The Motif of Café in Croatian Art until the End of 1930s

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.