Abstract
The early phase in the sculpture of Stipe Sikirica took place in the 1950s and 1960s. Due to a large number of sculptures on the topic of the Croatian Alka knights’ game, he is frequently associated exclusively with the so-called ‘Alka cycle.’ Precisely for this reason, it is important to point out a group of works, omitted from the scholarly overviews, which represent a stylistic and thematic departure in the oeuvre of this artist. In this period, the meditation and formation of his visual language was strongly influenced by European sculpture (Giacometti, Moore, Marini) which he saw when travelling. At time he took part in exhibitions with young ‘rebels’ (the 15 young ones), he worked as part of Vanja Radauš’ workshop and was open to influence and experimentation. All of the above resulted in successful sculptural solutions which have their place in the context of Croatian contemporary sculpture. In this period, Stipe Sikirica also defined his relationship with public sculpture which would prove to be a significant part of his later career. This early phase marks a fertile period of creation when Stipe Sikirica made his best works which place his oeuvre in a wider context of European sculpture.
Highlights
Iako je Sikirica evidentno koristio iskustva drugih, kako stranih tako i domaćih umjetnika, važno je istaknuti njegovo eksperimentiranje i traganje za originalnim rješenjima na samim počecima
In this period, the meditation and formation of his visual language was strongly influenced by European sculpture (Giacometti, Moore, Marini) which he saw when travelling
Summary
Stručni rad Professional paper Primljen / Received: 15. 1. 2012. Prihvaćen / Accepted: 10. 7. 2012. Rana faza u kiparstvu Stipe Sikirice započinje neposredno nakon završetka Akademije likovnih umjetnosti, 50-ih i 60-ih godina prošlog stoljeća. Iako se rana faza (kao naposljetku i cijeli njegov rad) najčešće povezuje s tzv. Alkarskim ciklusom, važno je ukazati na manje poznata djela iz ovog perioda koja su nepravedno ignorirana i izostavljana iz stručnih pregleda, kao i na njihovu aktualnost u kontekstu suvremene europske skulpture. Ključne riječi: Stipe Sikirica, suvremena skulptura, rana djela, javna skulptura, poslijeratna skulptura. Rana faza koju nazivamo „alkarskim ciklusom”, poradi brojnosti skulptura koje se tematski vežu za Sinjsku alku i etnografiju Cetinskog kraja, poput skulptura „Alkar I” (1961.), „Momak I” (1961.), „Momak III” (1962.), „Momak IV” (1962.), „Momak V” (1963.), „Ratnik” (1963.), „Štitonoša” (1963.), ipak zahvaća nešto širi spektar, kako tema tako i varijacija kod iznalaženja različitih likovnih rješenja. Iz ovih je primjera očigledan utjecaj europske suvremene skulpture na promišljanje i traženje vlastitog likovnog jezika mladog umjetnika
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