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[title] => Napustio nas je Tomislav Čerina, veliki hrvatski umjetnik, prvi slikar njegove rodne Bukovice
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Tomislav Čerina, ugledni zadarski i hrvatski slikar, preminuo je u Zadru nakon duge i teške bolesti u 74. godini života.
U listopadu prošle godine Galerija umjetnina Narodnog uzeja Zadra priredila je veliku Čerininu izložbu pod nazivom "Retrospektiva".
Riječ je o sveobuhvatnom prikazu djela slikara, još od početka 70-tih godina, pa do današnjih dana. O Čerini i njegovom opusu nadahnuto su govorili Vinko Srhoj i Miljenko Domijan, a događaj je sa zanimanjem popratio veliki broj Zadrana.
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Kako je tom prilikom istaknuo likovni kritičar Vinko Srhoj, Tomislav Čerina (Benkovac, 1950.) svoje je slikarske početke još u vrijeme studija u ranim sedamdesetim godinama, vezao uz motive krajolika u tehnikama akvarela, pastela i ulja na platnu. Poseban nerv za krajobrazne motive iskazivao je naglašavanjem atmosferičnosti, transparencije (posebno u akvarelu i gvašu), i lazura kod kojih je “vodeni medij” rastvarao prizor do kolorističkih akcenata i žarišnih punktova postvarenih bojom, bez crtanja, detaljiziranja, naknadnih ispravki i dorada.
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Ti su počeci, bez prethodnika i vidljivih uzora, pritom uvijek više bili zagledani u doživljaj motiva po sebi negoli u povijest slikarstva i isticanje srodstva s nekom od dionica moderenističke tradicije ili autorstva. Obrat koji ničim nije bio nagovješten, izuzmemo li ono turnerovsko rasplinjavanje do “slabe vidljivosti” i nestajanja obrisa prirode u vodenom zasićenju i isparavanju, dogodio se je u drugoj polovici sedamdesetih, te nastavio u osamdesetima.
Osamdesete su najplodnije slikarovo razdoblje kako po brojnosti radova tako i po izlagačkoj aktivnosti. U tom je razdoblju došlo do zaokreta od motiva vezanih uz krajolike i impresiju prirodom, prema apstrakciji, materičnoj i znakovno-simboličkoj. I sami naslovi slika doživljavaju preobrazbu od zavičajnih toponima Ravnih kotara i Bukovice (kojima će se, nakon još jednog skoka, opet vratiti oko 2000. godine), prema literarnim, simboličkim i metaforičkim naslovima/esejima.
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Apstraktna dionica slikarskog puta Tomislava Čerine završava s početkom Domovinskog rata. Nakon toga gotovo nevjerojatan muk, odustajanje od slikanja kroz gotovo dvadesetegodišnje razdoblje, i novi početak u novom tisućljeću, u kojemu je slikar radikalno preobrazio slikarsku fizionomiju prema krajobraznom realizmu. Moglo bi se govoriti o povratku korijenima iz predapstraktnog razdoblja, ali je novi krajolik sasvim drugačije konstitucije.
Od prvotno akvarelnog naglašavanja slike kao ugođajne i atmosferske, slikar je prispio “na žalo” djetinjstva, dakako opet u ishodišnu arkadiju Bukovice i Ravnih kotara, ali je očvrsnuo zajedno s krajolikom. Nema više ni znakovite literarizacije naslovnih tema iz vremena apstrakcije, nego vlada tek jedan zajednički poopćeni naziv – Krajolik, mada se nerijetko prepoznaju konkretni motivi zadarskog zaleđa, istaknuo je Srhoj.
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Povodom otvaranja izložbe "Krajolici" 2012. u Muzeju Mimara i povratka na likovnu scenu nakon dvadesetogodišnje slikarske šutnje s 13 slika velikoga formata s temom pejzaža njegove rodne Bukovice Igor Zidić je zapisao:
„Ne propagirajući, nipošto, nužnost neke nove domovinske geografije umjetnosti tek zapisujem da Bukovica nije imala svoga slikara, kao što je na različite načine, imala svoje pisce. Za likovnu kritiku taj podatak nije od najveće važnosti, za Čerinu jest. Kritički je, međutim, značajno da se probuđeni Čerina javio kao pejzažist, a to je ne samo najjači žanr hrvatskoga slikarstva, nego i onaj esencijalno hrvatski žanr – naše identifikacijske samopotvrde. Od Medovića do Crnčića, od Vidovića do Ivekovića, od Becića do Jurkića, od Babića i Tartaglie do Šulentića i Joba, Motike, Šumanovića, Šohaja, Glihe, Kaštelančića, Dulčića i Murtića, uz nebrojene još vrsne pejzažiste, traje taj hrvatski žanrovski zavjet iz kojega se čita privrženost tlu i ovisnost o njemu. (…) Čerina pripada toj moćnoj hrvatskoj vrsti kao jedan od novopridošlih.“
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Tomislav Čerina, ugledni zadarski i hrvatski slikar, preminuo je u Zadru nakon duge i teške bolesti u 74. godini života.
U listopadu prošle godine Galerija umjetnina Narodnog uzeja Zadra priredila je veliku Čerininu izložbu pod nazivom "Retrospektiva".
Riječ je o sveobuhvatnom prikazu djela slikara, još od početka 70-tih godina, pa do današnjih dana. O Čerini i njegovom opusu nadahnuto su govorili Vinko Srhoj i Miljenko Domijan, a događaj je sa zanimanjem popratio veliki broj Zadrana.
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Kako je tom prilikom istaknuo likovni kritičar Vinko Srhoj, Tomislav Čerina (Benkovac, 1950.) svoje je slikarske početke još u vrijeme studija u ranim sedamdesetim godinama, vezao uz motive krajolika u tehnikama akvarela, pastela i ulja na platnu. Poseban nerv za krajobrazne motive iskazivao je naglašavanjem atmosferičnosti, transparencije (posebno u akvarelu i gvašu), i lazura kod kojih je “vodeni medij” rastvarao prizor do kolorističkih akcenata i žarišnih punktova postvarenih bojom, bez crtanja, detaljiziranja, naknadnih ispravki i dorada.
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Ti su počeci, bez prethodnika i vidljivih uzora, pritom uvijek više bili zagledani u doživljaj motiva po sebi negoli u povijest slikarstva i isticanje srodstva s nekom od dionica moderenističke tradicije ili autorstva. Obrat koji ničim nije bio nagovješten, izuzmemo li ono turnerovsko rasplinjavanje do “slabe vidljivosti” i nestajanja obrisa prirode u vodenom zasićenju i isparavanju, dogodio se je u drugoj polovici sedamdesetih, te nastavio u osamdesetima.
Osamdesete su najplodnije slikarovo razdoblje kako po brojnosti radova tako i po izlagačkoj aktivnosti. U tom je razdoblju došlo do zaokreta od motiva vezanih uz krajolike i impresiju prirodom, prema apstrakciji, materičnoj i znakovno-simboličkoj. I sami naslovi slika doživljavaju preobrazbu od zavičajnih toponima Ravnih kotara i Bukovice (kojima će se, nakon još jednog skoka, opet vratiti oko 2000. godine), prema literarnim, simboličkim i metaforičkim naslovima/esejima.
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Apstraktna dionica slikarskog puta Tomislava Čerine završava s početkom Domovinskog rata. Nakon toga gotovo nevjerojatan muk, odustajanje od slikanja kroz gotovo dvadesetegodišnje razdoblje, i novi početak u novom tisućljeću, u kojemu je slikar radikalno preobrazio slikarsku fizionomiju prema krajobraznom realizmu. Moglo bi se govoriti o povratku korijenima iz predapstraktnog razdoblja, ali je novi krajolik sasvim drugačije konstitucije.
Od prvotno akvarelnog naglašavanja slike kao ugođajne i atmosferske, slikar je prispio “na žalo” djetinjstva, dakako opet u ishodišnu arkadiju Bukovice i Ravnih kotara, ali je očvrsnuo zajedno s krajolikom. Nema više ni znakovite literarizacije naslovnih tema iz vremena apstrakcije, nego vlada tek jedan zajednički poopćeni naziv – Krajolik, mada se nerijetko prepoznaju konkretni motivi zadarskog zaleđa, istaknuo je Srhoj.
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Povodom otvaranja izložbe "Krajolici" 2012. u Muzeju Mimara i povratka na likovnu scenu nakon dvadesetogodišnje slikarske šutnje s 13 slika velikoga formata s temom pejzaža njegove rodne Bukovice Igor Zidić je zapisao:
„Ne propagirajući, nipošto, nužnost neke nove domovinske geografije umjetnosti tek zapisujem da Bukovica nije imala svoga slikara, kao što je na različite načine, imala svoje pisce. Za likovnu kritiku taj podatak nije od najveće važnosti, za Čerinu jest. Kritički je, međutim, značajno da se probuđeni Čerina javio kao pejzažist, a to je ne samo najjači žanr hrvatskoga slikarstva, nego i onaj esencijalno hrvatski žanr – naše identifikacijske samopotvrde. Od Medovića do Crnčića, od Vidovića do Ivekovića, od Becića do Jurkića, od Babića i Tartaglie do Šulentića i Joba, Motike, Šumanovića, Šohaja, Glihe, Kaštelančića, Dulčića i Murtića, uz nebrojene još vrsne pejzažiste, traje taj hrvatski žanrovski zavjet iz kojega se čita privrženost tlu i ovisnost o njemu. (…) Čerina pripada toj moćnoj hrvatskoj vrsti kao jedan od novopridošlih.“
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19. svibanj 2024 23:01
