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Art Museum of Montenegro  - the permanent exhibition in Vladin Dom

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Art Museum of Montenegro

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The Art Gallery was founded in Cetinje in 1950. As the oldest and most respectable institution, its task is: to study the development of fine arts; to collect, keep and exhibit pieces of artistic value; and, by an adequate selection of works, to offer the most comprehensive overview of the most significant achievements in fine arts. In the beginning it operated within the State Library, and then independently from 1952 to 1963, when it was integrated with the other Cetinje museums into an institution called the General Museum of Montenegro (Museums Cetinje, 1965), renamed the National Museum of Montenegro (1992). During the seventies, the Art Gallery grew into the Art Museum of Montenegro, currently keeping the collection of around 2,800 exhibits, including some capital works of contemporary Yugoslav and Montenegrin fine arts. The diversity and wealth of the collection led to its classification into the following sub-collections: the Collection of Reproductions of Frescoes, the Collection of Icons, the Collection of Montenegrin Fine Arts, the Collection of Yugoslav Fine Arts, the Collection of Foreign Artists, the Collection of Milica Saric Vukmanovic and Svetozar Vukmanovic Tempo, the Collection of Caricatures, the Collection of Legacies, and the collections within the gallery “The Yugoslav Artists to Njegoš”: fine art, applied art, and naďve art. In accordance with the exhibition space available to the Art Museum of Montenegro, the permanent exhibition of the National gallery in Vladin Dom includes the Collections of Montenegrin and Yugoslav Art, the Collection of Icons and the Collection of Milica and Svetozar Vukmanovic Tempo.

 

             The plan of the exhibition:

                         1. Yugoslav collection

                         2. Collection of Milica and Svetozar Vukmanovic 

                         3. Icons

                         4. Blue chapel and Filermosa icon

                         5. Montenegrin collection

                         6. Works of Milo Milunovic

                         7. Works of Petar Lubarda

                         8. Works of Branko Filipovic - Filo

                         9. Instalations of Miodrag Dado Đuric

                         

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VIRTUAL TOUR

 

 

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The Yugoslav Collection encompasses the works created in the territory of the former Yugoslavia. Its presentation points to the wealth and diversity of artistic achievements of this specific area where the centuries-old intertwining of the East and the West influenced the entire spiritual and cultural environment. Following the chronological principles, stylistic expressions and movements, as well as the poetic and aesthetic characteristics of certain artists, the presented works enable the visitor to follow the development and the basic stylistic features of Yugoslav fine art in the period from the end of the nineteenth to the seventies of the twentieth century.

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Yugoslav collection

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The Collection of Milica and Svetozar Vukmanovic Tempo was born as a product of Mrs Milica Saric Vukmanovic’s and Mr Svetozar Vukmanovic Tempo's enthusiasm and love for fine arts. They gave their collection of paintings, graphics, sculptures and works of applied art, which they had built up for years, as a present to Cetinje in 1964. They enriched it in time so that today it comprises 220 exhibits, which represent a highly valuable whole within the collection of the Art Museum of Montenegro. A part of the permanent exhibition of the National Gallery, this collection adds to the essential values of the anthological overview of Yugoslav and Montenegrin fine art. Namely, the cross-section of Yugoslav painting would be incomplete if it was not for the highly valuable artistic pieces contained by this collection which represent the achievements of key artists from the major painting movements of the twentieth century.

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Collection of Milica and Svetozar Vukmanovic  

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The Collection of Icons shows stylistic and iconographic features derived primarily from the plastic aesthetic characteristics of the area where they were created. According to their origin they can be divided into three wholes: icons of Russian origin created in the period from the end of the eighteenth century to the beginning of the twentieth century, which reached the territory of Montenegro through the mass import from Russia to the countries populated by the Christian Orthodox; Italo-Cretan icons from the end of the seventeenth century and from the eighteenth century that arrived at the Montenegrin coast thanks to the ramified trade and cultural links with the West, particularly Italy; icons by domestic artists painted in the period from the eighteenth to the beginning of the twentieth century. The works standing out among these are the icons of the school of icon-writing of the Dimitrijevic-Rafailovic family from Boka Kotorska. The same section displays the paintings by foreign authors with religious themes: the painting on wood The Execution of Saint Genoveva from the seventeenth century, which belongs to the northern European art, and the work by the Italian painter Giovanni Battista Pittoni,The Holy Family. 

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. The icons

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The painting The Holy Family by our greatest baroque painter Tripo Kokolja (Boka Kotorska) is also on display in this part of the Gallery. 

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Icon Filermosa and the "Blue Chapel"

 

The first mention of the exceptionally valuable icon Filermosa is linked to the Order of St. John of Jerusalem (the Knights Hospitaller) and Rhodes, where it was believed to have miraculous powers as the patron saint of the island.The Hospitallers took it away from Rhodes and after a period of wandering in search of a safe haven, they arrived in Malta with the icon. From 1530 until the fall of Malta, the icon was kept at Birgu, and from the foundation of the town of Valletta (1685) in St. Mary’s Church. From 1798, during the reign of Tsar Paul I, until the Russian October Revolution, the icon was in the possession of the royal family Romanov for nearly 120 years. In the Russian court its originally simple metal frame was replaced with the gold one adorned with precious stones. After the October Revolution it started roaming again from Copenhagen, through the Russian Orthodox Church in Berlin, to the Karadjordjevics’ treasury in Belgrade (1929-1941). At the beginning of the Second World War it arrived in Nikšic for a short time, upon which it was transferred to the Ostrog Monastery. Today it is located in the “Blue Chapel”, a specially designed room of the Art Museum of Montenegro. .

 

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The Montenegrin Collection is the biggest collection of the Art Museum. In the permanent exhibition of the National Gallery it is presented by the works created in the period from the end of the nineteenth century to the eighties of the twentieth century. This collection represents testimony to the history of fine arts and the creative achievements of artists who built their own works into the developmental lines of Montenegrin fine arts. The second half of the twentieth century in Montenegro saw the eruption of the "awakened fine art expression". In accordance with their temperament these artists created a special kind of poetics compared to the European: this poetics was born as a reflection of the primeval bond with the grand nature of Montenegrin space and the heroic epic of the Montenegrin people that opened to them the door of the world of a collected spirituality coming from the most distant spheres of the liberated subconscious and dream. This led to the pluralism of artistic expression ranging from expressionism, intimism, poetic realism, surrealism, modern classicism and romanticism, to the associative and abstract forms of expression, which unavoidably reflected on the presentation of their works..

 

 

Montenegrin artists

 

 

Paintings and sculptures from Montenegrin collection 

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Starting from the respect for European classic painting, Milo Milunovic created work of exceptional value as an independent, harmonious and unique aesthetic phenomenon realized on the principles of the architecture of the composition, drawing and mass. "Light, forms, colours, lines and proportions" emerged as fundamental problems that he dealt with to the end of his life. The Art Museum of Montenegro owns a significant collection of artistic pieces through which we may gain an insight into the wealth and diversity of his painting oeuvre that may be followed from the earliest preserved work "Hens" (1910/11). His early paintings created in the period from 1910 to 1918 reveal the spontaneity of his artistic expression through impressionistic, pointillist and expressionistic explorations.  During his long stay in Paris (1926 - 1932) his original neo-classicist rigidity disappeared. 

 

The artist abandoned the figure and predominantly painted interiors, still life and landscapes. After 1946 Milunovic "became entirely personal". That was when his last  "Mediterranean phase" commenced. Without disturbing the peace of modern classicism, he introduced the expressive play of sharp lines and the colouring which represents the "mental heliotropism", the need to purify and impregnate the sun, as the source of light and life, by his fire.

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Illumination comes from the objects in the painting, which acquire associative and symbolic meanings.

 

 

Works of Milo Milunovic

 

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The presented works of Petar Lubarda in the National Gallery emphasize the artistic value of his painting oeuvre, as well as the power of his spirituality which leaves an essential imprint on the Montenegrin existential and spiritual national being in an impressive way. The paintings he exhibited at the anthological exhibition in Belgrade in 1951 represented a turning-point in the development of modern Yugoslav art. The themes he used for his painting visions were large compositions of battles from national history and the rocky Montenegrin landscape. The paintings "Night in Montenegro", 1951, and "Between Day and Night", 1955, represent the masterpieces of Lubarda’s painting. The white surface of the Mediterranean karst was his permanent inspiration. He departed from all that had been seen and experienced adding a completely new dimension to it. He turned to the world of the unconscious and dream – the world of symbols. Lubarda’s painting as the description of reality transposed into the language of rhythm, line and colour, and the symbols of day and night, good and evil, the psychological war of conscious and unconscious, stress Lubarda’s power to express his mythic visions in the most virtuoso manner, the visions that penetrate the darkness like light directed to the night of the subconscious, "We always struggle with some darkness striving to illuminate it" (P. Lubarda).

 

Lubarda`s works

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The room with Lubarda's paintings

 

 

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As an artist, Filo was formed in the atmosphere of the poetics of Art Informel during the second half of the fifties, although neither then nor later was he a slave to some rigid ideas or language and stylistic doctrines. On the contrary, the position he took in relation to the basic language patterns was one of freedom and, paradoxically, the freedom itself may have been the main reason why there were no radical turns, cuts or censoring in his creation, but it was strictly marked with the signs of continuity, the features of a consistent artistic attitude. Unlike the paintings created in the period of Art Informal, which strived for the monochrome (black, white, dark brown), Filo’s paintings after 1970 are emphatically turned to colour, and it appears that the best samples are those of the big format, created towards the end of the eighties and in the nineties. These paintings are in fact powerful, coloured bodies emitting energy, dominated by red and blue harmonies (particularly in the "Venetian" exhibition) lit by the baroque light glowing out of the paintings as an inherent element of the colour itself, which contributes to the general bustle and dynamics of the image

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Paintings done by Branko Filipovic - Filo    

 

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Dado Đuric belongs to the pleiad of the greatest contemporary painters of the surrealist sensibility and the greatest world visionaries from the domain of the fantasy terrible; with his rich imagination and a superb technique he opened the door to the impossible. Viewed as a whole, Dado’s work represent the final and sacrosanct resort of his search for the existential essence. It depicts the world of decomposition and decay, coming across as an apocalyptic vision, the counterpart to the gruesome and grisly reality entailed by modern civilization. In his drawings, paintings, graphics, and in more recent time in sculpture and assemblage, he reveals the world of the continual mystic dialogue between our consciousness and conscience, and revives the cataclysmic visions and somnambulistic and ghastly bestiary of amorphous and anthropomorphous mutations. While Montenegro to him is a fundamental principle of his own identity, love for nature as a universal category, for music and poetry, represents his own choice, the sense in the search for the essence of one’s own integrity. From Jaspers, Ponty and Hidegard he took over the concept of the decay and degeneration of the spirit, the general senselessness of human survival, starting from ętre en soi, from the matter that is “something massive, heavy, intensive, soggy and invasive that strives to level, swallow and integrate everything that is”.

 

.Paintings and instalations of Dado Đuric

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Galleries that operate within the Art Museum of Montenegro:

 

Montenegrin Gallery of Arts Dado Đuric >>>

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Atelier DADO >>>

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Vladin dom - National Museum of Montenegro

Historical Museum, Art Museum & Archaeology Museum in Vladin Dom

King Nikola`s Palace

King Nikola`s Museum

 

Biljarda

Njegoš`s Museum Biljarda

 

Ethnographic Museum

Ethnographic Museum

 

Gallery Dado

Montenegrin Gallery of Arts Miodrag Dado Đuric

 

Chipur church

Court church Cipur

 

Mausoleum on Lovcen

Njegoš`s Mausoleum on Lovcen

 

Orlov krs

Mausoleum of Bishop Danilo (Orlov krs)

 

Lapidarium

 

.Map of Montenegro

Map of Montegro

 

Birthhouse of Petar II Petrovic Njegos

Njegoš`s birthhouse

 

 

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