Đuro Tiljak i Krsto Hegedušić: skica za povijest jednog (ne)prijateljstva kroz prizmu odnosa prema socijalno angažiranoj umjetnosti. (Croatian)

Based on the archival sources and previous studies, the paper analyses the relationship between Krsto Hegedušić and Đuro Tiljak through the prism of their theoretical contributions to socially engaged art in Croatia from 1932 to 1950. Taking into account the chronology of conflict on the literary left as well as the ideological differences between the two artists, it is possible to distinguish two phases in their relations. The first, a period of cooperation, lasted from 1932 to 1934 and was characterized by their joint efforts to define the Croatian version of socially engaged art. In the period of disagreement and final breakup, from 1934 to 1950, both artists participated in public debates on the issues of socialist realism and normative art, but in opposing camps: whereas Tiljak represented the Kharkov line, Hegedušić opted for Krleža's critique of normative aesthetics. The tensions between the two artists culminated in 1950 with an open conflict, which was also influenced by the turbulent political circumstances caused by the adoption of the Resolution of the Information Bureau and the exclusion of Yugoslavia from the association of Communist countries. [ABSTRACT FROM AUTHOR]

Na temelju arhivskih izvora i dosadašnjih studija u radu se analizira odnos Krste Hegedušića i Đure Tiljka kroz prizmu njihovih teorijskih doprinosa socijalno angažiranoj umjetnosti u Hrvatskoj u razdoblju od 1932. do 1950. godine. Uzimajući u obzir kronologiju sukoba na književnoj ljevici, ali i točke ideoloških razilaženja dvojice umjetnika, u njihovu odnosu moguće je razlučiti dvije faze. Prva faza, razdoblje suradnje, traje od 1932. do 1934. godine, a obilježavaju je zajednički napori na definiranju hrvatske inačice socijalno angažirane umjetnosti. U razdoblju razilaženja i konačnog prekida suradnje, od 1934. pa do 1950., oba umjetnika sudjeluju u javnim raspravama o pitanju socijalističkog realizma i normativne umjetnosti, ali priklonjeni suprotstavljenim taborima: Tiljak zastupa harkovsku liniju, dok se Hegedušić opredijelio za Krležinu kritiku normativne estetike. Napetost u njihovu odnosu kulminira 1950. godine otvorenim sukobom dvojice umjetnika, na koji su utjecale i turbulentne političke okolnosti prouzročene donošenjem Rezolucije Informbiroa i isključivanjem Jugoslavije iz zajednice komunističkih zemalja. [ABSTRACT FROM AUTHOR]

Copyright of Ars Adriatica is the property of Sveuciliste u Zadru (University of Zadar) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)