new petar pedro maruna · 2016. 5. 13. · petar pedro maruna slikarska obzorja umjetnika s dvije...

Pod pokroviteljstvom ministra kulture Republike Hrvatskedr. sc. Zlatka Hasanbegovića

Under the patronage of the Minister of Culture of the Republic of Croatia /Bajo el patrocinio del Ministro de Cultura de la República de Croacia

Zlatko Hasanbegović, PhD

PETAR PEDRO MARUNA

SLIKARSKA OBZORJA UMJETNIKA S DVIJE DOMOVINE

ARTISTIC HORIZONS OF A PAINTER WITH TWO HOMELANDS

HORIZONTES ARTISTICOS DE UN PINTOR DE DOS PAISES

17. 5. – 2. 6. 2016.

Studio Moderne galerije „Josip Račić“ /The „Josip Račić“ Studio of the Modern Gallery /El „Josip Račić“ Estudio de la Galería Moderna

Margaretska 3, Zagreb

1. Maruna katalog knjizni_Katalog 5/12/16 1:59 PM

9. Mjesečevi blizanci II. / Lunar Twins II / Parto multiple luna II, 2002.


Sadržaj / Content / Contenido

Marija Valčić ŠIRENJE I SAŽIMANJE OPSTANKA

THE EXPANSION AND CONTRACTION OF SURVIVAL

SUPERVIVENCIA EN EXPANSIÓN Y CONTRACCIÓN

REPRODUKCIJE / REPRODUCTIONS / REPRODUCCIONES

DOKUMENTACIJA / DOCUMENTATION / DOCUMENTACIÓN

Životopis / Biography / Biografía

Samostalne i skupne izložbe / Solo and group exhibitions /

Exposiciones individuales y colectivas

Zbirke i muzeji / Collection and Museums / Colecciones y museos

KATALOG IZLOŽENIH DJELA / LIST OF WORKS / LISTA DE OBRAS EXPUESTAS

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Petar Pedro Maruna

ŠIRENJE I SAŽIMANJE OPSTANKA

I.

Pedeset godina odsustva

Što nas zbunjuje kod slikara Marune? Pedeset godina odsustva? Nepravda prema svim onima koji su stvaraliizvan domovine, a mi o tome nismo ništa znali jer hrvatska ni intelektualna a ni politička scena nije znalaartikulirati primjere slobodnih intelektualaca, umjetnika. Maruna je i kao slikar i kao intelektualac posveneprepoznatljiv, izvan okvira, jer nije bilo tradicije na koju bi se mogao osloniti. Poput svoje braće, Borisa i Šime,koji ne prihvaćaju življenje u totalitarističkom sustavu nekadašnje države, odabire odlazak iz Jugoslavije. Cjelinarazumijevanja dolazi tek s ovom izložbom. Marunina razgranata djelatnost na nekoliko medija: crtež, grafikui slikarstvo, bila je u međuvremenu predmetom brojnih interpretacija i u Argentini i u Španjolskoj te po čitavojEuropi. Na svakom papiru, u svakom kadru, Maruna nastoji ostati na danim i zadanim elementima, odnosno,što manje intervenirati onim sastavnicama što će narušiti pripadnost i skladnost. Kako autorova dob zahtijevapotpun retrospektivni osvrt, a izložbom se nudi tek evidentiranje i usustavljenje novijeg razdoblja, ovimkatalogom želimo protumačiti njegove i slikarske i grafičke i crtačke stečevine, a jednom drugom prilikommoramo obećati i sebi i drugima retrospektivnu izložbu umjetnika.

Marunin razvoj i njegovo razdavanje na niz tehnika i disciplina proizlazi iz njegove opsjednutosti prostorom.Maruna svojim poimanjem definitivno razbija shvaćanje prostora u akademskom smislu, onako kako ga jeshvaćala renesansa i barok. Ali ima nešto što je zajedničko Maruni i Paulu Kleeu. Paul Klee shvaća svemir kaonešto živo i stvarno; “Čovjek je dio prirode, dio planinskog masiva”, govorio je Maruna. “U početku je djelo”,kaže Paul Klee, “ali je iznad njega ideja”. Ono svoje religijsko nalazi Maruna u dubokom doživljaju prirode, te iznjega stvara vlastitu kozmogoniju. Od djetinjstva promatra prirodu; svaka ptica, zmija, stablo, za njega je čudo.Svaka točka, svaka crta stvara nove i nove tajnovite pojave koje rastavlja i ponovo sastavlja te takosuprotstavljene čine tijelo slike. Slikar Maruna mogao se nositi s takvim zahtjevima jer ima sveobuhvatnaznanja, prodornu moć opažanja i unutrašnjeg vođenja te su stoga i značenja njegovih djela vrlo složena ihermetička. Presudni je utjecaj na Marunu izvršio i posjet Parizu i tada otvorenom Centru Georges Pompidou(Centar je otvoren 31. siječnja 1977.), gdje je vidio djela Jacksona Polloca i Kazimira Maljeviča.

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Marija Valčić


II.

Grafike i crteži

Crteži iz ciklusa Znakovi i pisma ustraju na snažnoj prepoznatljivosti s pismom istoka na jakim kontrastimacrnine i bjeline kao punine i praznine. Petar Maruna u tim je crtežima daleko došao u ostvarenju simbiozedalekoistočnog likovnog svijeta i europskog duhovnog stava. Njegovi crteži i grafike stvaraju jedinstvo figuracijei apstrakcije; ljudski lik postaje dekorativni element.

Duh, oblik i tehnika istočnoazijskog slikanja tušem duboko i s trajnim djelovanjem prodrli su u svijest moderneeuropske, ali i američke umjetnosti. Bilo je to nadahnuće, osobito za one umjetnike koji su se okrenuli odoponašanja stvarnosti i prenošenja vjerne slike stvarnosti figuracijom i zamijenili je likovnim simbolima iznakovima poniranja i senzibilnosti. Shvatio je i Maruna da se “bitno” može izraziti pismenim znakovljem.

Potrebno je istaknuti da su u Kini i Japanu znakovi pisma oduvijek imali dominantni značaj. Pismo nije bilosamo sredstvo za prenošenje misli nego u isti mah i izraz samoga pisca, pa je stoga ta vještina izražavanjapojmova materijalnih predmeta u obliku likovnih znakova dovela do osobite estetike istočnoazijske kaligrafijejer sada “pisati” za pisce znači tvoriti sliku. Umjetnik Maruna, poput mnogih umjetnika moderne, naslućujesmisao te kaligrafije i doživljava je kao jezik koji se u dubini i samoći pojedinačne osobnosti samo poniranjem

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13. Prapočetak / Before the start of all / Gran comienzo, 1969.


može osjetiti i rastumačiti. Slobodno se može reći da se radi o komunikacijskoj strani oblikovanja. Vještinomda se pojmovi za materijalne predmete izraze u obliku likovnih znakova, slikar Maruna nam poručuje: pisatiznači tvoriti sliku.

U svakome od nas, likovno osviještenih promatrača, slovni likovi odmah bude misaone asocijacije. Za Marunukaligrafski oblici znakovi su nekog zbivanja koje se već dogodilo, a kao slika u sadašnjosti, ostaje prisutno. Inajsitnija izmjena je značajna. Zato i kažemo da “pisanje” nije samo priopćenje neke misli nego je u isti mah iumjetnički postupak. Maruna je u crtežima napustio modeliranje iluzije prostora kako bi se približio ritmovimanježno intoniranih dekorativnih ploha apstrakcije. Čiste, obojane površine kojima crni potezi daju struktururasporeda i kompozicijske oblike, vrijedilo je naslijediti od Paula Gauguina (Eugène Henri Paul Gauguin, Pariz,7. lipnja 1848. – Atuana, Hiva Oa, Markižansko otočje, 8. svibnja 1903.) iz vremena Pont-Avena. Po uzoru naHenrija Matissea (Henri-Émile-Benoît Matisse, Le Cateau-Cambrésis, 31. prosinca 1869. – Nice, 3. studenoga1954.) Maruna je uspio u pokušaju napuštanja perspektivnog prostora i učvršćenja čovjeka, predmeta i predjelau njemu ostvarujući dvodimenzionalnu ravan ornamentalnih igara oblika. “Jaz koji je otkrićem perspektivneprirodne stvarnosti u renesansi nastao između zapadnjačke i istočnjačke umjetnosti je umanjen ili je odstranjenperspektivnošću Moderne”, rekao mi je u razgovoru Maruna. A rekli bismo, da je stvarnost koju su sazdaliumjetnici dvadesetog stoljeća uobličila novi poredak u kojem se susreću sve sastavnice umjetnosti. Danas,konceptualna umjetnost, koja više nije vezana za predmete tjelesne stvarnosti, pokušava dostići neku bit kojase čini srodnom osnovnoj zamisli umjetnosti. Umjetnost slikara Marune naslućuje ono što je mislio i Budakada je rekao: “Divno je gledati prirodu, strašno je biti prirodan”.

Ciklus grafika, koji je bio izložen na izložbi u Zagrebu 2004. godine u galeriji Forum, najizričitije predstavljakadrove s upisanim dominantnim vizualnim medijem kojeg oplemenjuje slikar s tekstualnim simbolom. Svegrafike tog ciklusa određuje suzdržana gama miješanih i prigušenih boja, ali i uspješna koloristička razigranost,rukopisna minucioznost, dok su sva slova i dalje ispisana grafičkim rukopisom. Radi se ponajprije o potrebi dase vizualnost grafičkog medija oplemeni egzistencijom riječi.

Kao i u prirodi, koja je puna protivnosti, tako se i u umjetnosti, koja slijedi prirodu, harmonija stvara od skladai nesklada, od složnog i nesložnog, od potpunog i nepotpunog. Zato bi se moglo reći da Maruna, potaknutdjelima i umjetnicima koje je promatrao, stvara nov, nevidljiv metafizički sklad u svojim grafikama. Njegovisasvim rani grafički radovi bili su doista figurativni. A put svođenja i sažimanja išao je preko asocijativnihuobličenja, znakovnih skraćenja, širenja bjeline papira. Nakon toga započinje tretirati sâm kadar vrtlogom boja,plohu po plohu, temperamentno i snažno kako bi dobio snažni otisak, poput ocrtavanja Božjeg zapisa u čovjeku.

III.

Slikar ratova i apokalipse

Marunine slike, ulja i akrili, nikad nisu bile uključene u neku od izložbenih dvorana u nas te tako nisu do danasni bile klasificirane ni etiketirane, te tako ni uklopljene u korpus naše “nove slike”. Sam povratak slikarstvu iulju i akrilu slikar je doživio kao osobni povratak purističkim i esencijalnim rješenjima, kao da mu je nedostajalata poveznica, nit koja uspostavlja najsretnije kontinuitete. Ta linija kontinuiteta uspješno je predstavljena naizložbi.

Možda smo najbliže odgonetci slikareva postupka ako pomislimo na neizostavnu dvostrukost: slikar izričitokaže da se u slici kompozicija mijenja zajedno s površinom kojom pokriva platno, a sam izraz tijesno je povezans rasporedom, proporcijama figura ili samo jedne figure, s prazninama između njih. Ukratko, sve ovisi o ideji

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što je umjetnik ima o slici. A od svega, što je zapravo najzačudnije, ne zanima ga mrtva priroda ni krajolik, negonapose figura kojom pokušava izraziti religijski osjećaj života. Zapravo, slikar stvara i pritom govori o višojkoncepciji slikarstva koja mu omogućuje da izrazi unutrašnje vizije.

Stoga i izgleda da u dvadesetom stoljeću svaka velika ličnost mora imati svoj vlastiti stil; svatko tko uistinuponire u svijet oko sebe, ili svijet što ga u sebi živi, iznosi iz njega posve osobno iskustvo. Zato i u umjetnostislikara Marune nalazimo toliko osobnih slikarskih znakova, simbola, alegorija, metafora. Osim toga, izvori sumu najrazličitiji, a to su književnost, pjesništvo, europska i španjolska mitologija. Dodala bih i izravnesvakidašnje dodire i događaje s inspirativnom prirodom i gradovima Španjolske. Odatle tolika mnogostrukosti raznolikost situacija za koje se zalaže umjetnik i što je ujedno najvrjednije naslijeđe Europe.

Najraniji strah čovječanstva zvao se Smrt. Smrt, a ne ubijanje, opterećivala je ljudsku dušu. Rat i razaranje bilisu u umjetnosti prvi prikazi ljudskog djelovanja. Nezaustavljiv, poput sila prirode, izgledao je i rat u Hrvatskoj.Rušenje Berlinskog zida u studenom 1989. simbolično je označilo početak novog razdoblja europske povijestiu kojem je u većini istočnoeuropskih država jednostranački, komunistički režim zamijenilo višestranačje idemokracija. Međutim, Hrvatska će morati proći teži put. Rat je Hrvatsku pogodio s pozicije velikosrpskedoktrine ciljano razarajući ne samo ljude nego i njene gradove, umjetnička djela, biblioteke, dakle, središtaidentiteta jednoga naroda. Nažalost, mnogo naše prošlosti leži pokopano pod ruševinama. Maruna, pogođenratom u Hrvatskoj, radi cijeli ciklus slika kojim pokušava obuhvatiti transpoziciju suvremenog ratnog zbivanjai to uspijeva ciklusom slika Vukovar i Raspeće. Kreativno znatiželjan a metjerski potkovan, Maruna je maštu ivještinu okušao na ciklusu slika Vukovar. Slika je to ljudi u bijegu, ljudi što hitaju u nepoznato, minirano, a prednjima su samo nepregledna polja kukuruza. Tehničko vođenje rata, danas kada rakete iz velike udaljenostirazaraju i pogađaju točno cilj, potire svaku mogućnost scenskog jedinstva u umjetničkom prikazu. Kako muslike ne bi djelovale namješteno i nepotpuno, slikar slika “stvarno razaranje” shvaćeno apstraktno a koje djeluje“elementarno”. Ne samo “ratnik” nego i čitavi narodi sada su ugroženi i moraju bježati. “Ljudi što bježe izcivilizacije 20. stoljeća, ljudi bez imena, ljudi, a ne junaci, to je što mene zanima”, govori Maruna. Kolektivnostkoja ne nastaje voljom svijesti, nego djelovanjem zajedničke sudbine: “Za ciklus slika Raspeće, poslužila mi jeslika, što ju je Picasso naslikao 1930. godine, a vidio sam je u Parizu, u Muzeju Picasso, i za koju se slobodnomože reći da je zagonetna (…) Ta slika do danas nije objašnjena, u ikonografskom pogledu, a čini mi se da će jošdugo proći vremena da je ljudi i struka shvati i objasni!” Slikarski postupak također utječe na stvaranje slika, tese tako i slika raspeća mijenja s vremenom. Vukovar je sada razapet na vrhu visokog bijelog i teškog monolita,sličan nekadašnjim gradskim neboderima.

IV.

Slikar Mediterana

Kroz brojne slike i grafike, krajem prošlog i početkom novoga milenija, raznim je naslovima htio reći kakoinsistira na spacijalnim atributima i punktovima. Ciklus akrila na platnu stvaran devedesetih godina prošlogstoljeća i prvih godina ovog, 21. stoljeća, naslovljen je Memorija prostora, Mjesečevi blizanci, Pašmanska memorija.Dakle, čitavo razdoblje obilježeno je terminologijom koja upućuje na korištenje površine kao nezemaljske, papo tome i idealne s onu stranu sveg razumskog, tj. egzaktnog. Intuitivno se Maruna približio takvoj koncepcijiprostora njegovim fragmentiranjem u skladu s ikonografijom djela, doživljajem prostora slike kao mjesta akcijei reakcije.

Rođenjem kontinentalac (ako zanemarimo da je moćna planina Velebit uronjena svojim južnim dijelom u more),odgojem otočanin bodul, životno vezan za pomorsku silu Španjolsku, svoj lapidarni stil i izraz vezuje za

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Mediteran. Slike iz ciklusa Morski zapisi (1990. – 2001.) slikane su jednim dijelom prema prirodi, no većina i neopisuje konkretni krajolik, nego im je nadahnuće iskustvo promatranja otoka i mora oko njega te su potaknutenjegovom širinom i dubinom i svim opasnostima i blagodatima što nam more pruža. Stoga i nije slučajnaprisutnost otvorene game i prevlast plavetnila. Slike ovog ciklusa nastale su iz osjećaja što ih grije priroda iplavetnilo njegovog Jadranskog mora, ali i čitavog Mediterana. I to je ono što ostaje u pamćenju, taj neobičnielan linija, i to je mjerilo kojem se sve pokorava. Postoji slika koja je zajednička svim stvarima, biljkama, drveću,životinjama i ljudima, slika nekog iskonskog “sretnog doba”, “radosti života”, figurama djece koja se prepuštajusuncu i moru, glazbi , ljubavi i užitku. “To sve sadrži slika Mjesečevi blizanci, gdje smo moj brat i ja i linije,nositeljice života, linije koje se protežu i vijugaju, takoreći protječu u zanosnom zamahu, istim ritmom uzrubove tijela ili uz tijela mladih začetaka punih cvjetova i krošnji i crne rupe u sredini.”

Aktualna izložba u svom slikarskom segmentu pokazuje autorove egzistencijalne afinitete i uspjehe i predstavljadug od pedeset godina zatajivanja ovog umjetnika u nas. Umjetnikova recentna djela na ovaj način trajno supohranjena u memoriju likovnog stvaralaštva Hrvata, ma gdje oni bili.

Zagreb, travnja 2016.

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Mediteran / Mediterranean / Mediterráneo, 2001.


Petar Pedro Maruna

THE EXPANSION AND CONTRACTION OF SURVIVAL

I.

Fifty years’ absence

What confuses us about the painter Maruna? The fifty-year absence? The injustice to all those who createdtheir art outside the homeland, while we in fact knew nothing about it, because neither the Croatian intellectualnor political scenes knew how to articulate examples of free intellectuals and artists. Maruna, as a painter andas an intellectual, is completely unrecognizable outside of that framework, because there was no tradition onwhich he could rely. Like his brother’s Boris and Šime, who did not accept life in the totalitarian system of theformer Yugoslavia, he opts to leave the country. The totality of understanding is gained only with this exhibition.Meanwhile, Maruna’s diverse activity on several fronts (drawings and prints, painting) was the subject ofnumerous interpretations in Argentina and in Spain, as well as throughout Europe. On every paper in everyscene, Maruna tries to stay with given and specified elements, or to intervene as little as possible with thosecomponents that can disrupt association and harmony. As the author’s age requires a complete retrospectivesurvey, and the exhibition offers only recording and systematising from the recent period, with this cataloguewe want to interpret his legacy of paintings and drawing and prints as a complete survey, and on anotheroccasion, we must promise ourselves and others a retrospective exhibition of the artists.

Maruna’s development and his divergence into a range of techniques and disciplines stems from his obsessionwith space. Maruna with his understanding of space definitely breaks the concept of space in the academicsense, as it was understood in the Renaissance and Baroque period. But there is something that is common toMaruna and Paul Klee. Paul Klee understood the universe as something alive and real, man is part of nature,part of the mountain range, Maruna used to say. In the beginning there is the work, says Paul Klee, but above thatis the idea. Maruna finds that religious aspect of his in the deep experience of nature, and from it creates hisown cosmogony. From a childhood spent observing nature, every bird, snake, tree, is a miracle for him. Eachpoint, each line, creates additional new mysterious phenomena that disassemble and reassemble and thusopposed form the body of the painting. The painter Maruna could deal with such requirements as he hascomprehensive knowledge, a penetrating power of perception and internal guidance, and thus also themeanings of his works are very complex and hermetic. A visit to Paris, and the then opened Centre GeorgesPompidou (the Centre opened on 31 January 1977) had decisive influence on Maruna. Along with the works ofJackson Pollock and Kazimir Malevič.

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Marija Valčić


II.

Prints and Drawings

Drawings from the signs and scripts series persist in their strong recognition of Eastern scripts, with strongcontrasts of black and white, as well as of fullness and emptiness. In these drawings, Petar Maruna has comefar in achieving a symbiosis of the Far East art world and the European spiritual attitude. His drawings andprints create a unity of figuration and abstraction; the human figure becomes a decorative element.

The spirit, form and techniques of East Asian ink painting have deeply and permanently penetrated into theconsciousness of modern European as well as American art. It was an inspiration, especially for those artistswho have turned from imitating reality and transmitting life-like images of reality through figuration andreplaced it with artistic symbols and signs of plunging and sensitivity. Even Maruna understood that theEssential can be expressed in written symbols.

It should be noted that in China and Japan the characters of the scripts have always been of dominantsignificance. The script was not only a means of conveying thoughts, but at the same time an expression of thewriter himself, and therefore the skill of expressing the concepts of material objects in the form of artistic signsled to the particular aesthetics of East Asian calligraphy, because now, for writers, writing means crafting animage. The artist Maruna, like many modern artists, senses the meaning of that calligraphy and experiences it

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Crtež / Drawing / Dibujo, 1965.


as a language that, in the depth and solitude of individual personality, can only be sensed and interpreted byplunging into it. It is safe to say that this concerns the communication side of formation. With the skill ofexpressing concepts for material objects in the form of artistic signs, the painter Maruna tells us this: to writemeans to create an image.

In each of us, artistically conscious observers, literal characters immediately awake thought associations. ForMaruna calligraphic forms are signs of an event that has already occurred, but which remains present as animage in the present. Even the smallest change is significant. That’s why we say that writing is not just thecommunication of a certain thought, but at once also an artistic process. In his drawings, Maruna abandonedmodelling the illusion of space, in order to approach the rhythms of gently intoned decorative surfaces ofabstraction. The clean painted surfaces by which black segments give the structure of an arrangement, thecompositional forms were worth inheriting from Paul Gauguin (Eugène Henri Paul Gauguin, Paris, 7 June 1848– Atuan, Hiva Oa, Marquesas Islands, 8 May 1903) from the Pont-Aven period.

From Henri Matisse (Henri-Émile-Benoît Matisse, Le Cateau-Cambrésis, 31 December 1869 – Nice, 3 November1954), Maruna has inherited and succeeded in attempting to leave the space of perspective and fixing of theperson within it, objects and landscapes, for a two-dimensional plane of ornamental forms. The gap whichemerged between Western and Eastern art by the discovery of promising natural reality in the Renaissance is reducedor removed by the perspectivity of modern art, Maruna told me in an interview. And we could say that the realitythat the artists of the twentieth century have constructed has shaped the new order in which all the elementsof art meet. Today, conceptual art, which is no longer related to the objects of physical reality, is trying to reachsome essence that seems related to the basic idea of art.

The series of prints, which were exhibited at the exhibition in Zagreb in 2004 at the Forum Gallery, mostexplicitly represents scenes inscribed with the dominant visual medium which the painter enriches with atextual symbol. All graphics from that series are determined by a reserved gamma of mixed and muted colours,but also a successful colouristic playfulness, a meticulousness of manuscript, while all the letters are still printedwith graphic handwriting. It concerns, above all, the need for visuality of the graphic medium to be ennobledby the existence of words.

As in nature, which is full of contradictions, thus also in art, which follows nature, harmony is created fromharmony and discord, of the harmonious and discordant, of the complete and incomplete. Therefore, it couldbe said that Maruna, inspired by the works and artists he observed, creates a new invisible metaphysicalharmony in his prints. Maruna’s very early graphic works were truly figurative. The path of reduction andcompression underwent associative embodiments, abbreviation of signs, expansion of the paper’s white space.After that he begins to treat the scene itself with a swirl of colours, surface by surface, temperamentally andpowerfully in order to obtain a strong impression, such as the sketching of God’s record in man.

III.

A painter of wars and the apocalypse

Maruna’s paintings in oil and acrylic were never included in any of the exhibition halls in our country, and soto date have neither been classified nor labelled, nor incorporated into the body of our “new painting”. Thereturn itself to painting in oil and acrylic was experienced by the painter as a personal return to purist andessential solutions, as if he missed that link, the thread that establishes the happiest continuity. This line ofcontinuity has been successfully presented at the exhibition.

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Perhaps we are closest to deciphering the painter’s process if we consider the inevitable duality, as the painterexplicitly states that the composition of the picture changes along with the surface by which it covers the canvas,and that very expression is closely associated with the arrangement, the proportions of a single figure or figures,with the voids that exist between them. In short, everything depends on the idea that the artist has about theimage. And most importantly, which is actually the most striking fact, it isn’t still life or landscape that interestshim, but in particular a figure by which he tries to express the religious feeling of life. The painter actually createsand thereby speaks of a higher conception of painting that allows him to express his inner visions.

With that, it seems that in the twentieth century every great personality must have his own style, everyonewho really delves into the world around him, or the world as he experiences it within himself, takes from it auniquely personal experience. That is exactly why, in the art of the painter Maruna, we also find so manypersonal painterly signs, symbols, allegories, and metaphors. In addition, his sources are the most diverse,namely literature, poetry, and both European and Spanish mythology. I would also mention the direct dailycontacts and events with the inspirational nature and cities of Spain. Hence so much multiplicity and diversityof situations for which the artist strives for and which, at the same time, is the most valuable legacy of Europe.

The earliest fear of humanity was called Death. Death, not killing, burdened the human soul. In art, war anddestruction were the first depictions of human activity. The war in Croatia also appeared to be unstoppable,just like the forces of nature. The demolition of the Berlin Wall in November 1989 symbolically marked thebeginning of a new era in European history, in which most Eastern European countries replaced the one-party,communist regime with a multiparty system and democracy. However, Croatia would have to navigate atougher road. The war impacted Croatia from the position of greater-Serbian doctrine and intentionallydestroyed not only the people, but also its cities, artworks, and libraries, i.e., the centre of its identity as a nation.Unfortunately, much of our past lies buried beneath the rubble. Maruna, affected by the war in Croatia, createsan entire series of paintings in which he attempts to encompass the transposition of contemporary wartimeevents and succeeds through a series of paintings Vukovar, and Raspeće [Crucifixion]. Creatively curious andwell-versed in his métier, Maruna tried his imagination and skill with the series of paintings titled Vukovar.The paintings are of people on the run, people rushing into the unknown, mined areas, and before them arejust endless fields of corn. Technical management of the war today, when missiles can wreak destruction fromgreat distances and strike a target with precision, erases any possibility of scenic unity in an artistic display. Sothat his paintings would not appear posed and incomplete, the painter paints “true destruction”, understandingit abstractly and acting elementarily. Not just the warrior, but also whole nations, are now at risk and must flee.People fleeing from the civilization of the 20th century, people with no names, people, not heroes, that’s what interestsme, says Maruna. Collectivity that is not created by the will of consciousness, but by the action of commondestiny. In the Raspeće [Crucifixion] series of paintings, I used a painting painted by Picasso in 1930, and I saw it inParis, in the Picasso Museum, and for which it is safe to say that it is enigmatic. Even until today, this painting hasnot been explained in iconographic terms, but it seems to me that it will be a long time yet before the people and theprofession understand and explain it! Painterly technique also influences the creation of the images, and thusthe Crucifixion painting changes with time. Vukovar is now crucified at the top of a tall white and heavymonolith, similar to city skyscrapers of the past.

IV.

Painter of the Mediterranean

Through numerous paintings and prints, at the turn of the new millennium he wanted to tell, with varioustitles, that he insists on spatial attributes and points. The series of acrylic on canvas created in the 1990s and

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the early years of this, the 21st century was titled Memorija prostora, Mjesečevi blizanci, Pašmanska memorija[The Memory of Space, Lunar Twins, Pašman Memory]. Thus, the entire period was marked by terminologywhich indicates the use of surface as otherworldly, and thus also ideal, beyond the rational or exact. Marunaintuitively approached this concept of space, fragmentation of space in accordance with the iconography ofworks, the experience of the painting’s space as a place of action and reaction.

An inlander by birth (if we ignore the claim that the southern part of the mythical mountain Velebit is immersedin the sea), by upbringing an islander (“bodul“), tied for life to the maritime power Spain, his lapidary style andexpression is linked to the Mediterranean. Paintings from the series Morski Zapisi [Records of the Sea] (1990-2001) are painted partly from nature, though most do not describe a concrete landscape but rather are inspiredby experience of observation of the island and the sea around it, and are driven by the breadth and depth ofthe sea and all the risks and bounty that the sea provides. Therefore the presence of an open gamma and thedominance of blue is certainly no accident. The paintings from this series were created out of a sense that theyare warmed by nature and the blue of his Adriatic Sea, but also of the whole Mediterranean. And this is whatremains in memory, that unusual enthusiasm of lines, and that is the standard to which all else is subordinate.There is a painting that is common to all things, plants, trees, animals and people, a painting of some primordialhappy time, the joy of life, figures of children who are left to the sun and sea, to music, love and pleasure. All thisis contained in the painting Mjesečevi blizanci [Lunar Twins], which depicts my brother and I and lines, the bearers oflife, lines that stretch and wind, so to speak, in flowing ecstatic swings, with the same rhythm along the edges of thebody or with the bodies of youthful beginnings full of flowers and trees and a black hole in the middle .

The current exhibition in its painting segment shows the author’s existential affinities and successes, andrepresents a debt of fifty years’ failure to recognise this artist in here. In this way, the artist’s recent works arepermanently stored in the memory of the artistic creativity of Croatians, wherever they may be.

Zagreb, April 2016

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Petar Pedro Maruna

SUPERVIVENCIA EN EXPANSIÓN Y CONTRACCIÓN

I.

Cincuenta años de ausencia

Que nos confunde del pintor Maruna? Cincuenta años de ausencia? Justicia para todos los que adquirieronreconocimiento fuera de su país de origen, por qué Croacia no fungía como escena intelectual, ni política, porqué no sabía cómo articular ejemplos de intelectuales y artistas libres, o tal vez fue no encajo en los marcostradicionales de la época? Maruna es un pintor e intelectual que no se le ha reconocido como es debido porqueno existía una tradición en la que él podría basarse. Sus hermanos Boris y Šime no fueron recibidos en su país,él no acepta vivir en un régimen de totalitarismo, por ello elige marcharse de Yugoslavia. Con esta exposiciónse pretende, a grandes rasgos, la apreciación general de su obra, sus ramificadas actividades en distintos telares:dibujos, gráficos y pinturas era entre tanto, como también una serie de interpretaciones en Argentina, Españay toda Europa. En cada papel, en cada trama, Maruna está tratando de plasmar elementos específicos, quesignifica intervenir lo menos posible en los componentes, los que pudiesen debilitar la lealtad y la coherencia.Ya en estos años de vida del autor, exige la plena revisión en retrospectiva que la exposición ofrece, en ella seencuentra el único expediente y sistema del período más reciente, con este catálogo se pretende que el públicointerprete su pinturas, gráficos y acervo como una visión general completa, en otra ocasión, prometemos anosotros mismos y los demás una exposición retrospectiva del artista.

El desarrollo de Maruna y expresión en la forma aunado a una serie de técnicas y disciplinas se deriva de suobsesión con el espacio. El artista con su entendimiento de las dimensiones definitivamente rompe con lanoción de estas, en el sentido académico, tal como se entiende el Renacimiento y en el Barroco. Hay algo quees común entre Maruna y Paul Klee, Paul Klee entiende el universo como algo vivo y real, el hombre es partede la naturaleza, es parte de la cadena montañosa, citando a Maruna. “En el principio es la obra,” a lo que PaulKlee expresa “pero por encima de la obra es la idea.”En su infancia, Maruna, observa la naturaleza, cada pájaro,serpiente, árbol, es como un milagro para él, encuentra en la naturaleza una profunda experiencia, y de allícrea su propia cosmogonía. Cada punto, cada línea crea nuevos y más nuevos fenómenos misteriosos que searman y se desmontan, así hacen el cuerpo del cuadro. Maruna podía lidiar con todos estos conceptos puescontaba con un amplio conocimiento, profunda percepción y sugestión interna, por todo ello sus obras soncomplejas y herméticas. Los principales contribuyentes de Maruna efectuaron una visita a París y al CentroGeorges Pompidou, abierto en 31 de enero de 1977, junto con las obras de Jackson Pollock y Kazimir Malevicha.

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Marija Valčić


II.

Graficos y dibujos

Dibujos de una serie de caracteres y letras insisten en un fuerte reconocimiento del occidente, particularmentedel contraste de los negros y blancos, así como del lleno y vacío. Pedro Maruna realizó la hazaña de dibujarhasta llegar a materializar una simbiosis entre la actitud espiritual de Europa y del lejano oriente. Sus dibujosy gráficos son creados en una unidad de figuración y abstracción, con ello la figura humana se convierte en unelemento decorativo. Espíritu, formas y métodos de la pintura con una técnica de tinta de Asia Oriental, conefecto profundo y duradero en la conciencia del arte de la Europa moderna y americana. Fue la inspiraciónespecialmente para aquellos artistas que iban más allá del alcance de la imitación de la realidad, la transmisiónde las imágenes similares a través de la figuración, la utilización de los símbolos, signos de descenso y lasensibilidad de la técnica de juego. Se comprende a Maruna, esencialmente, mediante la expresión de símbolosescritos que hábilmente plasma. Como un punto interesante podemos señalar que en China y Japón los signosde la carta (signos escritos) siempre tenían un carácter dominante. La carta no era sólo un medio para transmitirpensamientos y eventos, sino al mismo tiempo, era una expresión del escritor y por lo tanto también lamanifestación de las habilidades para expresar los conceptos de objetos materiales en forma de caracteres

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16. Mediteran / Mediterranean / Mediterráneo. 1993.


finos, con ello se condujo a una estética particular de la caligrafía de Asia Oriental, pues los escritores plasmaronmedios para formar una imagen. El artista, al igual que muchos otros exponentes del modernismo, descubrióel significado de la caligrafía, pues él lo encuentra como una lengua profunda de soledad, internándose en lapersonalidad individual donde puede detectar e interpretar. Se podria decir que se trata de una comunicaciónmediante el diseño y una habilidad de trasmitir las condiciones de los artículos materiales expresados enformas de caracteres es finos, el Pedro Maruna expresa: “escribir significa crear una imagen.“ En cada uno denosotros, observadores de mente-arte, los caracteres literales son inmediatamente asociaciones delpensamiento. Para el pintor en cuestión las formas caligráficas son signos de un evento que ya ha ocurrido,pero a medida que se conserva una imagen (como el pasado en el presente), el más pequeño cambio essignificativo. Por ello escribir no es sólo una declaración de pensamientos, es también un proceso artístico.En sus dibujos Maruna abandona un modelado de ilusión de espacio para aproximarse en los ritmosdisonantes, con ello suavemente culmina en la abstracción superficies decorativas, disminuyendo los coloresen la superficie, con el cual el negro genera movimiento y finaliza otorgando una estructura de disposición yformas de composición, que es digno de la herencia de Paola Gauguin (Eugène Henri Paul Gauguin, París 7 deJunio de 1848 – Atuan, Hivaoa, Islas Marquesas 8 de mayo de 1903) desde el tiempo de Pont-Avena. De HenriMatisse (Henri-Émile-Benoît Matisse, Le Cateau-Cambrésis, 31 de Diciembre 1869 – Niza 3 de Noviembre de1954). A su vez Maruna heredó las bases y una paleta de color especial, que ha llevado a un plano bidimensionalcon un juego de formas ornamentales, ha logrado plasmar objetos, regiones en dos dimensiones, espacios conornamentación y juegos con formas. Ha marcado brecha des cubriendo una perspectiva de la realidad naturaldel renacimiento creada entre el arte occidental y oriental. Maruna refiere que la realidad que construyeronlos artistas del siglo XX nos indica la gestión para hacer visible su relación con la realidad, para crear una actualforma de un nuevo orden en el que se reúnen todos los elementos del arte. Hoy el arte conceptual, que noestá relacionado con los objetos de la realidad física, trata de llegar a un fondo que parece relacionarse con laidea básica del arte oriental.

En Zagreb en 2004 en la Galería Forum, se expuso un ciclo de gráficos, representando, de la manera másexplícita, el personal inscrito con los medios de comunicación visual dominante que enriquece al pintor conel símbolo de texto. Todos los gráficos de este ciclo muestran una gama de colores mezclados y apagados, perotambién con éxito la exuberancia colorista y minuciosidad del manuscrito, mientras que todas las letras siguenimprimiéndose con escritura gráfica. Se trata, sobre todo, de la necesidad de que advierte el medio gráfico,ennoblecer la coexistencia de las palabras. La naturaleza, la cual está llena de contradicciones, se asemeja alarte, y se representan a sí mismas, de tal manera existe armonía y discordia, complejidad y fragmentación,completo e incompleto. Por lo tanto, se podría decir que Maruna, ha impulsado con obras e inspirando a artistasque observan y crean una nueva armonía metafísica visible en sus gráficos, pues sus obras ilustrativas desdemuy temprano eran verdaderamente figurativas. Un camino de incrementar la compresión fue a través deasociativos, y la segmentación de signos plasmados en el papel blanco. Después de esto él comienza a tratarsea sí mismo como un remolino de colores, punto por punto, temperamental, recio, con el fin de obtener unafuerte impresión, fruto de un testimonio de la divinidad dentro del hombre, y entre las personas. Pinturas deMaruna, óleo y acrílico, nunca fueron incluidos en ninguna de las salas de exposiciones de Croacia y hasta hoynunca fueron clasificados o marcados, por ello no fueron incorporados en el cuerpo de nuestra nueva imagen.En la pintura de aceite y acrílico, el artista es visto retomando un camino de regreso hacia lo personal, alpurismo y a las solución esenciales, reanudándose con causas intrínsecas, de tal forma, perdiendo así laconexión con la continuidad.

Esta línea de continuidad se ha presentado con éxito en la exposición. Tal vez estamos más cerca de descifrarel procedimiento del pintor si se tiene en cuenta la dualidad inevitable. Maruna estipula que la composiciónde la imagen cambia junto con un área del lienzo, y el término está estrechamente relacionado con el calendario,

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las proporciones de una sola figura o figuras y con las brechas entre ellos. En resumen, todo depende de la ideadel artista sobre la imagen. Así es en realidad más particular, pues él no está interesado en la naturaleza muertao el paisaje, sino en la figura con la que trata de expresar el sentimiento religioso de la vida. En realidad el pintorcrea, y con ello habla de un concepto más elevado de la pintura que le permite expresar su visión desde elinterior. Por tanto, parece que en el siglo XX, cada artista parece tener su propio estilo, cada uno se zambulleen el mundo que le rodea aunado al mundo que vive dentro de él, regalándonos una experiencia personal. Poreso en el arte de Pedro encontramos tantos signos de pintura, símbolos, alegorías, metáforas personales.Además sus fuentes icono gráficas son las más diversas, la literatura, la poesía, la mitología de España y deEuropa. De la misma manera los contactos y eventos directamente inspirados en la naturaleza y ciudades deEspaña. A partir de eso viene la gran multiplicidad y la diversidad de situaciones de contienda que ha vivido elartista y lo que es la herencia más valiosa de Europa.

III.

Pintor de guerras y el apocalipsis

El miedo más profundo de la humanidad se le conoce con la palabra muerte. La muerte o no morir acompañanal alma humana por siempre. La guerra y la destrucción en arte fueron las primeras representaciones artísticasda la actividad humana. Como el incontenible poder de la naturaleza, así era la guerra en Croacia. La caída delmuro de Berlín en Noviembre de 1989, simbólicamente marcaba el comienzo de una nueva era en la historiaeuropea en la que, en la mayoría de los países del Este de Europa, el partido único, régimen del comunismo,fue reemplazado por pluripartidismo y democracia. Sin embargo Croacia tendría que pasar por un camino másdifícil. La guerra golpeó el país desde el flanco de la doctrina de gran agresión Serbia, habiendo daños no sóloa los individuos, sino también a ciudades, obras de arte, cultura, historia, bibliotecas, en suma, el centro de laidentidad de una nación.

Maruna, afectado con la guerra que sucedía en Croacia, se encontraba haciendo toda la serie de pinturas conlas cuales intenta capturar la transposición de acontecimientos de la guerra y logra expresar esto a través deimágenes “Vukovar” y “Crucifixión”. Creativo y curioso, Maruna implementa su imaginación y talento en elciclo de obras “Vukovar”. El cuadro muestra a la multitud que se dirige hacia lo desconocido entre minas paraencontrarse finalmente con un sinfín de campos de maíz. Así también describe con su obra la gestión técnicade la guerra, como cuando los misiles de larga distancia impactan y destruyen el objetivo preciso, elimina todaposibilidad de la unidad escénica en una exhibición artística. Ya que sus cuadros no habrían sido convencionalesy se encontraban incompletos, el artista comprende la destrucción como un acto abstracto que traduce a unaforma pura en su obra.

No sólo un guerrero sino también toda la nación ahora están en peligro y deben escapar. La gente huye de lacivilización del siglo XX, la multitud sin nombre, personas, no héroes, eso es lo que me interesa, dice Maruna.Colectividad que no se crea por la voluntad de la conciencia, sino con la acción de un destino en común.

En el ciclo de pinturas “Crucifixión” que Picasso pintó en 1930, en París, para ser más exactos en el Museo dePicasso, se puede describir que es francamente desconcertante. Esta obra, hasta hoy no está explicada, en términosiconográficos, y parece que va pasar mucho tiempo para que la gente y los profesionales la entiendan y expliquen.

La técnica de su pintura tiene efecto en esta obra, por ello la obra “Crucifixión” se cambia con el tiempo.“Vukovar“ está puesto ahora en la parte superior del alto monolito blanco y pesado, similar a los antiguosrascacielos de la ciudad.

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IV.

Pintor del Mediterráneo

A través de numerosas pinturas y grabados en el pasado y en el umbral del nuevo milenio con diferentes títulos,se puede decir que insiste en los atributos espaciales y puntos. Un ciclo acrílico el cual creó en los noventa delsiglo XX y en el primer año del siglo XXI que fue titulado “Memoria de espacio”, “Los gemelos de la Luna”, “Lamemoria de Pašman”. Así que, todo el período está marcado con la terminología que refiere al uso de lasuperficie como “no terrenal“, sin embargo, de ese ideal parte su racionalidad, es decir su exactitud.

Maruna intuitivamente se acercó a este concepto de espacio, a la fragmentación del espacio de acuerdo con laiconografía de las obras, sintiendo e imaginando el espacio como un lugar de acción y reacción. Nació cerca deuna montaña, lejos del mar, (si ignoramos una parte de la mítica montaña de Velebit que se encuentra en elmar), creció en la isla de Pašman, relacionado con el poder marítimo España, su estilo y expresión estáconectado con el Mediterráneo.

Cuadros del ciclo “Morski zapisi” (Notas marinas, 1990-2001) algunos inspirados en la naturaleza, la mayoríano describen un paisaje concreto, no obstante se inspiran en la experiencia de la observación de la islas y elmar alrededor de esta, son impulsados por la amplitud, profundidad, riesgos y beneficios que el mar nos brinda.De este modo, no es accidental la presencia de la predominante gama de azules. Cuadros de este ciclo fueroncreados desde un sentido cálido de naturaleza y por supuesto del azul del Mediterráneo. Y esto es lo que nosqueda en la memoria, esta línea es tan delgada e insólita que termina siendo la medida que obedece. En estasobras hay una imagen en común de todas las cosas, las plantas, los árboles, los animales y las personas, quemayormente proyectan imágenes de un tiempo feliz, la alegría de la vida en figuras de niños que se encuentranbajo el sol o frente al mar, la música, el amor y el placer. El cuadro “Mjesečevi blizanci” (Parto multiple luna)contiene todos esos elementos. El cuadro muestra mi hermano, yo y líneas, líneas de vida, las líneas que se extiendensinuosas, por así decirlo, en una corriente de oscilación de éxtasis al mismo ritmo a lo largo de los bordes del cuerpo,o con el cuerpo de los comienzos jóvenes llenos de flores y árboles y el agujero negro en el centro dice Maruna. Laexposición actual en su segmento artístico muestra el triunfo existencial y afinidad del autor, muestra la historiaa largo plazo como un no reconocido artista de Croacia. De esta manera obras recientes del artista estánalmacenadas permanentemente en la memoria de la creatividad artística de croatas, dondequiera que seencuentren.

Zagreb, Abril de 2016.

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REPRODUKCIJE / REPRODUCTIONS / REPRODUCCIONES


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Mediteran I / Mediterranean I / Mediterráneo I, 2001.


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2. Mrtva priroda / Still life / Bodegón, 1967.


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3. Memorija / Memory / Memoria, 1995.


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4. Memorija / Memory / Memoria, 1993.


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5. Mjesečevi blizanci I. / Lunar Twins I /Parto multiple luna I, 2001.

7. Mjesečevi blizanci IV. / Lunar Twins IV / Parto multiple luna IV, 2000.


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8. Zlo / Evil / Mal, 2009.


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11. Vukovar III., 1991.


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28

10. Vukovar, 1991.


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30

12. Raspeće / Crucifixion / Crucifixión, 1995.


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14. Znak I. / Sign I / Símbolo I, s. a.

15. Znak II. / Sign II / Símbolo II, s. a.


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20. Drug / Freind / Amigo, 1972.


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18. Memorija III. / Memory III / Memoria III, 2001.


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17. Memorija XIV. / Memento XIV / Memoria XIV, 1993.


DOKUMENTACIJA

Životopis

1938.

Rođen je u mjestu Potprag na južim obroncima Velebita kao prvorođeni sin majke Marije Čiklić iz Dobropoljane na Pašmanui oca Grge, građevinskog radnika, cestara. Vrijedi zabilježiti da obitelj, majka i tada četiri sina, sami borave u surovim, ali iprirodom opjevanim ljepotama mitske planine Velebit dok otac nadniči daleko od mjesta boravka. Ratni vihor ubrzo dolazii do njih na Velebitu te se majka sa sinovima sklanja u obližnji Obrovac. Međutim, Obrovac im pokazuje svoje drugo lice:ne prihvaća ih tada većinsko, pravoslavno stanovništvo, a ratno je ozračje tome još više doprinosilo. Kako bi preživjeli,sklanjaju se u Dobropoljanu na Pašmanu.

1949. – 1960.

Obitelj 1949. godine seli u Zaprešić gdje braća Maruna pohađaju osnovnu školu. Petar Maruna pohađa i završava gimnazijuu Zagrebu. U Zagrebu pokušava upisati Likovnu akademiju (1958. i 1959.). U novoj sredini Petar otvoreno iskazuje svojučvrsto usađenu želju za umjetničkim izražavanjem, kao i dvije godine mlađi mu brat Boris. Iz toga se mladenačkog vremena

sačuvao pokoji crtež, objavljen u tadašnjem Poletu u čijem je uredništvu radioi ilustrator Vilko Selan Gliha, a gdje je već 1957. godine i brat Boris objavljivaosvoje prve pjesme. Sadržaj i klasična kompozicija jasno upućuje na poznatepopratne crteže iz tog vremena, ali ipak neuobičajena interpretacija samepoezije koju crtež prati otklon je od plošnih, statičnih kompozicija rađenih nazadanu temu. Nedvojbeno, ovo, po godini nastanka mladenačko, a po snaziumjetničkog izraza, zrelo djelo, svrstava Marunu u red onih koji su ranoprepoznali svoj put te ga isprepleli s mnogim recentnim, a različitim slikarskimkoncepcijama i izrazima. Snažni je likovni senzibilitet odlučno discipliniraopriklanjanjem crtežu, izgradivši prepoznatljiv stil koji s lakoćom cijenimo podosegnutom skladu njegova intelektualnog i umjetničkog života. Odlazi sbraćom na izložbe i u kina po Zagrebu. Fasciniraju ga boje na platnu i filmoviEsther Williams (Sea of the Moon), Alibaba i četrdeset razbojnika. Prelistava

monografska izdanja ponajprije Henrija Matissea a zatim Picassa.

Tijekom ne tako davnog susreta u njegovu atelijeru u Aranjuezu, izjavio je: “Prvu izložbu, koju pamtim, bila je izložba JosipaVanište sa slikarom Miljenkom Stančićem 1952. u MUO u Zagrebu . I veliki Krleža je bio među posjetiteljima. Ušao je,predstavio se i bacio pogled na nekoliko slika. Onda se okrenuo, rekao da mu smetaju posjetioci i da možda i on nekomesmeta i izašao iz dvorane. Bilo je to vrijeme EXAT-a, redovitih kolektivnih izložbi ULUH-a., bili smo željni kruha, a tolikoumjetnosti je bilo oko nas. Izlazio je Narodni list tiskan tako sitnim slovima, djelomično i zbog oskudice papira, da ga je mojotac čitao uz povećalo. Izložbe su posjećivali krajnje skromno odjeveni ljudi, prostori za izlaganje bili su puni znatiželjnogsvijeta, gladnih umjetnosti. Bilo je to još uvijek vrijeme točkica, jelo se u menzama, slavio Prvi maj. Prošlo je strašno mnogovremena od toga, kao da je bilo jučer.”

U razgovoru Maruna se vraća u 1953. godinu i na Putarov tekst o nastupu EXAT-a 51 koji se zalagao za apstraktnu umjetnosti sintezu svih disciplina likovnog stvaralaštva, gdje je pronašao u njemu i odgovor na tada nuđene kritičke opservacijeteoretičara Gamulina, opservaciju o “kolonijalnom duhu” naše apstrakcije, koja, budući da je import i pomodno oponašanjeeklatantno građanske kulture, ne nalazi stvarnih uporišta u socijalnoj stvarnosti i vizualnom iskustvu hrvatskog društva.Maruna nalazi da su takvi izmijenjeni i promjenjivi socijalni odnosi “dinamični i obiluju mnoštvom novih vidova stvari i

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Prva nagrada za crtež / First prize for drawing /Primer premio de dibujo, Zagreb, 1951.


pojmova”, nadajući se da će i on sam moći imati dovoljno prilike da o tome i o sebi u tom svijetu iskaže zaista nove likovnemisli i osjećaje. Nijanse su jednako potrebne i kod ocjene zbivanja u ranom poraću, iako je činjenica da razdoblje socijalističkogrealizma u našoj umjetnosti traje relativno kratko i da su njegove posljedice manje drastične nego u drugim zemljama “real-socijalizma”. No, unatoč tome, brzina kojom su se odmah nakon prvih znakova liberalizacije počeli javljati novi oblici likovnogizraza, danas se čini upravo začudnom. Na pomolu je inauguracija nove politike otvaranja. Umjetnička djela nastala u okriljuspecifičnog oblika “duhovnog egzila” koja su omogućila da se posve ne prekinu neke bitne linije kontinuiteta hrvatskemoderne umjetnosti, do tada pažljivo skrivana po zakutcima privatnih atelijera, počela su izlaziti na svjetlo dana.

Iste godine Maruna se susreće s apstraktnom umjetnošću Ede Murtića na izložbi “Doživljaj Amerike”. Nakon izložbesuvremene francuske umjetnosti 1952. godine, državne se granice otvaraju izložbama recentne europske umjetnosti i uZagrebu će se sljedećih godina moći vidjeti pregledi švicarske, belgijske, talijanske i njemačke suvremene likovne produkcije,te velika i poticajna izložba crteža i skulptura Henryja Moorea u Umjetničkom paviljonu.

Osim izravnih susreta sa suvremenim europskim stvaralaštvom, ključni događaj koji će u mnogome presudno utjecati naemancipaciju hrvatske likovne scene, bilo je otvorenje Galerije suvremene umjetnosti u Zagrebu 1955. godine. Međutim, uvrtlogu događanja, dobro raspoznajući znakove vremena, braći Maruna potpuno je jasno da to nije dovoljno, te da bi u

trenucima dok čekaju neka bolja vremena u “kući svogaoca” jednostavno mogli nestati, te se spremaju na bijeg.

Godine 1960. bježi, (odnosno, bolje rečeno, odlazi uprogonstvo) s dvojicom braće u Italiju. Jedan od njih jeveć spomenuti hrvatski pjesnik Boris Maruna (1940. –2007.). Po prvom bijegu iz zemlje bivaju uhvaćeni iprovode osam mjeseci u zatvoru. Nakon toga ponovopokušavaju pobjeći i domoći se Italije. U izbjegličkimlogorima provode osam mjeseci. Borave u tri kampa uItaliji: u Trstu u San Sabi, zatim nedaleko od Napulja uSan Antoniju i onda u Pontecagnanu u Capui,najstarijem gradu u Italiji. U razgovoru sjećanja naviru:“Nacrtao sam prizor s jedne plaže u Napulju i s timcrtežom sam se upisao na Likovnu akademiju uCordobi”. U tih osam mjeseci što ih braća provode pologorima Italije, njihovo ponašanje i interesi i nisu bašu skladu sa situacijom koja ih je snašla. Braća kratevrijeme obilazeći po Napulju crkve, razgledavajući

umjetnine, a Petru Maruni posebno je ostao u sjećanju Caravaggio i njegova slika Bičevanje Isusa u muzeju Capodimonte.Još se i danas sjeća sjena koje su padale na sliku tog jutra kada su se braća zatekla u muzeju. Tek će kasnije, na Akademiji uArgentini u Cordobi i Buenos Airesu, proučavajući umjetnost i slikare, shvatiti tu uporabu svjetlosnih efekata, preciznijerečeno, svjetlosti u sjeni velikog Caravaggia, tu njegovu radikalnost, realizam prikazanja modela, koja mu je osiguralajedinstveni položaj u povijesti umjetnosti. Pozadina slike je crna, a Isus je osvijetljen ukoso kao da na njega pada svjetlostreflektora. Oni koji ga muče, okrenuti su od svjetla nalaze se u polusjeni. „Taj chiaroscuro efekt niti jedan slikar, nakonCaravaggia nije mogao na slikama izostaviti“, sjećanja su to koja je Maruna podijelio s nama.

1961. – 1969.

Godine 1961. emigrira s braćom u Argentinu, u Cordobu. Od 1962. do 1964. radi s argentinskim slikarom Ernestom Farinom.Na Likovnu akademiju u Cordobi upisao se 1963. Crtež nacrtan crvenim i crnim tušem u Napulju, koji mu je bio ulaznicaza Akademiju, izlaže iste godine na izložbi u Buenos Airesu i postiže veliki uspjeh. Mnogi slikari i posjetitelji izložbe obraćaju

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Obitelj Maruna na okupu, Zaprešić, 1959; s lijeva na desno: brat Boris, otac Grga,Petar, majka Marija i brat Šime. / Family Maruna together, Zaprešić in Croatia, 1959;from left to right: brother Boris, Grga father, Peter, mother Mary and brother Šime./ Familia Maruna juntos, Zaprešić en Croacia, 1959; de izquierda a derecha: elhermano Boris, Grga padre, Pedro, la madre María y hermano Šime.


mu se s poštovanjem i divljenjem. Na izložbi ga jepotražio spomenuti Ernesto Farina, slikar talijanskihkorijena koji je Maruni ponudio suradnju i zajedničkirad u svom atelijeru. U prvom je kontaktu slikar Farinamislio da razgovara s umjetnikom talijanskogpodrijetla, na što mu Maruna spremno odgovara da jeon Hrvat, ali da je kulturom i Talijan budući da jesazrijevao čitajući Manzonija, Dantea i Leopardija. Nasebi je Maruna taj dan imao bijelu košulju i traperice,23 godine i mnoge svjetove u glavi. Objeručke jeprihvatio prijedlog da radi za Ernesta Farinu. Radio jena izradi grafičkih mapa od ponedjeljka do petka i ujednom tjednu već je mogao zaraditi polovicu plaće.Atelijer je imao zaposlena još tri slikara i dva dizajnera.Uspješan slikarski rad za slikara Farinu naprasno jeprekinut jer su nagovještaji za nadolazeći državni udarbili sve očigledniji. Nakon vojnog udara i obaranjaPeróna s vlasti (1955.), uslijedilo je razdoblje političkenestabilnosti u Argentini s čestim državnim udarima

(1962., 1966., 1971.). Na predsjedničkim izborima 1972. pobijedio je peronistički kandidat Héctor Cámpora koji je iduće godineomogućio Perónu ponovno preuzimanje vlasti. No, Maruna se tada već nalazi u Španjolskoj na svom novom slikarskom iživotnom početku. Sva nastojanja Farine da se Maruna vrati u Argentinu i nastavi rad u studiju ostala su neostvarena.

Godine 1964. odlazi u Madrid i nastavlja studij na Visokoj školi lijepih umjetnosti San Fernando kao stipendist OCAU.(Organización Católica de Asistencia Universitaria) gdje i diplomira 1969. Od 1969. do 1982. godine živi i radi u Malagi,oženivši svoju kolegicu s posla na školi, Marisu, koja mu postaje oslonac i vertikala i u privatnom i društvenom životuuspješno razumijevajući njegovu umjetnost.

1974. – 2016.

Španjolsko državljanstvo Maruna dobiva 1974. godine. Svoju izložbenu aktivnost, koja traje do današnjih dana, započeo je1962. godine. Sastoji se od pedesetak samostalnih izložbi i više od stotinu skupnih. Malo se toga u Hrvatskoj zna o radu idjelatnosti ovog umjetnika, no malo se toga uopće zna o djelatnosti iseljenih hrvatskih umjetnika. Tako u Hrvatskoj reviji,publikaciji Matice hrvatske, u prvome broju iz 2010. godine, autor Gojko Borić prvi put piše sustavni pregled o djelovanjui životu iseljenih Hrvata u Španjolskoj i pritom spominje rad Petra Pedra Marune i njegovo djelovanje u Madridu,Španjolskoj.

Čudno je da u mnogim tiskovinama u kojima se istraživalo djelovanje hrvatskih emigranata koji su nakon Bleiburga,uglavnom preko Italije, našli utočište u mnogim državama, pa tako i u Španjolskoj, postoji samo jedan sustavni tekst oHrvatima u glavnom gradu Španjolske, i to tekst spomenutog autora Borića. Čak ni u monumentalnoj knjizi trojiceistraživača: Ivana Čizmića, Marina Sopte i Vlade Šakića, Iseljena Hrvatska (Golden marketing – Tehnička knjiga, Zagreb,2005.) nema posebnog poglavlja o Hrvatima u Španjolskoj. Ipak, ponešto se o Hrvatima u Španjolskoj može naći u novomnakladničkom projektu, Leksikonu hrvatskog iseljeništva i manjina (Hrvatska matica iseljenika i Institut društvenih znanostiIvo Pilar – elektroničko izdanje, inačica tiskovnog izdanja). Projekt je to od prvorazredne nacionalne važnosti, na inicijativuZdenke Babić Petričević, predsjednice Matičina Upravnog odbora i saborske zastupnice. Rad na tom projektu, u kojem susudjelovali brojni hrvatski i međunarodni znanstvenici i stručnjaci na području migracija i iseljeništva (među kojima su ioni iz Leksikografskoga zavoda “Miroslav Krleža” te Nacionalne i sveučilišne knjižnice), započeo je 2007. godine. NaslovnicaLeksikona, slika Historica Croatica, rad je hrvatskog slikara iz Australije Charlesa Bilicha. Stoga, doista malo znamo o životu

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U stanu pjesnika i novinara Vinka Nikolića, Buenos Aires, Argentina, 1963.; s lijevana desno: brat Boris, brat Šime, gospođa Nikolić, Vinko Nikolić i Petar Maruna. / Inthe apartment of the poet and journalist Vinko Nikolic, Buenos Aires, Argentina,1963; from left to right: brother Boris, brother Šime, Ms. Nikolić, Vinko Nikolić andPedro Maruna. / En el apartamento del poeta y periodista Vinko Nikolić, BuenosAires, Argentina, 1963; de izquierda a derecha: hermano Boris, hermano Šime, Sra.Nikolić, Vinko Nikolić y Pedro Maruna.


i radu mnogih istaknutih Hrvata u Španjolskoj, a mnogi od njih su i profesionalno i kao ličnosti ostavili brojne kulturne iznanstvene zasade koje danas baštini i tako velika zemlja kao Španjolska. Dijelu onih koji su krenuli u nepoznato i našli seu Španjolskoj pomogla je Crkva. Stoga jer se Crkva u Španjolskoj, poučena iskustvom Građanskog rata (1936. – 1939.),spremno odazvala pozivu pape Pia XII. (1876. – 1958.), omogućivši tako velikom broju izbjeglih, posebno intelektualaca, daili nastave studij u Španjolskoj ili da se zaposle u odgovarajućim odgojnim, obrazovnim i kulturnim institucijama. Sve seprovodilo posredstvom organizacija OCAU (Organización Católica de Asistencia Universitaria) i OCARE (OrganizaciónCatólica de Asistencia Refugiados de Espańa) koje je osnovala Biskupska konferencija Španjolske na Papino izravno traženje.U predgovoru Statuta obiju organizacija piše: “OCAU i OCARE osnivaju španjolski katolici s nakanom da pomognustudentima i intelektualcima iz istočne i srednje Europe čije se zemlje nalaze pod komunističkom vlašću. Na ovo nasobvezuje kršćanska solidarnost u ovom teškom povijesnom trenutku, i to je naš odgovor na poziv Crkve.” Prva se u pružanjupomoći iskazala međunarodna organizacija katoličkih sveučilištaraca Pax Romana kojom je tada predsjedao Španjolac prof.Joaquin Ruiz Giménez. Na kongresu u Londonu u kolovozu 1945. pozvane su nacionalne podružnice da “prouče mogućnostipomaganja izbjeglim studentima”. Španjolska podružnica Pax Romane ubrzo započinje pripreme za osnivanje OCAU-a, štoje uslijedilo već 1946. godine. Osnivanje institucija OCAU i OCARE odvijalo se u razdoblju kad Španjolska proživljava velikenedaće. Građanski rat iza sebe ostavio je oko dva milijuna žrtava, porušene gradove i sela. K tomu, iako je bila neutralna uDrugom svjetskom ratu, postala je žrtvom mirovnih dogovora saveznika. Godinama je podnosila ekonomsku blokadu ipolitičku izolaciju i tek je 1952. bila primljena u Ujedinjene narode. Pomaganje izbjeglim sveučilištarcima i intelektualcimaznačilo je materijalno osiguranje i pružanje mogućnosti studiranja te stvaranja pogodnog ozračja kako bi se, kako piše uPovelji OCAU-a, “pridonijelo svestranoj intelektualnoj, stručnoj i duhovnoj izgradnji” stipendista. U tom nastojanju i premanakanama korisnika pomoći, sveučilištarci su činili tri skupine. Većina je odlučila započeti ili nastaviti studije u Španjolskoj,drugi su koristili privremeni boravak očekujući odlazak u druge zemlje, a treći, najčešće svećenici i svećenički kandidati,dobili su povlasticu besplatnog upisa i studiranja na fakultetima. Petar Maruna odlučio se za studij na Visokoj školi lijepihumjetnosti San Fernando.

Mediji su naveliko pisali o Maruninu stvaralaštvu njegova životnog i umjetničkog razdoblja u Španjolskoj, a mi u monografijiprikazujemo preslike samo nekih objavljenih kritičkih osvrta. Valja pamtiti da je Španjolska zemlja brojnih slikara, pa akostranac, makar i španjolski državljanin kao što je Maruna, biva hvaljen, onda je to mnogo veći uspjeh no što ga imaju domaćiumjetnici. Maruna je kao grafičar dobio dvije španjolske nacionalne nagrade (1987. Cadaques, Barcelona i 1988. Ramos,Ferrol), a njegove slike nalaze se u mnogim muzejima, od kojih ćemo u nastavku spomenuti samo one važnije. Od prvegodine svoga života u Španjolskoj Maruna je njegovao naklonost prema španjolskoj kulturi i vrijeme je provodio pomuzejima, osobito u Pradu, gdje je učio od velikana Goye, Picassa, Velázqueza. Izlagao je, osim u Argentini i Španjolskoj, i uŠvicarskoj. Na izložbi u Lausannei u samo jednom danu prodane su mu sve grafike i crteži. U Zagrebu, gradu u kojemu jeproveo ranu mladost, slikar izlaže prvi put 2004. godine. Recentni opus od tridesetak grafika i crteža predstavio jezagrebačkoj publici u prostoru galerije Forum i likovnom postavu Milana Bešlića.

Rezimirajući dosadašnji slikarski opus Petra Marune, čini mi se potrebnim naglasiti da će sa samo dvije izložbe u domovininjegov doprinos hrvatskom slikarstvu biti značajan i dragocjen. Nakon velikih izložbi, međunarodnih priznanja i nagrada,

ovdje izložene svjetovne i sakralne slikarske teme kojima se Maruna unatragniza godina predano posvećuje iskušavajući vlastite granice senzibiliteta, diosu opusa neupitne estetske i umjetničke vrijednosti.

Umjetnik živi u nekadašnjoj proljetnoj rezidenciji španjolskih kraljeva umjestu Aranjuez u blizini Madrida gdje ima atelijer u kojem je sve donedavnointenzivno slikao. Mnogima je ovo mjesto poznato ne samo po upisu uUNESCO-vu listu zaštićene baštine već i po poznatom koncertu, (1939.),skladatelja Joaquína Rodriga, Concierto de Aranjuez, kojim je proslavljeno ovomjesto širom svijeta, koncertu koji još uvijek odzvanja u kući umjetnikaMarune.

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Petar Maruna / Peter Maruna / Pedro Maruna, Aranjuez, 2001.


DOCUMENTATION

Biography

1938

He was born in Potprag on the southern slopes of Velebit as the firstborn son of his mother Marija Čiklić from Dobropoljanaon Pašman and his father Grga, a construction worker and roadbuilder. It is worth noting that the family, the mother andher four sons, lived alone in the raw but also naturally adorned beauty of the mythical mountain of Velebit, while the fatherlaboured away far from their home. The winds of war soon catch up with them on Velebit as well, and the mother with hersons takes refuge in nearby Obrovac. However, Obrovac shows them its other side, as they are not accepted by then majorityOrthodox population, a situation to which a wartime atmosphere contributed even more. To survive, they take refuge inDobropoljana on Pašman.

1949 – 1960

In 1949, the family moves to Zaprešić, where the Maruna brothers attend primary school. Petar Maruna attends and finisheshigh school in Zagreb. In Zagreb, he tries to gain admission to the Academy of Fine Arts (1958 and 1959). In the newenvironment, Petar openly expresses his deep-seated desire for artistic expression, as does his two-years-younger brother,Boris. The odd drawing from this youthful time has been preserved, published in Polet magazine of the time, where theillustrator Vilko Selan Gliha worked in the editorial office, and where his brother Boris had already published his first poemsin 1957. The content and classical compositions clearly indicate known background drawings from that time, but the stillvery unusual interpretation of poetry itself, which the drawing follows, is a deflection from the flat, static compositionscreated by others, on a given theme. Undoubtedly, this is the year when the youthful, but by the force of artistic expressionmature work places Maruna amongst those who recognised their path early and intertwined it with many recent butdifferent artistic concepts and expressions. He determinedly disciplined a powerful artistic sensibility by inclining towardsdrawing, constructing a distinctive style that is easily appreciated by the achieved harmony of his intellectual and artisticlife. With his brothers he visits exhibitions and cinemas around Zagreb. Fascinated by colours on the screen and the filmsof Esther Williams (Sea of the Moon) and Alibaba and forty thieves. He leafs through monographs, primarily those of HenriMatisse and then Picasso.

During the not-so-long-ago meeting in his studio in Aranjuez, he stated: The first exhibition that I remember was the exhibitionof Josip Vaništa with the painter Miljenko Stančić in 1952, at the Museum of Arts and Crafts in Zagreb. The great Krleža was alsoamong the visitors. He entered, introduced himself and cast a glance at a few paintings. Then he turned and said that the visitorsbothered him and perhaps he too was bothering someone, so he left the hall. It was the time of EXAT51, regular group exhibitionsat ULUH, we had a hunger within us, and were surrounded by so much art. Narodni list was published in such small print, in partbecause paper was scarce, that my father read it with a magnifying glass. The exhibitions were attended by quite modestly attiredpeople, the premises for the presentation were filled with a curious crowd, hungry for art. It was still a time of ration books, eatingin canteens, and celebrating May Day. So much time has since passed, but it seems like only yesterday.

In conversations, Maruna goes back to the year 1953 and to Putar’s text about the EXAT51 performance, which advocatedfor abstract art and the synthesis of all disciplines of artistic creativity found therein and a response to the criticalobservation offered at the time by the theorist Gamulin, concerning the colonial spirit of our abstraction, which, being animport and fashionable imitation of glaring civic culture, finds no real foothold in the social reality and the visual experience of theCroatian society. Maruna finds that these and similar amended and changing social relations are dynamic and rich in amultitude of new forms of things and concepts, naively expecting that he himself will have ample opportunity to, about thisand about himself, express the truly new artistic thoughts and feelings in this world. The nuances are also just as necessary

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when evaluating developments in the early post-war period, although it is a fact that the period of socialist realism in ourart is relatively brief and that its consequences are less drastic than in other countries with real socialism. But despite this,the speed with which new forms of artistic expression began to emerge immediately after the first signs of liberalisationseems simply astounding today. We are on the verge of inaugurating a new policy of openness. Works of art created underthe auspices of a specific form of spiritual exile, which have allowed some important lines of continuity of Croatian modernart to not be completely cut, which had until then been carefully concealed in the corners of private studios, have began tosee the light of day.

That same year, Maruna encounters the abstract art of Edo Murtić at the exhibition “The American Experience”. After theexhibition of contemporary French art in 1952, the state borders are opened to exhibitions of recent European art, and inZagreb in the coming years people will be able to see overviews of Swiss, Belgian, Italian and German contemporary artproduction, and large and stimulating exhibitions of drawings and sculptures by Henry Moore at the Art Pavilion.

In addition to direct encounters with modern European creations, a key event, which will in many respects crucially affectthe critical emancipation of the Croatian art scene, was the opening of the Gallery of Contemporary Art in Zagreb in 1955.But in the vortex of events, astutely recognising the signs of the times, it was clear to the Maruna brothers that this is notenough, and that in moments while waiting for better times in “their father’s house” they could simply disappear, so theymake preparations to flee.

In 1960 he flees with his two brothers (or, more precisely, goes into exile) to Italy. One of them is the aforementionedCroatian poet Boris Maruna (1940-2007). After their first escape from the country, they are caught and spend eight monthsin prison. Later they try to escape again and get to Italy. They spend eight months in refugee camps. They reside in threecamps in Italy: San Sabba in Trieste, and then not far from Naples in San Antonio, and in Pontecagnano in Capua, the oldesttown in Italy. I drew a scene from a beach in Naples and with this drawing, I enrolled at the Academy of Fine Arts in Cordoba. Inthose eight months the brothers spend in Italian camps, their behaviour and interests do not exactly correspond to thesituation that befell them. The brothers pass the time visiting the Naples’ churches and looking at art, while Caravaggioand his painting The Flagellation of Jesus in the Museum of Capodimonte is indelibly etched in Petar Maruna’s memory. Eventoday he remembers the shadows that fell on the painting that morning when the brothers found themselves in a museum.Only later, at the Academy in Argentina in Cordoba and Buenos Aires, studying art and artists, will he understand that useof lighting effects, more precisely, the light in the shadow of the great Caravaggio, that radicalism of his, the realism of themodel presentation that secured him a unique position in the history art. The background of the painting is black, and Jesusis illuminated at an angle as if the light from a spotlight were falling upon him. Those who are torturing him are facing away fromthe light, half in the shade. After Caravaggio, no painter was able to omit that chiaroscuro effect from their paintings. These arethe memories that Maruna has shared with us.

1961-1969

In 1961, he imigrates with his brothers to Cordoba, Argentina. From 1962 to 1964 he worked with the Argentine painterErnest Farina. In 1963 he enrolled in the Academy of Fine Arts in Cordoba. Lines On the beach in Naples, he drew a picturein red and black ink, and on arrival in Argentina exhibited precisely that drawing at an exhibition in Buenos Aires. Withthe drawing he achieved great success and aroused curiosity, and many painters and visitors to the exhibition paid himrespect and admiration. At the exhibition he was sought out by the painter Ernesto Farina, a painter of Italian heritage whooffered Maruna cooperation and collaboration in his studio. The drawing made with red and black ink in Naples, whichwas his ticket to the Academy, was exhibited the same year at the exhibition in Buenos Aires and achieved great success.Many painters and visitors to the exhibition paid him respect and admiration. At the exhibition he was sought out by thementioned Ernesto Farina, a painter of Italian heritage who offered Maruna cooperation and collaboration in his studio.At the first contact, the painter Farina thought he was speaking with an artist originally from Italy, to which Maruna readilyreplied that he was Croatian, but that he was culturally also Italian, having read Manzoni, Dante and Leopardi during his

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formative years. That day Maruna had on awhite shirt and jeans, with 23 years and manyworlds in is head. He gladly accepted theproposal to work for Ernest Farino. He workedon the development of graphic maps fromMonday to Friday and in one week he wasalready able to make half his monthly salary.Another three artists and two designers wereemployed at the studio. His successful painterlywork for the painter Farina was abruptlyinterrupted because hints about the upcomingcoup were becoming increasingly obvious. Themilitary coup and the ouster of Peron frompower (1955) was followed by a period of politicalinstability in Argentina with frequent coups(1962, 1966, 1971). The presidential election of1972 was won by the Peronist candidate HéctorCámpora, who would allow Perón to retake

power the next year. But Maruna is already in Spain at that time, making a new beginning in painting and in life. All effortsby Farina to get Maruna to return to Argentina and continue working in the studio remained unrealised.

In 1964 he went to Madrid and continued his studies at the College of Fine Arts of San Fernando on a scholarship of theO.C.A.U. (Organización Católica de Asistencia Universitaria), from which he graduated in 1969. From 1969-1982, he livesand works in Malaga, marrying his work colleague at the school, Marisa (María Luisa Meseguer Báez Maruna), who becomeshis pillar of support both in private and social life by successfully understanding his art.

1974 – 2016

Maruna was granted Spanish citizenship in 1974. In 1962 he began his exhibition activity, which has lasted until today. Itconsists of about fifty solo exhibitions and more than a hundred collective exhibitions. Little is known in Croatia about thework and activities of this artist, but little is known generally about the activities of émigré Croatian artists. Thus, in Hrvatskarevija, the publication of Matica hrvatska no. 1 from 2010, the author Gojko Borić for the first time writes a systematicreview of the work and life of Croatian emigrants in Spain, with mention of the work of Petar Pedro Maruna and his activityin Madrid, Spain.

It is strange that in many publications which investigated the activities of Croatian émigrés who after Bleiburg find refuge,mainly via Italy, in many countries, including Spain, there exists only one systematic text about the Croatians in the Spanishcapital, and that is the text of the mentioned author Borić. Even the monumental book by three researchers: Ivan Čizmić,Marin Sopta and Vlado Šakić, Iseljena Hrvatska (Golden marketing – Tehnička knjiga, Zagreb, 2005) lacks a separate chapteron the Croatians in Spain. However, something about the Croatians in Spain can be found in the new publishing project:Leksikon hrvatskog iseljeništva i manjina (Lexicon of Croatian emigrants and minorities) (Croatian Heritage Foundation andthe Institute of Social Sciences Ivo Pilar (in electronic form, version for print edition). The project is of the utmost nationalimportance and the initiative came from Zdenka Babić Petričević, president of the CHF Board of Directors and member ofthe Croatian Parliament. Work on that project began in 2007 and involved the participation of numerous Croatian andinternational scientists and experts in the field of migration and emigration (including those of the Lexicographic InstituteMiroslav Krleža and the National and University Library). The front page of the Lexicon, the painting Historica Croatica, isthe work of the Croatian painter from Australia Charles Bilich. For that reason, we really do know little about the life andwork of many prominent Croatians in Spain, and many of them have both professionally and personally, sown the seeds of

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Petar Maruna u atelijeru slikara Ernesta Farine u Cordobi, Argentina, 1962. / Peter Marunain the studio of the painter Ernesto Farina in Cordoba, Argentina, 1962 / Pedro Maruna enel estudio del pintor Ernesto Farina en Córdoba, Argentina, 1962.


culture and science that today are part of theheritage of even such a large country as Spain.Part of those who set out into the unknown andend up in Spain were helped by the Church. Thisis because the Church in Spain, drawing on theexperience of the Civil War (1936-1939), readilyaccepted the invitation of Pope Pius XII (1876-1958), thereby allowing a large number ofrefugees, in particular, intellectuals, to eithercontinue their studies in Spain or to findemployment in appropriate institutions ofupbringing, education and culture. Everythingwas carried out through the organisation OCAU(Organización Católica d eAsistenciaUniversitaria) and OCARE (OrganizaciónCatólica de Asistencia Refugiados de España),established by the Bishops’ Conference of Spainat the Pope’s direct request. In the preamble toBylaws of both organizations, it states: OCAU andOCARE are established by Spanish Catholics withthe intention to help the students andintellectuals from eastern and central Europewhose countries are under communist rule. Tothis we are obliged by Christian solidarity in this

difficult moment in history, and this is our response to the call of the Church. The first to distinguish itself in providingassistance was the international organisation of Catholic university students Pax Romana, then chaired by the Spaniard prof.Joaquin Ruiz Giménez. At the congress in London in August 1945, the national affiliates were called upon to study the possibility ofassisting refugee students. The Spainish branch of Pax Romana soon begins preparations for the establishment of the OCAU,which followed already in 1946. The establishment of the institutions OCAU and OCARE took place at a time when Spainwas experiencing great adversity. The civil war left behind about two million victims and destroyed towns and villages. Inaddition, although it was neutral in World War II, it became a victim of the allies’ peace agreements. For years it enduredthe economic blockade and political isolation, and only in 1952 was admitted to the United Nations. Helping refugeeuniversity students and intellectuals meant material security and providing opportunities to study, as well as creating asuitable atmosphere in order to, as stated in the OCAU Charter, contribute to the versatile intellectual, professional and spiritualdevelopment of the scholarship recipients. In this endeavour and according to the intentions of beneficiaries, the universitystudents formed three groups. Most decided to begin or continue their studies in Spain, others used it as a temporaryresidence while awaiting departure for other countries, and the third, mostly priests and priestly candidates, were giventhe privilege of free admission and study at the universities. Petar Maruna decided to study at the San Fernando College ofFine Arts.

The media have extensively written about Maruna’s creativity, through his life and art period in Spain, and in the monographwe show copies of only some published critical reviews. It should be remembered that Spain is a country of many artists,so if a stranger, even a Spanish citizen like Maruna, is being praised, that is a much greater success than for local artists. Asa graphic artist, Maruna won two Spanish National awards (in 1987 Cadaques, Barcelona, and in 1988 Ramos, Ferrol), and hispaintings can be found in many museums, of which we will mention only the more important ones below. From the firstyear of his life in Spain, Maruna nurtured an affection for Spanish culture and spent his time in museums, especially in thePrado, where he learned from the greats Goya, Picasso, Velázquez. Besides Argentina, he has also exhibited in Spain and in

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Petar Maruna pri izradi grafika, Španjolska, oko 1970. / Pedro Maruna in creating graphicprints, Spain, around 1970 / Pedro Maruna en la creación de impresiones gráficas, España,hacia 1970.


Switzerland. At the exhibition in Lausanne all his prints and drawings were sold in just one day. It was not until 2004 thatpainter had an exhibition in Zagreb, the city where he spent his early years. The recent oevre of thirty prints and drawingswas presented to the Zagreb audience in the Forum gallery with artistic arranging by Milan Bešlić.

In summarising the painterly oevre of Petar Maruna so far, it seemsnecessary to point out that even with just two exhibitions in thehomeland, his contribution to Croatian painting will be importantand valuable. After major exhibitions, international recognition andawards, the secular and religious themes of the paintings exhibitedhere, to which Maruna has dutifully dedicated himself going backmany years, testing the limits of his own sensibility, are part of anoeuvre that is of unquestionable aesthetic and artistic value.

The artist lives in the former spring residence of Spanish kings inAranjuez near Madrid, where he has a studio in which, untilrecently, he was intensively painting. For many, this place is knownnot only for its entry into the UNESCO list of protected heritage but

also for the famous concert (1939) of the composer Joaquín Rodrigo, the Concierto de Aranjuez, for which this place iscelebrated around the world, a concert that still resounds in the house of Maruna the artist.

DOCUMENTACIÓN

Biografía

1938.

Nació en Potprag en las laderas del de sur de Velebit, como el primer hijo de María Čiklić de Dobropoljana en Pasman, y elpadre, Grgo, quien fue trabajador de construcción de caminos. La familia, la madre y en aquel momento los cuatro hijosviven en un área remota y de acceso complicado, su padre trabaja arduamente, no obstante lejos de ellos, sin embargo estose compensa un poco pues se encontraban en compañía de la naturaleza junto a la belleza de la mítica montaña Velebit,mientras que sus padres trabajan lejos de su lugar de residencia. La guerra pronto vendría cerca de Velebit y la madre conlos hijos se refugió en las cercanías en Obrovac. No obstante, Obrovac les muestra su otra cara, los rechazan porque lapoblación, de mayoría ortodoxa, actuó de manera desfavorable para ellos, para sobrevivir, se dirigen a Dobropoljana en islaPasman.

1949.- 1960.

En 1949 la familia se translata a Zapresic, donde los hermanos Maruna asistían a la escuela primaria y donde Pedro Marunaasistió y terminó la escuela secundaria en Zagreb, donde intentó matricularse en la Academia de Bellas Artes (en el año1958 y 1959). En el nuevo ambiente, Maruna abiertamente declaró su profundo deseo por la expresión artística, como su,dos años más joven, hermano Boris. En aquellos tiempos de juventud de Maruna, nos brindó dibujos, los cuales fueronpublicados en el periódicos Polet, cuyo editorial e ilustrador fue Vilko Selan Gliha, y en donde en 1957 su hermano Borispublicó sus primeros poemas. Para Polet, Pedro hizo un retrato de Zvonko Bušić. El contenido y la composición clásica serelacionan claramente con los dibujos famosos de ese tiempo, pero la interpretación muy inusual de poesía que dibujó sedesvió de composiciones planas y estáticas creadas por otros, sobre un tema determinado. No hay duda de que este jovendesafió los marcos establecidos, su poder de la expresión artística maduro y el tiempo puso Pedro cerca de quienes

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Petar Maruna sa suprugom Marisom i njezinom sestrom, Aranjuez,2008. / Pedro Maruna with his wife Marisa and her sister, Aranjuez,2008. / Pedro Maruna con su esposa Marisa y su hermana, Aranjuez,2008.


reconocen su camino muy temprano, se fueron entrelazando en su camino con muchos recientes pero diferentes conceptosy expresiones artísticas. La poderosa sensibilidad artística y disciplina muy decisivamente aliados con el dibujo, crean unestilo reconocido del que nosotros fácilmente apreciamos por alcanzar en virtud de su vida intelectual y artística.

Visita con sus hermanos los cines de la ciudad, fascinado con el color de lienzo del lugar. Mira las películas de EstherWilliams (Sea of the Moon), Alibaba y los cuarenta ladrones. Voltea a través de monografías sobre todo de Henri Matisse ydespués de Picasso.

La primera exposición que recuerdo fue la exposición de Josip Vaništa con el pintor Miljenko Stančić en 1952, en la ciudadde Zagreb, en el museo de art and crafts y Krleža fue uno de los visitantes. Krleža entró, se presentó y miró algunos cuadros.Luego se volvió y le dijo que estaba molesto por los visitantes, tal vez alguien le molestó y salió de la sala. Eso fue en el tiempo deEXAT51, de ordenar exposiciones de ULUH, Maruna refiere – Me encontraba hambriento de arte, por la escasez de papel se publicó“Narodni list”, en un impreso con letras muy pequeñas, mi padre tenía que leer los con una lupa, explica el virtuoso.

Las exposiciones fueron visitadas por personas vestidas muy modestamente, los espacios de presentación despertaron grancuriosidad en la gente, había mucha hambre de arte.

Eran tiempos de paz, se comía en sitios públicos, se celebraba el Primero de Mayo. Ya ha pasado mucho tiempo de eso, pero sientocomo si fuera ayer. En la conversación con Maruna, expresa su retorno en el año 1953, en el texto de Putar, de EXAT51 queno fue publicado, el cual defiende el arte abstracto y la síntesis de todas las disciplinas de la creación artística, ahora llamadototal design, así como la observación de Gamulin de espíritu abstracto colonial ya que la importación e imitación de moda,cultura, de ciudad, no encontraba su punto de apoyo regio en la realidad de socialismo y la experiencia visual de la sociedadcroata. Maruna encuentra que tales modificaciones y cambios en las relaciones sociales son muy dinámicos y llenos demuchas nuevas formas y términos. Ingenuamente él esperaba que tendría una gran oportunidad para debatir esto, desdesí mismo y sus conceptos litigar sobre la expresión de los nuevos pensamientos y sentimientos en un contexto artístico.Además de encuentros directos con novedades europeas modernas, acontecimiento dominante, que en muchos sentidostenía una influencia decisiva sobre la emancipación de la escena del arte croata, fue la apertura de la Galería del nuevo Arteen Zagreb en 1955. No obstante, en este remolino de eventos, en el mismo tiempo, para los hermanos Maruna fue claro queesto no era suficiente, tuvieron que esperar en casa de su padre para posteriormente simplemente desaparecer, ellos solosse prepararon para huir. En el año 1960, se va al exilio a Italia junto con sus dos hermanos (uno de ellos reconocido comopoeta croata, el fallecido Boris Maruna), donde pasaron ocho meses en campos para refugiados. Después del primer intentose escapar de Yugoslavia fueron arrestados y pasaron ocho meses en prisión. La suerte no estuvo de su lado y de nuevo yplanearon escapada a Italia, que culminación con éxito. Vivieron en tres campos, el primero Trieste, y el segundo San Saba,después, cerca de Nápoles, se encontraron finalmente en San Antonio y luego en Pontecagnanou en Capua, la ciudad másantigua de Italia. Dibujé una escena de una playa en Nápoles y con ese dibujo, me matriculé en la Academia de Bellas Artesde Córdoba. En esos ocho meses que mis hermanos están por los campos italianos su comportamiento y los intereses hanpensado mucho y no están de acuerdo con toda la situación que les ocurrió. Los Hermanos acortaban su tiempo visitandola iglesias de Nápoles, viendo el arte, y Pedro Maruna, quedó atrapado al descubrir un cuadro del pintor Caravaggio“flagelación de Jesús” en el Museo de Capodimonte. Aún hoy recuerda las sombras que cayeron en el cuadro este mañana,cuando los hermanos estuvieron en el museo.

1961.-1969.

En 196l. emigró con sus hermanos a Argentina, en Córdoba. Entre los años 1962 a 1964 trabaja con el pintor argentinoErnesto Farina. Se matriculó en 1963 en la Academia de Bellas Artes de Córdoba. En la playa de Nápoles hizo un esbozo detinta de color rojo y negro que cuando llegó a Argentina fue exhibido precisamente este dibujo en una exposición en BuenosAires. Este bosquejo ha logrado un gran éxito y despierta la curiosidad de muchos artistas y visitantes de la exposición quehablan sobre él con respeto y admiración. En la exposición fue buscado por pintor – Ernesto Farina – pintor de raícesitalianas, que ofreció a Maruna su cooperación y trabajo conjunto en su estudio. En el primer contacto Farina pensó que

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hablaba con un artista de origen italiano, a lo que Marunarápidamente intervino diciendo que es de origen croata,no obstante por cultura es una parte italiano pues maduróleyendo Manzoni, Dante y Leopardi. Ese día Maruna teníauna camisa blanca y jeans, 23 años y muchos mundos ensu cabeza. Aceptó con gusto la propuesta de ErnestoFarina. Trabaja en la producción de mapas gráficos delunes hasta viernes y en una semana ya podía ganar lamitad del sueldo, ahí había pocos empleados, tres artistasy dos diseñadores. Trabajo exitoso de arte para Farina fueinterrumpido repentinamente por el golpe de estado deaquel país. Después prosiguió un golpe militar y elderrocamiento de Perón en el poder (en 1955), seguido porun período de inestabilidad política en Argentina confrecuentes golpes de Estado (1962, 1966, 1971). En laelección presidencial en 1972 ganó el candidato peronistaHéctor Cámpora, en este mismo año se le permite a Perón

tomar el poder de nuevo. Pero Maruna ya está en España en un nuevo comienzo de la pintura y de la vida. Todos los esfuerzosde Farina para que Maruna regresara a Argentina y contínuara trabajando en su estudio, no se cumplieron.

A partir de 1964, se trasladó a Madrid, donde continúa sus estudios en la Escuela de Bellas Artes de San Fernando con unabeca de la O.C.A.U. (Organización Católica de Asistencia Universitaria). Se graduó en 1969. Desde 1969 hasta 1982 vive ytrabaja en Málaga.

1974. – 2016.

La ciudadanía española la obtuvo en 1974. Casado con su compañero de trabajo Marisa (María Luisa Meseguer Báez Maruna),que sigue siendo un amigo fiel y en el trabajo y en la vida. Su actividad es de un pintor profesional, que hace hasta hoy, desdesus comienzos en 1962. Su actividad se compone de cincuenta exposiciones individuales y más de un centenar deexposiciones colectivas. En Croacia poco se sabe sobre su trabajo y actividades, aunque también se sabe muy poco de losartistas croatas fuera de su país. En la revista “Matica Hrvatska” edición número 1 de Croacia 2010 fue publicado un artículodel autor Gojko Borić, quien escribe por primera vez y realiza una revisión sistemática de la vida de los inmigrantes croatasen España, y también menciona el trabajo y las actividades de Pedro Maruna en una época de creación y su desarrollo enMadrid, España. Es inusual que en muchos revistas en las que se investigan y publican las actividades de los emigrantescroatas, después de Bleiburg, principalmente a través de Italia, encuentren refugio en muchos países, también en España,donde solo hay un artículo sobre los croatas en Madrid, y esto es del autor Borić.

No existe tampoco en el monumental libro de Ivana Čizmić, Marina Sopte y de Vlado Šakić “Iseljena Hrvatska” (Zagreb,2005) ni un capítulo especial sobre los croatas en España. Sobre los croatas en España puede se sabe sobre un nuevoproyecto editorial Léxico de los emigrantes croatas y minorías en forma impresa y electrónica. Es un proyecto deimportancia nacional, realizado conjuntamente por el Instituto de Ciencias Sociales Ivo Pilar como ejecutor y la Fundaciónpara la Emigración Croata. La iniciativa partió del presidente de la Junta de Administración y representante del Parlamentode Croacia Zdenka Babic Petricevic. Trabajó en el proyecto, al que asistieron numerosos científicos y expertos croatas ydistintos profesionales internacionales en materia de migración y emigración, incluyendo las del Instituto lexicográficoy la Biblioteca Nacional y Universitaria, aquello tuvo lugar en 2007. Lexicon Inicio con imágenes de la historia de Croacia,el trabajo es distinguido y fue realizado por el pintor croata de Australia, Charles Bilich, a lo que podemos concluir quesabemos muy poco de la vida y el trabajo de muchos croatas importantes en este país, muchos de ellos tienen un altodesempeño profesional y personalmente dejaron un legado cultural y científico que hoy ha heredado España y su pueblo

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Rastanak braće 1965. godine, Pariz. Petar odlazi u Madrid, a Boris u Californiju./ Parting two brothers in 1965, Paris. Petar goes to Madrid, and Boris in LosAngeles, California. / Partiendo dos hermanos en 1965, París. Pedro va aMadrid, y Boris en Los Ángeles, California.


Un gran número de los refugiados en España se debió al apoyo de la Iglesia, pues basándose en la experiencia de la GuerraCivil (1936-1939) aceptó la invitación del Papa Pío XII. (1876 – 1958) y permitió a un gran número de refugiados,especialmente los intelectuales, que continuara sus estudios en aquel país o para ser empleado en la educación eninstituciones culturales apropiados. Esto fue posible gracias a las organizaciones OCAU (Organización Católica deAsistencia Universitaria) y OCARA (Organización Católica de Asistencia a Refugiados de España), creada por la ConferenciaEpiscopal de España petición del Papa. En el prefacio del Estatuto de las dos instituciones se lee: OCAU y OCAREestablecidos por católicos de España con la intención para ayudar a los estudiantes e intelectuales de Europa oriental y central,cuyos países se encuentran bajo el régimen comunista. Esto nos obliga a la solidaridad cristiana en este difícil tiempo de la historia,y esta es nuestra respuesta a la llamada de la Iglesia. La primera ocurrió en la palabra Pax Romana presidida por el profesorespañol Joaquín Ruiz Giménez. En el congreso en Londres en agosto de 1945 convocó a sus ramas nacionales para ver lasposibilidades para ayudar a los estudiantes refugiados. Después de regresar a Madrid la filial española de Pax Romanacomenzó con los preparativos para el establecimiento de OCAU, que fue en el siguiente año 1946. Pax Romana es unaorganización mundial de estudiantes universitarios católicos establecida en la ciudad de Friburg, Suiza en 1921. Laorganización se desarrolló especial y fuertemente en España, los Países Bajos y en Suiza, ahora está asociada con lasNaciones Unidas y la Unión Europea.

El establecimiento de estas dos instituciones, OCAU y OCARE, ocurre en un momento en donde España se encontrabatransitando innumerables problemas, aunque era neutral en la Segunda Guerra Mundial y se convirtió en un aliado alacuerdo de paz, acababa de finalizar su guerra civil, que dejó cerca de dos millones de víctimas, ciudades y pueblosdestruidos. Por años tuvo que soportar el bloqueo económico y el aislamiento político hasta 1952 cuando se integró en lasNaciones Unidas. Ayudar a los refugiados estudiantes universitarios e intelectuales significaba seguridad material,proporcionando oportunidades para estudiar y crear una atmósfera adecuada con el fin de, como se indica en la Carta deOCAU, contribuir a la versatilidad, cooperar en un desarrollo profesional, espiritual e intelectual con becas. Así pues con elempeño y las intenciones de los beneficiarios, los académicos formaron tres grupos. En el primero la mayoría decidieronempezar o continuar sus estudios en España, otros utilizaron una residencia temporal en España en espera de salida a otrospaíses, y la tercera, en su mayoría curas y candidatos para curas fueron dados el privilegio de reconocimiento de estudiosy la matrícula libre-libre en las universidades. OCAU estuvo activa durante veinte años. Los medios de comunicación hanescrito mucho sobre creatividad de Maruna, y en su catálogo, se muestran algunas de sus obras. Hay que recordar queEspaña es país de muchos artistas, y siendo extranjero como Maruna, se alabó, entonces un éxito mucho más grande delde los artistas oriundos de aquel país. Maruna como un artista gráfico ganó dos premios Nacionales de España(1987.Cadaques, Barcelona, y en 1988 M. Ramos, Ferrol), y sus pinturas se pueden encontrar en muchos museos de los cualesmencionaremos sólo algunas importantes; -Museo de la Real Academia de Bellas Artes San Fernando en Madrid, MuseoEspańol del grabado Contemporáneo (Marbella), -Museo de Bellas Artes (Malaga), -Museo de Vaticano, Museum of FineArts (Boston), Bibliothque Nationale (Paris), -Museo Fundacio Guayasamim (Quito) itd. Todo el tiempo Maruna alimentósu afición por la cultura española y pasó gran parte de su tiempo en museos, especialmente en el Museo del Prado dondeaprendió desde el gran Goya, Picasso y Velázquez, obras que se han expuesto en Argentina, España y Suiza. En Lausana,Suiza, en un solo día de exposición, vendió todos sus grabados y dibujos. El pintor expone por primera vez en 2004,bosquejos que realizó en Zagreb, ciudad donde vivió su juventud, el reciente trabajo de treinta grabados y dibujos exhibe,por primera vez presente, ante una audiencia de dicho país en el galería Forum y colocado de arte de Milan Bešlić.Resumiendo el opus de Maruna, hasta hoy, parece necesario señalar que el artista con sólo dos exposiciones en Croacia, hahecho una contribución significativa para la pintura croata. Después de grandes exposiciones, premios internacionales,temas seculares y religiosos de la pintura de color de la carga nacional, el pintor ha demostrado dedicación tentadora propiaa los límites de la sensibilidad, que son parte de la obra a nivel estético y artístico incuestionable. El artista vive y trabaja enla antigua residencia “primaveras” de los reyes españoles en Aranjuez, cerca de Madrid, donde tiene su estudio. Paramuchos, este lugar es conocido no sólo por su entrada en la lista de la UNESCO como patrimonio protegido, sino tambiénpor la famoso concierto (1939) del compositor Joaquín Rodrigo, Concierto de Aranjuez, que ha hecho famosos este lugar entodo el mundo.

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1963 Galería 21, Córdoba, Argentina1964 Galería de Arte Moderno, Córdoba, Argentina1971 Galería de Arte C.A.A., Málaga1973 Galería de Arte C.A.A., Málaga1974 Sala de Exposiciones Diputación Provincial de Málaga1975 Galería Seiguer, Madrid1976 Galeria du Bourg, Lausanne1977 Galeria du Bourg, Lausanne1978 Galería de Arte C.A.A., Málaga1979 Galería “Z”, Buenos Aires1980 Galería de Arte Llona, Marbella1982 Sala de Exposiciónes Diputacion Provincial de Málaga1982 Galería Grafica Torculo, Madrid1983 Colectivo Palmo, Málaga1984 Salon de Villanuova, Aranjuez1986 Galería Tolmo, Toledo1987 Galería Granero, Cuanca1988 Galería Brita Prinz, Madrid1989 Galería Fort, Cadaques1990 Galería Mainel, Burgos1990 Galería Tolmo, Toledo1990 Galería Arracada, La Coruna1990 Galería C.A.M., Aranjuez1993 Centro de Arte y Cultura “Posada de la Hermandad”,Toledo1994 Galería “Gravura”, Málaga

1995 Galería Brita Prinz, Madrid1996 Galería C.A.M., Aranjuez2002 Galería Tolmo, Toledo2004 Fundacion / cies Betanzos2004 Galerija Forum, Zagreb

Skupne izložbe / Group exhibitions /Exposiciones colectivas

1958 Školski Muzej Zagreb1961 Salon Nacional, Museo Bellas Artes, Córdoba, Argentina1963 Salon Nacional, Museo National de Bellas Arte, BuenosAires1963 Salon Nacional, Museo Bellas Arte Córdoba, Argentina1966 Exposición Nacional de Bellas Artes, Madrid1968 Exposición Nacional de Bellas Artes, Madrid1968 Exposición Internacional de Dibujo, Juan Miro,Barcelona1969 Concursos Nacionales, Museo Español de ArteContemporáneo, Madrid1972 Bienal Nacional de Pintura, Museo de Bellas Artes,Málaga

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Samostalne izložbe / Solo exhibitions/ Exposiciones individuales

Faksimil osvrta na samostalnu izložbu Petra Marune / Facsimilecritical review of the individual exhibition / Facsímil revisióncrítica de la exposición individual, Vjesnik, Zagreb, 2004.


1973 Pintura Actual Malaguena Museo de Bellas Artes, Málaga1974 Cuarto Premio Nacional de Dibujo Pancho Casio,Santander1974 Pintura Actual Malagueña, Sevilla1975 Cincuemtario Español de Surrealismo Galería Atenas,Zaragoza1975 Veinte Pintores Contemporánes, Museo de Antequera,Antequera1976 Fiera Internacional de Basilea1977 Fiera Internacional de Basilea1977 Pintura Actual Malaguena, Galería Carteia, Algeciras1978 Primera Muestra del Colectivo Palmo, Málaga1978 Dibujos de Pintores Españoles, Galería Atalaya, Gijon1979 II Exposición de Pintores Andaluces, Universidad deSevilla1979 Colectivo de Grupo Palma Málaga1980 Exposición Internacional de Dibujo Juna Miro,Barcelona1980 Colectiva del Grupo Palmo, Málaga1980 Grabado Contemporáneo en Málaga, Galería Torculo,Madrid1981 Galería Harras Málaga Contemporio de Picasso, Museode Málaga1982 Grabado Contemporáneo Andaluz, Alcazaba, Málaga1982 Pintura Contemporánea Malagueña, Museo Municipal,Marbella

1982 Grabado Internacional, Franc Fedele, New York, IbizaGrafic, ‘82 Ibiza1983 Sintesis Temporada, Torculo, Madrid1986 I Bienal Iberamericana de Arte Seriado, Sevilla1986 Mini Print Internacional, Cadaques, Barcelona1986 Veinte Aniversario Galería Seiquer, Madrid1987 Premio Internacional de Grabado Beilla, Italia1987 Incisori Spagnoli, Comune di Canelo, Italia1987 Mini Print Internacional, Cadaques, Barcelona1987 Principado de Andorra, Northearsten University,Boston1987 Montserrat College de Beverly, New York1988 Estampa Contemporánea en España, Conde Duque,Madrid1988 Galería Fort Cadaques, Barcelona1988 Le Chateau Royal de Collioure, France1988 Hanaru Galery, Corea1988 Premio maximo Ramos, Ferrol1989 Galeria des Editions Universelles, Toulouse, France1989 Museo de la Estampa, Mexico D. F.1989 Metro Convention Center, Toronto

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Iz kataloga skupne izložbe / From the Catalog of the collective exhibition, Sevilla, 1979.


Zbirke i muzeji / Collection andMuseums / Colecciones y museos

Museo Español de Gribado Contemporáneo, MarbellaMuseo de la Real Academia de Bellas Artes de San Fernando,MadridMuseo Vaticano, RomaMuseo de Arte Moderno, BarcelonaMuseum of Fine Arts, Boston (EE.UU.)Bibliothèque Nationale, ParisBiblioteca Nacional, MadridMuseo Municipal El FerrolDiputación Provincial, MálagaMuseo de Bellas Artes, MálagaConcejalía de Cultura, ToledoCalcografía Nacional de MadridFundacion Guayasamín, QuitoFundacion Fort, Cadaques

Umjetnička djela Petra Pedra Marune posjeduju privatnikolekcionari širom svijeta. / Petar Pedro Maruna’s artworksare owned by private collectors around the world. / Lasobras de arte Peter Pedro Maruna poseen coleccionesprivadas de todo el mundo.

KATALOG IZLOŽENIH DJELA / CATALOG OF PAINTINGS /CATÁLOGO EXHIBIO OBRAS

1. Mediteran / Mediterranean / Mediterráneo1995.akrilne boje na platnu / acrylic on canvas / pintura acrílicasobre lienzo195 x 200 cm

2. Mrtva priroda / Still life / Bodegón 1967.ulje na platnu / oil on canvas / óleo sobre lienzo100 x 81cm

3. Memorija / Memory / Memoria 1995.akrilne boje na platnu / acrylic on canvas / pintura acrílicasobre lienzo130 x 110 cm

4. Memorija / Memory / Memoria 1993.akrilne boje na platnu / acrylic on canvas / pintura acrílicasobre lienzo195 x 200 cm

5. Mjesečevi blizanci I. / Lunar Twins I /Parto multipleluna I2001.akrilne boje na platnu / acrylic on canvas / pintura acrílicasobre lienzo150 x 150 cm

6. Memorija II. / Memory II / MemoriaII2012.akrilne boje na platnu / acrylic on canvas / pintura acrílicasobre lienzo130 x 220 cm

7. Mjesečevi blizanci IV. / Lunar Twins IV / Parto multipleluna IV2000.akrilne boje na platnu / acrylic on canvas / pintura acrílicasobre lienzo150 x 150 cm

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8. Zlo / Evil / Mal2009.akrilne boje na platnu / acrylic on canvas / pintura acrílicasobre lienzo150 x 150 cm

9. Mjesečevi blizanci II. / Lunar Twins II / Parto multipleluna II2002.akrilne boje na platnu / acrylic on canvas / pintura acrílicasobre lienzo150 x 150 cm

10. Vukovar1991. akrilne boje na platnu / acrylic on canvas / pintura acrílicasobre lienzo160 x 260 cm

11. Vukovar III.1991. akrilne boje na platnu / acrylic on canvas / pintura acrílicasobre lienzo160 x 260 cm

12. Raspeće / Crucifixion / Crucifixión1995.akrilne boje na platnu / acrylic on canvas / pintura acrílicasobre lienzo160 x 260cm

13. Prapočetak / Before the start of all / Gran comienzo1969.grafika / graphics / gráficos60 x 40 cm

14. Znak I. / Sign I / Símbolo Is. a.tuš na papiru / ink on paper / tinta sobre papel60 x 40 cm

15. Znak II. / Sign II / Símbolo IIs. a.tuš na papiru / ink on paper / tinta sobre papel40 x 60 cm

16. Mediteran / Mediterranean / Mediterráneo 1993.akrilne boje na platnu / acrylic on canvas / pintura acrílicasobre lienzo150 x 200 cm

17. Memorija XIV. / Memento XIV / Memoria XIV1993.akrilne boje na platnu / acrylic on canvas / pintura acrílicasobre lienzo130 x 220 cm

18. Memorija III. / Memory III / Memoria III2001.akrilne boje na platnu / acrylic on canvas / pintura acrílicasobre lienzo150 x 200cm

19. Memorija IV. / Memory IV / Memoria IV2001.akrilne boje na platnu / acrylic on canvas / pintura acrílicasobre lienzo150 x 200cm

20. Drug / Freind / Amigo1972.akrilne boje na platnu / acrylic on canvas / pintura acrílicasobre lienzo92 x 73 cm

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Petar Pedro MarunaSlikarska obzorja umjetnika s dvije domovine

Studio Moderne galerije „Josip Račić“17. 5. – 2. 6. 2016.

EDICIJAStudio

NAKLADNIKModerna galerija, Hebrangova 1, Zagrebwww.moderna-galerija.hr

ZA NAKLADNIKABiserka Rauter Plančić

TEKST I LIKOVNI POSTAVMarija Valčić

TEHNIČKI POSTAVIvan Butorac

FOTOGRAFIJEGoran Vranić

LEKTURAMateja Fabijanić

PRIJEVOD NA ENGLESKI Rudi Vedo

PRIJEVOD NA ŠPANJOLSKIMartina Vukašina

ODNOSI S JAVNOŠĆULana Šetka

GRAFIČKO OBLIKOVANJE Bachrach & Krištofić

TISAKKerschoffset, Zagreb

NAKLADA200 primjeraka

CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 000933470.

ISBN 978-953-348-027-5

© 2016. Moderna galerija, Zagreb

Modernoj galeriji ostvarenje ove izložbe i kataloga financijskim potporama omogućili su: Ministarstvo kulture Republike Hrvatske, GradZagreb, Privredna banka Zagreb, glavni pokrovitelj Moderne galerije i sponzori.

Zahvaljujemo.

Posebnu zahvalnost iskazujemo gospodinu Šimi Vuković Maruna na njegovu osobnom zalaganju tijekom priprema kao i Udruzi kultura irazvoj (Foundation Culture and Development) iz Zagreba na pomoći pri realizaciji ove izložbe.

GRADZAGREB


new petar pedro maruna · 2016. 5. 13. · petar pedro maruna slikarska obzorja umjetnika s dvije...

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