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U ovom diplomskom radu obrađuju se djela hrvatske umjetnosti stvorena u prvim desetljećima 20. stoljeća u kojima se pojavljuje motiv kavane. U prvom dijelu rada daje se povijesni pregled nastanka i značaja kavane kao društvene institucije na početku 20. stoljeća te njezina prihvaćanja u okviru pojedinih europskih kultura. Poseban naglasak stavljen je na zagrebačke kavane zbog važnosti tog grada kao tadašnjega dominantnog žarišta kulture. Likovna djela koja se analiziraju u diplomskom radu kategorizirana su na temelju zajedničke tematske osnove te se ujedno takvom tipologijom detaljnije pojašnjavaju određeni kulturološki fenomeni koji argumentiraju glavnu tezu. U nastavku analiziraju se umjetnički radovi u kojima se kroz motiv kavane odražava moderna svakodnevica u vidu kavanske atmosfere, aktera te u kontekstu sa simbolički srodnim motivom ulice. Unutar poglavlja pojašnjena je veza karikature i motiva deriviranih iz kavanskog svijeta, a obrađuju se karikature i ilustracije objavljene u časopisima Šišmiš, Koprive, Ilustrovani list i Svijet. Zatim se predstavljaju tematske cjeline oprečnih kavanskih fenomena samoće i društvenosti. U okviru tih tematskih cjelina, fenomen kavane analizira se kroz različite kategorije: Prostor kavane i ulica, kavanska svakodnevnica, atmosfera zagrebačkih kavana, akteri zagrebačkih kavana, čitači, umjetnici, mislioci, urbana melankolija, dame u kavani, muška društvenost u kavani, muško-ženski odnosi u kavani, kavanske zabave te usporedba s motivom krčme i kabareta. Unutar navedenih kategorija analiziraju se djela Milana Steinera, Miroslava Kraljevića, Omera Mujadžića, Otona Postružnika, Vjekoslava Paraća, Mencija Cl. Crnčića, Marijana Trepšea i drugih. Ovi su autori svojim individualnim stilovima zabilježili motiv kavane kao važnog djela svakodnevice i mjesta koje je sa svojom slojevitošću ostavilo traga u kulturi i umjetnosti onog doba. This thesis examines various works of Croatian art created in the first decades of the 20th century containing the motif of a coffee shop – a café. The first part of the thesis gives a historic overview of the establishment and overall significance of cafés as social institutions at the beginning of the 20th century, but also their acceptance within certain European cultures. A particular accent is placed upon such cafés in Zagreb, because of this city's relevance at the time as a hotspot of cultural growth. The artworks analysed in this paper are categorized according to a common thematic basis and, through such typology, certain cultural phenomena that contend the main thesis are additionally clarified. Further sections of this thesis analyse the works which mirror the modern day–to–day life in a café setting, the people immersed in it, as well as the symbolically intertwined motif of the street. Within the following chapters, the relation between caricatures and motifs derived from the world existing inside the cafés is clarified and, in addition to that, caricatures and illustrations published in magazines Šišmiš, Koprive, Ilustrovani list and Svijet, are analysed in detail. Moreover, the contrasting thematic units of solitude and sociability occurring within the cafés are evaluated. In regards to these thematic units, the café phenomenon is analysed through various categories: the space of streets and cafés, cafés' inside life, the atmosphere of Zagreb's cafés and the people who savour it, readers, artists, thinkers, urban melancholics, female café – goers, men's social circles, the relationships between men and women in the cafés, café parties and the comparison between a tavern and a cabaret. Within those categories, the works of Milan Steiner, Miroslav Kraljević, Omer Mujadžić, Oton Postružnik, Vjekoslav Parać, Menci Cl. Crnčić, Marijan Trepše and others are being interpreted. These authors, with their individual styles, have documented the notion of the café as a crucial part of everyday life, but also as a place whose many layers have left a permanent mark upon the culture and art of the period.

U ovome se radu — a polazeći od zaključka povjesničara umjetnosti Božidara Gagre o tome kako se u ratnom vremenu nije dogodilo ništa presudno po cjelinu — sažeto sagledava utjecaj Prvoga svjetskog rata na obilježja kontinuiteta u hrvatskoj modernoj umjetnosti. Na primjerima načina artikulacije ekspresionizma, kao stilske i značenjske odrednice, te povezanosti umjetnosti i nacionalnog identiteta, kao produkta tada vrlo snažnoga kulturnog nacionalizma, ukazat će se na perzistenciju pojedinih ideja koje su — ratu unatoč — oblikovale cjelovitu sliku hrvatske moderne umjetnosti. Zaključuje se da je Prvi svjetski rat utjecao na pojedine modalitete pojavnosti hrvatskog modernizma, ali da ga nije obilježio znatnim lomom koji bi mogao uvjetovati temeljnu promjenu njegova razumijevanja., This article — starting from the conclusion of art historian Božidar Gagro that nothing happened during the war that would be crucial for the overall picture — succinctly discusses the impact of World War I on the features of continuity in Croatian modern art. Based on various examples in which expressionism was articulated as a stylistic and conceptual determinant, and the relationship between art and national identity as a product of cultural nationalism, very strong at the time, the author points to the persistence of certain ideas that — despite the war — shaped the overall picture of Croatian modern art. The article ends with the conclusion that World War I did influence certain modalities of Croatian modernism, yet without defining it as a significant turning point that would lead to a fundamental change in its understanding.

Rad predstavlja kiparski opus Jurja Škarpe, s naglaskom na sakralne motive u njegovim djelima. Škarpa je djelovao u prvoj polovici XX. stoljeća kada se osim umjetničke, mijenja i politička scena na ovim prostorima. Najveći broj umjetnina s religioznim motivima nalazi se na grobljima, prvenstveno Mirogoju. Sakralna kiparska djela nalazila su se u opusu gotovo svakoga hrvatskog kipara, ali su bila uglavnom malobrojna u odnosu na ostatak opusa. Umjetnost u Hrvatskoj je zaostajala za zapadnom, a novoosnovane umjetničke grupe su se opredijelile za socijalnu funkciju umjetnosti. Juraj Škarpa nije bio članom umjetničkih udruženja, niti se u potpunosti priklonio jednom stilskom pravcu. Većinu njegovih djela karakterizira ekspresionistički izričaj, dok u svojim sakralnim djelima ublažavao ekspresiju lica i tijela. The paper presents the sculptural work of Juraj Škarpa, with emphasis on religious motifs in his works. Škarpa lived and worked in the first half of the 20th century when both artistic and political scene in this area are changing. The sacral sculptures are found in the work of almost every Croatian sculptor, but most of them were focused on secular subjects. The largest number of works of art with religious motifs are found in cemeteries, primarily Mirogoj in Zagreb. Art in Croatia was lagging behind for the west, and newly established groups of artists opted for the social function of art. Juraj Škarpa was not a member of artistic associations, nor was he entirely in favor of a stylistic line. Most of his works are characterized as expressionist, while in his sacred works he softens facial and body expression.

U ovome se radu Udruženje umjetnika Zemlja (1929. – 1935.) – organizirana skupina slikara, kipara i arhitekata s lijevom političkom orijentacijom i društveno angažiranom motivacijom – sagledava kao društvenu mrežu. Bipartitna mrežna analiza i pripadajuće vizualizacije pružaju mogućnost identificiranja umjetnika koji u toj mreži imaju najvažniju ulogu, odnosno središnji položaj, kao i izložaba koje se – kao događaji koji te umjetnike povezuju – pojavljuju kao ključne. Takav pristup – temeljen na podacima o broju izloženih radova svih izlagača na Zemljinim izložbama te analizi četiriju mjera centralnosti – omogućuje nove uvide u položaj i važnost pojedinih umjetnika i izložaba u mreži, služi kao potvrda postojećih povijesnoumjetničkih tumačenja, ali i otvara neka nova istraživačka pitanja. Također, pružit će se i sažet osvrt na „geografiju Zemlje”, koja se pokazuje široko položenom – od Londona na zapadu, do Sofije na istoku Europe., This paper analyses the Association of Artists Zemlja (1929–1935) – the organized group of left-wing and socially engaged painters, sculptors and architects – as a social network. The two-mode network analysis and the accompanying visualizations provide an opportunity to identify the artists who have played the most important role in this network, that is, who have occupied its central position, as well as the exhibitions – the events connecting the artists – which have emerged as key network constituents. Such an approach – based on the number of exhibited works by all participating artists at the Zemlja exhibitions and the analysis of four centrality measures – enables new insights into the position and importance of individual artists and exhibitions within the network and serves as a confirmation of the existing art historical interpretations, as well as raises some new research questions. In addition, this paper also offers a succinct overview of Zemlja’s wide-reaching “geography” – from London in the West, to Sofia in the East of Europe.

Strategije afirmacije nacionalnoga identiteta u hrvatskoj umjetnosti bile su mnogostruke, a javljale su se neujednačnim intenzitetima u različitim trenucima, obilježene složenim društvenim, ekonomskim i političkim previranjima. U ovom radu autor identificira ključne faze odnosa hrvatske umjetnosti i nacionalnoga identiteta od kasnoga 19. stoljeća do Drugoga svjetskoga rata. Određujući najvažnije protagoniste toga odnosa – Izidora Kršnjavoga, Vlahu Bukovca, Otona Ivekovića, Ivana Meštrovića, Ljubu Babića i Krstu Hegedušića – te analizirajući osnovna obilježja njihovih stajališta i umjetnič kih strategija, može se zaključiti da su magistralni tokovi hrvatske moderne umjetnosti u razmatranom razdoblju bili izrazito obilježeni težnjom za artikuliranjem prinosa nacionalnom identitetu., The relation between visual art and national identity played an important role in the shaping of modern society in the 19th and 20th centuries. In Central Europe art was a key asset for expressing national feelings. The artists were regarded as indispensable shapers of national identity; their task was to build up stable national cultures like the ones that already existed in the western part of the Continent. The desire to painterly contribute to national identity was in the case of Croatia a reaction to a permanent possibility of losing cultural and artistic particularity at the time when the movements in domestic art began to depend on dominant international articulations of modernity in visual art. This paper identifies and briefly analyses the crucial phases of the relation between Croatian art and national identity in the period from the last decades of the 19th century to the Second World War.The first phase was marked by historical painting linked with political demands for painterly interpretation of events from Croatian history during the period following the Croatian-Hungarian Agreement, as well as by idealized depictions of country life and local landscape. The second phase was formed by Izidor Kr{njavi; it resulted from the renovation project of the Department for Religious Affairs and Education in Opati~ka 10, Zagreb. The principal task of decorating the Department’s palace was the formation of cultural and national identity through a complex structure of artworks. Each of them had a strictly defined role in the conveyance of mostly non-artistic messages. The third phase is linked with the exhibition of the Croatian Salon, held in Zagreb Art Pavilion in 1898. This exhibition articulated the ideas about the necessity of including national art into the European context, so in accordance with this there was a lively discussion going on about the necessity of identifying national characteristics of Croatian art. The fourth phase was determined by the Yugoslav idea and the activity of two artist associations, Lada and Meduli} Society. The activity of Croatian artists in the context of Yugoslav ideology was the consequence of the advancing process of disintegration of the multinational state community, of which Croatia was a part at that time. The fifth and the final phase is characterized by the activity of the Group of Three Artists and the Zemlja Association of Artists at the end of the third and the beginning of the fourth decade, when the idea of national artistic expression reached its peak not only in terms of theory, but also in terms of actual art production. Ljubo Babi}, the leader of the Group of Three Artists, by his attitude influenced the general atmosphere in which the striving for a national expression in visual art became an unavoidable goal – his idea of “local expression” was based on the recognition of elements emerging from national artistic heritage, folklore, and properties of the region in which particular art was created, which meant linking art with its environment. Unlike Babi}, Krsto Hegedu{i} associated the striving to establish an independent, national expression in painting with ideological guidelines of the Zemlja Association of Artists. This tendency was determined by a complex body of properties. They are mostly negative attitudes towards contemporary European art and avant-garde tendencies, a focus on the rural complex, the stress on primitive art principles, and the connection between ideological and national categories.