POREKLO SVETA GISTAVA KURBEA
DOI:
https://doi.org/10.18485/f_zsmu.2023.19.5Ključne reči:
Gistav Kurbe, Poreklo sveta, Pariz, Drugo francusko carstvo, evolucija, realizam, modernizam, slikarstvoApstrakt
U XIX veku, pitanje porekla, koje je bilo u centru naučnih debata, jednako je interesovalo i umetnike. Njihova zainteresovanost za prirodnjačke teorije odražavala se u delima koja su preispitivala praistoriju, primitivnu umetnost, dečje crteže, ali isto tako i sve što se ticalo geneze živog sveta – seksualnosti i rođenja. Polovinom veka, francuski kritičari umetnosti primetili su paralelni fenomen potrage za poreklom čoveka u biologiji i sa druge strane, formalne dekonstrukcije u umetnosti, najpre u realizmu i naturalizmu. Godine 1866, slikar Gistav Kurbe predstavlja javnosti svoje delo Poreklo sveta, koje je zbog lascivnog prikaza ženske nage telesnosti, a posebno provokativnog kadriranja slike, izazivalo žustre reakcije. Javilo se pitanje zbog čega je umetnost, koja se smatrala uzvišenom i plemenitom, postala nerazdvojna od onoga što predstavlja najniže instinkte, potisnute nagone i primitivno u čoveku. Kurbe je bio fasciniran praistorijom i potragom za prapostojbinom, za materinskim ognjištem, i njegovo Poreklo sveta lišeno je transcendentnosti i deluje kao puki alat za potragu porekla čovečanstva. U radu će biti reči o promenama na umetničkoj sceni Pariza koje su bile posledica politike Drugog francuskog carstva i o izmenjenoj slici sveta nakon pojavljivanja Darvinove teorije evolucije. Cilj je da se prikaže na koje načine je kriza tadašnjeg društva uticala na realizam Gistava Kurbea i kako se to odrazilo na stvaranje njegovog dela Poreklo sveta, koje je odudaralo od normi zvanične Akademije umetnosti i francuskog Salona.
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