hrvatski

Bruno Bulić, 1903-1990. Retrospektivna izložba

The characteristic painterely contribution of Bruno Bulić to Croatian art, in particular to the period between two world wars, represents en unavoidabele link in Croatian modern art. The anthological qualities oof his interwar work secured him a place in art history of the epoch although the author himself never did enything to promote his own success and reception0It is highly significant that he prepared his first individual exhibition that he was almost sevety (1969). Sharing the destiny of numerous neglected and less known artists, Bruno Bulić may not have motivated this retrospecting representation of his work had he not significantly and actively contributed to the formation of the specific qualities of intimism and coloristic realism of the 30s and 40s, one of tthe happpiest epochs in Croatian modern art. In 19o3, in Trieste, Bulić was born to a family of Croatian immigrants (from Poljica and Župa Dubrovačka). He was reised between two traditions: the cosmopolitan Trieste, and archaic intimate atmosphere of his parents native region of Cavta, where he spent his early childhood in his mothers family, surranded by the beauty of the Mediterranean. He took his first lessons from the sculptor Ivan Rendić in Trieste, who prepared him form studies for the Higher School for Decorative Arts in Trieste (1919-1924). Bulić continued his studies in Venice, at Reggia Accademia delle Belle Arti (1925-1927) and in Zagreb Academy of of fine Arts (1927-1931). Following his education he made study visit to Paris (1931-1932). On return in Croatia he autght drawing for a year at the Dominican high school in Bol on Brač (1932-1933). The subsquent years he devoted entirely to paintinig. In the late 40s he started work as a curator at the Museum of Istrian Frescos. Until the end of his working life he was a highly regarded restorer and one of the finest copyists of old masters and frescoes. He was also an illustrator. A large part of his artistic energy in the last decades he devoted to sacral painting.His sacral oeuvre is scattered through numerous churches and monasteries in Košljun on the isladn Krk, in Šibenik, Sinj, Visovac, Osijek, Zagreb and Karin. As young and unestabished artist, making a guest appearance as an equal at the exhibition of the famous Group of three (Babić-Becić-Miše), Bulić made a big entrance to the art scene in 1934. He became the regular copanion of the group, exhibiting with them within the group of Croatian artists. In 1942, he took aprt at the XXIIIth Biennale in Venice. He found his inspiration and themes in intimate settings, and this introspectionled to e wide range fo expression. His painterely vocation, nutured on the coloristic tradition of Venice, oscillating between Manet and Van Gogh, realized itself fully in his individual style of realistic rolotism, which related him to his close Croatian models- Babić and Becić. Bulić created exceptional portraits and self-portraits, coloristically rich and elegiac landscape of his nateve Dalmatian region. In his endeavor and scope: intimist subjectivity, subtle crystallization of a rich coloristic pigmen and masterly construction of forms, Bulić achived the anthological level of painterely qualities of his epoch. In keeping his life and work, he passed on quietly in Zagreb on 26 November 1990.

Bruno Bulić; hrvatski slikar 20. st.; intimistički kolorizam; realistički colorizam; mrtva priroda; portret; Grupa trojice; sakralno slikarstvo teme

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