Museum of Arts and Crafts, Zagreb

2011.

ART DÉCO

AND ARTIN CROATIABETWEEN THE TWO WARS

pROJECT MANAGER Miroslav Gašparović

CONCEpTJasna Galjer, DScMiroslav GašparovićAnđelka Galić

ExpERT COMMITTEEViktor Žmegač, DScMarina Bagarić, DScDjurdja Bartlett, DScAnđelka GalićJasna Galjer, DScMiroslav GašparovićVesna Jurić Bulatović, MScAndrea KlobučarIrena Kraševac, DScAleksander LasloVesna Lovrić Plantić, DScMarija Tonković, MSc

SyNOpSIS Jasna Galjer, DSc

AUTHORS OF TExTS AND ExHIbITION SECTIONSViktor Žmegač, DScJasna Galjer, DSc Djurdja Bartlett, DSc Aleksander Laslo Irena Kraševac, DScMiroslav Gašparović Ana Lederer, DSc Marija Tonković, MSc

ExpERT STUDy OF THE MATERIALCurators of the Museum of Arts and CraftsMarina Bagarić, DScVanja Brdar MustapićSandra Kandučar TrojanAndrea KlobučarArijana KoprčinaVesna Lovrić Plantić, DScDubravka Osrečki Jakelić, MScMarija Tonković, MScKoraljka Vlajo

COORDINATIONAnđelka Galić

pROJECT SECRETARySilvija Brkić

ExHIbITION vISUAL IDENTITy AND SET-UpRanko Novak

ORGANISATION AND MANAGEMENT OF THE SET-Up Katarina Bence

MARKETINGVesna Jurić Bulatović, MSc

pRFernando Soprano

EDUCATIONAL pROGRAMMEMalina Zuccon Martić

RESTORERSMUO Restoration Workshops

Maja Velicogna Novoselac

Goran Budija

Iva Čukman

Ksenija Pintar

Jasminka Podgorski Antolović

Antonina Srša

Robert Brdarić

Mihovil Depolo

CONSULTANTSSandra Juranić

Tatjana Mušnjak

Danijela Ratkajec

Maja Repanić Žerjav

pHOTOGRApHERSSrećko Budek

Vedran Benović

and

Zoran Alajbeg (p. 154, cat. no. 538)

Darko Bavoljak (p. 148)

Boris Cvjetanović (cat. no. 482)

Sandra Prodanović (p. 124)

Goran Vranić (p. 147, cat. nos. 494, 510, 514, 541)

Davorin Vujčić (p. 128)

CATALOGUE EDITORIAL bOARDAnđelka Galić, editor

Miroslav Gašparović, editor in chief

Marina Bagarić, DSc

Silvija Brkić

Srećko Budek

Vesna Jurić Bulatović, MSc

Andrea Klobučar

Vesna Lovrić Plantić, DSc

Zoran Svrtan

MULTIMEDIA pRESENTATION Zoran Svrtan

Antonia Došen

Dunja Nekić

Koraljka Vlajo

INTRODUCTORy CApTIONSVesna Lovrić Plantić, DSc

Malina Zuccon Martić

ExHIbITION SECRETARIATLada Bikić, Museum secretary

Snježana Jelovac

ExHIbITION ADMINISTRATIONŠtefica Crnić, Biserka Ferčec,

Nada Ćurković, Vesna Validžić,

Lana Šetka

SET-Up TEAMDavor Valdec, Antun Brkić, Ivo Lovrić,

Marko Lukić, Velimir Matijašić, Marijan

Muhić, Ljerko Richter, Tomislav Koreni

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PHOTOGRAPHY

MEDIA ENDORSEMENT

AND ENDORSEMENT OF

A MEDIUM

MARIJA TONKOVIĆ

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DuRING THE INTERWAR PERIOD, photography be-came one of the fundamental standards for civiliza-tion: the typographic era moved with accelerated

tempo into the pictographic, and photography became medium as message in the full sense of the phrase (to make use of a celebrated typology). With the technical development of photography and the technological development in means of communication and penetration into the depths of society, photog-raphy became a crucial component in globalisation and social networking. It made its way into the press and gave it a new, “hot” dimension. It became the means of an unheard cultural and social influence, and yet retained its own artistic autonomy. On the one hand, it was a part of the graphic industry, and on the other, a means of artistic expression; between these two poles there was much merging and permeation. In the new information universalism, autho-rial personalities rapidly grouped around the journals, firms or agencies that sprang up in both Europe and America, so that they became the bearers of a single aggregate style. The style itself changed characteristics: more than on formal purity, it was based on specialisation in content within a given aesthetic.

In the narrower area of art theory and art history, this new position and role of photography and film occupied scholars; problematising them, summing up his predecessors, in the indispensable discussions ( A Short His-tory of Photography, 1931, and, in particular, The Work of Art in the Age of Mechanical Reproduction, 1936), or A. Warburg, in the philosophy of art, actually used the capacity of the work of art to be reproduced for a new contextualisation (Mnemosyne Atlas, 1923, which Malraux was to formulate half a century later: “the history of art is of what can be photographed, that which is photografiable”).

The photography of the 1920s and 1930s has already been treated within the monographic photographic exhibitions in our Museum; now this comprehensive presentation of the Art Déco period puts it into its setting.

177Approaching the topic from the perspective of the already completely illuminated and investigated trends of the twenties, particularly those in paint-ing, we can say that an exceptionally favourable climate had been formed for photography in the third decade: for its ontic and social identification, for the appreciation of its artistic and communication-cum-persuasion value. In thirties-Germany a new photography was born, including works of Bauhaus artists like Laszlo Moholy-Nagy and Werner Gräff, Neue Sachlichkeit / New Objectivity119 photographers such as Albert Renger-Patzsch and Herman Ler-ski and finally photo-journalists of the mould of Martin Munkacsi and Erich Salomon. From such poetics some of the most significant photographers of the 20th century were to develop. A comparison with their works is the benchmark for any contemporary general or national history of photography.

While in the pure arts the radiation of the historical avant-gardes was already beginning to wane, in photography it was just gathering force. Even the founder of Futurism, Filippo Tommaso Marinetti, once wrote an account dis-tancing himself from Bragaglia’s dynamic photography, not acknowledging the media its rightful equality and adopting it only in 1930 when he wrote his Photo-graphic Manifesto, the last in a series with which the period of what was called Second Futurism began.120 Hence the opening up towards the avant-garde in Croatia was synchronic with that in the world at large, particularly with the many points of congruence in the trends within art circles in central Europe.

For people with camera the interwar period then provided a wide range of topics and possibilities of approach to their effectuation, from Heimatkunst to Proletkult, from the anarchic-liberal Neue Sachlichkeit to the totalitarian religions of homeland and the idealisms of the Bauhaus utopia. Photography was proven and endorsed as a medium of artistic expression.

One exceptional event influenced and set off the renovation of photo-graphic activity in Croatia the most. It was the international exhibition of the distinguished Deutscher Werkbund Film und Foto, set up in 1930 as part of the then Zagreb Fair, shown for the first time the previous year in Stuttgart at 14 sites.121 Notwithstanding the prior publication of the manifesto book of Albert Renger-Patzsch Die Welt ist schön122, there was no insistence on any 119 I use for this artistic practice the colloquially hallowed term (often one finds the New Reality). It would be better to replace the word ‘objectivity’ with ‘objectness’.120 Marinetti, Filippo Tommaso; Tato (Guglielmo Sansoni). Manifesto della fotografia futurista, 16. aprile 1930; La Fotografia Futurista and Il Futurismo, 11. 1. 1931.121 But let us recall that at the same time, in the early thirties, the Zagreb public had the chance in the same Art Pavilion to see exhibitions of contemporary French and British and, more important for our topic, German art at which many Bauhaus figures showed their work, photographs being exhibited in full equality: Contemporary British Art, 19. XII. 1928 16. I. 1929, Contemporary French Art, 4. V. 20. V. 1930 (extended to May 30), German Contemporary Art and Architecture, 3. V. 31. V. 1931, Collective Exhibition of Georg Grosza, 10. IV 30. IV. 1932, Exhibition of Contemporary French Art, 15. I. 31. I.; after: Ukrainčik, Lea. Art Pavilion, 1898-1998, Zagreb : Art Pavilion, 2000.122 Renger-Patzsch, Albert. Die Welt ist schön. Munich : Kurt Wolff Verlag, 1928.

178 single line, rather the conception was very open and pluralistic. Among oth-ers, also involved in creating the conception were Laszlo Moholy-Nagy for the German selection, and for the American, Edward Weston, who put not only fellow-countrymen into his selection, but also the Dutchman Piet Zwart. And then there was El Lissitzsky, coordinating with the Soviet Office of International Cultural Relations. Edward Steichen was also one of the selectors, showing of his own fashion photos from Vogue, still done with soft blur.123 Cecil Beaton was also represented, with his ladies and actresses situated in an up-market settings. Of the famous exhibitors we should also mention Man Ray and Imo-gen Cunningham. In addition, the show presented works from Eugene Atget, who had died two years earlier and, of course, all German members of the Neue Sachlichkeit movement, with a review of films by Fritz Lang and by the Russians, Eisenstein and Pudovkin124.

This brilliant selection was exhibited in Croatia just a year after the Germans had had the chance to see it. Drawn by the just-held exhibition, as well as by the preface of Waldemar Georg and the painting content of the issue of the journal Arts et Metiers graphiques dedicated to contempo-rary photography, the painter Ljubo Babić wrote a large two-page text in the Sunday edition of Jutarnji list entitled “Photography vision of the world.”125 Babić, one more from the circle of adepts of the black magic of printmaking, as he had himself intended to entitle a book about the art of the print, flattered and applauded photography. The essay reveals him as the first champion of total equality for pure and applied art. “According to old aesthetic principles photography would not be able according to this [meaning, the registration of visual impressions mechanically] to enter the domain of art. And yet, with all the aesthetic barriers and laws of the manifestation of individuality and about artistic productions, photography is advancing in triumph ever further. It is expanding increasingly and is becoming every day an ever more strong and full expression.” Today perhaps this might seem a little naive, and yet it needs to be observed in the context of the thirties in Croatia.

A local selection was attached to the exhibition. Comments in the press, within the possibilities of direct comparison, tell of the insufficient engagement of our amateur photographers, in whose still static landscape the conservative propensity for the “pretty photograph” still prevailed, as distinct from the dy-namic moments of everyday life.126

123 A photographic effect, intended or accidental, which results in less sharp photograph. .124 Mellor, David. Germany The New Photography 1927 1933. London : Arts Council of Great Britain, 1978.125 Babić, Ljubo. Fotografija vizija svijeta / Photography vision of the world. // Jutarnji list, 29. 6. 1930.126 ep- [Šafranek-Kavić]. Moderna umjetnička fotografija / Modern art photography. // Jutarnji list, 19. 4. 1930., p. 20. Važnost međunarodne fotografske izložbe u Zagrebu / Importance of the international photographic exhibition in Zagreb. // Fotografski vjesnik, III. 1930, p. 13. The importance of the Zagreb show, it is interesting to point out that the article from Jutarnji list is reproduced in the book: Mellor, David. Germany, The New Photography 1927 1933. London : Arts Council of Great Britain, 1978.

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What kind of a situation in photography did this exhibition find in Cro-atia? After a very fertile pre-war time, in the new and still uncertain political conditions, photographers resolved to hang fire and turned their lenses with circumspection to nature, resorted to the hills, and worked in an organised way only through sections within hiking associations founded in the pre-war period.127 The great popularity of the films by Arnold Fanck128 , progenitor of the mountain film genre (Bergfilm), had a crucial effect on photography.

Landscape motifs prevailed in the repertoire of subjects, but not as iso-lated, aesthetic facts, but rather as a space for testing out the interrelations of space, history, memory, politics or identity.

127 To the beginning of the thirties photography in this country could be followed only with the help of the Photographic News published by the Photographic Section of the Hiking Association (Fotografski vjesnik : časopis za prijatelje fotografije / editor in chief S. Varićak, Zagreb, 1926. 1927.).128 Der Heilige Berg = Holy Mountain (1926); Der Große Sprung = Big Jump (1927); Die Weiße Hölle vom Piz Palü = White Hell of Piz Palü (1929); Stürme über dem Mont Blanc = Storms over Mont Blanc (1930); Der Weiße Rausch - Neue Wunder des Schneeschuhs (1931); SOS Eisberg = SOS Ice Mountain (1933.).

Milan Dvoržak, Before the Storm / Island, 1919

180 During the 1920s the photographic sections of the hiking clubs from Zagreb, Sušak to Dubrovnik, for want of other organisational structures, not-withstanding the restricted subject matter, reflected the interest in this branch of art and became extremely productive. Among the hikers, several not-to-be-missed photographic personalities developed, including Vladimir Horvat,

Čedomilj Kušević and Branimir Gušić with the Austrian Karl Koranek, had a show to themselves in the ullrich Salon in 1931.129 The views of Croatian regions by Dragan Paulić exhibited at the Paris Exhibition of 1925 as mere illustrative material were particularly important for the subject matter of this show. Wanting to give them more dignity, the author showed them at a solo exhibition the following year in Zagreb.

129 In 1930 B. Gušić and K. Koranek shot the first full length Croatian documentary film Durmitor, organised by the Sljeme Tourist Association.

August Frajtić, Our Daily Bread, 1939

181The recently discovered work of Samobor lawyer Milan Dvoržak, whose initiation into photography goes back to 1918, was a (positively) ideal reflec-tion of the poetics of patriotic art - Heimatkunst130, a certain romanticist natu-ralism that has to be looked at in the light and context of the times, as well as in the sincerity with which it addressed the subject matter. The human figures are at one with the landscape, with the atmosphere of meteorological changes, whether at work in the field, when they were placed in the foreground, or whether immersed in the immensity of nature. Cycles of girls portraits in folk costumes constitute the most authentic unit in the author’s oeuvre. Each one of these photographs is an iconically motivated sign determined by a superlative visual cultivation. We can understand them as a concept, as the language of photographic thinking; yet these figures are also reliable indicators of a mythic backing.

It can be said that Dvoržak’s work appears as a link in the history of our photography. His creativity anticipates everything that would come to dominate Croatian photography only at the end of the thirties in the framework of Fotoklub Zagreb, both in the subject matter units and the technological con-straints. This society was not revived until 1932, led by its secretary, August Frajtić, who with his programmatic writings laid the guidelines and determined the frameworks in which amateur photography should be developed. “And our plains and fields and vineyards, animated by the work of the industrious peasant and the life of the peasant and his home and his cares, well, are these not subjects? But it is an irrefutable truth that in all these motifs of ours lies our soul, and the task of our amateur photographers is to give expres-sion to this spirit of ours in their shots.”131 It can be seen that Frajtić, although he wanted to encourage and develop authentic local Croatian photography, was in fact standing four square on the positions of Heimatkunst. Looked at from the perspective of today, and as far as comparison is possible, this kind of championship of patriotic art was present in most of the mainly amateur photography associations in the countries of Central Europe.

For a better understanding of these tendencies, it is important to recall the correlations in the local political and social (and visual art) scene, which also had a considerable effect on the development of Croatian photography. At the current level of research it is possible to feel more than we can confirm, with a concrete synoptic, the link between the artistic aspirations initiated by Babić and Hegedušić and the social and political reality of the time and the space: among other things, the downplayed importance of Stjepan Radić and the rise of the Croatian Republican Peasant Party. Babić’s metaphysics of the folk soul also developed in the setting of Radić’s populism, where it was cata-lysed by Taine’a determinants of race, setting and moment) and Hegedušić’s

130 Hochreiter, Otto. Bäuerliches Leben in fotografischen Bildern. // Fotogeschichte. Beiträge zur Geschichte und Ästhetik der Fotografie, Heft 5, 2. Jg. (1982), pp. 45-54.131 Frajtić, August. Smjernice u godini 1933 / Guidelines in 1933. // Foto Revija, no. 1, Zagreb, I/1933.

182 ideology of the art of the collective, not to enter into another non-eidetic areas music (of the folk direction) or literature. Particularly when, in the tenseness of the strong national ho-mogenisation after the assassination of Radić and Croatian members in the Belgrade parliament, Grupa tro-jice (The Group of Three) and Zemlja were organised, with very broad and complementary spectrum of activity and individual contributions. Within these determinants of two ways of finding a real local expression, pho-tography also branched into two dis-tinct directions, one was urban and socially oriented, and another direct-ed to landscapes and ethnography.132 Gradually, photographs with social themes would slowly drop out of the exhibitions, and by 1938 they would almost completely disappeared, while romantic motifs of landscape and countryside had entirely taken over.

And while club photogra-phy belongs to history, the taste of the time, that is, the substance of Art

Déco, was provided by studio photography.

The professional photographic studios in Croatia alone expressed any continuity from the preceding age. Art historians, however, have shifted the centre of gravity of their interests to amateur photography alone, which is alone treated as being artistic, although many owners and managers of these studios were trained in professional photographic schools in Vienna and Munich.133 They were practically the only exhibitors at the 1st Yugoslav Exhibition of Pho-tography in Split in 1926, and some of them regularly put on solo shows.134

132 In the first half of the thirties, in artistic terms the strongest trend was of socially oriented photographers that was formed - led by Otokar Hrazdira, with the pioneering Ignjat Habermüller and Tošo Dabac, who had already made his name - of Ljubo Vidmajer, Branko Kojić, Milan Fizi, Oscar Grünwald i Richard Fuchs.133 Rudolf Mosinger and Antonija Vajda Kulčar did further training at the Lehr und Versuchsanstalt für Photographie, Lichtdruck und Gravüre in Munich and attended the Meisterkurs für Photographen. Franjo Mosinger attended the Graphisches Lehr und Versuchanstalt in Vienna.134 Exhibition catalogue : Maritime federation for the advancement of tourism, Split, 15. 7. 15. 08. 1926.; Motivi s izložbe u Splitu / Motifs from exhibition in Split. // Novo doba, Split, 18. 7. 1926.

Franjo Mosinger, Mustafa Gaja, 1930

Franjo Mosinger, Josephine Baker, 1929

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184 At this distance in time, some of the works of this allegedly artisan/studio production have begun to be very much valued, enjoining upon us an axiological revision, the more so that these works reflect world tendencies and fit into them synchronically.

Two Zagreb studios could serve as paradigmatic examples of the spirit of the time, that is of the rec-ognisable of photographic practice in the era of Art Déco. On the one hand is the well established Franjo Mosing-er Studio in Ilica 8, and on the other the studio of Antonija Kulčar, called Foto Tonka, which was established only at the beginning of the twenties on what was then Square I.135 These places, in addition to their basic pur-poses, also took on the role of favour-ite informal gathering places of the city intellectual and artistic elite. From works from these studies, it is possible to reconstruct a Croatian panoptic of the thirties.

The presence and influence of Franjo Mosinger was not connected only to his work in the studio, but also, and more, to his versatile presence in the new media.

As established photographer, with four solo shows in his belt, he be-came photography editor for the mag-azine Kulisa.136 His work reconciled tradition and the new European impulses, and at the same time reflected the artistic and technological developmental path of photography in the first half of the 20th century. During his editorship a great many works of foreign artists were published. He took on photographic studies of anonymous models, most often from the Viennese studios Manasse, Willinger

135 Today King Tomislav Square 18.136 It came out from 1927 to 1941. Kulisa was one of the promoters of artistic and experimental photography, as well of everyday popular work and the elevation of the general level of visual culture. The owner and director of Kulisa, Teodor Rona, was one of the first Croatian photographic reporters.

Franjo Mosinger, Face of Zagreb, 1932

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and D’Ora. It was D’Ora, owned by Artur Benda and Dora Kallmus137, in Paris and Vienna, which was the model for the then fashionable photographic studios: a gathering place for society, and in the artistic trend-setting focus of the new way of seeing things, widely influential on Mosinger as well. Their studies of contemporaries from the life of art and the mind, fashion and the stage, were to remain icons. Many of them were Mosinger’s models and guests of the Hotel Es-planade (opened in 1925): Ita Rina, Ossi Oswalda, and, among others, the most famous of all, Josephine Baker, considered even as one of the co-founders of Art

137 Faber, Monika. D’Ora Vienna and Paris 1907 1957 : The Photography of Dora Kallmus. New York : Vassar College Art Gallery, Poughkeepsie, 1987.

Đuro Đuka Janeković, Lady with a Dog, around 1934

Déco. One of the most celebrated of the flapper girls, actresses who brought in unconventionality in fashion and conduct, Louise Brooks, hailed Kulisa.138

In Kulisa, Mosinger published anthological photographs of G. Hoyni-ges Huene, Martin Munkacsi, Christian Schad, showing an amazing and al-most prophetic sensitivity for the works of these artists, who much later become models for the whole generation. In this activity of his, Mosinger was the torch-bearer of avant-garde trends. In Kulisa he published female nudes, and after having been banned after two issues for the endangerment of morality, wrote an article about the narrow line that divided art photography from pornog-raphy, drawing attention to the dangers that lurked during shooting. He also brought in a number of sections that popularised photography in this country. In the Amateur Photographer section he published practical hints, letting the readers know about world novelties. He organised the amateur photography competitions in Kulisa on several occasions. In this manner he stimulated the

138 Louise Brooks šalje pozdrav Kulisi / LB sends greetings to Kulisa. // Kulisa, no. 31, Zagreb, 1. 11. 1929., p. 9.

Đuro Đuka Janeković, Dance in Nature, 1934

187revival of amateur work and encouraged many of the future members of what was called the Zagreb School.139

In parallel with his teaching and newspaper work, running the business in his existing studio at Ilica 8, Franjo Mosinger did not neglect his exhibition activity, and encouraged new authors with his own example.

He called the exhibition in the Art Pavilion in 1931, manifesto-wise, The New Direction in Photography. There were portraits from the world of culture, art and politics, and a number of pure photographs with already pre-sent impulses of the poetics and the typical repertoire of Neue Sachlichkeit. Mosinger was the first in Croatia, and immediately after Man Ray, to exhibit photograms, that is photographs made without negatives, via direct illumina-tion of objects in front of photographic paper. In a programmatic declara-tion, he stated his viewpoint: “I have taken upon myself the task of bringing in uncompromisingly artistic photography and in this way of educating our public.”140

Although the previous exhibition in the Art Pavilion had borne the title New Direction in Photography, the next one, held in 1932 in the new studio at Dolac 9, and entitled Face of the City, represented a watershed and a break with the old manner of thinking and the old production technique.

A poster with a metaphorical charge, with a photo-montage of the bell tower of the cathedral and a face with a black and a white half had associa-tions with the technical essence of the photograph, the negative and positive, and also with the symbolic content of the exhibition in which he wanted to show the splendours and miseries of the big city.

In the Renger-Patzsch manner, Mosinger accepted the idealistic con-cept of realism. Excerpts from nature as models of the beautiful, dahlias, dan-delions and twigs appeared in very uncommon approaches to composition. This repertoire, applying the same principle, expanded to utilitarian and previ-ously visually uninteresting and unattractive objects of daily use and to parts of machines.141

139 Fotoamaterski natječaj Kulise / Kulisa AP competition. // Kulisa, no. 20, Zagreb, 10. 7. 1933., p. 19., Ist prize, Andjela Frajtić, 2nd prize, Imre Weiner, 3rd prize, August Frajtić.More than 600 photographs arrived for this first advertised competition and the jury chose three works. (August Frajtić, long-term secretary of Zagreb Fotoklub, was most to be credited with its revival and was the spiritus movens of all enterprises from the sphere of amateur photography in Croatia in the time to come.)140 From photographic exhibition by F. Mosingera Zagreb, Dolac no. 9. // Danica : ilustrovani tjednik, no. 63, Zagreb, 11. 12. 1932., p. 1.141 Renger-Patzsch, Albert. Die Photographien von Blütten: » The excitement of this experience is that shooting one must adjust to the relatively small organisms such as the flower. It has to be seen in such a way as the insect sees it through the eyes of the insect, and see the world in this way.« After: Mellor, David. Germany The New Photography 1927 1933. London : Arts Council of Great Britain, 1978.

188 The photograph entitled Horror was created at the time of Hitler’s rise to power in 1933. A male shoe that trampled on the porcelain heads of a white-skinned and a dark-skinned doll is one of the most often reproduced of Mosinger’s photographs.

Franjo Mosinger not only laid down the foundations of modern pho-tography in Croatia, for its acceptance as an intrinsically valuable artistic dis-cipline, but was also its main promoter. His outstanding importance was fore-grounded by Josip Horvat, one of the pioneers of art photography criticism, which began to be established at the same time as the exhibitions appeared. In a review of the Mosinger exhibition, marking a watershed, he said: “A new factor has appeared in the film studio: the photographic artist and that was the crucial moment for people in the big city photographic studios to devote themselves to new ways of looking and new quests...”142

Franjo Mosinger had a direct influence on the development of other marked personalities in the photography of the thirties, on Djuro Janeković, for example, whose outstanding photographic work has only just been discovered. Janeković developed his photographic creed freely in a supra-generic determi-nation and through a wide range of topics. He preferred scenes of everyday life, simultaneously absorbing avant-garde ideas as well. In the best manner of Ger-man photography of the time were his sports photographs. Like those of Martin Munkacsi, who revolutionised sports photography, Janeković’s pictures embod-ied the essential features and indicated a very particular talent for action and movement. They can stand shoulder to shoulder with the work of Leni Riefenstahl who was the first, in the film Olympia, created at the time of the Berlin Olympics in 1936, to employ, and use innovative methods and techniques in the shooting of sporting events. A full four years earlier, Janeković had published a multitude of sporting photographs, taken at Sokol rallies and at other competitions.

The idealisation of the liberated human body was dominant in both sport and in the art of dance. The thirties are called the golden years of the dance, for in these years in Zagreb, as well as Margarita Froman, who laid the foundations of classical ballet, several schools for contemporary dance and rhythmic were set up, transferring from Europe the postulates formulated by Isadora Duncan and in particular by Rudolf Laban.

Janeković’s photographic sensibility was suited by these theories, and he was an assiduous chronicler of this segment of Zagreb cultural life. Al-though he shot the performances on stage of bare-footed Mirjana Janeček and the students of the School of Physical Culture, he preferred behind the scenes views, and was thus to record relaxed scenes from the changing room of the CNT, the Fromans in relaxed conversation on the street. Dancers from

142 Horvat, Josip. Obrisi velegradskog Zagreba. Dojmovi s jedne zanimljive izložbe / Contours of big city Zagreb. Impressions from an interesting exhibition. // Novosti, no. 167, Zagreb, 19. 6. 1931.

Tošo Dabac, Intellectual, 1934

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the rhythmic school of Nevenka Perko practised on Zagreb roof terraces or took part in the shooting of the film Dance in Nature by Oktavijan Miletić.143 The theatrical milieu was close to him and he took pictures of people from these circles in the natural setting of their dwellings.

Although he did not specifically deal with fashion photography, and in fact this genre had not even become established, it is possible to read off and reconstruct the way his contemporaries dressed from his photographic jaunts around the city. By the juxtaposition of figures from different classes, of ladies and market-women, particularly in scenes from marketplaces and fairs, he

achieved dialogues with farcical allusions and a rhythm of comic banter, im-pressively sketching out the framework of the civilisation of his time. Janeković was close to Tošo Dabac. For some time the two worked together, as can be seen from a stamp bearing both their names (Janeković and Dabac / photo-graphic reporters).144

In fact, this stamp was the spur to a more attentive investigation of the photographic legacy of Tošo Dabac, which revealed him in a previously un-

143 Oktavijan Miletić: Dance in Nature, documentary film, completed 1935. Ballet dance fantasy photographed in Maksimir Park and on location by Podsused. The film was dedicated to nature and the beauty of the human body in motion, with the dance appearances of ballerinas of Zagreb theatre. No copy is extant. This event was also shot by Tošo.144 In the Archives of Tošo Dabac (ATD) several photos have this kind of stamp.

Tošo Dabac, Transmission Line Pylon, around 1935

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known dimension. As generally known, he was a correspondent and photo-reporter for Berlin, Paris and London agencies. In the Second Philadelphia In-ternational Salon of Photography he exhibited in the juried selection, and what is more important, in the review exhibition, a classic by now, in company with Margaret Bourke White, Henri Cartier-Bresson, Moholy-Nagy and Paul Outer-bridge. This biennial event did not offer the usual prizes the mere participation was considered recognition and implied classification among the greats. The fact that the works were chosen by Alexander Brodovich and the prefaces to the catalogues written by Beaumont Newhall shows the level that young Dabac had achieved in his work by that date. The cycle Misery, renamed in the sixties

in People on the Street, made him famous. In him we can find the same kind of empathy that we find in the films of Charlie Chaplin from the years of recession.

Dabac managed in the art of photography to unite all preceding as-pirations and also the efforts of visual artists contemporary to him. The social themes, carried through by the engaged artists’ group Zemlja, and the na-tional, through folk motifs in the visual expression in the works of the Group of Three, were to come together in Tošo’s work in a happy combination, as well as of symbolism with the inherited verismo.

Here a new chapter opens up, perhaps even more relevant in the sense of switching in to the word avant-garde tendencies. Hundreds of negatives tell

Milan Pavić, Beward of the Trains, 1936

192 of his absorption in pure optics and concentration on detail. Almost the full the-matic repertoire of Neue Sachlichkeit is revealed, as are the postulates of Mari-netti’s manifesto, male and female nudes in a surreal lighting in the manner of Dali’s photographs. The towers of HT lines from the oblique worm’s eye view, the speech of parts of the body, dramatic shadows. In fact the abundance of these

works, along with the correspondence with the same motifs that were taken by Janeković, tells of the absorption of two like minded photographers in the avant-garde photograph.

The celebrated journalist of Zagreb’s Novosti and Kulisa Franjo Fuis, also known as Fra Ma Fu, was to be credited with photographic initia-tion of the young photographer from Daruvar Milan Pavić, still at that time an amateur. Trained in the studio of his older friend, Viktor Kluge, he em-barked on the secrets of development and processing. Fuis offered to work together with this still young amateur photographer and published his first article. The year 1937 was extremely successful for Pavić: he had his first photograph published in the journal Sad i nekad Now and Once, had his first solo exhibition, and founded the Daruvar Fotoklub. Two years later, this club, which is still at work, would take part in the establishment of the Croatian Photographic Federation.

The photographs of Pavić taken in this early Daruvar phase are particu-larly interesting today, for, unlike the dominant note of folk and ethnographic motifs from the Zagreb photography of the time, they draw on the poetics of Neue Sachlichkeit with the emphasis on detail.

Next to Mosinger, the second most popular Zagreb photographic stu-dio was Foto Tonka, opened before World War I. Although we can follow the changes of address of the studio145, this does not mean that she actually moved, rather than according to the political changes, the square changed its name. She stayed in this place right up to 1932 when she bought the re-nowned and well established studio at Ilica 8 from Franjo Mosinger.

145 From the addresses on the mounting of the photographs: Trg Franje Josipa 18; Trg I. 18, Trg kralja Tomislava 18.

Antonija Kulčar (Foto Tonka), Tango, 1924

193Tonka soon got established in the former state and acquired a reputa-tion as a superlative portrait artist, the choice of the subjects being the best tes-timony to this. Here clients are the representatives of the cultural elite, particu-larly of the world of the theatre. She became the Yugoslav court photographer with the exclusive rights to photograph members of the royal family.

In 1925 at the Exposition internationale des arts decoratifs et industriels modernes in Paris, Tonka illustrat-ed the theatre section, particularly the set designs of Ljubo Babić, for which he won a Grand Prix. Her Expressionist photographs were probably of considerable help here. The history of Croatian theater in the twenties and thirties could be reconstructed with the portraits of Tonka, because of her exclusive right to photograph the performances.146

It is significant that Tonka once again put the sub-ject of the female nude into circulation; prominent social-ites would pose for her, very often under disguise. That the value of her works was recognised in her own times is shown by the texts in two catalogues of selected works. The first, from 1921, dedicated to 20 years of artistic work, was written by Vladimir Prestini, who brought out Tonka’s refinement in observation, her skill in handling light and her attentiveness in posing.

Standards and guidelines for the taking of the glam-our portraits that accompanied the production and post-production of films were set by Nickolas Muray147 in his use of front, side and back lighting. Tonka adhered to all this just like the studio portrait photogra-phers in Hollywood, like the most famous of them, Ruth Harriet Louise.148 Mod-els were treated in a fashionable way, in poses and with processing of the kind that the domestic public was used to seeing in the shots of famous movie stars or in the poses from the ever more numerous fashion magazines of the world.

This segment of the photographic activity is a marked example of a genre that could be defined as fashionable elitism. Cinematic art, particularly in the visual expressiveness of the silent movie, played up with backlighting brought into photography a cineaste’s interpretation and the mastering of the expressive and psychological approaches. During two decades an evolution of styles can be seen that move from misty contours to sharp focus, secondarily backing up the avant-garde movements.

146 The journal Teater, Zagreb, year III., no. 4, 15. 2. 1930, p. 11; year III., no. 7, 1. 4. 1930., p. 17; year III., no. 8, 15. 4. 1930., p. 14.147 Muray, Nickolas. The Amateur Movie Producer. // Photoplay, April 1927., p. 51-52.148 Dance, Robert; Bruce Robertson. Ruth Harriet Louise and Hollywood Glamour Photography. Berkeley : University of California Press, 2002.

Clarence Sinclair bull for MGM, Greta Garbo, 1931

194 Also to be seen are the tenden-cies of the time in the handling of the portrait, which she posed in the man-ner of the contemporary bourgeois portrait painting. She reflects the tra-dition of noble prints achieving pic-turesqueness, and used soft focus and theatrical, almost cinematographic, lighting. She wanted to achieve ide-alised beauty with subsequent inter-ventions and the obligatory retouch-ing. Works that she valued would be mounted with passepartout and signed in pencil on the front, with many vigorous over- and underlin-ings. The others were marked just with a dry stamp, which was the common manner of professional studio pho-tographers in other cities in Croatia.

Her work outside the studio would set the foundations for new genres of fashion and advertising photography, for it is known that at the beginning the models were pho-tographs taken on the occasion of

important social occasions, balls, sporting events and so on. A curiosity and an exception to the standard is represented by a panel with photomontage portrait of all members of the Croatian National Theatre.

When the illustrated press made its appearance Kulisa, already men-tioned, and in particular the illustrated weekly Svijet149, printed in the most up to date photogravure technique, which with its total reliance on the photogra-pher became her main promoter, many genres of our newspaper photography were started. Studio Tonka with its photographs of all aspects of middle class life almost totally filled up its pages: horse races, masked balls and bathing on the Sava, the first beauty competitions including chroniques scandaleuses. The smile of our first beauty queen Štefica Vidačić was also immortalised by the camera of Antonija Kulčar, the popular ‘Aunt Tonka’.

All the characteristics of the style of the time came out in the competition of the production and distribution company Fanamet for film stars. It would be followed by beauty queen competitions, for the best hair style and many others. Hundreds of young women sent their photographs made in profes-

149 Came out from 1926 to 1938

Antonija Kulčar (Foto Tonka), Nude with Skull, around 1930

195sional studios to the periodicals that supported the competitions. And Tonka too contributed her mite to the creation of an idealised world based on a col-lective fantasy and its vision of the role of woman. This virtual world of beauty developed under the influence of aesthetic novelties and photographic trends.

In the foreword to the cata-logue of Tonka’s second monograph-ic exhibition Milutin Cihlar Nehajev said: “Indeed women’s studios de-serve attention if not for philosophi-cal reasons that the subtle observer has found for it then certainly be-cause the photographic portrait al-ways presents something private, something from home, and thus en-ters the domain of that which has al-ways been the eternal female”.150

The period considered in this exhibition is a time of a dual female emancipation in the field of art. There were more and more women among the creators, and when they were in the role of model, they took part in the interpretation as aware and fashion-ably designed thematic content.

In this sense the works of two female creators are particularly sig-nificant: Ivana Tomljenović Meller and Erna Gozze née Bayer. Ivana Tomljenović Meller, after completing the Zagreb Academy in the class of Ljubo Babić and after a short period of study at the Vienna Höhere Gra-phische Bundes-Lehr- und Versuchsanstalt continued in 1929 with her studies at the Bauhaus. Her photographs soon showed the well known characteristics of the Bauhaus, such as the low angle, double exposure and techniques of photomontage and photocollage. One of the best known of her works, a pho-tomontage on the cover of the brochure Reign of Terror in Yugoslavia derives from this very period. This brochure was published on the occasion of the exhibition of the same name organised in Berlin by the Yugoslav communists in exile.

150 Nehajev, Milutin. Moderna fotografija atelijer „Tonka“ Zagreb. Zagreb, 1924.

Nikola Szege, Danseuse, 1934

196 During her studies at the Bauhaus, Ivana Tomljenović made a number of film posters, and worked with Piscator’s theatre, which at that time was al-ready using avant-garde photography in its set designs.151

Another exceptional oeuvre is that of Erna Gozze née Bayer. She re-turned to Dubrovnik in 1932 with a Viennese diploma from the prestigious school Höhere Graphische Bundes-Lehr- und Versuchsanstalt, having spe-cialised in photography, in fact. Her works both share and build, in equal quantities, the artistic practice of the Neue Sachlichkeit. Erna Gozze ap-proached her classic urban vista from uncommon angles and points of view. She saw segments of apparently unimportant objects and drew them out of the whole. In her photographs, details took on autonomy outside the context and the dignity that raises the actual shot to the level of work of art. Nor she is a stranger to the photograph of movement. In this genre, she stands out for the artistic transcription of the joy of life and an authentic sense of humour.152

As a memo for further research it is important to mention that in this country that was also the time of the engaged photomontages in printed me-dia: the covers of Franjo Bruck for the Collected Works of Miroslav Krleža that Minerva153 had begun to publish in 1932 (the same year as Mosinger’s Face of the City poster) and the totally forgotten photomontage of Ivan Sabolić in Almanac of Croatian Peasants I, published by the Village Speaks library, Zagreb, 1936. Photomontage or collage had appeared as artistic experiment even earlier by Josip Seissel in the journal Zenit, and in Traveleri, Studio Tri and so on.

And other photographic studios in Croatia followed the practice of the most prominent of Mosinger and Foto Tonka and made their own contribu-tion to the endorsement of popular culture and the creation of a specific spirit of the time.154

Two authors from Osijek stood out through their work in Zagreb’s Svi-jet: Foto Studio Varnai, that is, Pavao Varnai and Nikola Szege, who gave us the current chronicles of the social and in particular the theatrical life in the provinces. Szege, who had been in professional photography since 1926, opened a studio of his own in 1933, and also reintroduced the topic of the 151 Košćević, Želimir. Ivana Tomljenović. Zagreb : Studio galerije suvremene umjetnosti, 1983.152 Tonković, Marija. Dominacija umjetničkog htijenja nad fotoaparatom / Domination of artistic desire over the camera. // Avangardne tendencije u hrvatskoj umjetnosti / Avant-garde tendencies in Croatian art. Zagreb : Galerija Klovićevi dvori, 2007.153 Flaker, Aleksandar. Riječ, slika, grad, rat / Word, picture, city, war. Zagreb : Durieux, 2009., p. 18.154 Foto Kaufmann, owned by Milan and Branko Kaufmann, Preradovićeva street, Zagreb, presents on the whole theatre artists. Milan also worked for the designers Atelier Tri, for which he did photographic preparation and collages for advertising fliers and other ads, in the style of the artistic practice on the lines of Bauhaus contemporary to him. Sometimes the name of Mirko Jungvirt can be found on the photographs. Sometimes under photos in magazines there is the signature Foto Slavija i.e. Viola Levi or the former Goldstein studio in Split, which was at work up to the beginning of World War II.

Karl Schrecker, Lady Golfer at Brijuni, 1927

female, as well as the male, nude, which in this area was something of a rarity. He took photos of actors close up, achieving the effect of the mask in the manner of Herman Lerski, and the edited shots that he called photo-fantasies were strange in the manner of Fritz Lang’s filmic expression.

All these studios around Croa-tia followed the trends of the famous European studios: of Dora Kalmuss, already mentioned, and of Walery155 and his studies of dancers from the Folies Bergère and high society por-traits.

Apart from periodicals such as Svijet, Kulisa and Cinema156, which conveyed world trends in portraits by professional photographers, the sec-ond most widely disseminated medium accessible to all and totally a product of its time was a picture postcard with a portrait of celebrity, mainly from the world of film. This trend is best pre-sented through the work of what was probably the most widespread pub-lishing firm, Ross Verlag from Berlin, that published works of photographic studios worldwide.157 The main studio that worked with Ross Verlag from this area was owned by G.J. Reputin (Foto Reputin) from Zagreb. These editions appeared in the early twenties and gave a boost to the trend of collecting postcards with depictions of famous figures (and to asking for their auto-

155 Printed in the journal Dagerotyp, no. 14, 2005.156 Published from 1927 to 1941.157 Most of the studios that worked with Ross Verlag were from Germany. On the whole, they portrayed the stars of European particularly German film. American stars were photographed during promotional trips to Europe. The best known and most productive were Alex Binder, Becker & Maas, Ernst Schneinder, Karl Schenker, Ernst Sandau and others. They had associates in other European countries, mostly in Austria, in France, the UK, Sweden, and even in Latvia. Here the studios of importance were Manassé (Olga Spolarics and Adorjan Wlássics), D'Ora (Dora Kallmus, Arthur Bendz), Adéle, G. L. Manuel Fréres, La Serenissima and many others throughout Europe.

198 graphs). Stars of various degrees of brilliance, European as well as Amer-ican, were shown either in their roles for the purpose of promoting films or in real life, which was known to the public from the review magazines that handed out in their many competi-tions just such “collectible pictures” as prizes.158 Apart from direct purchase in shops, bookshops and cinemas, the postcards could be bought via the magazines or directly from Ross Verlag’s address in Berlin. Not only were there the standard formats of the postcard, 14 x 9 cm, but pictures of smaller formats were published, to be inserted into packets of tobacco or cigarettes, as well as the bigger sizes, known as Gross-Filmbilder, on the whole prizes in some of the com-petitions in the magazines.

A particular phenomenon in the entire body of Croatian photogra-phy consisted of events in Rijeka and Sušak. In the interwar period, these two cities were in two states, Croatia and Italy, however in the art field there worked very closely together, strongly influenced by the avant-garde move-ments and Marinetti. A photographic exhibition organised by Opera nazi-onale dopolavoro, held in 1933 in Rijeka, announced the new generation of photographers who broke with painting and were interested primarily in experiments. Edo Gellner did photomontages, for example, Anton Gnezda was the creator of uncommon views and double exposures, while Francesco Drenig, apart from approaching the spirit of the Neue Sachlichkeit with his motifs of cranes, robes, ships, still lifes, was also remembered as an avant-garde poet and the only art critic and chronicler of photographic events in Rijeka. The boldest representatives of the younger generation of the pre-war period were, however, Anita Antoniazzo, Giovanni Balbi and Hinko Emili. Enthusiastic about Futurism, they created photographs that frequently had un-common compositions, putting unimportant motifs in the foreground. Anita Antoniazzo, a painter by training, experimented with double exposures and photos with nails, scissors and combs. Giovanni Balbi addressed the motif in a similar way; his Screws photographed from up close seem practically unreal. Hinko Emili, a physician by profession, tried to make a theoretical demarcation

158 Deset slika za sakupljanje za NAJBOLJE PISMO / Ten collectible pictures for the BEST LETTER. // Cinema, Zagreb, no. 2, 1927.

Photo Golden, Tashamira, around 1925

199of the pure photograph from the works of the hiking clubs. In practice he also strictly divided art from documentary photography, which is shown in the way he shot scenes from orphanages. Apart from that, Emili played an important role in connecting the amateur photographers of Sušak with the ever stronger amateur movements in Croatia. Emili represents one of the rare bonds of co-operation of Mediterranean and inland Croatia in the area of photography.

Josip Berner too agreed to work with the press and with his stories from Dubrovnik became the chronicler of all the most important events, from the feast of St Blaise to fashionable entertainments and carnivals. He was the originator of sports photography in the town, for he covered matches with his pictures, the football of GOŠK or the water polo in which the club called Jug played. Kulisa often published his photographs of Dubrovnik’s lovely ladies taken at some party or photographic events.

Rudolf Firšt took photos of the interiors of Zagreb villas. He covered the building and commissioning of the Mercury Sanatorium. He did portraits of Zagreb artists, painters and sculptors, and took photos of their studios, like that of Krizman, and reported from the exhibitions.

Karl Schrecker159 started his professional career in Pula, where in 1915 he opened the “Kunstanstalt für bildmassige Fotografie.” After the end of World War I and the breakup of Austro-Hungary, he went on with his pho-tographic activity, and opened up a branch studio on the Brijuni islands, then a fashionable summer resort. Along with portraits, he shot nature, archaeo-logical remains, villas and hotels, and reportage and documentary scenes. In about 1927 he moved his studio to Berlin where he went on dealing with studio photography until his death in 1930. In Berlin he shot portrait photo-graphs of German film actresses and actors, issued in the form of postcards by Ross Verlag.

Ljudevit Griesbach can be considered the progenitor of tourist promo-tional photography in the country. He published travel reportages and started a vast cycle of hand coloured slides Beauties of the Homeland, also publishing a price list of photographic requisites with a short introduction to photography with Croatian terms, and through competitions acted as patron and promoter of photography. The many motifs shot throughout Croatia served him as origi-nals for the making of picture postcards.

In other holiday making centres along the coast and in inland Croatia too, owners of studios began to shoot and publish picture postcards.160

159 Thanks to Lana Skuljan, of the History Museum of Istria Museo storico dell'Istria in Puli, for unpublished data about Karl Schrecker.160 For instance, Ljubo Tošović, Dubrovnik; Josip Kulušić, Dubrovnik; Foto Berner, Dubrovnik; Atelier Betty, Opatija; Ivan & Pavao Tomašić, Opatija; Tomaso Burato, Zadar; Stengel & Co, Dresden; C. Ledermayer, VIenna; A. Dietrich, Opatija; G. Rüger & Co, Wien; David Karoly, Budapest; Dr. Trenkler Co. from Leipzig; Đuro Griesbach, Zagreb.

200 Summing all this up, a certain spirit and taste of the time characterised the photography of Art Déco, an expressiveness and manner of existing, a philosophy of life, a diffuse style without any properties, without morphological substance, apart perhaps from the applied arts and architecture. The Roar-ing Twenties and the return to order of the thirties are just an evolution of Art Nouveau, interrupted by World War I, and its final end, the conclusion of its chiliasm and hedonism, philogyny and emancipation; in formal features the finishing off of the aesthetics of the Wiener Werkstätte on an achieved platform of technology, civilisation and the media. The orthogonal replaced the sinusoi-dal, function pushed in front of ornament. Art Déco is a reincarnation of the revolution of the Ballets Russes in Josephine Baker, observed in the fullness of their contexts, it is the spirit of Steiner’s second Goetheanum and the esotery of Monte Verita and Laban (he made a guest appearance with his Tanzbüne in Zagreb in 1924 “staying six weeks instead of six days” which speaks volumes for the sensation he created) fused into the pragmatism of modern life, the in-exorability of the conveyor belt and the morality of the jazz era.

Photographs are but the petrified reflection of that world in which Peo-ple on the Street is cheek by jowl with the illusions of MGM and ufa studios, the criticism and the evasion of life’s realities.

206 THEATRE

Batušić, Nikola. Sjene fantastična igra Ljube Babića i Božidara Širole. // Dani hvarskog kazališta XXX. Hrvatska književnost i kazalište i avangarda dvadesetih godina 20. stoljeća. Zagreb : HAZU ; Split : Književni krug, 2004., pp. 197-211

Galjer, Jasna ; Miroslav Gašparović. Ljubo Babić. Radovi iz zbirke Muzeja za umjetnost i obrt. Zagreb : Muzej za umjetnost i obrt, 2001. Exhibition catalogue.

Galjer, Jasna. Pariška izložba 1925. i Art déco. // Čovjek i prostor, vol. XXXVIII, no. 3-4, 1991

Hrvatska scenografija u dvadesetim godinama prošloga stoljeća (nacrt). // Dani hvarskog kazališta XXX. Hrvatska književnost, kazalište i avangarda dvadesetih godina 20. stoljeća. Zagreb : HAZU ; Split : Književni krug, 2004, pp. 259-268.

Konjović, Jovan. Boja i oblik u scenskom prostoru (Stopedeset godina scenografije u Zagrebu 1784-1941). // Rad JAZU, vol. 326. Zagreb : JAZU, 1962

Kovačić, Đurđa. Prisutnost i odjeci ruske scenografije na zagrebačkoj glazbenoj sceni 1918-1940. Zagreb : Institut za povijesne znanosti, 1991

Lederer, Ana. Avangardne tendencije u hrvatskom kazalištu dvadesete, pedesete, sedamdesete. // Avangardne tendencije u hrvatskoj umjetnosti. Zagreb : Galerija Klovićevi dvori, 2007. Exhibition catalogue, pp. 198-213.

Lederer, Ana. Hrvatska scenografija u hrvatskoj teatrologiji. // Krležini dani u Osijeku 2002. / priredio Branko Hećimović. Zagreb : Zavod za povijest hrvatske književnosti, kazališta i glazbe HAZU, Odsjek za povijest hrvatskog kazališta Zagreb ; Osijek : Hrvatsko narodno kazalište u Osijeku : Pedagoški fakultet, 2003, pp. 302-310.

Petranović, Martina. Uloga kostimografije u hrvatskom kazalištu. Nastajanje, afirmacija i dosezi jedne umjetničke discipline. Zagreb : Filozofski fakultet Sveučilišta u Zagrebu, 2010. Doctor’s thesis [unpublished].

Reberski, Ivanka. Realizmi dvadesetih godina. Zagreb : Institut za povijest umjetnosti : Art tresor studio, 1997

Schneider, Artur. Oprema opere. Zagreb, 1916

Secesija u Hrvatskoj. Zagreb : Muzej za umjetnost i obrt, 2004. Exhibition catalogue.

Uskoković, Jelena. Ljubo Babić. Retrospektiva 1905 - 1969. Zagreb : Moderna galerija, 1975. Exhibition catalogue.

PHOTOgRAPHY

Babić, Ljubo. Fotografija vizija svijeta. // Jutarnji list, 29. 6. 1930

Dance, Robert; Bruce Robertson. Ruth Harriet Louise and Hollywood Glamour Photography. Berkeley : University of California Press, 2002

Faber, Monika. D’Ora Vienna and Paris 1907 1957 : The Photography of Dora Kallmus. New York : Vassar College Art Gallery Poughkeepsie, 1987

Flaker, Aleksandar. Riječ, slika, grad, rat. Zagreb : Durieux, 2009

Frajtić, August. Smjernice u godini 1933. // Foto Revija, no. 1, Zagreb, I/1933

Hochreiter, Otto. Bäuerliches Leben in fotografischen Bildern. // Fotogeschichte. Beiträge zur Geschichte und Ästhetik der Fotografie, vol. 2 (1982), no. 5, pp. 45-54.

Horvat, Josip. Obrisi velegradskog Zagreba. Dojmovi s jedne zanimljive izložbe. // Novosti, no. 167, Zagreb, 19. 6. 1931

Koščević, Želimir. Ivana Tomljenović. Zagreb : Studio galerije suvremene umjetnosti, 1983

Marinetti, Filippo Tommaso; Tato (Guglielmo Sansoni). Manifesto della fotografia futurista, 16. aprile 1930

Marinetti, Filippo Tommaso; Tato (Guglielmo Sansoni). La Fotografia Futurista i Il Futurismo, 11. 1. 1931

Mellor, David. Germany The New Photography 1927 1933. London : Arts Council of Great Britain, 1978

Muray, Nickolas. The Amateur Movie Producer. // Photoplay, April 1927, pp. 51-52.

Nehajev, Milutin. Moderna fotografija atelijer „Tonka“ Zagreb. Zagreb, 1924

Renger-Patzsch, Albervol. Die Welt ist schön. München : Kurt Wolff Verlag, 1928

Tonković, Marija. Dominacija umjetničkog htijenja nad fotoaparatom. // Avangardne tendencije u hrvatskoj umjetnosti. Zagreb : Galerija Klovićevi dvori, 2007

Ukrainčik, Lea. Umjetnički paviljon 1898-1998. Zagreb : Umjetnički paviljon, 2000

262

PHOTOGRAPHY 595. Anita AntoniazzoPHOTOGRAM1940contemporary copy of originaloriginal is postcard size11 x 16.5 cmM.T.

596. Giovanni BalbiSCREWSbefore 1940 copy from the catalogue of the 1st International Exhibition of Art Photography, Sušak/Rijeka 194013.5 x 19 cmM.T.

597. Erna Bayer GozzeSHIP’S FUNNELaround 1929digital printout from the original print from the negative17.8 x 13.5 cmD.N.

598. Josip BernerBALL OF THE ADRIATIC WATCH WOMEN’S NAVYDubrovnik, around 1930b / w photograph16.3 x 22.3 cmsign.: (STAMP) FOTOATELIER SLAVIJA, vl. Josip Berner DUBROVNIKproperty of Vladimir Šarić, DubrovnikD.N.

599. Josip BernerBALL OF THE ADRIATIC WATCH WOMEN’S NAVYDubrovnik, around 1930b / w photograph17.2 x 22.3 cmsign: Bernerproperty of Vladimir Šarić, DubrovnikD.N.

600. Tošo DabacNAT / SILK STOCKINGS1936digital printout from the original print from the negative100 x 100 cmTošo Dabac Archives, MSU, Zagreb, MSU ATD 8D.N.

601. Tošo DabacINTELLECTUALZagreb, 1934 chlorobromide print 35.4 x 27.2 cmsign.: b.r.c. Tošo DabacMuseum of Arts and Crafts, Zagreb, MUO 24042M.T.

602. Tošo DabacHER EYES, HER PRIDEZagreb, 1936chlorobromide print32.2 x 25.5 cmsign.: b.r.c. DabacMuseum of Arts and Crafts, Zagreb, MUO 24043M.T.

603. Tošo DabacTRANSMISSION LINE PYLON1934digital printout from the original print from the negative32 x 32 cmTošo Dabac Archives, MSU, Zagreb, MSU ATD 277D.N.

604. Tošo DabacWINTER FAIRY TALE1937 b / w print40 X 30 cmsign.: b.r.c. Tošo DabacMuseum of Arts and Crafts, Zagreb, MUO 24572D.N.

263

605. Tošo DabacPAUPER’S LUNCH FROM THE CYCLE THE EOPLE ON THE STREET1932b / w print42.9 x 35.6 cmsign.: b.r.c. Tošo DabacMuseum of Arts and Crafts, Zagreb, MUO 24051M.T.

606. Hugo DoneganyAT THE MASKED BALLOsijek, 1922bromide print22 x 11.4 cmMuseum of Arts and Crafts, Zagreb, MUO 24696M.T.

607. Milan DvoržakBEFORE THE STORMOtok, 1919digital printout from the original print from the negativeproperty of Milan Žegarac Peharnik, SamoborD.N.

608. Milan DvoržakMAGNOLIA TOWARDS THE SKYZagreb, around 1936digital printout from the original print from the negativeproperty of Milan Žegarac Peharnik, SamoborD.N.

,609. Milan FiziPARALLELSaround 1937chlorobromide print38 x 28 cmMuseum of Arts and Crafts, Zagreb, MUO 15735 M.T.

610. August FrajtićOUR DAILY BREADZagreb, 1939 chlorobromide print32.1 x 29.6 cmMuseum of Arts and Crafts, Zagreb, MUO 15736M.T.

611. Rikard FuchsTHIRD CLASSZagreb, before 1937chlorobromide print39.8 x 29.6 cmMuseum of Arts and Crafts, Zagreb, MUO 15737M.T.

612. Photo GoldenTASHAMIRAaround 1925b/w print25.2 x 20.3 cmproperty of Maja Đurinović, ZagrebD.N.

613. Đuro Đuka JanekovićLADY WITH A DOGZagreb, around 1934. digital printout from the original print from the negativeMuseum of Arts and Crafts, Zagreb, MUO 41668M.T.

614. Đuro Đuka JanekovićDANCE IN NATUREZagreb, 1934digital printout from the original print from the negativeMuseum of Arts and Crafts, Zagreb, MUO 41528M.T.

615. Đuro Đuka JanekovićPERKO STANČIĆZagreb, 1934digital printout from the original print from the negativeMuseum of Arts and Crafts, Zagreb, MUO 41537M.T.

616. Đuro Đuka JanekovićDANCE SCHOOL OF MARGARITA FROMANZagreb, around 1934digital printout from the original print from the negativeMuseum of Arts and Crafts, Zagreb, MUO 41327M.T.

617. Đuro Đuka JanekovićARRIVAL IN ZAGREBZagreb, 1934digital printout from the original print from the negativeMuseum of Arts and Crafts, Zagreb, MUO 41446M.T.

618. Đuro Đuka JanekovićRHYTHMICS SCHOOL OF NEVENKA PERKOZagreb, 1934digital printout from the original print from the negativeMuseum of Arts and Crafts, Zagreb, MUO 41503M.T.

619. Đuro Đuka JanekovićSTANČIĆZagreb, 1934digital printout from the original print from the negativeMuseum of Arts and Crafts, Zagreb, MUO 41536M.T.

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620. Đuro Đuka JanekovićDANCER FROM THE DANCE SCHOOL OF NEVENKA PERKOZagreb, 1934digital printout from the original print from the negativeMuseum of Arts and Crafts, Zagreb, MUO 41663M.T.

621. Đuro Đuka JanekovićAUDIENCE OF A SPORTING COMPETITIONZagreb, 1934digital printout from the original print from the negativeMuseum of Arts and Crafts, Zagreb, MUO 41737M.T.

622. Đuro Đuka JanekovićMIRJANA JANEČEKZagreb, 1934digital printout from the original print from the negativeMuseum of Arts and Crafts, Zagreb, MUO 42035M.T.

623. Đuro Đuka JanekovićDANCER FROM THE SCHOOL OF NEVENKA PERKOZagreb, 1934digital printout from the original print from the negativeMuseum of Arts and Crafts, Zagreb, MUO 44074M.T.

624. Đuro Đuka JanekovićMIRJANA JANEČEKZagreb, 1934digital printout from the original print from the negativeMuseum of Arts and Crafts, Zagreb, MUO 41937D.N.

625. Branko KojićGOING OUTZagreb, around 1930chlorobromide print38.8 x 28.8 cmsign.: on the back Dr. Branko Kojić Museum of Arts and Crafts, Zagreb, MUO 24356M.T.

626. Antonija Kulčar (Foto Tonka) TANGOZagreb, 1924digital printout of original print21.5 x 16 cmM.T.

627. Antonija KulčarNUDE IN ARMCHAIRZagreb, around 1926chlorobromide print32.8 x 24.5 (22 x 16.4) cm sign: b.r.c. on the card : TONKA Museum of Arts and Crafts, Zagreb, MUO 49229D.N.

628. Antonija Kulčar (Foto Tonka)STANDING NUDEZagreb, around 1926 chlorobromide print27.3 x 22.5 cmsign.: b.r.c. on the print : Foto / Tonka / Zagreb, b.r.c. on the card : TONKAMuseum of Arts and Crafts, Zagreb, MUO 49231D.N.

629. Antonija Kulčar (Foto Tonka)NUDE WITH SKULLZagreb, around 1928digital printout from the original print from the negative21.8 x 16.1 cmsign.: b.r.c. TONKAproperty of Petar Dabac, ZagrebD.N.

630. Antonija Kulčar (Foto Tonka)PORTRAIT OF A LITTLE GIRLaround 1925chlorobromide print27 x 20.5 (21.5 x 16.5) cmsign.: b.r.c. on the print Foto / Tonka / Zagreb, b.r.c. on the card : TONKAMuseum of Arts and Crafts, Zagreb, MUO 49423D.N.

631. Franjo MosingerMUSTAFA GAJA A REGULAR OF THE KORSO CAFEZagreb, 1930digital printout of original print from the journal Kulisa, 1930.sign.: b.r.c. f.mosinger M.T.

632. Franjo MosingerJOSEPHINE BAKER IN ZAGREBZagreb, 1929digital printout of original print from the journal Kulisa, no. 14, 1929.M.T.

633. Franjo MosingerFACE OF ZAGREB (POSTER OF EXHIBITION)Zagreb, 1932bromide print / photo-collage16.4 x 15.3 cmMuseum of Arts and Crafts, Zagreb, MUO 24632M.T.

265

634. Franjo MosingerHORRORZagreb, 1933bromide print 16.4 x 15.3 cmsign.: b.r.c. FMosingerMuseum of Arts and Crafts, Zagreb, MUO 24631M.T.

635. Franjo MosingerFLOWER STUDYbromide print29 x 21 cm (21.1 x 16.2 cm)sign.: b.r.c. passe-partout FMosingerMuseum of Arts and Crafts, Zagreb, MUO 24701M.T.

636. Franjo MosingerPHOTOGRAM OF CLOCK COGZagreb, 1933digital printout of original print from the journal Kulisa20 x 10.5 cm Museum of Arts and Crafts, ZagrebM.T.

637. Milan PavićBEWARE OF TRAIN1936digital printout from the original print from the negative / double expositionproperty of Slavka Pavić, ZagrebD.N.

638. G. J. Reputin (Foto Reputin)ŠTEFICA VIDAČIĆ MISS EUROPE1927picture postcard14 x 9 cmprivately owned, ZagrebD.N.

639. Aleksandar Reputin, Vladimir Všetečka (Foto Reputin)LEOPOLDINA VRBINJAKZagreb, around 1925b / w print27 x 18.8 cmsign.: b.r.c. on print with dry stamp Všetečka / Reputin / Zagreb,b.r.c. on the card Všetečka Reputin / ZagrebMuseum of Arts and Crafts, Zagreb, MUO 41159D.N.

640. Karl Schrecker LADY WITH HAT IN BRIJUNIBrijuni, 1927paper, contact, dry plate51.8 x 41.9 cm (38.7 x 29 cm)Povijesni muzej Istre Museo storico dell‘ Istria, Zbirka fotografija, negativa i fotografske opreme (PMI-42317)L.S.

641. Karl Schrecker LADY GOLF PLAYER AT BRIJUNIBrijuni, 1927paper, contact, dry plate41.9 x 51.8 cm (29.9 x 38.7 cm)Povijesni muzej Istre Museo storico dell‘ Istria, Zbirka fotografija, negativa i fotografske opreme (PMI-42318)L.S.

642. Clarence Sinclair Bull (MGM) for Ross VerlagGRETA GARBO1931 1932picture postcard14 x 9 cmMuseum of Arts and Crafts, Zagreb, MUO 49420D.N.

643. Albert StarzykWOMAN BATHING AT THE SAVA1933digital printout from the original print23.2 x 29 cmFotoklub ZagrebM.T.

644. Nikola SzegeWOMAN DANCINGOsijek, 1934bromide print38.1 x 26.6 cmsign.: b.r.c. Studio Szege 934Museum of Slavonia, Osijek, MSO-161120 D.N.

645. Nikola SzegeNUDE193456.3 x 47.7 cmbromide printsign.: b.r.c. on label SzegeMuseum of Slavonia, Osijek, MSO-157074D.N.

646. Nikola SzegeACTOR1940bromide print28.2 x 38 cmsign.: u.l. SzegeMuseum of Slavonia, Osijek, MSO-161119D.N.

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647. Marijan SzaboCOMPOSITIONZagreb, 1934chlorobromide print39.1 x 30.2 cmMuseum of Arts and Crafts, Zagreb, MUO 24554M.T.

648. Solomon Weinrich, Mirko Jungvirt (Weinrich i drug)MISSZagreb, 1925chloride print 37.9 x 24 cmMuseum of Arts and Crafts, Zagreb, MUO 42951D.N.

649. Lujo VarnaiDRAGICA TARTALJAOsijek, before 1925chloride print38 x 30 (23 x 16.7) cmsign.: b.r.c. on card Varnai / Osijek I.Museum of Arts and Crafts, Zagreb, MUO 44519D.N.

650. Antonija Kulčar (Foto Tonka) TWELFTH NIGHTZagreb, 1925b / w print24.3 x 31.8 cmsign.: b.r.c. on the passe-partout TONKA ZAGREBMuseum of Arts and Crafts, Zagreb, MUO 31295

It was exhibited at the International Exhibition of Decorative Arts in Paris in 1925.D.N.

651. Antonija Kulčar (Foto Tonka)SHADOWSZagreb, 1925b / w print24.3 x 31.8 cmsign.: b.r.c. FOTO TONKA ZAGREBMuseum of Arts and Crafts, Zagreb, MUO 31304

It was exhibited at the International Exhibition of Decorative Arts in Paris in 1925.D.N.

652. Atelier Mosinger (Franjo Mosinger)THE ABDUCTION FROM THE SERAGLIO TENOR (set design of Tomislav Krizman)Zagreb, 1922bromide print28.6 x 24.4 cmMuseum of Arts and Crafts, Zagreb, MUO 42755D.N.

653. CAMERABOX BROWNIE Nº 2 Kodak, UK, 1928 -1935film camera for film, two reflex finders, film winder industrial productionbakelite, leather, metal, glass (lens)10 x 7.5 x 13.5 cmMuseum of Arts and Crafts, Zagreb, MUO 39393D.O.J.

654. CAMERAZEISS IKON, BOX TENGOR 54/2Zeiss Ikon and Goerz FrontarGermany, 1928 -1934for roll film, two reflex findersindustrial productionbakelite, leather, metal, glass (lens) 10 x 7 x 11 cmMuseum of Arts and Crafts, Zagreb, MUO 42739D.O.J.