Salon Ullrich o stotoj obljetnici ili Gostiona (k) stotoj slici:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Croatian |
| Veröffentlicht: |
Zagreb
Art Magazin Kontura [u.a.]
2010
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: The Ullrich salon on its centennial |
| Beschreibung: | 247 S. Ill. |
| ISBN: | 9789536960200 |
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Datensatz im Suchindex
| _version_ | 1804149397451177984 |
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| adam_text | 1.
UVOD ILI ZAŠTO JEDNA MUZEOLOGINJA PIŠE
О
JEDINSTVENOJ GOSTIONICI U NAŠOJ METROPOLI |
7
2.
DRUŠTVENI OKVIR ŽIVOTA UMJETNOSTI U ZAGREBU
DO OSNUTKA ULLRICHOVA SALONA |
13
3.
SALON U ILICI
54:
POČECI | 2J,
4.
UVJETI I TAJNE POSLOVANJA U DOMAĆIM PRILIKAMA |
51
5.
LJUBITELJI I(LI) KUPCI UMJETNINA |
13
6.
UPORIŠTA I VRHUNCI ULLRICHOVE UMJETNIČKE POLITIKE |
87
7.
KARIKATURA U POSEBNOM OKVIRU |
111
8.
ULLRICHOV UTJECAJ NA UMJETNIČKO STVARALAŠTVO
j
135
9.
KRITIČARI I PROMICATELJI SALONA |
¡47
10.
STVARNI ŽIVOT: OD NAKLADE GRAFIKA DO UOKVIRIVANJA |
163
11.
TRADICIJA SE NASTAVLJA: EDO (I IVAN, PA OPET EDO) |
187
12.
POPIS IZLOŽABA |
221
13.
IZBOR IZ TEMATSKE LITERATURE
j
229
14.
BILJEŠKA UZ ILUSTRACIJE
! 231
15.
SUMMARY
! 233
THE ULLRICH SALON
ON ITS CENTENNIAL
or Tavern of the Hundredth Painting
INTRODUCTION (OR, WHY
A
MUSEOLOGIST
IS WRITING ABOUT A
ONE-OF-A-KIND TAVERN IN OUR CAPITAL CITY)
Fifteen years ago the author of this book had a request to write a piece about
the first art salon in Zagreb, the Ullrich Salon, for the art magazine
Život umjet¬
nosti.
It seems that in this a certain role was played by her belonging to the museo-
logical profession, for it is in fact museologists and museum professionals who, when
works of art are concerned, have the task of exploring the substance and the artistic
values, as well as the social context of the origin and the ongoing life and presenta¬
tion of artworks to the public. It was in the framework of this kind of consideration,
close not only to museology but also to the sociology of art, that the idea to write
this book was born. At the time when fairly vigorous work on it was started, in
2008,
in Zagreb a number of major exhibitions were being held, for example, one about
the first generation of Croatian artists trained at the academy of art in Munich, as
well as the exhibition marking the 90th anniversary of the University and National
Library s Print Collection. But none of the writers concerned mentioned the impor¬
tance of the role in the life of art in Zagreb and Croatia played by the Salon Ullrich
and its founder,
Antun
Ullrich
(1871-1937).
And it was he who was approached by
Croatian artists trained in Munich and Paris, wanting him to put on exhibitions for
them and sell their works in the new salon in
1910.
He was befriended by the founder
of the Graphic Collection
Artur
Schneider
(1879-1946),
who retained prints from
Ullrich for his collection, for Ullrich had the custom of making donations to aid the
holdings of the first art museums in Croatia.
But while the social setting of Croatian art was not important to others, to the
present writer it was, her ambition being through this book to incorporate into it two
outstanding
gallerists,
Antun
Ullrich and his son
Edo
(1897-1952).
She was assisted
by the consultation of literary sources, as well as by research into the rich set of archi¬
val records kept in the Croatian Academy Fine Arts Archives. These consist of two
inventory books of the Salon, two books of lists of exhibitions up to
1936,
a book of
the artwork sales of the salon on commission as well as hundreds of letters between
the owners of the Salon and artists, critics and purchasers.
THE SOCIAL FRAMEWORK OF THE LIFE OF ART IN ZAGREB UP TO
THE FOUNDATION OF THE ULLRICH SALON
In the
mid-19th
century, artistic life in Zagreb was extremely modest. Taking
part in it were itinerant artists, almost all from somewhere else, and art works were
exhibited in small numbers in the shop windows of traders and bookshops and from
1872
in the Bothe shop in the centre of town. This was a luxury goods shop in which
picture frames and a great many oleographs were sold.
Eugen
Ferdinand Bothe
(1842-1922)
encouraged local artists to paint pictures that he meant to have saleable
oleographs made from. It was only at the end of the 1860s that there was any more
mature organisation of the art world. This was due to a single man
-
to Iso
Kršnjavi
(1845-1927).
While still a young man who had been educated in Europe,
Kršnjavi
realised what foundations had to be laid for the beginnings of artistic life in a city
on the periphery of the Austro-Hungarian Empire. This meant the establishment
of education for the artistic profession (the foundation of at least an elementary art
school in Croatia and up to then the provision of scholarships for future artists and
practitioners of the fine arts to study abroad), the formation of educational resources
such as collections of artworks and craftworks or collections of reproductions gath¬
ered together in museums and galleries, the development of visual taste in all social
classes, the foundation of a chair of art history at the Faculty of Philosophy and the
development and stimulation of clients and a public for the purchase of artworks so
as to provide a decent way of life for the artists. And
Kršnjavi
attempted, in his work
at the turn of the century, to bring all this to pass. He founded the art history chair,
he organised and created the display for the
Strossmayer
Gallery of Old Masters, in
1882
he founded the Museum of Arts and Crafts and in
1905
the Modern Gallery.
In
1879
he set up the Society of Arts of which he was also president. He incor¬
porated into the rules of the Society of Arts the way in which art was to be sup¬
ported, by, for example, purchasing and commissioning artworks, by mediating
during sales, giving out artworks purchased among the members via a draw and so
on. In
1899
he wrote Critical Considerations. Particularly interesting in this is the
chapter Economic conditions of our art, the role of art in society . This makes it
clear that
Kršnjavi
favoured the existence of agents or mediators during the sale
of works of art. Indeed, he was he was a true representative of the currently domi¬
nant social and cultural opinion that it was beneath artists to sell their own works.
When in
1907
the Interim College for Arts and Fine Crafts was opened in Zagreb
(the germ of the future Academy of Fine Arts) and when after a few years the first
artists grew to maturity, and had either stayed in the town or wanted to exhibit in it
the need for a good agent became ever stronger. Then one at length arose, in the
figure of the owner of a glazier s and framer s workshop,
Antun
Ullrich. It is inter¬
esting that the exhibitions beginning of his salon are linked precisely to
Kršnjavi,
or
the Society of Arts, which had at the turn of
1909
to
1910
had there its raffle exhi¬
bition, i.e. the exhibition of works that the members bought from local artists and
then divided among themselves via a draw.
THE SALON AT
ILICA
54:
THE BEGINNINGS
Art and culture historians are aware how hard it is to define the formal incep¬
tion of any institution. For beginnings, above all, take place in people s heads.
Sometimes it happens in a flash, but certainly more often comes slowly to maturity
over the course of some time. It seems that this was how it was in the case of
Antun
Ullrich. He first came to Zagreb from
Slavonia
in
1898
and opened up a glassware
shop. Soon he started to equip it to be a shop for artworks. When in
1907
the Interim
College was opened up close by, it was, literally and figuratively, on the artists way.
He is known to have done his first frames for Robert Auer
(1873-1952),
a painter
particularly well known for painting nudes, but there are some letters exchanged with
Split painter
Emanuel
Vidović
(1870-1953)
about framing. This shows that Ullrich
had one of the few professional workshops for framing works of art, one that was
in business a long time, from Zagreb to Split and
Dalmaţia.
At that time, around
1909,
Zagreb had in fact just one large exhibition space
-
the highly prestigious Art
Pavilion. And so artists needed not only a dealer, but also a smaller space in which
to exhibit. During
1909,
Papa Ullrich, as he was often called by artists, set up sev¬
eral exhibition rooms in the first floor over his glassware shop.
The grand opening of the Salon was recorded by two excellent caricatures by
Branimir Petrović
(1888-1957),
the originals of which are in existence. Two, because
two openings were put on
-
one for the students of the College, and the other for
their teachers, some of whom were good friends of Ullrich. The exhibition season
started in
1910
with an international monograph exhibition of the Czech printmaker
František
Tavik
Šimon
(1877-1942),
who showed his attractive etchings of scenes in
Paris and Amsterdam. Then Ullrich put on an exhibition for students of the Interim
College, for the later well known painter and art historian
Ljubo
Babic
(1890-1974),
the landscape artist
Mihovil Krušlin
(1882-1962)
and the sculptress
Iva
Simonovid
(1890-1961).
Ullrich was to maintain this clear artistic policy, of supporting young
artists (including financial assistance, particularly while they were abroad), to the
end of his work as a gallerist in
1927,
In
1910
the Croatian painter Vladimir
Becić
(1886-1954)
showed his work at Ullrich s; he was then in Paris. Information about
the first art salon had spread fast, and among Croatian artists who were then get¬
ting extra experience and training in European centres like Paris, Munich, Vienna
and Prague. At the end of
1910,
in fact, on New Year s Eve, as reported in an inter¬
view with Ullrich of
1935,
the hundredth picture was sold in the salon, and Ullrich
organised a celebration and put on his salon the jocular inscription Tavern of the
100th Picture.
Finally it has to be said that in the archival correspondence letters exchanged
from
1910
on between Ullirch and the young art critic
Kosta
Strajnić
(1877-1977)
have been found. They show that the gallerist from the very beginning engaged and
paid for the services of reviewers and at last in Croatia the well known and often
described art trade
-
review system was established.
CONDITIONS AND SECRETS
OF DOING BUSINESS IN CROATIAN
CIRCUMSTANCES
On the basis of the archival records it can be concluded that several basic
forms in which agency work for works of art were carried out. The first consisted of
monograph exhibitions
-
which were then called collective exhibitions. Research has
shown that the term came from the conception of a group of artworks or a collec¬
tion. The artists would write
-
I have prepared, I shall exhibit, a whole collection of
works . A group of art works was important to everyone. Both to the artists and to
Ullrich, who arranged his exhibitions thus in terms of units. In this way, he wrote in
one letter, the works would show to better advantage.
The preparation of a collective exhibition was not demanding, but if one takes
into consideration that a good many of the artists, particularly after
1918,
lived out¬
side Zagreb and often even worked abroad, it was not all that simple. Artworks were
usually sent unframed, for this was much cheaper. After this they had to be mounted
and framed, and hung in the venue to the comments of the artists themselves. Even
then promotion was considered, and newspaper ads, posters that to begin with the
artists made themselves and invitations to the
vernissage
were also used. The book
includes several examples of exhibitions, which have sufficient associated documen¬
tary evidence for the preparations to be able to be completely reconstructed. One of
them was the first exhibition of Split caricaturist Angjeo
Uvodić
(1880-1942),
which
was held at Ullrich s in
1917.
Papa Ullrich received payment from the artist for venue hire (which was free in
the event that nothing was sold), for the loan of frames, and would also take a percent¬
age from the works sold. The commission varies, from
10%
to
30%
of the sale price,
and would be agreed on separately with each artist. In the amount of commission he
took, Ullrich was similar to the bookseller and art dealer in Munich Hans Goltz
(1873-
1927),
known for the promotion and sale of works of the Blue Rider group in
1912.
The correspondence has shown that the artworks in the Ullrich Salon were furnished
with captions for exhibition, and that Ullrich wanted to have a description of each
work from the artist. He was convinced that the viewers would want to know which
landscapes were being depicted, for the ambition to purchase... is much greater for
people have travelled through some of the regions and this reminds them...
A mandatory part of a monograph exhibition was a self-portrait of the artist,
particularly when it concerned a person unknown in Zagreb. Ullrich would insist on
the existence and exhibition of self-portraits, which were used to acquaint the public
with the actual artists. Most often the self-portraits were left him as a gift, as a recol¬
lection of the joint preparation of an exhibition. If this did not happen, Ullrich would
later ask for a self-portrait to be made for his private gallery. Thus over the course
of time, for the purpose of memory, the fine Ullrich Self-Portrait Collection was
created, part of it being kept today in the Museum of Contemporary Art in Zagreb.
Apart from the occasional exhibitions, the Salon also had, as the Ullrich logo says,
a permanent exhibition of the best known of our artists, sculptors and painters.
The third form of mediation was sale on commission, which Ullrich started in
1913.
Artists in debt to the salon had to leave works there for sale on commission.
In this way he protected himself against financial losses. The Ullrich book of sales
on commission is full of details about sales and the most important details con¬
cerning them
-
prices, time of purchase, purchasers (names and addresses and occu¬
pations), the return of works that did not interest the public, works that the salon
itself bought, and above all about the large number of works that Ullrich appropri¬
ated for himself because of various debts of artists to him.
Ultimately, the prices of the works of art were set by Ullrich himself. The artists,
naturally, were always after the highest possible prices. But they had to take reali¬
ties into account, particularly the Zagreb public, which was never an easy market for
artworks. It was hardest to determine the final price when the artists lived outside
Zagreb. The dealer had to ask for their permission every time a price was changed
(for it might be reduced in the case of some known purchaser, art lover, friend).
Because of the correspondence and the waiting for answers involved, Ullrich would
himself in some cases determine to buy the whole collection, in order to be able to
sell at his leisure while freely setting the prices. This kind of operation was offered
by Ullrich to artists whose works he thought would find purchasers without any pro¬
blems. He worked in this way, for example, several times with the Sarajevo painter
Gabrijel Jurkić
(1886-1974),
who, between the two wars, was exceptionally popular
with his academic landscapes and in particularly his oriental themes.
Antun
Ullrich was a go-between for artist and public, but it sometimes happened
that he was not alone in this triangle, for artists would also have their own repre¬
sentatives (the painter
Irma
Poturičić
had an impresario in the person of her hus¬
band), as would the purchasers. For example,
Kršnjavi
in his advanced years was an
advisor for Bishop Krapec in his purchase of artworks, and
Ulrich
would do business
with him whenever the bishop determined to buy a new work for his collection.
LOVERS AND/OR PURCHASERS OF ARTWORKS
One of the most interesting issues raised by research into the Ullrich Salon was
that of who the purchasers were. In the first description of the salon, in
1910,
writer
and critic
Andrija Milčinović
(1877-1937)
drew attention to the basic social groups that
constituted the market for paintings. In his view lawyers, bankers and engineers were
the purchasers. Those beneath them were not able to buy, and those above them would
buy abroad. It was interesting to find out if this was in fact true. There were ample
sources for research, particularly the two inventory books of the Ullrich Salon.
Milčinović
was to a degree right. Bank directors and senior clerks were in the
van in the purchase of artworks from the Salon. Director of Zagreb branch of the
Croatian National Bank of
Osijek
and president of the stock exchange council in
Zagreb as well as, for a short time, assistant finance minister of the Kingdom of the
Serbs, Croats and Serbs in
1922,
Dušan
Plavsic
(1875-1965)
owned one of the major
private collections, in good part created through purchases from Ullrich. He was also
president of the Art Society and an art reviewer. As well, of course, as an impassioned
collector. The data in the inventory books, particularly the absence of any Plavsic
purchase after
1922,
show what other historians have already determined
-
Plavsic s
financial problems when the new state was founded, and even his bankruptcy ear¬
lier in the year. Plavsic s example as collector was followed by other bankers, such as
Mr Arlavi, director of Balkan Bank. In addition, banks themselves would buy from
Ullrich and use them for business purposes for associates and important clients.
Analysis of clients showed the
Milčinović
was also right in the claims he made
about another group, i.e. lawyers. Among them we have identified as particularly
interesting the taste of
Dr
Ivo Schwegel
(1875-1962)
from Bled (Slovenia), who was
ambassador for Austro-Hungary in America and was also politically and diplo¬
matically active in the new triune state. Looking up his acquisitions in Zagreb at
Ullrich s created only after
1921,
it can be seen that he already had a sound collec¬
tion of contemporary painting, located in the fashionable royal summer resort, for
Bled was precisely that for Alexander I.
The third group according to
Milčinović
consisted of engineers, which sub¬
sumed architects and owners of construction firms. Even a superficial glance will
show that this is a group that should have been in the number one position, for it
bought the most and the most expensive art works
-
large oil paintings of renowned
Croatian artists as well as sculptural works. Particularly to the fore was architect of
the Art
Nouveau
style Lav Kalda
(1880-1956).
But the biggest collection was formed
at Ullrich s by Zagreb engineer Robert Deutsch-Maceljski
(1884-1943),
as to whose
biography at present we have managed to ascertain very little. It can be assumed, from
the artworks he purchased, that this was a real collector, who constantly acquired
high quality works of art, showing a fondness for the works of Croatian women paint¬
ers and practitioners of the applied arts.
Milčinović
did not mention business people, owners and directors, but they
are prominent as social group with financial power. Some of them were collectors.
Among them, the printer and bookseller
Zlatko
Kugli
of Zagreb was prominent; it
has been shown that in
1932
he himself had an art salon and was a competitor for
Ullrich s son and heir
Edo.
Other visitors and purchasers were the more wealthy
inhabitants of towns in the provinces
-
chemists, firm directors and so on. Names
worth mentioning, because they created whole collections through purchases from
Ullrich, are Hinko Lederer, owner of a tannery in
Kostajnica,
and members of the
rich
Karlovac
family of
Fröhlich.
It is interesting that in the inventory books there
are special records for foreign purchasers, though mostly without names, marked
only by their gender or nationality
-
bought by a Czech, bought by a foreign lady ...
and so on. If we take into consideration the purchases from Ullrich by diplomats
also noticed, it is possible to say that in this way works of Croatian artists, even if in
modest numbers, went off to Europe, undergoing further reception in new settings.
Of course, there were also art lovers and purchasers who belonged to the educated
classes with more moderate earnings
-
lady school teachers, drawing teachers in sec¬
ondary schools and so on
-
but they were far less numerous than the others.
THE UNDERPINNINGS AND PEAKS OF ULRICH S ARTISTIC POLICY
As for formal education, in artistic matters Papa Ullrich was self-taught. But
one has to take into account his vigorous associations with artists and his constant
education in art by them. They often wrote to him from their journeys abroad,
about what they had seen, expressing their opinions about it. In addition, which was
extremely essential, they gave him a precise picture of what was going on in the art
trade in other European cities. However, the documents show that Ullrich himself
travelled to and did business in Vienna. He contracted for and supervised the print¬
ing of art prints there. Without doubt he could have gone into art galleries, such as
the well known Miethke Gallery in Dorotheergasse
11.
In the ground floor there
they exhibited the works of contemporary masters, with old masters on the first floor.
Although Miethke sold the firm in
1904,
the good will and importance of the name
of
Galerie
Miethke were transferred to the new owners and
guiders
of art policy.
First of all to Carl Moll
(1861-1945),
who represented
Gustav
Klimt
(1862-1918)
and artists of the Secession, and afterwards to Hugo Huberfeld, whom the history
of art exhibitions most remembers for the Picasso exhibition of
1914.
All this could
have been tracked by Ullrich at first hand.
There is no evidence that
Antun
Ullrich ever went to Paris, but for some time
the Croatian painter Becic lived here, and he actually wrote him well-observed let¬
ters on the mechanisms of the workings of the art market there, and about the well-
known representative of the Impressionists
Durand Ruel
(1831-1922).
Becic encour¬
aged Ullrich to take on a similar role in Croatia, the role of a visionary who would
invest in new art, unknown to the public and difficult to understand, in order to be
able to make a good profit at a later time. The painter was here actually trying to get
Ullrich s support and sale of his works in the Salon, for his first exhibition of
1910
was not very successful with respect to sales.
In comparison with other centres, particularly those in Germany, it should
be pointed out that Ullrich was a contemporary of Franz Josef Brakl
(1854-1935),
Hans Goltz,
Heinrich Thannhauser
(1859-1934)
and others. And although he was
not European-famed and although he did not show in his salon works of groups
and artists later acknowledged internationally (save for the exhibition of prints and
drawings of contemporary French authors in
1927),
through his activity he did play
a similar role in Croatia. Above all he represented the works of younger Croatian
artists, some still students of the College. He recognised the great worth of
Miroslav
Kraljević
(1885-1913),
a painter who is in Croatia considered the keystone of modern
art. For
Kraljević
he arranged the only exhibition during his lifetime, and then a
posthumous show. By force of circumstances and thanks to the improvidence of
Kraljevic s brother
Karlo,
Ullrich came into the possession of a large number of
Kraljević
works, notebooks and drawings. He kept them carefully, donated some
of them to museums and exhibited them in his own salon. Something similar hap¬
pened with the printmaker Ivan Benkovic
(1886-1918)
who died young. The recog¬
nition of their artistic values must have been connected with a mercantile belief in
the later appreciation of
Rraljević s
and Benkovic s works and the making of extra
profit during sale. We also connect with
Antun
Ullrich the foundation of the Spring
Salon, the most avant-garde artistic phenomenon in the country. It was born in
1916,
during the war and was a kind of fight of the young artists inclined to Expressionism
with the older and more traditional painters. The Spring Salon turned into a per¬
manent annual art event that was held until
1928;
it left the Ullrich salon much ear¬
lier, however, in
1919.
After World War I and in the crisis years, Ullrich chalked up several interna¬
tional collective exhibitions. The first, unluckily, lasted but a week. It was an exhi¬
bition of Czech Expressionists in summer
1919,
when the top names in Czech art
were making a guest appearance in Zagreb. Until this day this exhibition has gone
without comment in Zagreb, put on then, as it was, in the dog days of the summer
recess, with a few press notices as well as a few hard words from the reviewers. The
last exhibitions in which Papa Ullrich showed his commitment to art and the sup¬
port he gave to artistically valuable painting were two that he prepared during the
last years of his work. The first was an exhibition of French prints, held in
1925,
and
helped by the working of the French Institute in Zagreb, while two years later the
Zagreb public was able to see mainly drawings and prints of contemporary French
artists, the works, for example, of
Chagai,
R.
and
S. Delaunay,
Leger,
Lhote
and
Picasso. Although not large in terms of number of works on show, it was in its own
way a great exhibition.
We have listed the peaks springing from Ullrich s unwritten exhibition policy.
Between them there were a good many larger and smaller exhibitions of academi¬
cally appealing painting, as well as of totally amateur painting, prints and fine crafts
of somewhat questionable value. But as in reality the peaks are more discernible
and closer to the sun, to the marrow of art itself, which
Antun
Ullrich was able intu¬
itively to discern.
CARICATURE IN A SPECIAL FRAME
Ullrich s characteristics as a person, his blithe spirit and propensity for amuse¬
ment and laughter even in the most serious of life s situations set off a clear Salon
predilection for the promotion of caricature as an art kind of its own. In addition,
most of the artists of newspaper caricatures were academy-trained, and Salon Ullrich
served them as inspiration. It is interesting that Ullrich s best friend among the art¬
ists was
Menci
Clement
Crnčić
(1865-1930),
founder of the Art College and a known
Croatian master of drawing and etching, as well as a painter of seascapes. He was
also an outstanding caricaturist and editor of
Satir
and
Čauš,
comic journals from
the early 20th century. Unluckily, he never exhibited his caricatures at Ullrich s, nor
are there any in the correspondence.
But there is one in a letter of
Petrović.
This is a caricature that tells of art as
a fine but very hard activity, symbolised by a brilliant Expressionist drawing of an
artist relaxing in a hammock. It is worth recalling that the beginnings of the work
of the Salon in
1909
and
1910
were immortalised not with photographs but with
Petrović s
caricatures. He was a student of
Crnčié
and hence the option for carica¬
ture, the development of drawing skills and the ability to observe portrait charac¬
teristics were completely intelligible in his case.
Ullrich showed his support to caricature most of all in the organisation of the
first independent show of caricatures in Zagreb and in the whole of Croatia. This was
the
1914
exhibition of Baron Hans
von Gagern (1987-1942),
a caricaturist inclined to
stereotyped visual expression and to appropriations from German artists. The exhi¬
bition was well reviewed in the papers by
Kršnjavi,
who also said that the humorous
art exhibition in Zagreb was a novelty . Gagern also exhibited at Ullrich s in
1922,
and his caricatures were sold with success on commission. The Ullrich family still
has a reproduction of Gagern s interpretation of Ullrich as art dealer.
The next caricature exhibition was that of the Dalmatian master of the carica¬
ture Angjeo
Uvodić
(1880-1942)
held in spring
1917.
In spite of the war, the carica¬
tures sold, and Ullrich ordered five copies of caricatures for himself. In
1918
an exhi¬
bition of the caricatures of the young artist
Bogumil
Car
(1891-1969)
was put on. It
is quite interesting that this exhibition was the first and last to put Ullrich s salon on
the cover of a paper. These were caricatures created in the theatre of war and that
told that it was possible to find and interpret funny things even during wartime. In
the letters between Car and Ullrich several of Car s caricatures can be found, of the
kind that this interesting artist drew the whole of his life as his own diary.
From
1915
to
1917
the illustrated and comic periodical
Šišmiš
came out in
Zagreb. The founder-editor was
Otto Antonini
(1892-1959),
an artist whom Ullrich
had helped while he was a young painter in training in Italy. It is not surprising the
Ullrich Salon was often caricatured in
Šišmiš.
Among the caricatures most inte¬
resting in documentary terms are those of the Czech
Jan Rambousek
(1895-1947)
in which Ullrich is shown talking with a purchaser about the price of a painting in
his salon. Also in this group is the caricature on the cover of the book, signed by
young
Tomislav Kolombar
(1899-1920).
The caricature is not based on a drawing
that represents a brilliant source for the reconstruction of the appearance of the
Salon, but on a text in which there is a comment on the great proportion of prints
at the Spring Salon show in
1917,
for in the war the artists used oil not for painting
but for dressing salads.
All in all, Ullrich clearly include exhibiting and selling caricatures in his exhi¬
bition policy. Together with the founders of the comic journals, particularly
Šišmiš
and
Koprive,
he made caricature a socially acceptable kind in Croatia, available for
the entire community to see and to purchase.
ULLRICH S IMPACT ON ARTISTIC CREATION
Very early on during the research into the phenomenon of the Ullrich Salon
it was noticed that as
gallerist
Ullrich had a personal impact on the production of
some works of art that he thought would sell the more easily. These were works that
were goods in demand. As artistic kind, sculptural works were certainly harder to sell
than pictures and much more so than prints, the reception of which was broadest.
As for subjects, it was long held that the topics most in demand were landscape. But
the archival records show that this was not quite the case. For example, to
Becić,
in
1923
Ullrich wrote, after the poor sales of his works in
1921
and
1922,
that he should
not paint just pure landscapes, rather incorporate into them some figurative event,
for such motifs had a greater chance of selling.
Oriental motifs, particularly from Bosnia, were the most popular contents for
Ullrich himself. The first with whom Ullrich negotiated about painting motifs from
that area was
Jurkić,
mentioned above. In
1916,
for the first time he asked him to
send some smallish thing from Bosnian life. Then his demand were more spe¬
cific, and he asked for more precise studies of Bosnian types like sitting with their
legs crossed or standing in the bazaar or squatting by a coffee seller or the like . It
should be recalled that this happened during the war and that Jurkic was most likely
in financial troubles, for he responded readily to these demands. Recently we dis¬
covered, privately owned by the
Ullrichs,
a number of prints of a similar topic cre¬
ated in the workshop of
Milenko
D.
Gjurić
(1895-1945).
Ullrich also showed a marked preference for depictions of folk costumes and
people and customs from some given region in his artworks. He was himself from a
Slavonian village. But in the interpretation of his preferences one should take into
account the time in which he lived and worked as
gallerist.
This was a time in which
there were frequent and repeated recourses to the folk tradition in Croatia, partic¬
ularly to authentic folk costumes and the embroidery used to decorate them, now
reeling under the influence of industrialisation and modern
stylisation.
It should
also be borne in mind that elements of folk costume and needlework had been iden¬
tified as part of the Croatian national identity in the mid-19th century. At the end
of that century the idea of an indigenous national art style was born, even in archi¬
tecture, based on the traditional textile heritage. At the beginning of the new cen¬
tury and after the foundation of the Croatian Peasant Party national art, in partic¬
ular in textiles (original or an interpretation of the original) gradually, even more
so after
1918,
became an instrument of political activity in Croatia , i.e. a way in
which national identity was reinforced.
There is no need to wonder then that Ullrich should have given national cos¬
tume an important place, indeed, folk art in general. In the correspondence there is
an interesting letter of painter
Zoe Borelli
(1888-1980),
with whom Ullrich started
working in
1918.
She had sent him several paintings, and he after receiving them
had replied:
I like them a lot... this is just what we need, scenes from common life, and I
most kindly ask you to do me
10
to
15
items of paintings of this kind.
I would also kindly ask you to do me several characteristic studies of interesting
heads of old men, old women and young women and girls and young people, in colour
if possible, so that we can present the people of your surrounds and the Dalmatian
coast region here in Zagreb... Only not too expensive, please...
Zoe Borelli
was not alone. Ullrich sent similar requests to other Croatian art¬
ists, from
Dalmaţia
to
Slavonia.
But the inventory books do not show that such topics
really did sell better and ultimately it seems that as far as folk costume is concerned,
it was primarily a matter of Ullrich s personal interest.
The end of the chapter discusses Ullrich s acquisition of erotic and pornographic
works, particularly from lesser known printmakers in Austria and Germany, and there
is some indication of the way artists procured such material for him from Paris.
CRITICS AND PROMOTERS OF THE SALON
Research into the archives has revealed that
Antun
Ullrich, by financial and
other ways (lobbying, friendship and so on) ensured that art reviewers would write
about the exhibition activity of the Salon. He also made sure of promotion and sto¬
ries from journalists and the support of the papers for which they worked.
The joint activity of
gallerists
and art dealers was registered in Europe in the
1860s. The beginning is called a new moment, i.e. the moment when patrons were
replaced by agents whose business was to make sure that artists could earn their
living. In Croatia this moment overlapped with the beginning of the work of the
Ullrich Salon, and the oldest proof, a letter from the reviewer
Strajnić
to Papa Ullrich
in which he asked for financial help, derives from
1910.
Actually, in his most fer¬
tile reviewing period, from
1910
to the end of World War
I, Strajnić
covered all the
more important exhibition events in the Salon, most often in Savremenik, journal of
the Croatian Writers Association as well as in
Pokret,
newspaper of the Croatian-
Serbian coalition. Thus one of the formally best educated art reviewers of his gen¬
eration was in Ullrich s pay.
Strajnić
had a feel for the analysis of the design of an
exhibition venue and for the way of exhibiting in it. For him at the beginning the
salon was tastefully arranged, as the caricatures amply demonstrate.
Strajnić
was an
opponent of exhibiting many works at a time, in which case the salon was more like
a shop. Once he wrote: In every exhibition quality is the most important. Quantity is
subsidiary, and it can impress only traders...
Another reviewer who really did cover the work of the salon from the begin¬
ning was
Andrija Milčinović.
There is no real proof, such as in letters, proof of the
sending money, gifts of artworks and so on, that he was being feed by Ullrich. But
his writing about the salon and the exhibitions in it, in Savremenik alone up to
1916,
show he was well inclined to Ullrich. Indeed, we have found sentences that indirectly
encourage the readers to purchase works of art.
Among the critics who worked for the Zagreb papers and were particularly
connected with the salon, the name Vladimir
Lunaček
(1873-1927)
stands out. He
most often published in
Obzor.
He himself, thanks to his many errors of fact and
poor understanding of Croatian, was criticised by fellow writers and more serious
reviewers. The Ullrich archives show that we can see
Lunaček
as a man in constant
money troubles. This bound him the closer to Ullrich, from whom he not only bor¬
rowed, but to whom he sold artworks obtained from the painters whom he wrote
of.
Lunaček
covered events in the salon until his death, which coincided with
Antun
Ullrich stopping work. It is interesting that executor of
Lunaček s
will, which told of
the journalist s great indebtedness, was Papa Ullrich himself.
The work of the salon, almost from beginning to end, was covered by articles in
German by Walter
Siess,
totally unknown to the Croatian public today. The Ullrich
archives first of all showed mass of information about pictures being given to a man
of that name, and then further research showed that this was a journalis who worked
for the opposition paper
Agramer Tagblatt
and after for
DerMorgen.
The articles give
the idea of
Siess
as a man who was artistically educated, who did not restrict himself
only to a description of the content and general impression of a given work of art,
but was capable of writing eloquently about the individual elements of a work of art.
He and Ullrich were connected by their common German ancestry. Hence there is
no wonder in the flattering sentence devoted to both Ullrich and his salon on the
occasion of the Christmas exhibition of
1915:
The small selection [of artworks and
artists] that we have brought out in our evaluation should serve to move our art lovers
to visit the Christmas exhibition, where they will be convinced that not even in time of
war has the temple of Croatian art become impoverished.
Finally, Ullrich deliberately made sure that the salon figured in a wide net¬
work of daily papers, of culture and literature journals, as well as local illustrated
reviews that through the power of visual information could contribute even more
to the good promotion and sales of artworks.
REAL LIFE: FROM PRINT EDITIONS TO FRAMING
A cursory glance at the inventory books of the Ullrich Salon will make it clear
that the owner did not in a commercial sense live off the sale of paintings, and still
less from the sale of sculptures (which however commanded the highest prices) but
from the constant sale of prints. This activity, in exhibitions and sales, started sig¬
nificantly with an exhibition of one of the renowned painters and printmakers, of
European fame,
František
T. Šimon.
It is not known when Ullrich decided to get into the business of prints and
albums of prints. It was certainly no rarity as far as the rest of artistic Europe was
concerned. For example, Hans Goltz, book seller and
gallerist
of Munich mentioned
above, published numbers of graphic portfolios and thus additionally expanded and
supported the contemporary art that he exhibited in his salon.
Support for and supervision of the publication of prints in the case of Ullrich
had an additional motive
-
profit, above all. But it happened that Ullrich would sup¬
port young artists by covering the costs of having their prints pulled. This is vividly
shown by letters to and from
Dušan Kokotović
(1888-1953),
whom he helped to make
impressions of his prints in Vienna, as well as taking control of his plates.
As far as topics is concerned, it is clear that in Zagreb, as in other European
capitals, there was a visible interest of artists and public in city views, particularly in
their historical interpretation.
A document that enables the creation of a good picture of Ullrich s graphic
production is a list of
211
etchings, seven linocuts and four zinc plates that went from
the Ullrich estate to the Croatian Academy Department of Prints and Drawings in
1964.
It tells most clearly of the number of impressions, the topics, and the artists
who most often worked together with Papa Ullrich.
Most prints were made from plates of
Marijan Trepše
(1897-1964),
and not
from those of better known printmaking interpreters of Zagreb such as
Crnčić
or
Branko Šenoa
(1879-1939).
In the Ullrich family bequest a number of artist s proofs
were found, and a few of other top Croatian printmakers, with remarks about changes
that had to be made to the plate for the final impression to be as expressive and qual¬
itative as possible. Pulling was done in Vienna, as shown by the details of the corre¬
spondence between Ullrich and the artists. Vienna was the cheapest in this respect,
certainly much cheaper than Munich.
Antun
Ullrich also sold in the Salon prints
that he did not publish himself. Prints were bought for him abroad by local artists
whom he worked with usually. But he himself made contacts with some foreign print-
makers who would make guest appearances at group shows in the salon. This was
the case with, for example, Vladimir Silovsky
(1891-1974)
of Prague, whose prints
Ullrich sold until the end of the operations of the salon.
According to the inventory books, prints were bought in particular before
holidays, as well as for gifts of honour and for wedding gifts. Foreigners travelling
through Zagreb also bought them. The print, after all, was a rewarding kind from
the point of view of exhibitions, for it was transported more easily and handled much
more easily and without much damage being incurred.
Finally a few words should be said of Ullrich s first craft and skill
-
framing
and presenting pictures and prints, which he did not neglect even after the exhibi¬
tion venue was set up and his workshop became a salon.
The frame (and other furnishing) of a picture for its presentation has always
been at the same time a component part of the artwork, its border and the final ele¬
ment of creation as well as a bridge that went from it towards the imaginary and
real observer. Connoisseurs, and others too, do not need to be explained that a well
designed and produced frame can considerably contribute to the value of a work of
art, bring out what we would not be aware of, even change our perception and the
judgement of reviewers. Reading the archival sources, one can conclude that artists
then were divided into those to whom this was clear and those, a smaller number, for
whom frames were not all that important. Particularly prominent among Croatian
artists in his concern for the way art works were presented and the impression that
would be produced in the viewer was the already mentioned Dalmatian painter
Emanuel
Vidović.
He was a perfectionist and if he did not find in the consignment
of specimens just what he wanted, he would draw it in his letter to Ullrich and send
the section of the frame. He also gave precise instructions for the mounting of his
paintings and prints at exhibitions.
Ullrich, it is known, framed and mounted works for the big exhibitions of
Croatian artists abroad. One of them was the first post-war international art exhibition
in Geneva in
1920,
at which Croatian artists represented the art of the new state.
This appearance was successful, and part of the credit has to go to Ullrich. He was
an expert in handling and transporting art, which today is both highly valued and
very expensive.
THE TRADITION GOES ON: EDO, IVAN AND IVAN AGAIN
In
1923
Papa Ullrich had troubles with premises, and in
1925
his letters reveal
tiredness and disappointment with the work, particularly to do with the Zagreb public.
In
1927
his salon at
Ilica
54
stopped working. But Ullrich had two sons.
Antun
Junior
(1902-1998)
was an architect, while the elder son,
Edo,
in line with the tradition of
going on with the family business, followed in his father s footsteps.
The transfer of the family activity from father to son went on in a really intere¬
sting way. In
1926
Edo
opened up his own shop with frames and artworks and an
exhibition salon seven buildings further down the main street, while his father was
still in business. Thus for two years,
1926
and
1927,
there were two Ullrich salons,
which was completely unknown until the research undertaken for this book.
The papers covered the exhibitions of both salons, and even described their
policies. According to the journalists, the father supported older and tried and tested
artists, while the son gave more prominence to younger and avant-garde Croatian art¬
ists. In reality and according to the list of exhibitions neither did Papa Ullrich aban¬
don his policy of encouraging younger artists or the exhibition of artistically valu¬
able artworks, nor did his son
Edo
give up on artists who were reliable in pleasing
the paying public and who brought profits, such as the painter of seascapes Aleksej
Hanzen
(1876-1937)
or the author of attractive landscapes in watercolour Viktor
Šipek
(1896-1969).
Interpretation of the work of Edo s salon was much harder.
Edo
Ullrich left few testimonies to his work
-
one Book of Exhibitions
1926-1936
and a few
letters, to which we have added catalogues, newspaper reviews, personal recollec¬
tions of family members, as well as Edo s photographs, from his youth
1918,
to his
early death in
1952.
Edo
Ullrich underwent no particular artistic education but he travelled around
Europe and became acquainted with art in museums and private galleries. Nor should
it be forgotten that from his childhood he associated with artists and that artworks
were always at hand. There is proof that in about
1920
he actively helped his father
run the salon (he was called the junior boss ), and it seems that his father early on
confided to him the supervision of the pulling of prints in Vienna and cooperation
with artists abroad. Newspaper articles describe his new exhibition space in
Ilica
40
as three small rooms. The photographs that exist however tell that they were func¬
tionally and professionally arranged. As for the exhibition policy, Edo s son, Ivan,
born in
1930,
said that his father s business motto was: No one has the right to clas¬
sify (i.e. evaluate) art and all artists have the right to exhibit their works. In the new
salon, then, participants of the avant-garde artistic phenomena in Croatia exhibited,
for example, those who came together in the art group
Zemlja
[Earth],
1929-1935,
which grew out of the aftermath of the October Revolution and had a great feel¬
ing for the artistic interpretation of the peasant and the disenfranchised in general,
certainly along the lines of
Georg Grosz
(1893-1959)
and of the
Neue Sachlichkeit.
Members of the first generation of peasant painters, Ivan
Generálié
(1914-1992)
and
Franjo
Mraz
(1910-1981),
were connected with
Zemlja
and its artistic thinking,
and in
1936
they had their first individual show in Edo s salon.
The doors were also open to artists of dubious artistic value but great produc¬
tivity. Among them we would emphasise the example of
Slávko Tomerlin
(1892-
1981),
artist who painted in the academic way and most often showed people in tra¬
ditional costume from various parts of Croatia. He exhibited at Edo s twelve times
between
1931
and
1943.
This was mostly the time of repressive activity from the
Belgrade regime, which only brought Croats together the more strongly, within the
strongest political party, the Croatian Peasant Party. It deliberately used folk ele¬
ments as part of its identity. The success of Tomerlin and others like him then should
not arouse any surprise.
Ullrich s policy of enabling all to exhibit is visible in its way just before World
War II, as well as during the war. It was fairly bold, in human and civil terms, to put
on in
1939
an exhibition for a Sephardic Jew from Belgrade, a lawyer but also brilliant
colourist painter, Bora Baruh
(1911-1942)
or twice during the war for an ethnic Serb,
printmaker of the older generation,
Milenko
D. Gjurié.
Something that particularly
distinguished Edo s salon from his father s was the exhibition of applied art, particu¬
larly ceramics. The well known women ceramics artists of the first generation found
an excellent space in
Ilica
40
for the promotion of their works. Interestingly, at their
exhibitions, the directors of art museums in Zagreb started buying their works, as they
had done painting works during the 30s. The Ullrich Salon worked on a smallish scale
during the war, and was nationalised after it. What was good was that the premises did
not change their use. It remained an exhibition and sales venue, but now belonged to
LIKUM, the artists co-op. And while Edo s wife
Maša
(1903-1973)
went on doing the
same jobs, but now for public owners,
Edo
ended up in jail, not for his gallery work,
but for some other reasons. The man we can see on the last extant photo of
1952
is
hard to connect with the self-confident and elegant
gallerist,
rower and hiker, lover
of driving in a Ford convertible and so on. That same year,
Edo
Ullrich died.
Everything else was like a silent film
-
the framing workshop of his younger
son Ivan was founded only in
1969,
his grandson Edo s induction into the work, the
restoration of the name of Ullrich to the LIKUM premises in
Ilica
40,
the pres¬
ent author s entry into their affairs and life in
1994
and her sustained research into
both salons. All of it exists, all the pictures changed from
1952
to
2010,
but there
was no clear sound, nothing of the onetime powerful
gallerisfs
spirit and meaning.
Only books and letters remain, catalogues of exhibitions with lists of prices, a good
number of the artworks with their context and stories, scattered around among pri¬
vate collections and museums. The people of course have remained, as have their
personal memories. For them to become our common memories and for them to
be as strong as possible, this book was written.
|
| any_adam_object | 1 |
| author | Vujić, Žarka |
| author_facet | Vujić, Žarka |
| author_role | aut |
| author_sort | Vujić, Žarka |
| author_variant | ž v žv |
| building | Verbundindex |
| bvnumber | BV040357661 |
| ctrlnum | (OCoLC)812216593 (DE-599)BVBBV040357661 |
| era | Geschichte 1910-1952 gnd |
| era_facet | Geschichte 1910-1952 |
| format | Book |
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| id | DE-604.BV040357661 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:22:23Z |
| institution | BVB |
| isbn | 9789536960200 |
| language | Croatian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-025211584 |
| oclc_num | 812216593 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 247 S. Ill. |
| publishDate | 2010 |
| publishDateSearch | 2010 |
| publishDateSort | 2010 |
| publisher | Art Magazin Kontura [u.a.] |
| record_format | marc |
| spelling | Vujić, Žarka Verfasser aut Salon Ullrich o stotoj obljetnici ili Gostiona (k) stotoj slici Žarka Vujić Zagreb Art Magazin Kontura [u.a.] 2010 247 S. Ill. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache u.d.T.: The Ullrich salon on its centennial Umjetnički Salon Ullrich (DE-588)1024960366 gnd rswk-swf Geschichte 1910-1952 gnd rswk-swf Umjetnički Salon Ullrich (DE-588)1024960366 b Geschichte 1910-1952 z DE-604 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025211584&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025211584&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Vujić, Žarka Salon Ullrich o stotoj obljetnici ili Gostiona (k) stotoj slici Umjetnički Salon Ullrich (DE-588)1024960366 gnd |
| subject_GND | (DE-588)1024960366 |
| title | Salon Ullrich o stotoj obljetnici ili Gostiona (k) stotoj slici |
| title_auth | Salon Ullrich o stotoj obljetnici ili Gostiona (k) stotoj slici |
| title_exact_search | Salon Ullrich o stotoj obljetnici ili Gostiona (k) stotoj slici |
| title_full | Salon Ullrich o stotoj obljetnici ili Gostiona (k) stotoj slici Žarka Vujić |
| title_fullStr | Salon Ullrich o stotoj obljetnici ili Gostiona (k) stotoj slici Žarka Vujić |
| title_full_unstemmed | Salon Ullrich o stotoj obljetnici ili Gostiona (k) stotoj slici Žarka Vujić |
| title_short | Salon Ullrich o stotoj obljetnici ili Gostiona (k) stotoj slici |
| title_sort | salon ullrich o stotoj obljetnici ili gostiona k stotoj slici |
| topic | Umjetnički Salon Ullrich (DE-588)1024960366 gnd |
| topic_facet | Umjetnički Salon Ullrich |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025211584&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025211584&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT vujiczarka salonullrichostotojobljetniciiligostionakstotojslici |