Олга Јеврић (1922–2014)
Olga Jevrić (1922-2014)
Апстракт
Академик Олга Јеврић рођена је у Београду 29. септембра 1922, где је
и преминула 10. фебруара 2014. године. Завршила је Музичку академију,
Академију ликовних уметности, студирала је и историју уметности.
Први пут излаже 1948. године. Њена прва самостална изложба у Гале рији УЛУС-а представља концепцијску прекретницу у историји послератне
српске скулптуре, пре свега због потпуно чистог апстрактног ликовног
језика. Изложби је дала назив Просторне композиције, чиме је желела да
нагласи синтезу ликовних (просторних) и музичких (композиционих) компоненти. Иако се споља указује као апстрактна ликовна творевина чистих
пластичних својстава, скулптура Олге Јеврић у суштини поседује сложене
духовне и емотивне симболичке пројекције.
Наступи Олге Јеврић на самосталним изложбама у Београду, на ретроспективним изложбама, на репрезентативним изложбама југословенске
савремене уметности у иностранству, на самосталним изложбама у Торину
и Лондону, све до завршне постхумне ретроспекти...ве скулптура малог
формата у Институту Хенрија Мура у Великој Британији и Галерије PEER у
Лондону – сведоче о трајној историјској вредности њеног дела.
The paper is dedicated to the sculptural oeuvre of the SASA fellow Olga Jevrić and
succinctly encapsulates her career from the earliest stages of her art education, through
her intensive creative practice and exhibition efforts in the country and abroad, up to
the final posthumous retrospective of her small-format sculptures that were on display
at the Henry Moore Institute in Leeds, Great Britain, in 2016.
Olga Jevrić was born on 29 September 1922 in Belgrade, and passed away on 10
February 2014. She was buried in the Alley of Distinguished Citizens on Belgrade’s New
Cemetery.
She graduated from the Music Academy in 1946 and from the Academy of Fine Arts
in 1948 and studied art history at the Faculty of Philosophy.
She began to exhibit in 1948, with her first solo exhibition at the ULUS Gallery coming in 1957 in Belgrade, where she would hold three retrospective exhibitions, at the
Museum of Contemporary Art in 1981, at the SASA Gallery in 2001 and at the Heritage...
House in 2012.
Olga Jevrić was the recipient of several prestigious awards, including that of Politika
from the Vladislav Ribnikar Fund for 1961 and the 7th July Award of the Socialist Republic
of Serbia in 1979.
She was elected corresponding member of the SASA Department of Visual Arts and
Music in 1974, and its full member in 1983.
She took part in Yugoslav contemporary art exhibitions abroad on several occasions, among which particularly important was a display of her artworks in the Yugoslav
Pavilion at the 29th Venice Biennale in 1958, when she attracted substantial attention
from international art critics. This consequently led to her solo exhibitions at the Notizie
Gallery in Turin in 1959 and at the Drian Galleries in London in 1962.
In the decade following World War II, Olga Jevrić began gaining experience as a
sculptor, in a sociocultural environment that was pretty discouraging for the young
artist, who determinedly wanted to move away from the then mandatory political and
ideological canon of socialist realism, which is evident in her first portraits. True to her
innermost belief that the then contemporary sculpture should be dedicated to innocent victims of war, she made her first Proposals for Monuments – Prokuplje, in 1951 and
Milanovac in 1954 – which were never realized in the right size on the ground, but were
forever preserved in the format of gallery exhibits.
Olga Jevrić’s 1957 solo exhibition represented a conceptual turning point in the
history of post-war Serbian sculpture, primarily due to an entirely pure abstract visual
language. The exhibition was called Spatial Compositions, because she wanted to put
an emphasis on the synthesis of visual (spatial) and musical (compositional) components
in her work. True to an abstract concept, she called some of her sculptures and their variants as follows: Space Articulation, Vertical Composition, Complementary Forms,
Three Elements, Curved Space etc. Inclined to innermost reflection on the nature of
sculptural vocabulary, she summarized basic design principles of her sculptures, which
were created as an ideal unit of a single formation made of amorphous masses executed
in cement and a system of iron rods support, in the following passage: “My construction
method is based on composite units formed by mass, space, force lines, that is, iron rods,
which allows movements in a formal sense… or exploitation of infinite opportunities in
carving a sculpture out of a mass, in line with its dynamics and mutual interactions…”.
Even though Olga Jevrić’s sculpture outwardly appears as an abstract artwork by virtue
of its purely plastic properties, in essence, it possesses complex spiritual and emotional
symbolic projections, which she herself very convincingly pointed out and explained
with the following arguments: “Cataclysmic times – the times of collective tragedy and
individual fates left a huge impact on my generation’s youth, dwelt in us as unavoidable
subject matter that could primarily be articulated as a memorial object – a symbol. The
topic emerged as an innermost personal need, as our creative and ethical task, as our
need to leave a mark of awareness of and in time…”.
Dedicated to her art career in the contemporary world to the extreme, the career
she was entirely devoted to, considering the creation of sculptures – as she put it herself
– as “her reason for living”, she created an oeuvre of lasting historical value, which gained
recognition within both, national and international art context.
Кључне речи:
Олга Јеврић (1922-2014) / биографија / Olga Jevrić (1922–2014) / biographyИзвор:
Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1, 2021, 393-427Издавач:
- Београд : Српска академија наука и уметности
TY - CONF AU - Денегри, Јаша PY - 2021 UR - https://dais.sanu.ac.rs/123456789/14575 AB - Академик Олга Јеврић рођена је у Београду 29. септембра 1922, где је и преминула 10. фебруара 2014. године. Завршила је Музичку академију, Академију ликовних уметности, студирала је и историју уметности. Први пут излаже 1948. године. Њена прва самостална изложба у Гале рији УЛУС-а представља концепцијску прекретницу у историји послератне српске скулптуре, пре свега због потпуно чистог апстрактног ликовног језика. Изложби је дала назив Просторне композиције, чиме је желела да нагласи синтезу ликовних (просторних) и музичких (композиционих) компоненти. Иако се споља указује као апстрактна ликовна творевина чистих пластичних својстава, скулптура Олге Јеврић у суштини поседује сложене духовне и емотивне симболичке пројекције. Наступи Олге Јеврић на самосталним изложбама у Београду, на ретроспективним изложбама, на репрезентативним изложбама југословенске савремене уметности у иностранству, на самосталним изложбама у Торину и Лондону, све до завршне постхумне ретроспективе скулптура малог формата у Институту Хенрија Мура у Великој Британији и Галерије PEER у Лондону – сведоче о трајној историјској вредности њеног дела. AB - The paper is dedicated to the sculptural oeuvre of the SASA fellow Olga Jevrić and succinctly encapsulates her career from the earliest stages of her art education, through her intensive creative practice and exhibition efforts in the country and abroad, up to the final posthumous retrospective of her small-format sculptures that were on display at the Henry Moore Institute in Leeds, Great Britain, in 2016. Olga Jevrić was born on 29 September 1922 in Belgrade, and passed away on 10 February 2014. She was buried in the Alley of Distinguished Citizens on Belgrade’s New Cemetery. She graduated from the Music Academy in 1946 and from the Academy of Fine Arts in 1948 and studied art history at the Faculty of Philosophy. She began to exhibit in 1948, with her first solo exhibition at the ULUS Gallery coming in 1957 in Belgrade, where she would hold three retrospective exhibitions, at the Museum of Contemporary Art in 1981, at the SASA Gallery in 2001 and at the Heritage House in 2012. Olga Jevrić was the recipient of several prestigious awards, including that of Politika from the Vladislav Ribnikar Fund for 1961 and the 7th July Award of the Socialist Republic of Serbia in 1979. She was elected corresponding member of the SASA Department of Visual Arts and Music in 1974, and its full member in 1983. She took part in Yugoslav contemporary art exhibitions abroad on several occasions, among which particularly important was a display of her artworks in the Yugoslav Pavilion at the 29th Venice Biennale in 1958, when she attracted substantial attention from international art critics. This consequently led to her solo exhibitions at the Notizie Gallery in Turin in 1959 and at the Drian Galleries in London in 1962. In the decade following World War II, Olga Jevrić began gaining experience as a sculptor, in a sociocultural environment that was pretty discouraging for the young artist, who determinedly wanted to move away from the then mandatory political and ideological canon of socialist realism, which is evident in her first portraits. True to her innermost belief that the then contemporary sculpture should be dedicated to innocent victims of war, she made her first Proposals for Monuments – Prokuplje, in 1951 and Milanovac in 1954 – which were never realized in the right size on the ground, but were forever preserved in the format of gallery exhibits. Olga Jevrić’s 1957 solo exhibition represented a conceptual turning point in the history of post-war Serbian sculpture, primarily due to an entirely pure abstract visual language. The exhibition was called Spatial Compositions, because she wanted to put an emphasis on the synthesis of visual (spatial) and musical (compositional) components in her work. True to an abstract concept, she called some of her sculptures and their variants as follows: Space Articulation, Vertical Composition, Complementary Forms, Three Elements, Curved Space etc. Inclined to innermost reflection on the nature of sculptural vocabulary, she summarized basic design principles of her sculptures, which were created as an ideal unit of a single formation made of amorphous masses executed in cement and a system of iron rods support, in the following passage: “My construction method is based on composite units formed by mass, space, force lines, that is, iron rods, which allows movements in a formal sense… or exploitation of infinite opportunities in carving a sculpture out of a mass, in line with its dynamics and mutual interactions…”. Even though Olga Jevrić’s sculpture outwardly appears as an abstract artwork by virtue of its purely plastic properties, in essence, it possesses complex spiritual and emotional symbolic projections, which she herself very convincingly pointed out and explained with the following arguments: “Cataclysmic times – the times of collective tragedy and individual fates left a huge impact on my generation’s youth, dwelt in us as unavoidable subject matter that could primarily be articulated as a memorial object – a symbol. The topic emerged as an innermost personal need, as our creative and ethical task, as our need to leave a mark of awareness of and in time…”. Dedicated to her art career in the contemporary world to the extreme, the career she was entirely devoted to, considering the creation of sculptures – as she put it herself – as “her reason for living”, she created an oeuvre of lasting historical value, which gained recognition within both, national and international art context. 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 1 T1 - Олга Јеврић (1922–2014) T1 - Olga Jevrić (1922-2014) SP - 393 EP - 427 UR - https://hdl.handle.net/21.15107/rcub_dais_14575 ER -
@conference{ author = "Денегри, Јаша", year = "2021", abstract = "Академик Олга Јеврић рођена је у Београду 29. септембра 1922, где је и преминула 10. фебруара 2014. године. Завршила је Музичку академију, Академију ликовних уметности, студирала је и историју уметности. Први пут излаже 1948. године. Њена прва самостална изложба у Гале рији УЛУС-а представља концепцијску прекретницу у историји послератне српске скулптуре, пре свега због потпуно чистог апстрактног ликовног језика. Изложби је дала назив Просторне композиције, чиме је желела да нагласи синтезу ликовних (просторних) и музичких (композиционих) компоненти. Иако се споља указује као апстрактна ликовна творевина чистих пластичних својстава, скулптура Олге Јеврић у суштини поседује сложене духовне и емотивне симболичке пројекције. Наступи Олге Јеврић на самосталним изложбама у Београду, на ретроспективним изложбама, на репрезентативним изложбама југословенске савремене уметности у иностранству, на самосталним изложбама у Торину и Лондону, све до завршне постхумне ретроспективе скулптура малог формата у Институту Хенрија Мура у Великој Британији и Галерије PEER у Лондону – сведоче о трајној историјској вредности њеног дела., The paper is dedicated to the sculptural oeuvre of the SASA fellow Olga Jevrić and succinctly encapsulates her career from the earliest stages of her art education, through her intensive creative practice and exhibition efforts in the country and abroad, up to the final posthumous retrospective of her small-format sculptures that were on display at the Henry Moore Institute in Leeds, Great Britain, in 2016. Olga Jevrić was born on 29 September 1922 in Belgrade, and passed away on 10 February 2014. She was buried in the Alley of Distinguished Citizens on Belgrade’s New Cemetery. She graduated from the Music Academy in 1946 and from the Academy of Fine Arts in 1948 and studied art history at the Faculty of Philosophy. She began to exhibit in 1948, with her first solo exhibition at the ULUS Gallery coming in 1957 in Belgrade, where she would hold three retrospective exhibitions, at the Museum of Contemporary Art in 1981, at the SASA Gallery in 2001 and at the Heritage House in 2012. Olga Jevrić was the recipient of several prestigious awards, including that of Politika from the Vladislav Ribnikar Fund for 1961 and the 7th July Award of the Socialist Republic of Serbia in 1979. She was elected corresponding member of the SASA Department of Visual Arts and Music in 1974, and its full member in 1983. She took part in Yugoslav contemporary art exhibitions abroad on several occasions, among which particularly important was a display of her artworks in the Yugoslav Pavilion at the 29th Venice Biennale in 1958, when she attracted substantial attention from international art critics. This consequently led to her solo exhibitions at the Notizie Gallery in Turin in 1959 and at the Drian Galleries in London in 1962. In the decade following World War II, Olga Jevrić began gaining experience as a sculptor, in a sociocultural environment that was pretty discouraging for the young artist, who determinedly wanted to move away from the then mandatory political and ideological canon of socialist realism, which is evident in her first portraits. True to her innermost belief that the then contemporary sculpture should be dedicated to innocent victims of war, she made her first Proposals for Monuments – Prokuplje, in 1951 and Milanovac in 1954 – which were never realized in the right size on the ground, but were forever preserved in the format of gallery exhibits. Olga Jevrić’s 1957 solo exhibition represented a conceptual turning point in the history of post-war Serbian sculpture, primarily due to an entirely pure abstract visual language. The exhibition was called Spatial Compositions, because she wanted to put an emphasis on the synthesis of visual (spatial) and musical (compositional) components in her work. True to an abstract concept, she called some of her sculptures and their variants as follows: Space Articulation, Vertical Composition, Complementary Forms, Three Elements, Curved Space etc. Inclined to innermost reflection on the nature of sculptural vocabulary, she summarized basic design principles of her sculptures, which were created as an ideal unit of a single formation made of amorphous masses executed in cement and a system of iron rods support, in the following passage: “My construction method is based on composite units formed by mass, space, force lines, that is, iron rods, which allows movements in a formal sense… or exploitation of infinite opportunities in carving a sculpture out of a mass, in line with its dynamics and mutual interactions…”. Even though Olga Jevrić’s sculpture outwardly appears as an abstract artwork by virtue of its purely plastic properties, in essence, it possesses complex spiritual and emotional symbolic projections, which she herself very convincingly pointed out and explained with the following arguments: “Cataclysmic times – the times of collective tragedy and individual fates left a huge impact on my generation’s youth, dwelt in us as unavoidable subject matter that could primarily be articulated as a memorial object – a symbol. The topic emerged as an innermost personal need, as our creative and ethical task, as our need to leave a mark of awareness of and in time…”. Dedicated to her art career in the contemporary world to the extreme, the career she was entirely devoted to, considering the creation of sculptures – as she put it herself – as “her reason for living”, she created an oeuvre of lasting historical value, which gained recognition within both, national and international art context.", 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 1", title = "Олга Јеврић (1922–2014), Olga Jevrić (1922-2014)", pages = "393-427", url = "https://hdl.handle.net/21.15107/rcub_dais_14575" }
Денегри, Ј.. (2021). Олга Јеврић (1922–2014). in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1 Београд : Српска академија наука и уметности., 393-427. https://hdl.handle.net/21.15107/rcub_dais_14575
Денегри Ј. Олга Јеврић (1922–2014). in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1. 2021;:393-427. https://hdl.handle.net/21.15107/rcub_dais_14575 .
Денегри, Јаша, "Олга Јеврић (1922–2014)" in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1 (2021):393-427, https://hdl.handle.net/21.15107/rcub_dais_14575 .