|
The most consistent definition of Naïve Art in the world was given by the famous Anatole Jakovsky, who at the time considered the Naïve to be an amateurish exploit, lacking in craftsmanship, virtuosity, and artistic development that could only be evaluated through its virgin purity, unencumbered by formal knowledge of methods in painting, and done in a primitive or child-like manner. Starting with Generalić, the Croatian Naïve, however, has taken a different path – it is highly sophisticated, with great craftsmanship and virtuosity, and has been in a process of constant development up until the present day.
 |
 |
IVAN GENERALIĆ: Stag’s Wedding, 1959. IVAN RABUZIN: The Flower of Hiroshima, 1967.
Oil/glass, 1000x1750 mm , oil/canvas, 730x600 mm,
View more pictures! View more pictures!
The School of Ivan Generalić was the most original and attractive and became world renowned; and glass as a medium provided a completely new means of expression, which the whole world grew to appreciate and love. And so time went by. New definitions of Naïve Art became imperative, especially for the Naïve Art specific for Croatia; the definition quoted here stems from a new age, from an age marked by television, genetic engineering, the Internet, Coca Cola; it articulates the autochthony and identity of an exceptional national culture and art. And as such the Croatian Naïve can never die.
The Croatian definition of the Naïve stems from a new age, a specific perfection of the Croatian Naïve that includes techniques on glass, a large number of individual styles and a mystic relationship with nature. Having said that, we are constantly reminded of the famous, British philosopher, aesthete, painter and sociologist John Ruskin, a man of the 19th century who claimed in his works that beauty, truth and goodness were synonymous concepts. This viewpoint may give rise to numerous polemics today; however, his thesis that the art of a nation reflects its moral and social and political values is certainly far more significant. Croatian Naïve Art embodies and reflects this very thesis of Ruskin’s; the Croatian Naïve expresses the calvary of the Croatian people, the Croatian nation, the Stations of its journey through the centuries. The physiognomies of the people that Generalić and Kovačić portray, their countenances of pain and happiness, suffering and joy, are a synthesis of Croatian national life through history; Lacković’s processions and burials are a synthesis of Croatian culture and religion, a synthesis of the national individuality that is expressed with virtuosity and in a highly artistic manner.
|
 |
 |
IVAN VEČENAJ: Moses at the Red Sea, 1973 MIJO KOVAČIĆ: Country Dance, 1972
Oil/glass, 1000x1200 mm, Oil/glass, 1100x1400 mm,
View more pictures! View more pictures!
However, the Naïve did not simply appear out of nowhere. The suffering of the Croatian people through the centuries was recorded by a large number of anonymous artists who, whether due to social, psychological, financial or other historical circumstances, were unable to become professional artists, and never had the opportunity of becoming a Generalić, Stolnik, or Lacković, so that their great talents remained entwined with folk lore and folk art. It was not until the advent of the academic painter, professor Krsto Hegedušić, Ivan Generalić, and the great writer Miroslav Krleža and his work "The Ballads of Petrica Kerempuh" –which is based on folklore and folk legends, in other words, an anonymous folk artist – that Croatian folk art began to take on the semblance of an art form with professional values, an art form that is now considered to be authentic Croatian art or Naïve Art.
|
 |
 |
IVAN LACKOVIĆ CROATA: Village on an Altar, 1969. JOSIP GENERALIĆ: My Stork, 1971.
Oil/glass, 450x400 mm, oil/glass, 1000x800 mm,
View more pictures! View more pictures!
In fact, all Hegedušić did was to awaken the sleeping giant of authentic Croatian art. Without doubt, the Glagolitic script and Naïve Art are the pinnacles of Croatian autochthony; however, this autochthonous continuity has lasted for centuries, as authentic Croatian art is a synthesis of Croatian history – despite the fact that there are artists like Breughel, and magical realism, also evident among American artist. Croatian art embodies both the universal and the particular – that which is unique to Croatia. And then, of course, there is Rabuzin and his landscapes. Quite simply, the heart and soul of Croatia permeates Croatian art, and yet it also conveys universal meaning. All in all, there is a vast amount of originality in authentic, autochthonous Croatian art. |
 |
 |
SLAVKO STOLNIK: Paradise on Earth, 1968. FRANJO KLOPOTAN: Big Business, 1992.
Oil/glass, 1000x800 mm, oil/canvas, 500x600 mm,
View more pictures! View more pictures!
The term "authentic Croatian art" may be used for each and every work of art that has its roots embedded in Croatian tradition, that does not overstress European influence, and that has achieved a high professional standard. Consequently, it may then follow that, in order for a high professional standard to be achieved in authentic Croatian art, the artist need not have a degree from an art academy; what is far more important is that the artist’s style illustrates a high degree of professionalism and originality, which is inspired by the national heritage, and is not excessively influenced by European and world traditions.
|
 |
 |
JOSIP PINTARIĆ PUCO: Fog at Noon, 1994. NIKOLA LEPORTINOV: A Suffering Oak, 1973.
oil/canvas, 700x1100 mm oil/glass, 900x800 mm
View more pictures View more pictures
This is especially significant in this day and age as the Internet and other electronic media have facilitated access to a variety of information and knowledge, even on art. What is of vital importance for Croatian art is that it comes from the heart, that it is an original source of inspiration, and as such it should not be overtly influenced by, or a blatant copy of Europe and the world. Seeking and finding inspiration in one’s own national heritage, no matter whether it comes from literature or art, folklore or high-brow art, is the foundation for this type of art, which, in the case of Croatian art, we may rightfully call authentic Croatian art. |
 |
 |
BISERKA ZLATAR: A Forgotten Letter, 1990. NADA ŠVEGOVIĆ-BUDAJ: Orpheus and Euridyce, 1992.
oil/glass, 500x600 mm oil/glass, 700x600 mm
View more pictures! View more pictures!
« In this sense, a number of artists have emerged in Croatia in recent decades who should be included as belonging to Croatian authentic art – and they deserve to be included due to their authentic approach, originality of style and their inspiration, which is founded on the Croatian spiritual and artistic tradition, even though they have not often been officially defined as such by critics up until now. For example, Vasko Lipovac, Zvonimir Lončarić Riba and Vjekoslav Vojo Radoičić, whose ludic artistic creativity, no doubt, does not really belong to Naïve Art as such since it has its roots in the heritages of the Croatian Mediterranean and central European. However, their art still belongs to the circle of authentic Croatian Art. |
 |
|
VJEKOSLAV VOJO RADOIČIĆ: Old wooden board, 1996.
wood,acryl, 105x42 cm
View more pictures!
|
|
