80. Girl from Vrlika [1956.]

Vanja Radaus (Vinkovci, 1906. – Zagreb, 1975.) was adept at merging classical sculptural design with the monumentality of modernist reduction. Thanks to his understanding of different materials and their specific characteristics, he was able to demonstrate vast possibilities of expression in each of them in his work. He often modeled expressive figures, and did not shy away from polychromy (in the cycle Croatian Panopticum). But he also created sculptures of simple monumentality and elegant symmetry. Such are also his figures of women in folk costumes, like this Girl from Vrlika. The simple, rhythmic articulation of the closed form possesses the quality of ancient sculptures. The associative connection of national traditions, to which the portrayed girl belongs, with ancient cultural practices, suggests a link with archaic sculptural achievements. The articulation of folds on the dress and the repetition of elements on the headpiece contributes to the impression of simplicity. This can also read as the author's striving for expression in an emphasized rhythm, an expression somewhat comparable to the dynamic dance of folk round dance. The counterpoint of textures and changing rhythms of the dress and headpiece, as well as the assurance of their design, also highlight the sense of monumentality achieved by this sculpture. FG

References

BISERKA RAUTER PLANČIĆ, ''Radauš: Exhibition of works by a giant of Croatian visual arts, sculptor, painter and poet, on the occasion of the 50th anniversary of his death'', King Tomislav Publishing, Čapljina, 2024.

Dimensions

depth 30 cm, width 49 cm, height 70 cm

Description

contains

Research information

The piece is reproduced in the exhibition catalog: BISERKA RAUTER PLANČIĆ, ''Radauš: Exhibition of works of the great Croatian visual art, sculpture, painter and poet, on the occasion of the 50th anniversary of his death'', King Tomislav Publishing, Čapljina, 2024., p. 42, cat. no. 26 (under the title ''Girl from Vrlika''). By decision of the City Institute for the Protection of Cultural Monuments and Nature of Zagreb from 2002, this work was placed on the list of preventive protected cultural goods for a period of three years, along with the rest of the artist's legacy. In the inventory of Vanja Radauš's legacy, it is recorded under inventory number 23.

Dating

1956.

PROVENANCE

from the artist's estate.

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