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Article

Bašičević, Dimitrije  

Sanja Cvetnić

Publication History:

Published online:
02 October 2012
Collection:
Grove Art Online

(Mića) [Mangelos]

(b Šid, Serbia, March 14, 1921; d Zagreb, Croatia, Dec 18, 1987).

Croatian art historian, critic, curator, and conceptual artist. His father was the landowner Ilija Bašičević Bosilj, who became a ‘naïve’ painter in the 1950s. Dimitrije studied art history in Vienna, than Zagreb. He graduated from the Faculty of Humanities and Social Sciences at the University of Zagreb with the PhD in Art History in 1956. In the fierce polemics about abstract art in the 1950s, he sided with those promoting abstraction. He not only wrote about it, but also participated in organizing Salon 54, the first group exhibition of abstract paintings in Croatia (and the former Yugoslavia), which was held in Rijeka in 1954. From 1960 until 1964 he was a curator at the Gallery of Primitive Art (now Croatian Museum of Naïve Art). In 1965 he became a curator of the Benko Horvat Collection within the Galleries of the City of Zagreb (now Museum of Contemporary Art) and, when its Centre for Film, Photography and Television opened in ...

Article

Lakner, László  

Éva Bajkay

Publication History:

Published online:
2003
Collection:
Grove Art Online

(b Budapest, April 15, 1936).

Hungarian painter, conceptual artist and teacher. By 1956 he was familiar with most modernist tendencies. In 1960 he graduated from the Academy of Fine Arts, Budapest, having already taken part in exhibitions as an undergraduate. Lakner’s unique Hungarian mixture of Surrealism and naturalism was primarily influenced by the Hungarian painter Tibor Csernus (b 1927). Lakner’s first works were precisely executed naturalistic life studies and still-lifes, imbued with a magical quality (e.g. Scraps of Metal, 1960; Budapest, priv. col.). In other works repetition and density are used to create special effects. From 1962 the influence of Pop art is apparent in his works representing everyday objects, which lacked emotional or personal meaning (e.g. Microscopes, 1960; Budapest, N.G.). Dark tones and metallic shadows characterize his use of colour. Robert Rauschenberg’s art was influential after Lakner saw it at the Venice Biennale of 1964. He was also influenced by montage, in particular John Heartfield’s Dada and Neo-Dada works. He drew upon his knowledge of art history for such montages as ...

Article

New Realists in America  

Deborah A. Middleton

Publication History:

Published online:
26 May 2010
Collection:
Grove Art Online

American group of artists active in the 1950s and 1960s who were part of a movement that was reacting to Minimalism, Abstract Expressionism and conceptual art by choosing to represent traditional subjects of nudes, portraiture, still lifes, landscapes and urban street scenes that often were plain and ordinary. The rise of consumerism and mass production inspired New Realist artists who returned to representing subjects as everyday and common visual encounters and experiences. The New Realist movement is in contrast to earlier forms of realism practiced by European artists whose works embody idealism or romanticize the commonality of the subject. New Realism is also associated with the emergence of Photorealism, where the camera captured the momentary fleeting naturalism of the subject. A common approach characteristically unifying New Realist artworks is the notion of the presence of the subject, which is understood as the representation of a neutral peripheral visual experience that exposes the subject prior to its discovery as a cognitive translation, intellectual or emotional response. Paintings and drawings present the perception of the real in a direct, clear and straightforward way using conventional drawing and painting techniques, and classical compositional approaches. Subjects are acutely observed and revealed with precise attention to detail and technical draftsmanship to disclose the detached presence of the subject itself....