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 ntun Motika je bil rojen 30. 12.
1902 v Puli. Osnovno šolo je obiskoval v Puli, gimnazijo v Puli, Pazinu
in Reki. |
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painter born in Pula |
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| Antun Motika, (1902-1992), was born on December 30, 1902 in Pula and has become, both by his place of birth and education, an eminent representative of multicultural Istria. He was an artist who had received a thorough education in the three languages of the then Austro-Hungarian Empire. He attended the German Imperial State Gymnasium in Pula, then, in the war years, he continued his education in the Croatian language when he attended the famous gymnasium in Pazin. In 1918 all the Croatian schools in Istria were closed, so Motika continued his education in the Italian language. In 1919 he moved to Sušak where he became seriously engaged in both painting and sculpture studies in the atelier of Rudolf Matković. | Antun Motika (1902-1992) rođenjem Puljanin, a zavičajem i školovanjem istaknuti predstavnik multikulturne Istre, umjetnik je temeljito školovan na čak tri jezika nekadašnje K. und K. monarhije. U Puli je pohađao njemačku Carsku i kraljevsku državnu gimnaziju, tijekom ratnih godina školovanje je nastavio na hrvatskom jeziku u glasovitoj Pazinskoj gimnaziji, a kada su 1918.g. bile zatvorene sve hrvatske škole u Istri Motika je nastavu slušao na talijanskom jeziku. Godine 1919. preselio je na Sušak gdje počine s ozbiljnim kiparskim i slikarskim radom u ateljeu Rudolfa Matkovića. | ||||
| In 1921 he finally passed the school-leaving exam in Croatian at the Royal secondary modern school in Sušak. As a poor but exceptionally talented Croatian student he was given a modest grant by the Matica Hrvatska, the Central Croatian Cultural and Publishing Society, which enabled him to immediately leave for Zagreb and start the course of study at the Royal Academy in professor Rudolf Valdec’s sculpture class. Living in a great city, Motika had ample opportunity to visit interesting exhibitions of paintings in the season 1921-1922: the first exhibitions of Vidović and Gecan, and the third exhibition of Becić at the selective collective Spring Salon, usually referred to as the “Blažuj period”. This prompted Motika to supress his wish for the study of sculpture and he changed from Valdec’s class to start his study of painting in the class of professor Maksimilijan Vanka. | Konačno, godine 1921. položio je ispit zrelosti na Kraljevskoj realnoj gimnaziji u Sušaku, dakako, na hrvatskom jeziku. Skromna stipendija Matice hrvatske (za izvanredno nadarene i siromašne hrvatske talente) omogućila mu je, odmah po maturi, odlazak u Zagreb i studij na kiparskom odjelu Kraljevske akademije kod prof. Rudolfa Valdeca. Živeći u velikom gradu koji u sezoni 1921/1922. obiluje zanimljivim slikarskim izložbama (Vidovićeva i Gecanova prva, Becićeva treća "blažujska", znakovita selekcija Proljetnog salona…), Motika potiskuje kiparstvo i 1923.g. prelazi u slikarsku klasu Maksimilijana Vanke. | ||||
| In the course of study and later, while attending special classes in the atelier of Ljubo Babić, he supported himself by working in the journals “Obzor” and “Koprive”, proofreading and drawing caricatures. The following era, popularly referred to as the “Mostar era” (1929-1940), played a key role in the development and maturing of the painter’s personal style. I refer here, of course, to the landscapes from Mostar and figurative compositions lit up by the Herzegovinian sun, painted before the year 1930. Even more important was the study experience during his several-months’ stay in Paris, when he deliberately acquired the Parisian costume, to quote Ljubo Babić. He returned to Mostar and started working there at the gymnasium, and this is when he finally rounded up his productive creative work by numerous works of art of high quality. The Paris experience turned Motika’s art from modelling to modulating, from description to coloristic expression. This is why his coloristically harmonious vibrations of forms and drawings in the gouaches and water-colours from the early 1930s are the best representatives of the attained quality of his distinctive style or, to put it differently, the trademark of Motika’s framework: the play of twofold lighting while watching the nature from indoors. |
Tijekom studija i kasnije "specijalke" kod Ljube Babića ispomaže se korekturama i karikaturama u «Obzoru» te «Koprivama». Uslijedilo je, popularno zvano, mostarsko razdoblje (1929-1940) u Motikinu stvaralaštvu koje, po razvoj i sazrijevanje osobnog slikareva rukopisa, ima ključnu ulogu. Dakako, tu poglavito mislim na hercegovačkim suncem rasvijetljene mostarske pejzaže i figuralne kompozicije prije 1930. godine, potom još važniji višemjesečni studijski boravak u Parizu i promišljeno usvajanje – kako se izrazio Ljubo Babić, pariškog kostima, te, konačno, brojem i kvalitetom, osobito plodno stvaralaštvo po povratku u Mostar i službu u tamošnjoj gimnaziji. Pariško je iskustvo ispravno okrenulo Motiku od modeliranja ka moduliranju, od opisivanja ka izražavanju bojom pa su koloristički skladne vibracije forme i crteža u gvaševima i akvarelima s početka tridesetih godina ponajbolji reprezenti dosegnute kvalitete osebujna rukopisa i, rekla bih, zaštitnog znaka Motikina kadra: igra dvojakog osvjetljenja u pogledu iz interijera u prirodu. |
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The painting “Flowers on the Window” is one of his best still lifes, i.e. live frameworks of pulsating atmosphere by which the painter, inspiringly and skilfully ennobled the otherwise modest contents of the motive. The painting was bought by the Modern Gallery and has been among the pictures constantly on display ever since the year 1935. It was also among the fifty other paintings exhibited at Motika’s second individual Zagreb exhibition in 1935, together with his landscapes, atelier interiors, or his modest home, figures of girls and panoramas of Mostar. By this exhibition Motika succeeded in attracting the attention of the critics and public alike, and significantly announced what and how he was going to paint until the next turning point in the early 1950s. It is important to refer to what Jerolim Miše, the critic and regular member of the “Group of Three” (the group with whom Motika exhibited his works as a guest painter in 1933 and 1934), characterized Motika’s performance: ”Everything is carried away by the rhythm of festive fanfares. The colour and line are entirely free to play the minuet”, (Hrvatska revija, No.4, Zagreb, 1935). |
Slika «Cvijeće na prozoru» upravo je jedna od ponajboljih mrtvih priroda, odnosno živih kadrova pulsirajuće atmosfere kojom je slikar nadahnuto i vješto oplemenjivao sadržajnu skromnost motiva. Otkupljena je za Modernu galeriju i već desetljećima krasi njezin stalni postav, još od daleke 1935.g., kada je, pored pedesetak drugih radova (krajolici, interieurijeri atelijera ili skromna doma, figure djevojčica i mostarskih veduta) bila izložena na Motikinoj drugoj samostalnoj izložbi u Zagrebu. Tom je izložbom Motika uspješno privukao pozornost kritike, i publike te značajno najavio što i kako će slikati sve do sljedećeg prijelomnog razdoblja s početka pedesetih godina prošlog stoljeća. Vrijedi zabilježiti riječi kojima je Jerolim Miše, kritičar i stalni član Grupe Trojica (s kojom je kao gost izlagao i Motika 1933.i 1934.g.), predstavio Motikin nastup: "Sve je to poneseno ritmom blagdanskih fanfara. Boja i crta slobodni od svega igraju menuet" (Hrvatska revija,br.4, Zagreb,1935.). |
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Motika passed away in Zagreb on December 13, 1992. |
Motika passed away in Zagreb on December 13, 1992. | ||||
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1921-1922 obiskuje 'pripravnu školu' pri prof. Rudolfu Valdecu na Kraljevi akademiji za umetnost in umetno obrt v Zagrebu, kmalu po začetem rednem študiju se prepiše na slikarstvo pri prof. Maksimilijanu Vanki. V času študija obiskuje tudi ure prof. Vladimirja Beciće, prof. Tomislava Krizmana in prof. Ljuba Babića. 25 in 28 oktobra 1926 uspešno opravi izpite na Akademiji za profesorja prostoročnega in geometrijskega risanja. 1929 predava na Državni gimnaziji - realki in Učiteljski šoli v Mostarju. Septembra 1930 odide na desetmesečno bivanje v Pariz kjer nekaj časa živi v skupnem ateljeju z Željkom Hegedušičem, Edom Kovačevićem, Vanjo Radaušem in Antonom Šimekom. 1931 se vrne v Mostar. Jeseni 1940 je premeščen v Zagreb na Državno drugo moško gimnazijo - realko. Sistematično začne eksperimentirati s kolažem, dekalkomanijo, 'dimnicami', fotografiko, uporabo naravnih in umetnih materijalov za oblikovanje. Novembra 1941 je premeščen na Državno obrtno šolo u Zagrebu kjer se spozna z novimi tehnikami in njihovimi možnostmi - risbe z ogljem za uporabne predmete (1941 - 1952), eksperimenti s presvetljevanjem kolažiranih steklenih plošč. 1952 obišče Benetke kjer razstavlja na Bienalu. Ilustrira pesmi Radovana Ivšića (neobjavljeno) in Draga Ivaniševića. Razstavlja risbe 'arhaičnega nadrealizma'. 1953 v Rogatcu izdeluje steklene skulpture iz laboratorijskega stekla, 1954 pa pod njegovim nadzorom izdelajo kipe v Muranu. 1955 obišče razstavo stekla v Baslu. Junija 1961 se upokoji kot profesor Šole za uporabno umetnost in obrt v Zagrebu. Odlikovan je z Ordenom za delo z zlatim vencem. Tega leta in v naslednjih letih v Muranu izdela večje število steklenih kipov v delavnicama Masega in Nason. 1968 prikaže svetlobne eksperimente v Galeriji center v Zagrebu. 1969 dobi nagrado 'Vladimir Nazor' za življensko delo. Posnet je kratki dokumentarni film 'Nepoznani Motika (Nepoznati Motika)', ki ga režira Borislav Benažić, v produkciji Zagreb filma. 1970 isti Borislav Benažić posname kratki dokumentarni film 'Steklo Antuna Motike (Stakla Antuna Motike)', v produkciji Zagreb filma. 1991 je začeto snemanje tretjega dokumentarnega filma, ki ostane nedokončan zaradi vojnih dogodkov in smrti umetnika leta 1992. samostojne in skupinske razstave (izbor)
skupinske razstave (izbor)
Books on Motica:
Image gallery (under construction) In 2002, one hundred years after his birth, a Croatian postage stamp was commemorated to Antun Motika: |
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Media coverage:
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This page compliments of Marisa Ciceran Created: Sunday,
Januaryr 08, 2006; Last Updated:
Tuesday, September 08, 2009
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