачењу појединих умјетничких дјела. Њихов стручни кредибилитет
наглашавао је поједине стилске и формалне различитости у категориза цији и периодизацији њеног дјела, повремено излазећи из домена стилске
анализе, помјерајући тежиште ка идеолошко-политичком контексту.
Умјетнички и идејно самостална, образована и током цијелог живота
независна, Мица Тодоровић је своју личност, умјетнички и интелектуалaни кредибилитет градила с индивидуалних стајалишта, спретно избјегавајући непотребне и упитне компромисе.
This paper deals with the life and work of Academician Mileva Mica Todorović
(1897–1981), a painter who has now almost faded into oblivion, but who was one of the
greatest artists of the interwar and postwar periods on the Yugoslav art scene. She
devoted her entire life solely to painting, hence relinquishing everything that constituted the common civic life. She held many exhibitions, taught at the School of Applied
Arts, and received numerous state accolades. What crowned her artistic career was
her election to the Academy of Sciences and Arts of Bosnia and Herzegovina in 1969
and subsequently to the Serbian Academy of Sciences and Arts in 1978.
Mileva Mica Todorović was born in Sarajevo in 1897 into a well-to-do family of civil
servants. Upon completion of Girls’ High School in Sarajevo, she decided that painting
would be her calling in life. Her preparations for the entrance exam, learning about the
basic principles of abstract painting from Kandinsky’s book On S...piritual in Art, and,
above all, engaging in friendly conversation with Roman Petrović, helped this talented
young woman enrol at the Academy of Fine Arts in Zagreb with clearly defined objectives and almost fully formed views.
Her arrival in Zagreb in 1920, in order to embark on her studies at the Academy of
Fine Arts, the only one of its kind in Yugoslavia at that time, also meant encountering the
most vibrant and prestigious art scene in the country, which was also extremely open
and stimulative. It was a time of shaping the personal and moral code, value system and
philosophy of the young artist who, as the only female student in the class of professor
Ljubo Babić, was surrounded by a whole host of ambitious young male artists: Tabaković,
Postružnik, Hegedušić, Junek, Detoni, Motika, and others. These generational friendships and mutual influences had an evident impact on forming the identity of this artist.
The said talented and progressive young generation aired their artistic and ideological
views by socializing at the “Esplanade”, where in 1929 they created and formulated the
conception of the association of artists „Zemlja” (i.e. the Earth Group). Even though she
regularly followed the activities and attended the meetings of the Earth Group, she never
became a member of this all-male association of artists.
The years subsequent to Mica Todorović’s graduation from the Academy represented a vital and constitutive period for her art. She graduated in 1926, but it was only
in the late 1920s that she was to attain complete artistic freedom, at a time when, despite her decision to return to Sarajevo, she mostly stayed in Zagreb, and also travelled
across Italy, all while trying to decide on the course of her career. Liberating herself
from the constraints of the academia, she almost inadvertently allowed herself to be
swept by a rising tide of the Earth Group’s social protest. During those years she made
a very interesting series of caricatures in which she treated allegorically the haughtiness, shallowness, provinciality and hypocrisy of the middle class.
She was to develop the ideas of much the same kind only one other time – in Gro tesques, a series of drawings dating from 1933. These scenes of the deterioration of a
specific urban environment, which reflected the anxiety and disquiet over the general
political and economic situation, placed a great emphasis on the human awareness that observed, noticed and warned of the issues abounding in the civilization teetering on
the brink of a global conflict.
Unlike the Earth Group’s ideas she had once embraced, characterized by urban
themes which constituted a particular type of public space that this artist analyzed
and criticized, the latter segments of her work were marked by a pronounced need
for privacy, which gave rise to a novel type of images of private space. By abandoning
social engagement, she immersed herself in intimism with a refined colouristic artism
which prevailed over tonal painting, cultivated at the time at the Academy of Fine Arts
in Zagreb.
This alienation from the socio-critical discourse opened up a new visual field in
the painting of Mica Todorović. It was introduced by a new selection of topics and
models, which reflected her inclination towards private intimate spaces, as well as towards certain Romantic-melancholic features of her social milieu.
The period between 1932 and 1942, when she eventually settled in Sarajevo, was
the time when this artist, independently and in isolation, channelled her individual ity into images of sheltered intimacy. Those were the years that saw her involvement
with a Sarajevo-based socially engaged association “Collegium Artisticum”, according
to which general tendencies prevailed over the personal contribution to art, outweigh ing the personal and intimate.
World War Two was a time of unforeseen difficulties for Mica Todorović, brought
on firstly by prison, then the concentration camp and, eventually, enforced labour. In
those years of terror she managed to preserve her life, presence of mind and focus of
attention, which she exhibited in the text Kroz zatvore i logore (Through Prisons and
War Camps), in which she reminisced about that part of her life rationally and without
resentment. She was probably the only female painter who responded to the call to
testify as an artist and witness and portray the atrocities of war in her work, as can be
seen in the series of drawings Posljednje žrtve Jasenovca i Gradiške (The Last Victims
of Jasenovac and Gradiška Concentration Camps).
The postwar period was the time when her poetics acquired the final shape, when
she depicted what she could see in her surroundings, expressed her privacy in a considerable number of still lifes, and empty backyards, or dealt with little private and intimate themes of the naked human body. The emptiness in her paintings depicting the
public space of the streets, taverns and their tables, devoid of people, was probably an
equivalent of the emptiness in her intimate sphere. The space in her paintings is always
continuous and undivided, enabling relationships, and joining living beings and things
together into one whole.
Living and working in quite peculiar circumstances of the Yugoslav social and
political reality, in which the conception of modern art became the official culture,
endowed Mica Todorović and her art with the qualities of permanence, value and modernity, and her intimate, at times even confessional and autoreflective style of representation is now part and parcel of the permanent values of the art of Bosnia and
Herzegovina.
Кључне речи:
Милева Мица Тодоровић (1897–1981) / биографија / библиографија / Mileva Mica Todorović (1897–1981) / biography / bibliographyИзвор:
Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 2, 2022, 120-157Издавач:
- Београд : Српска академија наука и уметности
TY - CONF AU - Вујковић, Сарита PY - 2022 UR - https://dais.sanu.ac.rs/123456789/14879 AB - Током дуге умјетничке каријере стваралаштво Милеве Мице Тодоровић често је презентовано, културна јавност је имала похвалан суд о њеном дјелу, а постојећа ликовна критика њен рад је сагледавала с различитих методолошких и идеолошких позиција. Иако су о њеном дјелу писани бројни текстови, већа студијска анализа, која је обухватила цјелокупни опус уз обимну периодизацију и систематизацију, написана је непосредно пред њену смрт, кроз педантан и исцрпан истраживачки приступ историчарке умјетности Азре Бегић, поводом ретроспективне изложбе у Умјетничкој галерији Босне и Херцеговине у Сарајеву 1980. године. Овај студиозан аналитички рад врсне познаватељке њеног дјела, уз примјену релевантне научне методологије, сасвим је нехотично омогућио правовремену вало ризацију и позиционирање дјела Мице Тодоровић у босанскохерцеговачкој историји умјетности (Begić 1980 [13]). Она је била прва босанскохерцеговачка сликарка којој је током живота приређена велика ретроспективна изложба уз обимну и студиозну монографску публикацију, као најтемељитији допринос домаће историографије у проучавању живота и рада неке умјетнице. Драгоцјене али парцијалне секвенце у проучавању њеног дјела дали су бројни историчари умјетности, књижевници и умјетници који су се између два рата, а и касније, бавили проучавањем њеног стваралаштва или су приказивали колективне изложбе на којима је учествовала, а међу њима су се истицали: Ђоко Мазалић, Павле Васић, Љубица Младеновић, Сида Марјановић, Смиљка Шиник, Смаил Тихић, Ибрахим Крзовић и Никола Ковач. Њихови критички осврти и проучавања с различитих идеолошких или естетичких полазишта дали су драгоцјена тумачења појединих стваралачких опуса, уз сегментиране дескрипције и парцијалне анализе у тумачењу појединих умјетничких дјела. Њихов стручни кредибилитет наглашавао је поједине стилске и формалне различитости у категориза цији и периодизацији њеног дјела, повремено излазећи из домена стилске анализе, помјерајући тежиште ка идеолошко-политичком контексту. Умјетнички и идејно самостална, образована и током цијелог живота независна, Мица Тодоровић је своју личност, умјетнички и интелектуалaни кредибилитет градила с индивидуалних стајалишта, спретно избјегавајући непотребне и упитне компромисе. AB - This paper deals with the life and work of Academician Mileva Mica Todorović (1897–1981), a painter who has now almost faded into oblivion, but who was one of the greatest artists of the interwar and postwar periods on the Yugoslav art scene. She devoted her entire life solely to painting, hence relinquishing everything that constituted the common civic life. She held many exhibitions, taught at the School of Applied Arts, and received numerous state accolades. What crowned her artistic career was her election to the Academy of Sciences and Arts of Bosnia and Herzegovina in 1969 and subsequently to the Serbian Academy of Sciences and Arts in 1978. Mileva Mica Todorović was born in Sarajevo in 1897 into a well-to-do family of civil servants. Upon completion of Girls’ High School in Sarajevo, she decided that painting would be her calling in life. Her preparations for the entrance exam, learning about the basic principles of abstract painting from Kandinsky’s book On Spiritual in Art, and, above all, engaging in friendly conversation with Roman Petrović, helped this talented young woman enrol at the Academy of Fine Arts in Zagreb with clearly defined objectives and almost fully formed views. Her arrival in Zagreb in 1920, in order to embark on her studies at the Academy of Fine Arts, the only one of its kind in Yugoslavia at that time, also meant encountering the most vibrant and prestigious art scene in the country, which was also extremely open and stimulative. It was a time of shaping the personal and moral code, value system and philosophy of the young artist who, as the only female student in the class of professor Ljubo Babić, was surrounded by a whole host of ambitious young male artists: Tabaković, Postružnik, Hegedušić, Junek, Detoni, Motika, and others. These generational friendships and mutual influences had an evident impact on forming the identity of this artist. The said talented and progressive young generation aired their artistic and ideological views by socializing at the “Esplanade”, where in 1929 they created and formulated the conception of the association of artists „Zemlja” (i.e. the Earth Group). Even though she regularly followed the activities and attended the meetings of the Earth Group, she never became a member of this all-male association of artists. The years subsequent to Mica Todorović’s graduation from the Academy represented a vital and constitutive period for her art. She graduated in 1926, but it was only in the late 1920s that she was to attain complete artistic freedom, at a time when, despite her decision to return to Sarajevo, she mostly stayed in Zagreb, and also travelled across Italy, all while trying to decide on the course of her career. Liberating herself from the constraints of the academia, she almost inadvertently allowed herself to be swept by a rising tide of the Earth Group’s social protest. During those years she made a very interesting series of caricatures in which she treated allegorically the haughtiness, shallowness, provinciality and hypocrisy of the middle class. She was to develop the ideas of much the same kind only one other time – in Gro tesques, a series of drawings dating from 1933. These scenes of the deterioration of a specific urban environment, which reflected the anxiety and disquiet over the general political and economic situation, placed a great emphasis on the human awareness that observed, noticed and warned of the issues abounding in the civilization teetering on the brink of a global conflict. Unlike the Earth Group’s ideas she had once embraced, characterized by urban themes which constituted a particular type of public space that this artist analyzed and criticized, the latter segments of her work were marked by a pronounced need for privacy, which gave rise to a novel type of images of private space. By abandoning social engagement, she immersed herself in intimism with a refined colouristic artism which prevailed over tonal painting, cultivated at the time at the Academy of Fine Arts in Zagreb. This alienation from the socio-critical discourse opened up a new visual field in the painting of Mica Todorović. It was introduced by a new selection of topics and models, which reflected her inclination towards private intimate spaces, as well as towards certain Romantic-melancholic features of her social milieu. The period between 1932 and 1942, when she eventually settled in Sarajevo, was the time when this artist, independently and in isolation, channelled her individual ity into images of sheltered intimacy. Those were the years that saw her involvement with a Sarajevo-based socially engaged association “Collegium Artisticum”, according to which general tendencies prevailed over the personal contribution to art, outweigh ing the personal and intimate. World War Two was a time of unforeseen difficulties for Mica Todorović, brought on firstly by prison, then the concentration camp and, eventually, enforced labour. In those years of terror she managed to preserve her life, presence of mind and focus of attention, which she exhibited in the text Kroz zatvore i logore (Through Prisons and War Camps), in which she reminisced about that part of her life rationally and without resentment. She was probably the only female painter who responded to the call to testify as an artist and witness and portray the atrocities of war in her work, as can be seen in the series of drawings Posljednje žrtve Jasenovca i Gradiške (The Last Victims of Jasenovac and Gradiška Concentration Camps). The postwar period was the time when her poetics acquired the final shape, when she depicted what she could see in her surroundings, expressed her privacy in a considerable number of still lifes, and empty backyards, or dealt with little private and intimate themes of the naked human body. The emptiness in her paintings depicting the public space of the streets, taverns and their tables, devoid of people, was probably an equivalent of the emptiness in her intimate sphere. The space in her paintings is always continuous and undivided, enabling relationships, and joining living beings and things together into one whole. Living and working in quite peculiar circumstances of the Yugoslav social and political reality, in which the conception of modern art became the official culture, endowed Mica Todorović and her art with the qualities of permanence, value and modernity, and her intimate, at times even confessional and autoreflective style of representation is now part and parcel of the permanent values of the art of Bosnia and Herzegovina. PB - Београд : Српска академија наука и уметности C3 - Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 2 T1 - Милева Мица Тодоровић : (1897–1981) T1 - Mileva Mica Todorović (1897–1981) SP - 120 EP - 157 UR - https://hdl.handle.net/21.15107/rcub_dais_14879 ER -
@conference{ author = "Вујковић, Сарита", year = "2022", abstract = "Током дуге умјетничке каријере стваралаштво Милеве Мице Тодоровић често је презентовано, културна јавност је имала похвалан суд о њеном дјелу, а постојећа ликовна критика њен рад је сагледавала с различитих методолошких и идеолошких позиција. Иако су о њеном дјелу писани бројни текстови, већа студијска анализа, која је обухватила цјелокупни опус уз обимну периодизацију и систематизацију, написана је непосредно пред њену смрт, кроз педантан и исцрпан истраживачки приступ историчарке умјетности Азре Бегић, поводом ретроспективне изложбе у Умјетничкој галерији Босне и Херцеговине у Сарајеву 1980. године. Овај студиозан аналитички рад врсне познаватељке њеног дјела, уз примјену релевантне научне методологије, сасвим је нехотично омогућио правовремену вало ризацију и позиционирање дјела Мице Тодоровић у босанскохерцеговачкој историји умјетности (Begić 1980 [13]). Она је била прва босанскохерцеговачка сликарка којој је током живота приређена велика ретроспективна изложба уз обимну и студиозну монографску публикацију, као најтемељитији допринос домаће историографије у проучавању живота и рада неке умјетнице. Драгоцјене али парцијалне секвенце у проучавању њеног дјела дали су бројни историчари умјетности, књижевници и умјетници који су се између два рата, а и касније, бавили проучавањем њеног стваралаштва или су приказивали колективне изложбе на којима је учествовала, а међу њима су се истицали: Ђоко Мазалић, Павле Васић, Љубица Младеновић, Сида Марјановић, Смиљка Шиник, Смаил Тихић, Ибрахим Крзовић и Никола Ковач. Њихови критички осврти и проучавања с различитих идеолошких или естетичких полазишта дали су драгоцјена тумачења појединих стваралачких опуса, уз сегментиране дескрипције и парцијалне анализе у тумачењу појединих умјетничких дјела. Њихов стручни кредибилитет наглашавао је поједине стилске и формалне различитости у категориза цији и периодизацији њеног дјела, повремено излазећи из домена стилске анализе, помјерајући тежиште ка идеолошко-политичком контексту. Умјетнички и идејно самостална, образована и током цијелог живота независна, Мица Тодоровић је своју личност, умјетнички и интелектуалaни кредибилитет градила с индивидуалних стајалишта, спретно избјегавајући непотребне и упитне компромисе., This paper deals with the life and work of Academician Mileva Mica Todorović (1897–1981), a painter who has now almost faded into oblivion, but who was one of the greatest artists of the interwar and postwar periods on the Yugoslav art scene. She devoted her entire life solely to painting, hence relinquishing everything that constituted the common civic life. She held many exhibitions, taught at the School of Applied Arts, and received numerous state accolades. What crowned her artistic career was her election to the Academy of Sciences and Arts of Bosnia and Herzegovina in 1969 and subsequently to the Serbian Academy of Sciences and Arts in 1978. Mileva Mica Todorović was born in Sarajevo in 1897 into a well-to-do family of civil servants. Upon completion of Girls’ High School in Sarajevo, she decided that painting would be her calling in life. Her preparations for the entrance exam, learning about the basic principles of abstract painting from Kandinsky’s book On Spiritual in Art, and, above all, engaging in friendly conversation with Roman Petrović, helped this talented young woman enrol at the Academy of Fine Arts in Zagreb with clearly defined objectives and almost fully formed views. Her arrival in Zagreb in 1920, in order to embark on her studies at the Academy of Fine Arts, the only one of its kind in Yugoslavia at that time, also meant encountering the most vibrant and prestigious art scene in the country, which was also extremely open and stimulative. It was a time of shaping the personal and moral code, value system and philosophy of the young artist who, as the only female student in the class of professor Ljubo Babić, was surrounded by a whole host of ambitious young male artists: Tabaković, Postružnik, Hegedušić, Junek, Detoni, Motika, and others. These generational friendships and mutual influences had an evident impact on forming the identity of this artist. The said talented and progressive young generation aired their artistic and ideological views by socializing at the “Esplanade”, where in 1929 they created and formulated the conception of the association of artists „Zemlja” (i.e. the Earth Group). Even though she regularly followed the activities and attended the meetings of the Earth Group, she never became a member of this all-male association of artists. The years subsequent to Mica Todorović’s graduation from the Academy represented a vital and constitutive period for her art. She graduated in 1926, but it was only in the late 1920s that she was to attain complete artistic freedom, at a time when, despite her decision to return to Sarajevo, she mostly stayed in Zagreb, and also travelled across Italy, all while trying to decide on the course of her career. Liberating herself from the constraints of the academia, she almost inadvertently allowed herself to be swept by a rising tide of the Earth Group’s social protest. During those years she made a very interesting series of caricatures in which she treated allegorically the haughtiness, shallowness, provinciality and hypocrisy of the middle class. She was to develop the ideas of much the same kind only one other time – in Gro tesques, a series of drawings dating from 1933. These scenes of the deterioration of a specific urban environment, which reflected the anxiety and disquiet over the general political and economic situation, placed a great emphasis on the human awareness that observed, noticed and warned of the issues abounding in the civilization teetering on the brink of a global conflict. Unlike the Earth Group’s ideas she had once embraced, characterized by urban themes which constituted a particular type of public space that this artist analyzed and criticized, the latter segments of her work were marked by a pronounced need for privacy, which gave rise to a novel type of images of private space. By abandoning social engagement, she immersed herself in intimism with a refined colouristic artism which prevailed over tonal painting, cultivated at the time at the Academy of Fine Arts in Zagreb. This alienation from the socio-critical discourse opened up a new visual field in the painting of Mica Todorović. It was introduced by a new selection of topics and models, which reflected her inclination towards private intimate spaces, as well as towards certain Romantic-melancholic features of her social milieu. The period between 1932 and 1942, when she eventually settled in Sarajevo, was the time when this artist, independently and in isolation, channelled her individual ity into images of sheltered intimacy. Those were the years that saw her involvement with a Sarajevo-based socially engaged association “Collegium Artisticum”, according to which general tendencies prevailed over the personal contribution to art, outweigh ing the personal and intimate. World War Two was a time of unforeseen difficulties for Mica Todorović, brought on firstly by prison, then the concentration camp and, eventually, enforced labour. In those years of terror she managed to preserve her life, presence of mind and focus of attention, which she exhibited in the text Kroz zatvore i logore (Through Prisons and War Camps), in which she reminisced about that part of her life rationally and without resentment. She was probably the only female painter who responded to the call to testify as an artist and witness and portray the atrocities of war in her work, as can be seen in the series of drawings Posljednje žrtve Jasenovca i Gradiške (The Last Victims of Jasenovac and Gradiška Concentration Camps). The postwar period was the time when her poetics acquired the final shape, when she depicted what she could see in her surroundings, expressed her privacy in a considerable number of still lifes, and empty backyards, or dealt with little private and intimate themes of the naked human body. The emptiness in her paintings depicting the public space of the streets, taverns and their tables, devoid of people, was probably an equivalent of the emptiness in her intimate sphere. The space in her paintings is always continuous and undivided, enabling relationships, and joining living beings and things together into one whole. Living and working in quite peculiar circumstances of the Yugoslav social and political reality, in which the conception of modern art became the official culture, endowed Mica Todorović and her art with the qualities of permanence, value and modernity, and her intimate, at times even confessional and autoreflective style of representation is now part and parcel of the permanent values of the art of Bosnia and Herzegovina.", publisher = "Београд : Српска академија наука и уметности", journal = "Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 2", title = "Милева Мица Тодоровић : (1897–1981), Mileva Mica Todorović (1897–1981)", pages = "120-157", url = "https://hdl.handle.net/21.15107/rcub_dais_14879" }
Вујковић, С.. (2022). Милева Мица Тодоровић : (1897–1981). in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 2 Београд : Српска академија наука и уметности., 120-157. https://hdl.handle.net/21.15107/rcub_dais_14879
Вујковић С. Милева Мица Тодоровић : (1897–1981). in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 2. 2022;:120-157. https://hdl.handle.net/21.15107/rcub_dais_14879 .
Вујковић, Сарита, "Милева Мица Тодоровић : (1897–1981)" in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 2 (2022):120-157, https://hdl.handle.net/21.15107/rcub_dais_14879 .