No.1/2005.

Samobor, 1^st November 2005.

On this Internet page you will also be able to access and read the quarterly Internet magazine "ŠTEF SMOLEK'S NEWS", a publication which offers important news and updates for Croatian naïve artists and all those in Croatia and abroad who love the Croatian naïve. The first issue includes certain topics that touch upon the past; the aim of this is to enlighten and to compensate for the total lack of proper information in this field that has been felt for a considerable length of time.  

You may be wondering why the magazine is entitled "ŠTEF SMOLEK'S NEWS"? Štef Smolek was a "pajdaš" of Generalić, a close friend whom Generalić immortalised in his paintings. In the words of the art critic Josip Depolo: ...Let us think back to Appollinaire's parting with Rousseau, the Customs officer, on his journey into «the true light» into which «we will carry your paintbrushes and your canvasses».  We have to believe that when he replaced this earthly reality with that of the afterlife Ivan Generalić discovered a new celestial Podravina, because for him heaven can only be found in the heavenly skies of Podravina, where he can be found sitting drinking wine with his close friends, Štef Halaček and Štef Smolek , in some local, Hlebine-like café in the skies . And while he cups his wineglass in his large, work-hardened peasant hands, he, and Štef Smolek and Štef Halaček have a relaxed gossipy conversation about those of US who are still stuck down here, in the valley of tears. In some ways, it is these gossipy exchanges, these conversations from the celestial fields, enacted in the café, where Štef Smolek is the chief informer, and aided by the great Ivan, who sees what is happening below much better than anyone else, that we will be publishing in the form of snippets about the positive and negative events occurring within the field of contemporary Croatian authentic or naïve art, whilst the resplendent Podravina Cockerel shakes its feathers and continues to awaken all those asleep on this earth, with its harsh reality that is too barren to afford fertile soil for a flight on the wings of fancy to its poets.

When Croatian naïve art began to develop initially, it was genuinely influenced and supported by the academic community and its intellectuals. It is already a well-known fact that without Krsto Hegedušić there would never have been an artist like Ivan Generalić, as not only did he discover him, and give him his first chance to exhibit publicly, but he also taught him the basics of the trade, gave him the technique of painting on glass and offered him a “down-to-earth” ideological orientation. Miroslav Krleža was an inspiration and an inspirer for Hegedušić, so that, intellectually, he contributed greatly and played a vital role at the time. Following in Hegedušić’s and Krleža’s footsteps, intellectuals, like Ljubo Babić, also played a decisive role in the development of the Croatian naïve. After WW II, Mića Bašičević was one such person to inspire some of the greatest masterpieces by Ivan Generalić and Ivan Rabuzin, even though he also wreaked the most damage. However, there were also others who contributed - Josip Depolo, Radoslav Putar,  Boris Kelemen, Božo Bek, Vladimir Maleković, Igor Zidić, Božo  Biškupić, Tonko Maroević, Grgo Gamulin, Vinko Zlamalik, Oto Bihalji-Merin,  Koviljka Smiljković, Bato Tomašević, Kosta Dimitrijević, Fadil Hadžić, Nikica Valentić, Gustav Krklec, Branko Ćopić, Dragutin Feletar, Vladimir Crnković and many others. A whole assemblage of eminent journalists also gave their support to the cause. To mention but a few – Wandering Reporter Gerhard Ledić, Veselko Tenžera, Neda Ritz, Branka Šeparović, Oka Ričko, Hrvoje Kelčec, Igor Michieli, Miro Mahečić, Juraj Baldani, Josip Škunca, Milan Sigetić, Pero Zlatar, Vesna Kusin, Liliana Domić, Mladen Pavković,  Ernest Fišer, Elena Cvetkova and others. Since they were well-informed and often knew both the artist and his work, they frequently offered suggestions on the topic and manner in which famous naïve artists might develop artistically. Many of these and other intellectuals travelled to Podravina to visit the naïve artists at work; they wrote to them; they corrected their mistakes, and they also played an indirect role in their further development.

Apart from these intellectuals, there were naturally others who contributed to the reception of this movement at home and abroad. Apart from Sonja Barbieri, a decisive role was played by some of the most famous names in the world of art: Andre Breton, Louis Aragon, Salvador Dali, Pablo Picasso, Giuseppe Ungaretti, Giancarlo Vigorelli, Anatole Jakovsky, Mario de Micheli,  Cesare Zavatinni, Jean Pierre Bouvet, Marcel Arland, Max Fourny,  Woody Allen, Claudio Magris, Umberto Eco, Carlo Sgorlon and many others.

Today, thanks to Dr. Franjo Tuđman, we now have Hrvatski muzej naivne umjetnosti and Hrvatsko društvo naivnih umjetnika (as an association which includes a large number of excellent artists), but, unfortunately, we now do not have a single intellectual from academic circles or the Faculty of Arts or the Academy of Fine Arts who would have an inkling of interest in the further development of modern-day Croatian naïve art.  On the contrary, some institutions seem to be a lair of individuals intent on devouring Croatian culture in all its aspects. This is also one of the major reasons why there are obstacles and hitches in the speedy development of particular, individual artists and their works. HMNU and Hrvatsko društvo naivnih umjetnika have abandoned their erstwhile protégés and have sold their souls to the Masonic and pro-Western poisons of globalisation.  It is time a new association of intellectuals and artists was founded which would take on the task of working with young, talented artists seriously. The Udruga hrvatskih izvornih slikara (UHIS) might help to win back the trust of intellectuals and offer them guidelines for the role they need to play in the culture of Croatia. The writer Božica Jelušić, the art historians Stanko Špoljarić and Marijan Špoljar and a handful of other intellectuals are but a drop of conscience afloat in the sea of ignorance washing over intellectual circles in Croatia at the moment.

While negotiations are being led for Croatia to join the European Union and teams of negotiators on both sides of the table are making concerted efforts to coordinate viewpoints and establish and agree upon projects funds, one should keep in mind that the basic assumption of the European globalisation model is that the autochthonous values of individual EU member countries contribute towards the joint European heritage. Bearing this in mind, when negotiations are led and project funds are set up within the field of culture, then it is imperative that Croatian naïve art is not forgotten. Furthermore, these concrete projects would be an invaluable asset for enriching not only Croatia’s, but also Europe’s offer as far as naïve art is concerned. Firstly, this would mean conducting a survey and study of sales points or centres in all major cities of the European Union - London, Vienna, Berlin Bratislava, Warsaw, etc. and especially Zagreb - which could be subsidised or partially funded by the EU. No matter whether we agree upon the long-term artistic merit of contemporary or modern authentic Croatian Art, or naïve art, or not, the fact remains that the commercial value of Croatian naïve art has always been and remains the greatest commercial value achieved by any Croatian works of art to date. The technique of oil on glass, and the specific character of this genre are greatly valued and appreciated in Germany, France, the USA, Japan, and many other countries; consequently, this autochthonous element and segment of the Croatian identity should not only be commercially profitable, it should also be presented to the Europe Union as part of the Croatian cultural heritage. A project that should definitely receive funding is the project for a chain of "The Miracle of the Croatian Naïve Art” hotels, with hotels all over Europe and perhaps even further afield. 

For the sake of illustration, and as a reminder, "Deer Wedding" by Ivan Generalić was sold for 1.500.000 €, certain masterpieces by Ivan Večenaj, like "Moses on the Red Sea" or "Apocalypse" have been valued at 1.000.000 €, "Sodom and Gommorah" or The Great Flood" by Mijo Kovačić are priceless… Today, standard oil-on-glass art works by authors belonging to a younger generation are valued at around 10.000 € each. In view of this, is it really necessary for naïve art to continue to be a provincial bone of contention among local, Croatian art historians, some of whom regard naïve art as a rural, obsolete, art form, especially since the merit of masterpieces, as well as recent standard artworks, provide evidence of their commercial value? Galleries in the past and today are living proof that people are “crazy about” Croatian naïve art.

The "Podravka" Company was the first institution to start promoting an international reception of naïve art right from its beginnings and up until 2000; the opera singer with a diplomatic pedigree, Sonja Barbieri, also used her connections in the art world to get Italy and the Italians hooked on the naïve. In 1970 she organised an exhibition of the great four (Rabuzin, Večenaj, Lacković and Kovačić) at the Palazzo Braschi; four years later, she organised yet another exhibition, a monograph exhibition of Ivan Lacković Croata at the Palazzo delle esposizioni, an event which in 1974 became the highlight of the Roman art season. The great Croatian naïve artists also went on to receive recognition and acclaim from the Vatican in a variety of ways, the most lasting of which is that works of art by Croatian naïve artists are the most numerous exhibits in the category at the Vatican Museum. The late Pope’s links with the Croatian naïve down the years is also well documented. Dino Tega, an Italian gallery owner, helped to put Ivan Rabuzin on the map, making him a world famous artist. In Milan there are two galleries, both of which have contributed significantly towards establishing the lasting reputation and prestige of the Croatian naïve: Art Gallery, professionally run by the expert Hrvoje Delić and Galerie de Geneve, run by Monette Basso. In Novara the Del Cortile Gallery is run by Mario Fissore, and in Torino Karlo Eskenazy at the Eskenazy Arte Gallery successfully manages to promote the Croatian naïve.

In France the focal point for the Croatian naïve is the Mona Lisa Gallery in Paris, run by our countryman Avdo Romić, who has acquainted people like Andre Breton, Salvador Dali, Anatole Jakovsky and a whole series of French artists, writers and intellectuals with the phenomenon of the Croatian naïve. A person who deserves special mention is Max Fourny, collector, gallery owner and publisher of beautifully and richly designed publications on world naïve in which Croatian naïve artists featured prominently. Later he also founded the Museum of Naïve Art in Paris.

In Zurich, Switzerland, the Gallery Bischofberger and the Suzi Brunner Gallery were highly successful. The Pro Arte Gallery in Morges is still active.

Apart from Italy, it was in Germany that the Croatian naïve achieved its greatest successes in the 1970s. In fact, the Clemens-Cels Museum in Neuss existed as early as the 1960s. The Galerie Biškupić und Kuttler in Munster was also opened at an early date. In Munchen there were two galleries: the Galerie Charlotte (with whom Vlado Crnković continues to cooperate to this day) and the Galerie Hell. There are a number of other galleries all over Germany, for example, in Dusseldorf there is the Galerie Zimmer, in Duisburg the Galerie Orober, in Gottingen the Alstadt  Galerie.

Today, in 2005, there are dozens of galleries in Germany that help to launch young Croatian naïve artists.

In 2005, James Nannen founded the Gallery of Croatian Naive Art in St. Petersburg, Florida, USA; and in Italy, the galleries offering works by young Croatian naïve artists are too numerous to even count.

In Croatia, since 1996, the most well-known gallery was our own gallery: "The World Center: The Miracle of the Croatian Naïve Art" on Trg bana Jelačića; unfortunately, it was closed down for political reasons. This year a new gallery has successfully been opened on the island of Korčula: the Ivana Salečić Gallery. Another gallery that exists in Croatia today is in Dubrovnik and is the gallery run by our Center - "Original Accent on Croatia".

There are a number of galleries and museums in Japan that have launched their own Japanese naïve art thanks to the patronage and tutorship of great Croatian naïve masters like Rabuzin, Lacković, Večenaja and Kovačić. The same applies for Russia and China.

If this does not suffice as ample reasons for funding to be given to projects that would promote the Croatian naïve, then we will simply supply ten times as many more valuable and undeniable reasons that speak for this in the next issue of our magazine. There is hope yet that Milan Bandić, the major of Zagreb, will seek to repair an oversight that has been made in the capital of Croatia, in the 21st century, and on the threshold of joining the European Union, by providing the city and the tourists visiting it with a gallery that offers autochthonous and authentic Croatian naïve art.

The year 2004 was the most difficult year for Croatian authentic art, as it lost two great artists – a great and good man, a wonderful friend and the great painter, sketcher, graphic artist and designer Ivan Lacković Croata, as well as a great son and father, the talented and unconventional Josip Generalić. In 2005 another unexpected loss was that of another great son and father, the painter Branko Bahunek, who started his career as a Naïve painter, but who was later pressured into joining the mainstream academic community by certain malicious wagging tongues.

Next in line for publication within «Biblioteke hrvatske izvorne umjetnosti» - «Library of Authentic Croatian Art» - which is published by our centre, is the monograph on one of the greatest Croatian authentic artists, namely Franjo Klopotan. An agreement has been finally reached with the authors of the monograph, which is rather rare in the field of publishing in Croatia. The authors of the texts to appear in the monograph will be written by father and daughter – by the legend of Croatian publicist writing, the now deceased Veselko Tenžera, with a text he wrote 30 years ago, and Marina Tenžera, an eminent journalist, art historian, and daughter of Veselko Tenđera, with a text which is in progress. The monograph should be finished in time for the retrospective exhibition of Klopotan’s works scheduled for April 2006.

Halfway through September 2005, work on minor renovations to our gallery «Izvorni naglasak Hrvatske» - «Original  Accent on Croatia» in Dubrovnik were started, in the aim of creating a small cafe for our visitors and guests; it will be free of charge and make it possible for you to spend your free moments in the company of paintings by the most renowned Croatian authentic artists.

A newcomer to our gallery is the well-known Croatian painter, and artist who for many years cooperated with the famous artist Hundertwasser, Vjekoslav Vojo Radoičić. Even though he may not belong to the circle of naïve artists, as an artist he definitely belongs to Croatian authentic art. His work is inspired by images from the Croatian part of the Mediterranean and his refined and sophisticated style includes notes of the naïve, reminiscent of children’s drawing and child-like innocence. Vjekoslav Vojo Radoičić is a great potential for our gallery.

During the summer of 2005 a large group exhibition of classic Croatian Naïve Art was held at «Klovićevi dvori» under the title - «Umjetnost Hlebinske škole» - «The Art of the Hlebine School» and organised by HMNU with the help of the Croatian diaspora and a number of American businessmen (notably Michael Milkovich, James Nannen, and others), who offered help in financing, organising and selecting the works themselves. Unfortunately, the Croatian electronic media, especially HTV, did not cover this event adequately. A catalogue of high quality was produced for the exhibition, which may, unfortunately, seem slightly over-designed, which is customary when produced by Boris Ljubičić.

Work on the extremely attractive and excellently set up new gallery of Ivan Večenaj in Gola is now in the final stages of completion. The opening ceremony is expected to be held at Christmas this year. Renowned Croatian intellectuals have also set an initiative in motion for the classic doyen of Croatian Naïve Art to be included as a regular member of HAZU (Croatian Academy for Arts and Science). This will not only signify acknowledgment for Večenaj, but also for the entire Naïve movement, which has continually thrilled the public and art experts for the last 75 years, and the entire art world for over five decades.

In recent times, Croatian authentic artists have painted a number of masterpieces. Ivan Večenaj painted «Peach Blossom» at the age of 83. Mijo Kovačić has enriched his palette of portraits with a brilliant work entitled «Three Friends» , and has once again established himself as the best portrait artist among world recognised naïve artists.  Nada Švegović-Budaj has once again thrilled both critics and the public with her new version of «Pieta» .  Zvonko Sigetić took quite a risk and painted an impressively large work entitled «The Soul of my Podravina» .  Biserka Zlatar painted her most commercial painting to date «The Fairy Tale of the Lost Toys» .  Ivica Fišter has begun incorporating human figures within his geometrically fashioned vineyards. Whether this is a step forward or simply catering to the commercial demands of the public remains to be seen.  Mato Toth has broadened his thematic circle significantly, but has also simplified his artistic expression.  Miroslav Pintar has taken the greatest steps – at 55, he has matured into a great talent and enthralling virtuoso, especially in view of his compositions of figures and their refined characterisation. Vlado Ivančan continues his poetic exploration of the micro-world in his search for beauty and meaning among the buttercups, sunflowers, the husks of wild chestnuts and small animals that live and grow in and around the backwaters of the river Drava. His emotional reveries manage to find their rightful place within this artistic framework. Mirko Horvat held a one-man exhibition at the Galerija FER in Zagreb in 2004; at the exhibition we noted that he has continued to develop his research into wintry ambience.

             
     Ivan Večenaj: Breskvin cvijet              Mijo Kovačić: Trojica                         Zvonko Sigetić: Duša Podravine
                ulje/staklo                                    ulje/staklo                                                ulje/staklo                       

        
Biserka Zlatar: Izgubljene igračke    Mato Toth: Od svega pomalo         Ivica Fišter: Prigorski krajolik u zelenom
           ulje/staklo,                                   ulje/staklo                                                      ulje/staklo

       Miroslav Pintar: Uz kamin              Vladimir Ivančan: Drava zimi             Mirko Horvat: Bilogorski potok
        ulje/staklo                                        ulje/staklo                                         ulje/staklo

 
  Nada Švegović-Budaj: Pieta,2005 (new version)
                         ulje/staklo

In the last couple of months, halfway through 2005 a relatively wealthy American, enthralled by Croatian authentic art, and his team appeared in these parts. He travelled throughout Croatia, visited painters, and bought paintings. He set up a web page in the USA, in Florida - www.croatiannaiveart.com - and started to promote and sell exclusively Croatian authentic art in North America. We were all thrilled. He bought a large number of copies of the «The Miracle of Croatian Naive Art» monograph from us, calling it a brilliant book and the true «bible» of the naïve. He swore that he would abide by the norms and criteria set for this type of art. However, it soon became clear that he had certain associates within the fine arts circles in Croatia who were intent on turning the entire project into something banal, and commercialising it in the most vulgar manner by recommending Mr James Nannen acquire some of the less representative dilettante works in this genre of contemporary art in an attempt to discredit Croatian naïve art in the eyes of the American public and so prove their old thesis that Croatian naïve art is dead and that it died along with Yugoslavia. Mr Nannen has rented attractive venues for a gallery in the centre of St. Petersburg; the gallery will commence work at the beginning of next year under the name «The Croatian Naive Art-oil on glass». We sincerely regret that such a wonderful idea should be so profaned, and all due to Croatian malice and Anti-Croatia political games.