{"id":8436,"date":"2022-04-19T01:02:34","date_gmt":"2022-04-19T01:02:34","guid":{"rendered":"https:\/\/zeptermuzej.rs\/?p=8436"},"modified":"2022-04-19T01:04:03","modified_gmt":"2022-04-19T01:04:03","slug":"marko-celebonovic","status":"publish","type":"post","link":"https:\/\/zeptermuzej.rs\/en\/marko-celebonovic\/","title":{"rendered":"MARKO \u010cELEBONOVI\u0106"},"content":{"rendered":"<div id='av-layout-grid-1'  class='av-layout-grid-container av-145098-81142c67ee4e07e7b47b2dd7af6d57dc entry-content-wrapper main_color av-flex-cells  avia-builder-el-0  avia-builder-el-no-sibling   container_wrap sidebar_right'  >\n<div class='flex_cell av-342x0-573d092b10da78219aa23e09b501e5f1 av-gridrow-cell av_one_fifth no_margin  avia-builder-el-1  el_before_av_cell_three_fifth  avia-builder-el-first '  ><div class='flex_cell_inner'><\/div><\/div>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-2or7w-00a529e3bbb83d9959896d5fd0970073\">\n.flex_cell.av-2or7w-00a529e3bbb83d9959896d5fd0970073{\nvertical-align:top;\nbackground-color:#ffffff;\n}\n.responsive #top #wrap_all .flex_cell.av-2or7w-00a529e3bbb83d9959896d5fd0970073{\npadding:30px 30px 30px 30px !important;\n}\n<\/style>\n<div class='flex_cell av-2or7w-00a529e3bbb83d9959896d5fd0970073 av-gridrow-cell av_three_fifth no_margin  avia-builder-el-2  el_after_av_cell_one_fifth  el_before_av_cell_one_fifth  content-align-top'  ><div class='flex_cell_inner'><p>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-kpqsvx7c-a53e72849eac1a385f35b54aa7dc4003\">\n.avia-image-container.av-kpqsvx7c-a53e72849eac1a385f35b54aa7dc4003 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-kpqsvx7c-a53e72849eac1a385f35b54aa7dc4003 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-kpqsvx7c-a53e72849eac1a385f35b54aa7dc4003 av-styling- avia-align-center  avia-builder-el-3  el_before_av_textblock  avia-builder-el-first '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-6337 avia-img-lazy-loading-not-6337 avia_image ' src=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/1_14.jpg\" alt='' title='1_14'  height=\"217\" width=\"530\"  itemprop=\"thumbnailUrl\"  \/><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-kpqsg7qh-b526648b1103b495bff29ebcd07dcdfb '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><p style=\"text-align: center;\"><strong>MARKO \u010cELEBONOVI\u0106 (Belgrade, 1902 &#8211; Saint Tropez, 1986<\/strong><\/p>\n<p>\u010celebonovi\u0107 began his elementary and secondary education in Belgrade, and finished it in Switzerland. He studied law and economy in England and Paris 1919-1921. The following year he attended sculpture classes at the Academie de la Grande Chaumi\u00e9re in the studio of Antoine Bourdelle, where he met Sreten Stojanovi\u0107 and they remained friends for life. \u010celebonovi\u0107 also met young Swiss paintress Verena \u2013 Vreni Weilenmann, married her, began to paint and remained a painter to the end of his life.<\/p>\n<p>In 1925 the young couple went on holiday to the south of France, rented a small house in Saint Tropez and settled there. At that time Saint Tropez was a small fishermen&#8217;s village where some painters used to come owing to Paul Signac. Invited by \u010celebonovi\u0107, Milo Milunovi\u0107 and Marino Tartaglia came in the summer of 1926 and they all painted together.<\/p>\n<p>\u010celebonovi\u0107 stayed in Saint Tropez until the end of his life and was buried there.<\/p>\n<p>He lived occasionally for shorter or longer periods in Paris, where he had an apartment and a studio, and he also returned to his homeland. He was a professor at the Academy of Fine Arts in Belgrade 1947-1949 and 1952-1960, a councillor at the Embassy of the FPRY in Paris 1949-1952 and the secretary of the Union of Yugoslav Artists in 1953.<\/p>\n<p>He was a member of the following groups: <em>Oblik (Form)<\/em>, <em>Dvanaestorica (Twelve Artists)<\/em>, <em>Samostalni (The Independent)<\/em>.<\/p>\n<p>He was elected a corresponding member of the Serbian Academy of Sciences and Arts in 1958, and in 1968 he became a regular member.<\/p>\n<p>He had solo exhibitions from 1926 onwards, and participated in a great number of group exhibitions from 1925 both in the country and abroad.<\/p>\n<p>\u010celebonovi\u0107 received a significant number of awards.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/2_11.jpg\" alt=\"\" width=\"583\" height=\"192\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/3_7.jpg\" alt=\"\" width=\"477\" height=\"256\" \/><\/p>\n<p><strong>Twenty-eight Pastels of Marko \u010celebonovi\u0107<\/strong><a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-engleski%201.doc#_ftn1\"><sup>[1]<\/sup><\/a><strong>\u00a0<\/strong><\/p>\n<p><strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>If I were to use musical terms, I would say that different painterly techniques can be compared to different instruments and the contents of a picture, its effective potential, to the melodic line.<\/p>\n<p>M.\u010c.<a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-engleski%201.doc#_ftn2\"><sup>[2]<\/sup><\/a><\/p>\n<p>When he talked about\u00a0 his art, as he often did, with his brother Aleksa, his close friends, painters or art historians, Marko \u010celebonovi\u0107 stressed that he had always wanted to discover the simplest things from everyday life and transfer their elementary natural qualities, to discover the secret of excitement in the simplicity of the original, a certain disposition towards the very soul of things. He lived with the objects in his paintings, sometimes with a romantic passion, sometimes with a lyric refinement but these feelings were always deeply personal and frank, gentlemanly moderate and discreet in demonstration. The most fruitful decades of his creative activity, and all the changes that accompanied \u010celebonovi\u0107\u2019s painting were perhaps most precisely defined by Miodrag B. Proti\u0107 who recognised in it the line of\u00a0 d u r a t i o n\u00a0 (in the poetic realism), the state of real existence (in the real or imaginary), more clearly than the impulse of a given moment (the aesthetics of intimism) \u2013 naming it \u201ethe substitution of previous moments\u201c. Even when he felt the need to materialise the <em>conceived<\/em> picture in a <em>faster<\/em> technique of pastel, regardless of the supposed directness of the gesture, Marko \u010celebonovi\u0107 was able to relate the past and the present, to transfer the traces of restless lines and sporadic forms into duration and synthesise the spaces, disintegrated almost to abstraction, into a narratively simple and precise, spatially compact structure. Different changes in his hand generally, from the treatment of the surface and the structuring of real forms to the gradation of tonal values and light effects, can be followed in the pastels to which \u010celebonovi\u0107 was more energetically devoted after the 1950s.<a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-engleski%201.doc#_ftn3\"><sup>[3]<\/sup><\/a> In accordance with the changes he made within the same, \u010celebonovi\u0107\u2019s pastels can also chronologically be designated as those before 1965, belonging to the dark, green-blue phase (almost overfull in the painterly sense) and those from later periods, after 1966 onwards, the so called white pastels.<\/p>\n<p><strong>Spatial Iconography<\/strong><\/p>\n<p>The paradigm of home ambience or the scenography of an isolated corner with select details and pleasant atmosphere that create the poetics of small things, evoking a certain mood or, perhaps, a <em>lasting memory<\/em>, but not those remembrances burdened by wistful sentiments or traces of restlessness from the times past, has remained one of the manifest constructs of \u010celebonovi\u0107\u2019s painting. This would most closely correspond to what Bachelard wrote: \u201cOnly by means of space and within space one finds the pretty fossils of duration, made concrete by long sojourns. The subconsciousness endures. Memories are immobile and made more solid when fixed in space.\u201d<a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-engleski%201.doc#_ftn4\"><sup>[4]<\/sup><\/a> The pre-war \u201cpainter of human destinies and middle-class life\u201d<a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-engleski%201.doc#_ftn5\"><sup>[5]<\/sup><\/a>, figures in the interiors with melancholy warmth of family inheritance and inherited mores, became a witness of the present, distanced from (the burdening) symbols of the time he had left behind, a rational viewer remote from immediate <em>sentimental observation<\/em> but closer to the problems regarding the realisation of a picture; perhaps his own words describe this in the best way: \u201cThere are no human figures, or similarities, there is no ambience&#8230; I am now preoccupied with the creation of a complex of elements full of meaning&#8230; Intensive meaning can be in the sense of colour, harmony, in the sense of the revelation of a subject. It is no longer important to me whether it is a still-life or a landscape\u201d.<a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-engleski%201.doc#_ftn6\"><sup>[6]<\/sup><\/a><\/p>\n<p>\u010celebonovi\u0107 interpreted still-lifes as miniature theatre scenes, in all the unpretentious beauty in repeating the <em>dissimilarities<\/em> of their simplicity, in an intentional <em>undenial<\/em> of their essentially ephemeral existence, whether firmly defined, condensed with colour or enclosed with the line objects, grown with their weight into the darkened interiors or those restless and feverishly comminuted, tremblingly turning into dispersed arabesques or abstract blots on white table-cloths placed in the so-called lower rhythm, most frequently free even from traces of the pastel chalk \u2013 everything is in a dynamic symbiosis breathing for itself, spontaneously\u00a0 and skilfully synchronised like in a well-directed theatre scene.<\/p>\n<p>Landscapes in Marko \u010celebonovi\u0107\u2019s pastels are unique picturesque studies of scenes and transformed dispositions. Both the real and the imaginary are integrated in them, everything in a strange harmony, both the lyric and the expressive, the rhythming of prolonged moments of the birth and disappearance of light, the explosion of colours and lines and their serenity. The colours on his late phase pastels are typical of his personal nature \u2013 green-blue and the destructive white of the stone on seaside houses, from Montenegrin shores to C\u00f4te d\u2019Azur&#8230; even without the minimum of expected narrative, only stills from the artist\u2019s microcosm, beyond the urban grandeur and luxury of the Mediterranean.<\/p>\n<p>And finally, a separate and less known, but unavoidable curiosity in \u010celebonovi\u0107\u2019s pastels is the cycle of the <em>Nuns,<\/em> humanitarian nursemaids whom he observed in 1966\/1967 from his apartment in Paris on Avenue Danfert-Rochereau. Grotesque figures with associative cornet-caps on their heads, more like frames from a film noir or the artist\u2019s fiction than from reality, obsessively following one another like solitary amorphous forms with human physiognomies, fearful but also likeable in their ugliness and the humorous symbolism added to them by \u010celebonovi\u0107. The formerly abandoned human figure appears in the series of these pastels with a diametrically different meaning \u2013 perhaps as a paraphrase of human stories, perhaps as a reflection of some personal, secret forebodings, ironies or games, a thin line between life and the absurd.<\/p>\n<p>Gordana Stani\u0161i\u0107<\/p>\n<hr size=\"1\" \/>\n<p><a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-engleski%201.doc#_ftnref1\">[1]<\/a> It is supposed that Marko \u010celebonovi\u0107 made over 500 pastels, drawings and graphic prints. Thanks to the family of his brother Aleksa, Vladan, his son, and Jelena, his daughter-in-law, an album was found containing 15 pastels previously exhibited only in Vara\u017edin.<\/p>\n<p><a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-engleski%201.doc#_ftnref2\">[2]<\/a> \u0421. \u040b\u0435\u043b\u0438\u045b, <em>\u0420\u0430\u0437\u0433\u043e\u0432\u043e\u0440\u0438 \u0443 \u0430\u0442\u0435\u0459\u0435\u0438\u043c\u0430, \u041c\u0430\u0440\u043a\u043e \u0427\u0435\u043b\u0435\u0431\u043e\u043d\u043e\u0432\u0438\u045b<\/em> (Conversations in Studios. M.\u010c.), \u0420\u0435\u0432\u0438\u0458\u0430, 16 March 1953.<\/p>\n<p><a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-engleski%201.doc#_ftnref3\">[3]<\/a> Since the majority of pastels are not dated, it is difficult to know when the artist began to make them. It is certain that he began to use this technique more intensely after 1956 when he was temporarily using the studio of Paul Signac in Saint Tropez. He found there some boxes with pastels, among the other painterly material. After1966 he exhibited pastels at about ten solo shows, either in combination with oil paintings or as a separate whole.<\/p>\n<p><a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-engleski%201.doc#_ftnref4\">[4]<\/a> G.Ba\u0161lar, <em>Poetika<\/em><em> prostora<\/em> (Gaston Bachelard, The poetics of space), Alef Gradac, \u010ca\u010dak 2005, 32.<\/p>\n<p><a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-engleski%201.doc#_ftnref5\">[5]<\/a> L. Trifunovi\u0107, <em>Studije<\/em><em>, ogledi<\/em><em>, kritike<\/em> (Studies, essays, reviews), 3, MSU, Belgrade 1990, 81.<\/p>\n<p><a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-engleski%201.doc#_ftnref6\">[6]<\/a> A. \u010celebonovi\u0107, Razgovori s Markom (Conversations with Marko), Art Pavilion &#8220;Cvijeta Zuzori\u0107&#8221;, Beograd 1982.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/4_6.jpg\" alt=\"\" width=\"539\" height=\"321\" \/><\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-n6a58-3c2074c02d4e106450cc1d5d0aae4054\">\n.flex_column.av-n6a58-3c2074c02d4e106450cc1d5d0aae4054{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-n6a58-3c2074c02d4e106450cc1d5d0aae4054 av_one_full  avia-builder-el-5  el_after_av_textblock  el_before_av_one_full  first 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class=\"hr-inner-style\"><\/span><\/span><\/div><\/p><\/div><section  class='av_textblock_section av-kpqsg7qh-b526648b1103b495bff29ebcd07dcdfb '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><p><strong>Dvadesetosam pastela Marka \u010celebonovi\u0107a<\/strong><a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-srpski.doc#_ftn1\"><sup>[1]<\/sup><\/a><\/p>\n<p><em>Kad bih se muzi\u010dki izrazio, rekao bih da razne <\/em><\/p>\n<p><em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0slikarske tehnike odgovaraju upotrebi instrumenata, <\/em><\/p>\n<p><em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 a sadr\u017eaj slike, njen efektivni potencijal, melodi\u010dnoj liniji.<\/em><\/p>\n<\/div><\/section><br \/>\n<section  class='av_textblock_section av-kpqsg7qh-b526648b1103b495bff29ebcd07dcdfb '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><p>U razgovorima o svojoj umetnosti koje je tokom vi\u0161e decenija povremeno vodio sa bratom Aleksom, sa bliskim prijateljima, kolegama slikarima ili istori\u010darima umetnosti, Marko \u010celebonovi\u0107 je nagla\u0161avao da je oduvek \u017eeleo da one najobi\u010dnije stvari svakodnevnog \u017eivota otkrije i prenese upravo u njihovoj elementarnoj prirodnosti, da u jednostavnosti izvornog prona\u0111e tajnu uzbudljivog, odre\u0111eno raspolo\u017eenje prema samoj du\u0161i stvari. \u017diveo je sa predmetima na svojim slikama, nekada romanti\u010darski strasno, nekada vi\u0161e lirski istan\u010dano, uvek duboko li\u010dno i iskreno, gra\u0111anski odmereno i diskretno u ispoljavanju neposrednih emocija. \u010celebonovi\u0107evo slikarstvo, sa svim promenama koje su pratile najplodnije decenije njegovog stvarala\u0161tva mo\u017eda je najpreciznije odredio Miodrag B. Proti\u0107 prepoznav\u0161i u celini onu liniju t r a j a n j a\u00a0 (unutar poetskog realizma), stanje realnog postojanja (iz stvarnog ili iz imaginarnog), pre nego sam impuls datog trenutka (estetike intimizma) \u2013 \u0161to je ozna\u010dio kao \u201esupstituciju prethodnih trenutaka\u201c. I onda kada je imao potrebu da <em>do\u017eivljenu<\/em> sliku materijalizuje u <em>br\u017eoj<\/em> tehnici pastela, uz svu pretpostavljenu neposrednost gesta, Marko \u010celebonovi\u0107 je uspevao da pove\u017ee pro\u0161lost i sada\u0161njost, da tragove nemira linije i sporadi\u010dnost forme preto\u010di u trajanje, da i one, skoro do apstrakcije dezintegrisane povr\u0161ine sinteti\u0161e u narativno jednostavnu i preciznu, prostorno kompaktnu strukturu. Razli\u010dite promene u rukopisu generalno, od tretiranja povr\u0161ina i gra\u0111enja realnih oblika do gradacije valera i svetlosnih efekata, mogu se pratiti upravo na njegovim pastelima kojima se \u010celebonovi\u0107 od sredine 1950-ih sve intenzivnije posve\u0107uje<a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-srpski.doc#_ftn3\"><sup>[3]<\/sup><\/a>. Shodno promenama unutar istog, \u010celebonovi\u0107evi pasteli se i hronolo\u0161ki mogu odrediti u one do 1965. godine koji pripadaju tamnoj, zeleno-plavoj (gotovo slikarski zasi\u0107enoj) fazi, i one kasnije, od 1966. na dalje, tzv. bele pastele.<\/p>\n<p><strong>Prostorna ikonografija<\/strong><\/p>\n<p>Paradigma ambijenta ku\u0107e ili scenografija izolovanog kutka koji svedenim detaljima i ugodnom atmosferom gradi onu poetiku malih stvari, priziva jedno odre\u0111eno raspolo\u017eenje, ili mo\u017eda pre <em>trajanje se\u0107anja<\/em>, ali ne i onih bremenitih melanholi\u010dno\u0161\u0107u sentimenta ili tragovima nespokojstva iz pro\u0161log vremena, ostaje i dalje jedan od nezaobilaznih tematskih konstrukata \u010celebonovi\u0107evog slikarstva. To bi moglo da bude najbli\u017ee onome o \u010demu je Ba\u0161lar pisao: \u201eSamo pomo\u0107u prostora i u prostoru mi jo\u0161 pronalazimo lepe fosile trajanja, konkretizovane dugim boravcima. Podsvest boravi. Se\u0107anja su nepokretna i utoliko solidnija ukoliko su utvr\u0111ena u prostoru.\u201c<a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-srpski.doc#_ftn4\"><sup>[4]<\/sup><\/a> Predratni &#8220;slikar ljudskih sudbina i gra\u0111anskog \u017eivota&#8221;<a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-srpski.doc#_ftn5\"><sup>[5]<\/sup><\/a>, figura u enterijerima u atmosferi setne topline porodi\u010dnog nasle\u0111a i nasle\u0111enih obi\u010daja, postaje svedok sada\u0161njosti, distanciran od (optere\u0107uju\u0107ih) simbola vremena koje je ostavio za sobom, postaje racionalni posmatra\u010d udaljen od neposrednog <em>sentimentalnog gledanja<\/em> a bli\u017ei problemima realizacije slike, o \u010demu je mo\u017eda sam najbolje govorio: &#8220;Nema vi\u0161e ljudske figure, sli\u010dnosti, nema ni ambijenta&#8230; Sada mi je glavno: kako se mo\u017ee izgraditi kompleks elemenata pun zna\u010denja&#8230; Intenzivno zna\u010denje mo\u017ee biti i u smislu boje, harmonije, u smislu otkrivanja subjekta. Za mene vi\u0161e nije va\u017eno da li je to mrtva priroda ili pejza\u017e&#8221;.<a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-srpski.doc#_ftn6\"><sup>[6]<\/sup><\/a><\/p>\n<p>Mrtve prirode \u010celebonovi\u0107 je do\u017eivljavao kao minijaturne pozori\u0161ne scene, u svoj nepretencioznoj lepoti ponavljanja <em>razli\u010ditosti<\/em> njihove jednostavnosti, u namernom neporicanju su\u0161tinske efemernosti njihovog postojanja. Bilo da su u pitanju \u010dvrsto definisani, kondenzovani bojom i linijom zatvoreni predmetni oblici, svojom te\u017einom urasli u delove zatamnjenog enterijera, ili oni nemirni i grozni\u010davo usitnjavani, koji se u sopstvenom podrhtavanju pretvaraju u rasute arabeske ili apstraktne mrlje po belim stolnjacima postavljenim u tzv. donjem ritmu, naj\u010de\u0161\u0107e oslobo\u0111enim i od samih tragova krede \u2013 sve je u dinami\u010dnoj simbiozi a di\u0161e samo za sebe, spontano i ve\u0161to sinhronizovano kao kod dobro postavljene pozori\u0161ne scene.<\/p>\n<p>Pejza\u017ei na pastelima Marka \u010celebonovi\u0107a su jedinstvene \u017eivopisne studije slika i transformacije raspolo\u017eenja. U njima je integrisano i ono realno i ono imaginarno, sve je u nekakvoj \u010dudnoj harmoniji, i lirsko i ekspresivno, ritmovanje produ\u017eenih trenutaka ra\u0111anja i nestajanja svetlosti, eksplozije boja i linija i njihov spokoj. Kolorit kasne faze na pastelima je tipi\u010dan kolorit njegove prirode \u2013 zeleno-plava i razaraju\u0107e bela boja kamena sa primorskih ku\u0107a, od Crnogorske do Azurne obale&#8230; bez i ono malo o\u010dekivane naracije, samo kadrovi\u00a0 iz umetnikovog mikro sveta, sa one strane urbane rasko\u0161i i luksuza Mediterana.<\/p>\n<p>I najzad, jedan izdvojeni i manje poznat, ali bez sumnje nezaobilazni kuriozitet u \u010celebonovi\u0107evim pastelima predstavlja ciklus <em>Kalu\u0111erica, <\/em>humanitarnih bolni\u010darki koje je tokom 1966\/1967. posmatrao iz stana u ulici Danfer Ro\u0161ro tokom svojih boravaka u Parizu. Groteskne figure \u017eena sa asocijativnim kapama-kornetima na glavama, kao fotogrami\u00a0\u00a0 nekog filma noar ili umetnikove fikcije pre nego realnog postojanja, opsesivno se nadovezuju jedna za drugom kao usamljeni amorfni oblici sa ljudskim fizionomijama, zastra\u0161uju\u0107i ali i dopadljivi u sopstvenoj nakaznosti i duhovitoj simbolici koju im \u010celebonovi\u0107 implicira. Prethodno napu\u0161tena ljudska figura u seriji ovih pastela pojavljuje se u dijametralno druga\u010dijem zna\u010denju \u2013 mo\u017eda kao parafraza humanih sadr\u017eaja, mo\u017eda kao odraz nekih li\u010dnih, pritajenih slutnji, ironija ili igra, tanka linija izme\u0111u \u017eivota i apsurda.<\/p>\n<p style=\"text-align: right;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Gordana Stani\u0161i\u0107<\/p>\n<p><span style=\"font-size: 10pt;\"><a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-srpski.doc#_ftnref1\">[1]<\/a> Pretpostavlja se da je Marko \u010celebonovi\u0107 uradio preko 500 pastela, crte\u017ea i grafika. Zahvaljuju\u0107i porodici \u010celebonovi\u0107evog brata Alekse, sina Vladana i snahe Jelene, prona\u0111en je album s 15 pastela koje je nekada davno videla samo vara\u017edinska publika.<\/span><\/p>\n<p><span style=\"font-size: 10pt;\"><a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-srpski.doc#_ftnref2\">[2]<\/a> \u0421. \u040b\u0435\u043b\u0438\u045b, <em>\u0420\u0430\u0437\u0433\u043e\u0432\u043e\u0440\u0438 \u0443 \u0430\u0442\u0435\u0459\u0435\u0438\u043c\u0430, \u041c\u0430\u0440\u043a\u043e \u0427\u0435\u043b\u0435\u0431\u043e\u043d\u043e\u0432\u0438\u045b<\/em>, \u0420\u0435\u0432\u0438\u0458\u0430, 16. III 1953.<\/span><\/p>\n<p><span style=\"font-size: 10pt;\"><a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-srpski.doc#_ftnref3\">[3]<\/a> S obzirom da najve\u0107i broj pastela nije datovan, te\u0161ko se mo\u017ee utvrditi kada je umetnik po\u010deo da ih radi. Izvesno je da se ovom tehnikom intenzivnije bavio od 1956. godine kada je privremeno koristio Sinjakov atelje u Sen Tropeu, u kojem je, me\u0111u slikarskim materijalom prona\u0161ao i kutije sa pastelima. Od 1966. na desetak svojih samostalnih izlo\u017ebi predstavio je i pastele, u kombinaciji sa uljanim slikama ili kao izdvojenu celinu.<\/span><\/p>\n<p><span style=\"font-size: 10pt;\"><a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-srpski.doc#_ftnref4\">[4]<\/a> G.Ba\u0161lar, <em>Poetika prostora<\/em>, Alef Gradac, \u010ca\u010dak 2005, 32.<\/span><\/p>\n<p><span style=\"font-size: 10pt;\"><a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-srpski.doc#_ftnref5\">[5]<\/a> L. Trifunovi\u0107, <em>Studije, ogledi, kritike<\/em>, 3, MSU, Beograd 1990, 81.<\/span><\/p>\n<p><span style=\"font-size: 10pt;\"><a href=\"file:\/\/\/C:\/Users\/Admin\/Desktop\/muzej\/biografija-srpski.doc#_ftnref6\">[6]<\/a> A. \u010celebonovi\u0107, Razgovori s Markom, Umetni\u010dki paviljon &#8220;Cvijeta Zuzori\u0107&#8221;, Beograd 1982.<\/span><\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-n6a58-3c2074c02d4e106450cc1d5d0aae4054\">\n.flex_column.av-n6a58-3c2074c02d4e106450cc1d5d0aae4054{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-n6a58-3c2074c02d4e106450cc1d5d0aae4054 av_one_full  avia-builder-el-12  el_after_av_textblock  avia-builder-el-last  first flex_column_div av-zero-column-padding  column-top-margin'     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-kpx354ey-f4d6188cb0329532154359a0587731c4\">\n.avia-image-container.av-kpx354ey-f4d6188cb0329532154359a0587731c4 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-kpx354ey-f4d6188cb0329532154359a0587731c4 .av-image-caption-overlay-center{\ncolor:#ffffff;\nfont-size:10px;\n}\n<\/style>\n<div  class='avia-image-container av-kpx354ey-f4d6188cb0329532154359a0587731c4 av-styling- avia-align-center  avia-builder-el-13  avia-builder-el-no-sibling '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-6331 avia-img-lazy-loading-not-6331 avia_image ' src=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/4_6.jpg\" alt='' title='4_6'  height=\"321\" width=\"539\"  itemprop=\"thumbnailUrl\"  \/><\/div><\/div><\/div><\/div><\/p>\n<\/div><\/div>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-7psys-7fca4ea79ce7364eda34e0c475d072fd\">\n.flex_cell.av-7psys-7fca4ea79ce7364eda34e0c475d072fd{\nvertical-align:top;\n}\n.responsive #top #wrap_all .flex_cell.av-7psys-7fca4ea79ce7364eda34e0c475d072fd{\npadding:30px 30px 30px 30px !important;\n}\n<\/style>\n<div class='flex_cell av-7psys-7fca4ea79ce7364eda34e0c475d072fd av-gridrow-cell av_one_fifth no_margin  avia-builder-el-14  el_after_av_cell_three_fifth  avia-builder-el-last  content-align-top'  ><div class='flex_cell_inner'><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":6339,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[95],"tags":[],"class_list":["post-8436","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-introducing-the-artist"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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