HEDONISM AND MELANCHOLY OF THE MEDITERRANEAN. PETAR DOBROVIĆ AND IGNJAT JOB

Abstract

The main topic of this paper are the Adriatic (Mediterranean) landscapes that Petar Dobrović (1890–1942) painted around 1928 and their position in the context of Dobrović’s Mediterranean landscape series. As a parallel, but also as a counterpoint, there are almost simultaneous landscapes of different atmosphere and sensibilty by Ignjat Job (1895–1936), of entirely different artistic personality and attitude from Dobrović’s. Landscapes occupy an important place in the work of Petar Dobrović, as well as of Ignjat Job. Among Dobrović’s landscapes, we distinguish three cycles: Dalmatian, from the Cote d’Azur and the Netherlands. There is no clearly defined division in Job’s oeuvre. Nevertheless, it is a large series of paintings with Mediterranean topic, created in the late twenties and during the first half of the thirties of the 20th century. Therefore, the aim of the paper is to focus on central points: the Mediterranean landscapes from 1928, which Dobrović painted during his stay on the Adriatic, under the influence of strong and almost blinding light, and the coastal landscapes of Job from approximately the same time period. The goal is to emphasize Dobrović’s turning of color as the most important element of the painting and its independence on these canvases. The intention is to draw parallels to the works of Ignjat Job, to point out certain similarities and differences in their treatment of comparable Mediterranean scenes that dominate the paintings.