Pregledaj u prostoru
Pošalji
Podeli
Detalji o delu
Преузми
Slični predmeti
Rendgenski snimak
SlajdoviBato playing
36.0 x 12.0 cm
National Gallery of Bosnia and Herzegovina
Pročitaj više
Giclee štampa / Umetnički otisak
Giclée štampa ili print na platnu muzejskog kvaliteta uz brzu proizvodnju i fleksibilne opcije završne obrade. (
Kupi ručno naslikanu sliku Kupi digitalnu sliku)
Izaberite jednu od naših unapred definisanih veličina koje odgovaraju originalnim proporcijama umetničkog dela.
Možete uneti sopstvene dimenzije kako biste umetničko delo prilagodili specifičnom okviru ili prostoru. Ako odabrani format ne odgovara proporcijama originalne slike, mi ćemo ili iscrtati deo dela ili proširiti sliku pomoću ogledane ivice ili jednobojnog popunjavanja. Digitalni prikaz će vam biti poslat na odobrenje pre početka proizvodnje.
Imajte na umu da pregled na ekranu ne odražava stvarno iscrtavanje ili proširivanje. Samo će prikaz (mockup) precizno pokazati finalnu kompoziciju.
Iako su prilagođene dimenzije dostupne, preporučujemo da odaberete dimenziju sa unapred definisane liste kako biste očuvali originalne proporcije.
Dostava širom sveta () za 2 nedelje umesto uobičajenih 4/5 nedelja. (18 август)
Besplatna ekspresna dostava širom sveta
Visokokvalitetno laneno platno
Kompletno osiguranje transporta
Garancija povraćaja carine i uvoznih dažbina
Garancija vernosti boja
Politika povrata u roku od 60 dana (samo u slučaju nedostataka)
Garancija povrata novca od 100%
Popust pri grupnoj kupovini
Opcija sa staklom dostupna je samo za dimenzije manje od 110 cm
Bato playing
Giclee štampa / Umetnički otisak
Dimenzije reprodukcije
-
Konačna cena
$ 64
Srodna umetnička dela
Biografija umetnika
A Sculptor of Spirit and Stone
In the annals of Yugoslav art history, few figures possess the quiet, resilient brilliance of Iva Despić Simonović. Born in 1891 in Hrastovica, near Petrinja, her life was a testament to the triumph of individual talent over the rigid societal structures of the Austro-Hungarian era. As a woman pursuing the physically demanding and traditionally male-dominated medium of sculpture, she did not merely participate in the art world; she redefined its boundaries within Bosnia and Herzegovina. Her journey was one of constant movement and intellectual expansion, shaped by the vibrant artistic hubs of Zagreb, Munich, and Paris, each city leaving an indelible mark on her aesthetic sensibility.
Her early training under masters such as Robert Frangeš-Minesović and Rudolf Valdec provided her with a formidable technical foundation. This rigorous education allowed her to move beyond simple representation, embracing the burgeoning Modernist movements of the early twentieth century. While many of her contemporaries clung to the sweeping narratives of Romanticism, Despić Simonović sought a more intimate truth. Her work began to favor textural realism and geometric clarity, finding beauty in the subtle interplay of light across bronze and the enduring strength of stone.
The Soul in the Medium
Despić Simonović’s artistic output was characterized by an extraordinary ability to capture the psychological essence of her subjects. Whether working in the delicate medium of medallions or the monumental presence of a bust, she possessed a rare gift for conveying human dignity and nuanced emotion. Her repertoire was remarkably diverse, ranging from the poignant to the profound:
- Portraiture: She was a master of the portrait, capable of translating the intellect and character of prominent figures into permanent form. Her stone busts stand as timeless windows into the personalities of her era.
- The Poetics of Childhood: In works such as "Children in Snow," she utilized bronze to evoke a sense of melancholy and the fleeting innocence of youth, using texture to mimic the cold, soft reality of a winter landscape.
- Cultural Synthesis: Her piece "Modern Muslim"* serves as a brilliant example of her ability to blend Renaissance sculptural techniques with contemporary sensibilities, creating a bridge between historical tradition and modern identity.
Beyond her technical skill, there was a deeply personal dimension to her work. The tension between her public success and her private struggles—often reflected in the patriarchal constraints of her domestic life in Sarajevo—found expression in her art. Her self-portrait bust, "Constrained," remains one of her most haunting achievements, a silent cry for autonomy captured in the very material that gave her a voice.
Legacy and Historical Resonance
The trajectory of Despić Simonović’s career was as dramatic as the landscapes she inhabited. Serving as the court sculptor in Belgrade, she reached the heights of professional prestige, yet the shifting political tides of the mid-twentieth century saw her work fade into a period of relative obscurity following World War II. Despite this, her historical significance remains unshakeable. She stands as a pioneer—the first trained female sculptor in Bosnia and Herzegovina—who navigated the complexities of identity, gender, and nationality through the medium of sculpture.
Today, her legacy is being rediscovered by a new generation of historians and art enthusiasts. Her ability to marry Renaissance-inspired precision with Modernist abstraction ensures that her work continues to resonate. Iva Despić Simonović did not just shape clay and stone; she sculpted a lasting presence for the female artist in the Balkan cultural consciousness, leaving behind a body of work that speaks of resilience, grace, and an unyielding devotion to the truth of the human form.
iva despić simonović
1891 - 1961 , Croatia
Osnovne informacije
- Artistic Movement Or Style: Modernist
- Artists Or Movements Influenced By This Artist: ['']
- Artists Who Influenced This Artist: ['Renaissance sculpture']
- Date Of Birth: August 15, 1891
- Date Of Death: July 12, 1961
- Full Name: Iva Despić Simonović
- Nationality: Croatian
- Notable Artworks:
- Children in Snow
- Modern Muslim
- Portrait
- Place Of Birth: Hrastovica, Croatia
