ART

 

 

View as Grid List
Sort by
Display per page

Ivan Picelj: Oeuvre programmée

Ivan Picelj: Oeuvre programmée Dimensions 50×65 cm Publisher Denise René Gallery , Paris
Price on Request

Ivan Picelj: Oeuvre programmée

Ivan Picelj: Oeuvre programmée Publisher Denise René Gallery , Paris, 1966. Silkprint / Sitotisak Silkprint 25 2/5 × 25 2/5 in 64.4 × 64.4 cm Signed E.A. 3/5
Price on Request

Ivan Picelj: Srnec

Ivan Picelj - originalni plakat iz 1969. godine. Sitotisak, 50x70cm Aleksandar Srnec - Galerija suvremene umjetnosti, Zagreb, Katarinin trg 2 10.1-2.2.1969. Crna podloga, gore prezime autora zelenim. Raster od 8 sivih kružnicas upisanim ružičastim okomi
Price on Request

Ivan Picelj: Vjenceslav Richter

Vjenceslav Richter - Galerija suvremene umjetnosti, Zagreb, Katarinin trg 2 17.9-6.10 1968. Bijela podloga, gore tekst u tisku sive. Grafičko rješenje: raster sivih kvadrata na srebrnosivoj podlozi. Sitotisak, 50x70cm
Price on Request

Ivan Picelj: A (Edition a) 4

A (Edition a) 4. Serigraphie Brano Horvat. Ivan Picelj, vlastita naklada, Zagreb 1964. Founded by the painter Ivan Picelj edition a represented the aesthetic and ideological positions of the international art momevent New Tendencies, which took root in Za
Price on Request

Mangelos: A (Edition a) 6

Artist Book, nonstories Mangelos. Jedan list, presavijen dva puta. Raširen, u formatu 16x47,8 cm. Sklopljen, format 16x16 cm. Godine 1968. Ivan Picelj je pokrenuo ediciju "a". Sveukupno je publicirano sedam brojeva Ova e
Price on Request

Gruppo N / gruppo enne

Gruppo N, which included Alberto Biasi, Ennio Chiggo, Toni Costa, Edoardo Landi and Alfredo Massironi. The optical-dynamic experiments the group realised between its creation in 1959 and dissolution in 1967 led to Biasi being exhibited alongside Enrico Castellani and the Nove Tendencije movement in Zagreb, making him one of the instigators of the movement of Arte Programmata (‘Programmed Art’).
Price on Request

Stjepan Planic: Problemi savremene arhitekture

Stjepan Planić: Problemi savremene arhitekture Zagreb, 1932. 23x31 cm 240pp Tvrdi uvez In Planiæ's practice of building detached houses on hills and green slopes of woodlands of the Sljeme, the regulation defining that living spaces should be looking on the street, opening the possibility of a representative façade, and the utility spaces at the back of a house, proved to be senseless and unreasonable. One of his earliest projects, a house in Jabukovac, will from that time on serve as an example of an architect's victory in his endeavours to create architecture "intended for the better life of man". Planiæ's belief in humanistic principles of the modern architecture, his persistence in the struggle to realise them and the strength of his argumentation, with considerable quantity of his personal charm, won him the triumph in confronting the regulations. It would "in the future be the aim of progress, not an obstacle." He spoke of this optimistic delusion of his, from that time, on the occasion of receiving the Life Achievements Award "Vladimir Nazor" in 1968. "The struggle for the modern is not yet won." The drawings accompanying Planiæ's projects during the interwar period witness of his personal friendship with a distinctive and a great painter Ernest Tomaševiæ, who graphically designed a number of Planiæ's articles, exhibitions and competition works. Planiæ's opus, with 700 projects and realisations, as far as we know, belongs to the most numerous and is also one where family houses prevailed around which he designed gardens. In the most individual and authentic manner he applied the vocabulary of the two idioms of the contemporary architecture - the international functional and the regionally organic. Combining the two on a structural level he created works (the stereometrically pure Round Villa in Gornje Prekrižje, the Tomislav Mountaineers Home of an Y- layout from the thirties and the cube-house from the fifties), which are anthology examples of the 20th century art memorials, as well as of the entire Croatian architecture. My assumption is that the Zagreb School of modern architecture managed to realise syntheses hard to find elsewhere, primarily in the works of Drago Ibler and Stjepan Planiæ. I believe that when explaining the Zagreb school of modern architecture, as we call it, it would be proper to apply a thesis of Ljubo Karaman, our local art historian of "creating the freedom of a peripheral environment", instead of inappropriately importing hypotheses pertaining to literature and ideology. It can explain the specificity of Ibler's and Planiæ's opuses in an infinitely more objective and convincing manner, even of the Zagreb school of modern architecture as a whole. As distinguished from a provincial milieu adopting norms and imitating solutions of great centres, Karaman believes a peripheral milieu to be the one sufficiently distanced from more powerful cultural centres (and norms and dogmas dominating them) and according to him Croatia is a typical country suited to this notion. It offers an artist greater freedom of creation, without respect for the sometimes-rigid criteria ruling great centres and power-focuses, gives him a chance to draw from two or more sources and to make creative synthesis in auspicious moments. In the earlier mentioned Stjepan Planiæ's book just about every published example is of a building ending with a living terrace and a flat roof, it is almost a manifesto. These were the common qualities of the represented projects and works. Perhaps at the time they displayed the most expressive mark of distinction from the historical, particularly the historicism architecture of roofs and metal domes of Zagreb. Stjepan Planiæ, speaking in a documentary from 1978, standing on a terrace of a multi-storey building in the Petriæ's Street 5, on the so-called “Zakladni blok” in the heart of Zagreb, designed by himself, alluded to the continuity of forms and to the significance of a terrace in the architecture of ancient civilisations and not to the paragons of contemporary building. Gesturing towards the tin dome of the First Croatian Savings Bank building, the popular Octagon, he said: "All these roofs, all these domes were the composition equipment of the preceding generation, which was then called great architecture. Driven by an aspiration to bring gardens into the centre of the city, to offer a man in urban environment a commodity of a meadow, brook, or a forest, we realised them on terraces where they blossom even today. The hanging gardens of the Queen Semiramis are not a dream, this terrace realised 40 years ago proves that, it literally realises a connection between a man and the juices of nature." "To organise life…" as Planiæ often repeated, did not mean to impose solutions, but to creatively answer the demands of life and harmoniously resolve human needs within the architectonic space. Besides writing (to begin with a book for adults "Problems of Contemporary Architecture," from 1932, to "Culture of Living," from 1985, intended for children) Planiæ wanted to effect immediate influence on individuals and small family communities. For that, he would always find time. "Three Letters on Housing" were just an example and a pattern, a drop in the ocean of talks and interpretations that Planiæ had led with the people he built houses for or with those who wanted him to design a home for them. During the seventies I often drove Planiæ on his tours of construction sites and the adaptation of my terrace apartment was taking place at that time, too. I observed a relationship of true respect and absolute obedience on the part of his craftsmen, regardless of whether they worked with him for forty years or had been engaged only recently. It was rather unusual, since in his designs and in his demands on craftsmen Planiæ always went further, often demanding new, bold and uncommon procedures. Construction carriers designed by Planiæ would, as a rule, be more slender than others were, his windows were bigger (not to mention that they were of better proportions) than those in the neighbourhood. He often "broke" the regulations of dimensioning (excessive, as a rule, due to safety precautions). He defined them according to proportions, according to the formative criteria of the whole. For example, a board of reinforced concrete of a balcony usually appears thickset and in the Round Villa (1936), the round balcony board girding three quarters of the cylindrical body of the villa is deeply protruded into space, boldly thin, elegantly elevated in space. "It even vibrates a little," commented Planiæ. That was the earliest example I can recall. In his inexhaustible creativity he always made room for something new, ranging from the use of building materials and construction to the formation. It was particularly evident in the organisation of space, which he kept returning to in his later projects, most often dealing with a dynamic play in connecting of different levels within a flat.
Price on Request

Odzaci '84

Jugoslovenski umjetnički pečat Ivo Antič, predgovor Koncepcija i realizacija, korice Jaroslav Supek Odžaci, 1984. Ivo Antič, Nenad Bogdanović, Marijan Čekolj, Pop D. Djurdjev, Sandor Gogolyak, Vitazoslav Hronec, Ranko Igrič, Ivan Jelinčić merlin, Aleksandar Jovanović, Dobrica Kmaperelić, Laszlo Kerekes, Josef Klatik, Katalin Ladik, Radomir Mašić, Slavko Matković, R. Milinković, Tibor Varga, Josip Stošić, jaroslav supek, Balint Szombathy, Andrej Tišma 21x29cm 74pp Stanje - odlično
Price on Request

OHO: pericarezeracirep

OHO group: preicarežeracirep Likovna oprema Marko Pogačnik Znamenja 6 Ljubljana, 1969. Autori: Aleš Kermavner, Marko Pogačnik, Tomaž Šalamun, Franci Zagoričnik, I.G.Plamen, Milenko Matanović, Vojin Kovač Chubby, Matjaž Hanžek, Slavoj Žižek 10x18cm Publikacija Pericarežaracirep (palindrom, tj. riječ koja se može čitati s kraja, a da pri tom ostaje ista) završena je u listopadu. Suradnici su Aleš Kermavner, Marko Pogačnik, Tomaž Šalamun, Franci Zagoričnik, Iztok Geister, Milenko Matanović, Vojin Kovač-Chubby, Matjaž Hanžek i Slavoj Žižek; a urednici su Geister i Pogačnik. Veliki dio publikacije obuhvaća reističku i konkretnu poeziju, Pogačnik objavljuje svoje članke i tekst pod nazivom Frolich-Moscon, dok Geister i Žižek objavljuju eseje. Knjiga je objavljena 1969. kao šesti svezak izdanja Znamenja. U studenom je priređena Geistnerova i Pogačnikova knjiga Ikebana, objavljena kao osmi svezak izdanja Znamenja (Znakovi).
Price on Request

Eugen Feller

Eugen Feller Akril na platnu 50x60 cm 2010. godina Opremljen Eugen Feller (Zagreb, 1942), one of the most radical representatives of informel in contemporary Croatian art.
Price on Request

Skopje: Potres / EarthQuake 26.07.1963.

Skopje: Potres / EarthQuake 26.07.1963. Skopje: 26.07.1963. Potres. Luksuzno izdanje, napravljeno za državnike i diplomaciju. Mekana, fina koža.
Price on Request

Grupa sestorice autora: Izlozbe - akcije 1975-1977

Izložbe - akcije 1975-1977, Grupa šestorice autora. Cefft - Centar za fotografiju, film i televiziju. 25.03. - 17.04. 1977. Uključuje rad Mladena Stilinovića i jednu intervenciju u tekstu. Artist's book. Urednik edicije Mangelos. Autori koncepcije i tekst
Price on Request

Marko Tadic: Thank You

Mixed Media. Unikat 1/1. Originalni radovi Marka Tadića. Artist's Book iz 2009. godine. Mixed Media. Unikat 1/1. Originalni radovi Marka Tadića. Artist's Book, iz 2009. godine - napravljen u notesu Journal, izrađenom četrdesetih godina dvadesetog stol
Price on Request

Goran Trbuljak: Ovom izlozbom odrzavam

Ovom izložbom održavam kontinuitet u svom radu / With this exhibition I keep continuity of My work - Goran Trbuljak. Galerija suvremene umjetnosti, Zagreb 1979. Artist's book / plakat. Format 23x29,5 cm, rastvoren čini jedan od najpoznatijih plakat Gorana
Price on Request

Ivan Picelj: A (Edition a) 1

A (Edition a) 1. Artist Book. Ivan Picelj, vlastita naklada, Zagreb 1962. Površiva IV 1961 (detalj) - foto Branko Balić. Štampanou Grafičkom zavodu Hrvatske, Zagreb 1962. Founded by the painter Ivan Picelj edition a represented the aesthetic and ideolo
Price on Request

Marko Tadic: Journal - Artist's Book

Mixed Media. Artist's Book. Unikat 1/1. Originalni radovi Marka Tadića. Artist's Book, iz 2009. godine - napravljen u notesu Journal, izrađenom četrdesetih godina dvadesetog stoljeća Notes je kupljen u Los angelosu, i prvih par stranica je bilo korišteno
Price on Request

Goran Trbuljak: Neobjavljene stranice iz zapisa jednog umjetnika

Artist Book Gorana Trbuljaka, Galerija Studentskog centra, Zagreb 1978. godine. Neobjavljene stranice iz zapisa jednog umjetnika (Les pages non-publiées des ecrits d'un artiste) 1968-1978. Naklada 500. Stanje - odlično.
Price on Request

Dragoljub Rasa Todosijevic: Was ist kunst Marinela Kozelj

Dragoljub Todosijević - potpisani plakat 86 x 68ncm, presavijan - Was ist kunst Marinela Koželj - IIDP, SKC- Beograd 1978
Price on Request

Ivan Picelj: 3. zagrebacki salon

Ivan Picelj - originalni plakat za 3. zagrebački salon iz 1968. godine. Sitotisak, 65,5x98cm Plakat za izložbu "3. zagrebački salon " u Umjetničkom paviljonu. Plakat je vetikalno podijeljen na pola. Gornja polovica sadrži ružičastu brojku 3 u ljubičastom
Price on Request

Ivan Picelj: Gerstner & Gredinger & Kutter

Ivan Picelj - Gerstner & Gredinger & Kutter - reklamna grafika. Plakat, sitotisak, 49,5x70cm. Raster od 4 kvadrata naizmjenično bijelih i srebrnosivih podloga s upisanim manjim kvadratima zaobljenih uglova i kružnim oblicima u tisku crne.Gornji dio plaka
Price on Request

Der Sturm - 19. Jahrgang / 11-12. Heft

Avgust Černigoj i Ivan Čargo - Der Sturm - 19. Jahrgang/Februar-Marz 1929. Berlin. Monatsschrift/mjesečnik. Herausgeber Herwarth Walden. Naslovnica Kandinsky. Ein Linoleumschnitt Ivan Čargo. Ein Linoleumschnitt Avgust Černigoj. Junge Slovenische Kunst,
Price on Request

Der Sturm - 19. Jahrgang / 9. Heft

Naslovnica Avgust Černigoj. Der Sturm - 19. Jahrgang / 9. Heft. Monatsschrift/mjesečnik. Herausgeber/urednik Herwarth Walden. Naslovnica Prof. Avgust Černigoj, Linoleumschnitt- Im Januar erscheint ein Sonderheft Slowenische Kunst. avant-garde journal Ra
Price on Request

Ivan Kozaric

Ivan Kožarić - crtež, pastel iz 1973. godine. Potpisan. S druge strane se nalazi skica za stolac, također rad Ivana Kožarića. Ivan Kozaric was born in 1921 in Petrinja, Croatia. He studied sculpture at the Academy of Fine Art in Zagreb from 1943 to 1947
Price on Request