| Abstract | U stilskom rasponu od realizma do simbolizma, francuski slikari s kraja 19. stoljeća Pierre- Auguste Renoir, Edgar Degas i Henri de Toulouse-Lautrec, različito interpretiraju motiv i temu „plesa“ i „pokreta“. Auguste Renoir ovoj temi pristupa na impresionistički, ali i na realistični način, obraćajući veliku pažnju na ugođaj kojeg slika. Njegov rad možemo lako prepoznati po sladunjavim i stiliziranim ljudskim figurama. Bezbrižne svakodnevne prizore koje slika, za njega predstavljaju bijeg od životnih problema. Radovi mu odišu životnom radosti i pozitivnom energijom koju pučki ples izaziva u čovjeku, a mi kao promatrači možemo to osjetiti i nastaviti širiti dalje. S druge strane Edgar Degas plesnoj temi pristupa na inovativniji način. Lutajući po pariškim kazalištima, detaljno proučava plesne pokrete balerina i prenosi ih na platno na isti način na koji je prenosio pokrete trkaćih konja i džokeja. Uzima od impresionista ono što mu odgovara i to dodatno razrađuje. Za svog života stvara brojne intimne kazališne prizore, a htio je prikazati teški rad i trud koji stoji iza ljupkosti baletnog plesa. Henri de Toulouse-Lautrec najslobodniji je i najeksperimentalniji u prikazivanju ove plesne teme. Zbog svog fizičkog izgleda na kojeg nije mogao utjecati, za života je bio neshvaćen u aristokratskom društvu u kojem je odrastao. S toga se seli u veliki Pariz i svoje mjesto u društvu pronalazi među „otpadnicima“ grada. Te „otpadnike“ čini svojim simbolom i uzdiže ih na umjetničku razinu. Kao i njegov idol Edgar Degas, težio je hvatanju pokreta u vremenu, ali i psiholoških stanja osoba koje slika ili crta istodobno simbolizirajući njegov unutarnji svijet. Stoga su mu česti motivi bili plesači i plesačice iz noćnih klubova koje stvara u postimpresionističkom, simbolističkom i ekspresionističkom stilu. Dakle, kao zaključak možemo reći da je Renoir „plesom“ i „pokretom“ htio postići određeni ugođaj u kojem se radnja događala, Degas je jednostavno htio što bolje prikazati i zabilježiti pokret balerina koji mu je bio zanimljiv, a Lautrec svojim plesnim djelima pričati priču određenog društva i zabilježiti njihova unutarnja psihološka stanja. Iako dijele isti grad i godine u kojima su stvarali, sva tri umjetnika zajedničku temu gledaju i izražavaju na različit način. Zahvaljujući njihovim iznimnim i raznovrsnim radovima mi kao gledatelji na tematskoj razini možemo pratiti i doživjeti kako se nekad plesalo. |
| Abstract (english) | In a stylistic range from realism to symbolism, French painters from the end of the 19th century, Pierre-Auguste Renoir, Edgar Degas and Henri de Toulouse-Lautrec, interpret the motif and theme of "dance" and "movement" differently. Auguste Renoir approaches this subject in an impressionistic, but also realistic way, paying great attention to the atmosphere he paints. His work can be easily recognized by the sweet and stylized human figures. The carefree everyday scenes he paints are for him an escape from life's problems. His works then exude the joy of life and the positive energy that folk dance evokes in a person, and we as observers can feel it and continue to spread it. On the other hand, Edgar Degas approaches the dance theme in a more innovative way. Wandering around the Paris Opera, he studies in detail the dance movements of ballerinas and transfers them to the screen in the same way he transferred the movements of racehorses and jockeys. He takes what suits him from the impressionists and further elaborates it. During his lifetime, he created numerous intimate theater scenes, and he wanted to show the hard work and effort behind the beauty of ballet dancing. Henri de Toulouse-Lautrec is the freest and most experimental in his depiction of this dance theme. Because of his physical appearance, which he could not control, he was misunderstood during his lifetime in the aristocratic society in which he grew up. With that, he moves to big Paris and finds his place in society among the city's "renegades". He makes these "renegades" his symbol and elevates them to an artistic level. Like his idol Edgar Degas, he strove to capture movement in time, but also the psychological states of the people he paints or draws, simultaneously symbolizing his inner world. Therefore, his frequent motifs were dancers from nightclubs, which he works in a post-impressionist, symbolist and expressionist manner. So, as a conclusion, we can say that with "dance" and "movement" Renoir wanted to achieve a certain atmosphere in which the action took place, Degas simply wanted to show and record the movement of the ballerina as best as possible, which was interesting to him, and Lautrec to tell a story with his dance works of a certain society and record their internal psychological states. Although they share the city and the years in which they created, all three artists look at the same subject in a completely different way. Thanks to their beautiful and varied works, we as spectators can follow and experience how dancing used to be. |
