Уметничку радионицу Колачек основао је 1897. у Београду Јозеф Колачек (1868 - 1927), син чешког досељеника Франтишека Колачека (1835 - 1880), који је у Београд дошао половином 19. века из Малхостовица крај Брна. Чувајући традицију занатске производње генерацијама, радионица Колачек се данас искључиво бави уметничком браваријом и то ручном израдом предмета по сопственим нацртима, али и по посебним захтевима купаца. Предавањем о уметничко-браварској радњи Колачек на посредан начин ће се указати и на традицију занатске производње на територији града Београда.
The visitors will have an opportunity to learn of the ways how are the archeologist able to reconstruct past lives, based on the anthropological findings and materials from graves. Burrial rituals are presented, and some light has been shed on the possible professions and habits of the deceased, as well as, their social status. The deceased were citizens of Ancient Zadar, where more than 2,000 graves from the period have been explored.
Four graves, with intriguing materials for the reconstruction of life at the time, were selected: “Who was the person in grave 11?”, “One grave, four names, five stories”, “Who had brought syphilis to Zadar? Surely not Columbus?” and “A lady from Relja”.
Belgrade City Museum and Zadar Archeological Museum
Timka Alihodžić, Curator for the Antiquity Department of Zadar Archeological Museum; Coordinator: Miroslav Ignjatović, Museum's Advisor; Production: Production 64
The exhibition “Kilim” was organized for the opening of the reconstructed Museum of Mladenovac. A selection of 30 representative pieces, different in style, function, and technical characteristics, from the period between the end of the 19th century and 1970s, were represented.
Beside kilims, tools used for production were exhibited, as well as, interiors of village houses, which enabled visitors to take a look into the past, and see a significant part of a specific and traditional Kosmaj culture.
Magdalena Ivković, the author; Milutin Marković, exhibition design; technical production: Production 64
The extensive art work of the renowned painter Pavle Paja Jovanović (1859–1957), abounded in historical, oriental, mythological, religious and portrait compositions, includes a significant part of the images of the artist's wife, Hermine (Dauber) Jovanović - Möuni (1892–1972).
Möuni has been a subject of around 30 of Jovanović’s exhibited canvases, pastels, and drawings, which are kept in Belgrade City Museum’s Paja Jovanović Legacy. Jovanović has woven his wife’s beauty into the artistic milieu, by transforming his model into a specific object d’art, worth of admiration. The representation of Möuni, as the embodiment of beauty, kept on reappearing in different thematic frameworks, from her portraits as the high-society lady, to the allegorical and mythical compositions, as well as, acts.
Paja Jovanović had sprung from the wells of the European art in the latter part of the 19th century, and became a renowned artist of world reputation, who nurtured the spirit of idealistic realism, based on his knowledge gained during his studies at the prestigious Art Academy in Vienna. In accordance with Kant's notion of natural and artistic beauty, Jovanović had strived for a highly aestheticized and embellished presentation of reality. The beauty, which had been the main theme of Jovanović's portraits, reached its climax in the visualization of the artist's favorite model, his wife Möuni.
Hermine (Dauber) Jovanović, was born in Budapest in 1892, and she met the elderly painter in 1905, while she modeled for him. Although she had been the most intimate person in the artist's life, she left scant information about herself. It is known that she married her thirty years older husband in Vienna, in 1917. In a harmonious marriage that lasted for four decades, until Jovanović’s death in 1957, a special psycho esthetic relationship developed between the artist and his wife that can only be interpreted as the Pygmalion effect. Ovid's story of Pygmalion, an artist who fell in love with his work, is analogous to Paja's apologia for Möuni, as her stunning beauty had become the artist's model, muse, and inspiration.
Isidora Savić, exhibition author; Milutin Marković, design
The exhibition represented the biographical data and interesting facts from the lives of the Serbian rulers’ wives, from the dynasties of Obrenović and Karađorđević.
The chosen wives were those of the Serbian rulers, as well as, those from Yugoslavia, from the period after the Second Serbian Uprising, and liberation from the Turks. The rulers in question were four from the dynasty Obrenović, and three from Karađorđević family. The Obrenović’s wives were: Princess Ljubica Obrenović, spouse of Prince Miloš; Princess Julija Obrenović, spouse of Prince Mihailo; Princess Natalija Obrenović who had become the Queen, spouse of King Milan; and Queen Draga, the last of the Obrenović dynasty, spouse of King Aleksandar.
Female rulers from the house of Karađorđević were Persida Karađorđević, spouse of Prince Aleksandar, and the only Yugoslav Queen, Marija, spouse of King Aleksandar Karađorđević; Princess Zorka, spouse of Petar I Karađorđević, the daughter of Montenegrin King Nikola Petrović, died in 1890, 14 years before her husband had become the King of Serbia, which is why she was not included in the exhibition.
With the help of the abundant photographic materials, as weel as, personal objects from the every-day life of those women, the visitors are introduced to their personal stories. We wanted to portray them as ordinary women, which they were, with their daily pleasures, needs, and problems. That is why their stories are about the lives they have led before the marriage, about their sometimes happy and sometimes unhappy marriages, about their children, and their role in the political life of Serbia. In short, the stories are about everything which represents the life of a wife and a mother, who is in addition a wife of the ruler.
Belgrade City Museum and Museum Night
Angelina Banković, author of exhibiton