Journal 15 / 2019 (Museum of Applied Art. Online)

ISSN 2466-460X (Online)

ISSN 0522-8328 (Printed edition)
PDF of the printed edition (3.3 MB)

Editor in Chief: Ljiljana Miletić Abramović, МА

Issue Editor: Andrijana Ristić, МА

Editorial Board:
Jelena Erdeljan, PhD (University of Belgrade, Faculty of Philosophy, Belgrade)
Claudia Casali, PhD (International Museum of Ceramics; Faenza, Italy)
Miroslav Karić (Remont – Independent Artistic Association, Belgrade)
Slobodan Danko Selinkić (University of Novi Sad, Faculty of Technical Sciences, Novi Sad)
Ljiljana Miletić Abramović, МА (Museum of Applied Art, Belgrade)
Slobodan Jovanović (Museum of Applied Art, Belgrade)
Andrijana Ristić, МА (Museum of Applied Art, Belgrade)

Issue Editorial Assistant: Slobodan Jovanović

All the papers in the sections Contributions, Polemics, Critic Reviews and Reviews are peer reviewed.
List of Reviewers:
Milan Andrić, Senior Wood Conservator, Museum of Applied Art, Belgrade
Mila Gajić, Senior Curator, Museum of Applied Art, Belgrade
Slobodan Jovanović, Senior Curator, Museum of Applied Art, Belgrade
Professor Dragan Jocić, PhD, University of Belgrade, Faculty of Technology and Metallurgy – Department of Textile Engineering
Miroslav Karić, Independent Curator, Belgrade
Vesna Lakićević Pavićević, Independent Curator, Belgrade
Čedomila Marinković, PhD, Independent Researcher, Belgrade
Ljiljana Miletić Abramović, Museum Advisor, Museum of Applied Art, Belgrade
Milorad Mladenović, PhD, Associate Professor, University of Belgrade, Faculty of Architecture – Department of Architecture
Draginja Maskareli, Senior Curator, Museum of Applied Art, Belgrade
Bojan Popović, PhD, National Museum in Belgrade
Zoran Rakić, PhD, Associate Professor, University of Belgrade, Faculty of Philosophy – Department of Art History
Mirjana Roter Blagojević, PhD, Associate Professor, University of Belgrade, Faculty of Architecture – Department of Architecture
Predrag Terzić, PhD, Associate Professor, Singidunum University in Belgrade, Faculty of Media and Communications – Department of Digital Arts
Aleksandar Čučković, PhD, Professor, University of Novi Sad, Faculty of Economics in Subotica – Department for European and International Cooperation and Business
Jasmina Čubrilo, PhD, Associate Professor, University of Belgrade, Faculty of Philosophy – Department of Art History

The Journal is indexed:
Ebsco, KoBSON, ERIH PLUS

Contents of the Jouurnal 15 / 2019 (Museum of Applied Art. Online)

Impresum
Impressum
Sadržaj
Contents
O Zborniku
About Journal
DRAGANA PAVLOVIĆ
AKSESOAR NA PORTRETIMA SRPSKE VLASTELE U SREDNJEM VEKU
ACCESSORIES ON THE PORTRAITS OF SERBIAN NOBILITY IN THE MIDDLE AGES
Abstract (original language):
Vlasteoske portretne celine u slikarstvu srednjovekovne Srbije predstavljaju važan izvor za proučavanje insignija i kostima pripadnika tog privilegvanog društvenog sloja. Takođe, predstave vlastelina, njihovih supruga i muških i ženskih potomaka svedoče o običaju nošenja i slikanja pojedinih predmeta (pojas, ubrus, torbica) i vrsta nakita (naušnice, prstenje, ogrlice, kopče). Pomenuti predmeti bili su sastavni deo plemićke odeće i predstavljali su statusno obeležje vlastele. Detaljna analiza pokazala je da je odabir, prisustvo i količina pratećih predmeta i nakita zavisio od nekoliko činilaca: pola prikazane ličnosti, tipa i kroja odevnih predmeta, te ličnog izbora i ukusa pojedinca, kao i njegovih naročitih veština i sklonosti.
Key words (original language):
aksesoar, vlasteoski portret, vlasteoski statusni simboli, srednjovekovni nakit, srpsko srednjovekovno zidno slikarstvo
Summary:
Portraits of the nobility on wall paintings and icons of medieval Serbia testify to the custom of wearing different types of dress accessories (belts, handkerchiefs, pouches) and jewellery (earrings, rings, necklaces, brooches). These accessories and jewellery are visible on representations of Serbian noblemen and noblewomen, as well as of their male and female descendants. The results of research have shown that the selection, presence and amount of dress accessories and jewellery depended on several factors: the gender of the depicted person, type and cut of attire, as well as on personal choice and taste of every individual, his or her skills and affinities. Thus, some types of jewellery, such as necklaces and earrings, were elements of female fashion. On the other hand, only males are depicted with pouches, while rings, brooches, belts and handkerchiefs were worn by both noblemen and their wives. Since some accessories, such as belts and handkerchiefs, were represented on the portraits of the aristocrats of different hierarchical levels, it can be concluded that the presence of that type of accessories was not related to the social rank of the person depicted. However, in some cases, the absence of such accessories depended on the specific cut of the noble dress. Furthermore, the presence and, at the same time, the absence of some dress accessories and jewellery on the portraits of the noblemen of the same social rank, even on the portraits of the same person in various churches, can be explained by the lack of firm rules that would be consistently obeyed when the portraits of these noblemen are in question. Undoubtedly, the above mentioned accessories and jewellery were the designation of the nobility and had a certain social connotation. They were used to accentuate the position of depicted noblemen and their family members in medieval society, to indicate their status and aesthetic criteria, even to emphasise the individuality of a certain person compared to other members of the family.
MILJANA M. MATIĆ
ODEVANJE I IDENTITET: predstave ktitora mirjana u srpskom slikarstvu XVI i XVII veka
DRESSING AND IDENTITY: Representations of Lay Ktetors in Serbian Painting of the 16th and 17th Centuries
Abstract (original language):
Portreti ktitora iz reda mirjana predstavljaju autentične izvori koji svedoče kako o istorijskom kostimu i odevanju tokom vekova, tako i o socijalnom identitetu predstavljenih ličnosti, njihovom društvenom statusu i rodnoj strukturi. U radu se analizira građanska muška i ženska nošnja prikazana na ktitorskim portretima u srpskom slikarstvu XVI. i XVII veka: u Trijebnju kod Stoca (četvrta decenija XVI veka), naosu Morače (1574), priprati Svete Trojice Pljevaljske (1592), Crnoj Reci (1599/1600), Divlju kod Skoplja (1603/1604), Pivi (1604‒1606), Žitomisliću (1609), crkvi Svetog Dimitrija u Pećkoj patrijaršiji (1619/1620) i na ikoni Bogorodice Kiriotise i Svetog Nikole iz Narodnog muzeja u Beogradu (XVI vek). Poređenjem sa ktitorskim portretima na tlu Balkana potvrđuje se teza o pojavi sinkretizma u kulturi i odevanju hrišćana toga doba, te odevanja kao činioca identiteta i sredstva socijalne komunikacije.
Key words (original language):
ktitori mirjani, odevanje, srpsko postvizantijsko slikarstvo
Summary:
Portraits of lay ktetors represent authentic sources that testify both to the historical costume and history of clothing throughout the centuries, as well as to the social identity of displayed personalities, their social status, and gender structure. The paper analyses the dressing of laymen and laywomen presented on Serbian portraits of the 16th and 17th centuries: voivode Radoje Hrabren in Saint Nicholas Church in Trijebanj near Stolac (the fourth decade of the 16th century), knez Vukić Vučetić in the Morača Monastery (1574), sipahi Vojin and goldsmith Jovan in the Holy Trinity Monastery near Pljevlja (1592), “servant of God” Nikola in the Monastery of Crna Reka (1599/1600), a married couple from the Church of the Assumption of the Virgin in Divlje near Skopje (1603/1604), an unknown ktetor from the Piva Monastery (1604-1606), sipahi Milisav Hrabren from the Žitomislić Monastery (1609), sipahi Jovan in the Church of Saint Demetrius at the Patriarchate of Peć Monastery (1619/1620) and an unknown ktetor from the Littoral depicted on the icon of Theotokos Kyriotissa and Saint Nicholas kept at the National Museum in Belgrade (Inv. No. 2105).

The clothing of male lay ktetors depicted in Serbian painting has all the elements of the civic dress of the higher social strata in the 16th and 17th centuries. It consisted of a white collarless shirt, a kaftan opened at the front and fastened with small buttons, with a firm large collar; a wide belt made of textile, tied in the front in a large knot; the upper part of their garments is long and wide, in the form of a robe or a coat with the sleeves slit under the armpits, often decorated with expensive fur. In some cases, the clothing is complemented by a cap. In terms of dress, besides certain milder influences from the West, the portraits of laymen ktetors – represented mainly on frescos – mirror the clothing practices of prominent members of the Ottoman society. This is due to the fact that there was an ideal model of a Levantine-Balkan citizen, although ktetor representations do have some extraordinary portrait features. A comparative analysis juxtaposing these ktetor portraits with others from the territory of the Balkans seems to confirm the hypothesis about the emergence of syncretism in culture, as well as the role of dressing as a factor of identity and means of social communication.
MAJA STANKOVIĆ
OD KONCEPTUALNE DO DIGITALNE FOTOGRAFIJE
FROM CONCEPTUAL TO DIGITAL PHOTOGRAPHY
Abstract (original language):
Od najranijih tumačenja fotografije, kada je poistovećivana sa otiskom prirode i objektivnošću, preko usklađivanja sa modernističkom paradigmom, slikom kao dominantnim medijem i idejom medijske specifičnosti, tzv. umetnička fotografija, preko različitih iskustva dokumentarne fotografije, a potom neoavangardnim iskliznućem u nemedij, pa sve do digitalne fotografije, ono što se prepoznaje kao kon stanta o kojoj je pisao još Valter Benjamin jeste njena otvorenost za manipulisanje. Komparativnom analizom različitih pristupa fotografiji, analizom pojma programiranje, preuzetog od Flusera, i uvođenjem studija slučaja, analizirane su različite umetničke strategije koje pripadaju konceptualnom iskustvu. Glavna teza istraživanja je da je konceptualni pristup fotografiji najradikalniji vid otpora manipulativnoj prirodi fotografije. Cilj istraživanja je da ukaže na konti nuitet između analogne i digitalne fotografije, koja uračunava sve prethodne modele delovanja, objektivnost, dokumentarnost i medijsku specifičnost. One su u funkciji programiranja slikama kojima smo okruženi, što potvrđuje algoritamski način funkcionisanja digitalnog zapisa kao dominantno obeležje fotogra fije u savremenoj umetnosti.
Key words (original language):
konceptualna fotografija, digitalna fotografija, manipulacija, savremena umetnost, umetnička fotografija, dokumentarna fotografija, medij, ne-medij, sistem, algoritam
Summary:
From the earliest interpretations of photography, when it used to be identified with the print of nature and objectivity, through alignment with the modernist doctrine and painting as the dominant medium and the idea of media specificity, the so-called art photography, through various experiences of documentary photography, and then by the neo-avant-garde slip into non-media, all the way to digital photography, what has been recognized as the constant, that Walter Benjamin also used to write about, is its openness for manipulation. This paper analyses different art strategies belonging to conceptual experience through comparative analysis of different approaches to photography, analysis of the Flusser's (Vilem Flusser) concept of programming and introduction of case studies. Two case studies related to conceptual art have also been included: Edward Ruscha, Twentysix Gasoline Stations, 1963, and Bernd and Hilla Becher, Anonyme Skulpturen: Eine Typologie technischer Bauten and Typologien, Industrieller Bau, 1963–1975. The main thesis of the research is that the conceptual approach to photography is the most subversive towards the manipulative nature of photography. The main objective is to point out the continuity between analogue and digital photography that includes all previous approaches to photography – objectivity, documentarity, media specificity. Nowadays, we are in the constant process of programming by the images we are surrounded by, which confirms the algorithmic way of modus operandi of digital images as the dominant feature of photography in contemporary art.
KAROLINA PALLIN
THE POSITION OF CRAFT - AND PRACTICAL RESEARCH WITHIN THE ACADEMIC WORLD: A Grounded Theory of Problems and Solutions
POZICIJA ISTRAŽIVANJA ZANATA I PRAKTIČNOG ISTRAŽIVANJA UNUTAR AKADEMSKOG SVETA: utemeljena teorija problema i rešenja
Abstract:
The study of applied arts through theory and methods grounded in knowledge of crafts is still an outsider within the academy and in the scientific arena. This research paper explores the field of craft- and practical research, with focus on practical researchers and their experienced position in the academic discussion.

By generating a grounded theory about the field of craft- and practical research in Sweden, the field can be discussed and understood as a part of the academic world. The generated theory shows that the main concern for researches within the field is a lack of acceptance of their research by other parts of the scientific community. The grounded theory highlights four important areas that need to be established and discussed within the field itself and with the rest of the academic world. This is important in order to understand and accept practical knowledge as a base for both theory and method in scientific research. These areas are: economy, scientific validity, communication and research purpose.

The finished theory and theoretical model can be used as a tool for growing the potential of practical research within the field of applied arts and for gaining acceptance from the broader scientific community. The theory is grounded in the Swedish field of practical research, but it can also be used in the international context and be modified thereafter.
Key words:
craft research, practical research, grounded theory, scientific validity, communication, acceptance, material culture, techne, practical knowledge
Summary (translated):
Tokom poslednjih šezdesetak godina, oblast naučnog istraživanja je doživela dramatične promene i razvoj. Uvedeni su novi interdisciplinarni teoretski okviri i metode istraživanja, koji zahtevaju da dobiju svoje mesto unutar akademskog sveta. Pošto sam i sama deo jedne od tih novih oblasti istraživanja, posmatrala sam borbu koja se unutar ove oblasti vodi kako bi ona pronašla svoje mesto u okviru akademskog sveta. Ta oblast je u ovom tekstu nazvana „Praktično istraživanje“ i definišu je njene metode istraživanja, tj. praktično znanje, poznavanje zanata i praktično iskustvo kao metode koje omogućavaju razumevanje izvornog materijala u okviru naučnih istraživanja u oblasti humanizma. Kroz okvir Utemeljene teorije, u ovoj studiji se istražuje ta borba unutar oblasti.

U okviru generisane teorije o oblasti Praktičnog istraživanja u Švedskoj, više od bilo čega drugog razmatra se znanje praktičnog istraživača, njegov identitet i važnost prihvatanja od strane ostatka akademskog sveta. Osim toga, razmatraju se i pitanja u vezi sa načinom na koji istraživači unutar oblasti mogu da dopru do željenog nivoa prihvatanja. Generisana teorija se sastoji iz šest kategorija, pri čemu su sve one važne za praktične istraživače i Praktično istraživanje u okviru akademskog sveta. Ova teorija se može porediti sa tkaninom u kojoj su osnovne kategorije, naime Ekonomija, Naučna validnost, Komunikacija i Svrha istraživanja, međusobno isprepletane kroz teoretski okvir i kategoriju Znanje u praksi – identitet praktičnog istraživača. Ovaj teoretski splet predstavlja model za razumevanje i za rad sa važnom središnjom kategorijom teorije – Prihvatanjem. Teoriju, kao model za razumevanje oblasti Praktičnog istraživanja, mogu koristiti kako ljudi koji su deo pomenute oblasti, tako i oni koji to nisu. U okviru ove studije se istražuje oblast Švedske, ali je i ovu, kao i bilo koju drugu Utemeljenu teoriju, moguće modifikovati, proširivati ili koristiti kao osnovu za dalja istraživanja ili kao drugi izvorni materijal. Kao takva, može biti korisna i u međunarodnom kontekstu. Oblasti se mogu razlikovati od zemlje do zemlje, ali i ne moraju. To treba da otkrije neki novi istraživač, a ova studija mu, nadam se, u tome bar malo može pomoći.
GORAN M. BABIĆ, NEBOJŠA M. ANTEŠEVIĆ
ČASOPIS CRTEŽI (1956-1965): značaj za afirmaciju likovnog izražavanja kod nastavnika i studenata Arhitektonskog fakulteta Univerziteta u Beogradu
JOURNAL CRTEŽI – DRAWINGS (1956 – 1965): The Significance of Affirmation of Artistic Expression among the Teachers and Students of the Faculty of Architecture of the University in Belgrade
Abstract (original language):
U radu se istražuje nastanak i način uređivanja časopisa Crteži, osnovanog 1956. godine na Arhitektonskom fakultetu Univerziteta u Beogradu, koji je, kao posebna likovna edicija, kasnije pridružen Zborniku Arhitektonskog fakulteta. Tokom decenije izlaženja, u periodu od 1956. do 1965. godine, objavljeno je deset brojeva ovog jedinstvenog likovnog izdanja. Časopis je nastao na inicijativu profesora Aleksandra Deroka i tri mlađa saradnika, Branislava Milenkovića, Zorana Petrovića i Đorđa Petrovića. Oni su ujedno bili i osnivači Crtačkog kluba, iz koga se širila ideja o ulozi i značaju crteža u širem arhitektonskom i likovnom stvaralaštvu. Ovom „kvartetu” pridružio se veći broj nastavnika fakulteta, među kojima i slikari sa predmeta Slobodno crtanje i Akvarelisanje, upotpunivši svojim prilozima koncepciju i sadržaj izdanja. Kada su u časopis uvršteni i radovi studenata, Fakultet je ediciju Crteži proglasio za redovno institucionalno izdanje. Na osnovu idejnog određenja edicije, autorima je data sloboda u odabiru radova, računajući na njihov etički odnos prema radu (stvaralaštvu) i na kvalitet priloženih radova. Ukazujući na prisustvo različitih umetničkih senzibiliteta i likovnih izraza, u radu su predstavljene poetike šest najzastupljenijih autora među arhitektima.
Key words (original language):
Aleksandar Deroko, Arhitektonski fakultet Univerziteta u Beogradu, likovno izražavanje, slobodnoručni crtež, časopis Crteži
Summary:
This paper examines the origin and the way of editing the journal “Crteži – Drawings”, founded in 1956 at the Faculty of Architecture, University of Belgrade, which, as a special fine art edition, was later added to the Annual of the Faculty of Architecture. During the decade between 1956 and 1965, ten issues of this unique artistic edition were published. The volume “Crteži – Drawings” was created on the initiative of Professor Aleksandar Deroko and three younger associates, Branislav Milenković, Zoran Petrović and Đorđe Petrović. They were also the founders of 'The Drawing Club', which influentially spreaded the ideas about the role and significance of drawings in wider architectural and artistic creation. This quartet was joined by a number of faculty teachers, including painters from the subjects Free Drawing and Watercolor, who complemented the concepts and contents of the editions with their contributions. When the publication included students' works, the Faculty declared the edition “Crteži – Drawings” a regular institutional edition. Based on the conceptual determination of this edition, authors were given freedom to choose the works, counting on their ethical attitude towards creativity and on the quality of the attached works. Pointing to the presence of various artistic sensibilities and visual expressions, the poetics of the six most represented authors among the architects is presented in this paper.
RADE PEJOVIĆ, IVANA VELJOVIĆ, IRENA ŽIVKOVIĆ
TERMOHROMATSKE BOJE U PRIMENJENIM UMETNOSTIMA I DIZAJNU
THERMOCHROMIC INKS IN APPLIED ARTS AND DESIGN
Abstract (original language):
Rad predstavlja prikaz primene termohromatskih boja na različitim materijalima sa ciljem dobijanja tzv. pametnih materijala (engl. smart materials), primenjivih u savremenom dizajnu i primenjenim umetnostima. Prikazuje se složen dizajnerski metod inovativne nadogradnje tekstilnih i drugih materijala upotrebom termohromatskih boja u stvaranju nove estetske celine. Termohromatske boje karakteriše sposobnost da reaguju na toplotni izvor i menjaju svoju obojenost. Promena boje je povratna i može da utiče na vizuelnu teksturu materijala. Ovakav pristup je našao primenu u oblasti dizajna celuloznih tkanih i netkanih materijala, proizvoda od sintetskih polimernih materijala, keramičkih proizvoda i neorganskih stakala. Termohromatski optički kvalitet poboljšava performanse materijala zahvaljujući potencijalu da obezbedi dinamički odgovor na okruženje. U radu se prikazuje dinamika promena površine materijala uslovljena specifičnošću i reverzibilnošću boje u interakciji s korisnikom i njegovim okruženjem. Primena termohromatskih boja na prirodnoj koži uvodi nove kreativne mogućnosti zahvaljujući dinamičkim promenama. Dinamika promena omogućava drugačiju percepciju vizuelnih sadržaja i senzacija, mimo uobičajenih tumačenja boje i oblika. Jedinstveni senzorni kvaliteti materijala omogućavaju simuliranje različitih reakcija, čineći materijal složenom površinom sofisticirane strukture. Ova svojstva iniciraju nove kreativne pristupe u oblikovanju i korišćenju u interakciji sa okruženjem.
Key words (original language):
interakcija, pametni materijali, termohromatske boje
Summary:
This work presents the complex designer procedure of thermochromic ink application which is used for upgrade of textile and non-textile materials in the process of creation of new aesthetic unities with the aim to produce “smart materials”. Thermochromic inks are temperature sensitive materials that, while heated, change colour either from colourless to coloured state or from coloured to colourless, or from one tone to another. Inspired by the possibilities for development of new and creative designer directions with respect to interaction, responsibilities and ultimate functionality, artists and designers show an intensively growing interest in smart materials. This work presents several contemporary artists who use thermochromism in analysis of spectral reflexivity and sensory impressions which are the consequence of external stimuli.

Textile designers Linda Worbin, Joanna Berzowska and Maggie Orth study smart materials and interactive textiles. Within the projects, which have been analysed in this work, they develop methodologies for working with dynamic patterns on textiles equipped with smart systems. Experiments conducted by the mentioned authors aim both to explore expressive possibilities of fabrics in terms of colour dynamics and to develop innovative methods as well as their application possibilities when working with electronic textiles and reactive garments.

Design studio NunoErin (Nuno Goncalves Ferreira and Erin Hayne) and German architect Jürgen Mayer are interested in thermosensitive materials used in the field of furniture and interior design. One of the most interesting findings of NunoErin is the fact that thermochromic materials have both functional and therapeutic effect on children with special needs. Jürgen Mayer also involves the viewer, i.e. participant as a focal point of his work, placing him/her in the central part of his installations.

One of the materials that serve as the basis for observation of design and thermochromism in this work is the leather (being the substantial material). The wide scope of research and experimenting on upgrade of the leather surface using thermochromic inks represents a challenge in terms of art and technology, and indicates the elaborate design process in upgrade of the leather surface while forming the unique aesthetic unity.
ZORANA ĐORĐEVIĆ
STRUČNI PRILOG O ISPITIVAČKO-ISTRAŽIVAČKIM RADOVIMA, KONZERVACIJI I RESTAURACIJI IKONE DEIZIS SA SV. NIKOLOM, SV. SPIRIDONOM I SV. DANILOM STOLPNIKOM IZ FONDA MUZEJA PRIMENJENE UMETNOSTI U BEOGRADU
PROFESSIONAL CONTRIBUTION TO PROBING AND RESEARCH WORKS, CONSERVATION AND RESTORATION OF ICONS DEESIS WITH ST NICHOLAS, ST SPYRIDON AND ST DANIEL THE STYLITE FROM THE MUSEUM OF APPLIED ART IN BELGRADE
Abstract (original language):
Za potrebe izložbe Zaboravljeni čudotvorac – kult Svetog Spiridona u srpskoj tradicijskoj kulturi, organizovane u Muzeju Vojvodine 2018. godine, ikona Deizis sa Sv. Nikolom, Sv. Spiridonom i Sv. Danilom Stolpnikom podvrgnuta je konzervatorsko-restauratorskom tretmaniu. Ispitivanja su sprovedena u dve faze:multispektralna snimanja i fizičko-hemijske testove. Tretman konzervacije i restauracije vršen je u skladu sa analitičkim ispitivanjima, odnosno nakon vizualizacije ikone Deizis sa Sv. Nikolom, Sv. Spiridonom i Sv. Danilom Stolpnikom. U cilju zaštite, praćene su stilske karakteristike dela, slikarska tehnologija građenja bojenog sloja (odabir podloge, upotreba pigmenata, vezivnog materijala i laka). Konzervacija i restauracija bazirana je na odabiru najefikasnijeg, neinvanzivnog i minimalnog tretmana.
Key words (original language):
ikona, istraživanja, konzervacija, restauracija, poliptih, Grabovan, Deizis sa Sv. Nikolom, Sv. Spiridonom i Sv. Danilom Stolpnikom
Summary:
The research works were carried out in two phases: the multispectral recording, and physical and chemical tests, which provided main direction to conservation and restoration treatment.

The access to analytical testing allowed consideration of the wider problem involving the work of art – the icons Deesis with St Nicholas, St Spyridon and St Daniel the Stylite. The obtained results provide a clear insight into the style characteristics, painting technologies, construction of paint layer, selection of substrate, and the application of pigment, binder and varnish for protection. Dry cleaning of lacquer and paint layer is done using DMSO + ethyl acetate + citric acid, with thickener (in stages).

The paint layer reconstruction – retouching was carried out using watercolour palette and oil paint palette. Retouching was done using the tratteggio technique. In this way, the unity of retouched surface and the original surfaces was achieved. The work on the icons lasted for almost a year. First, it was necessary to look at the work of art as a whole, starting from pencil drawings, visible in certain segments of the paint layer, to the massive ornamental frame. During the operation, certain hidden details were discovered, especially when it comes to the painted details and decorative elements on clothes of the saints.

This enabled the selection of the most efficient, most harmless and overall minimum treatment in terms of conservation and restoration. Such treatment with minimal intervention gave us the maximum results.
MARIJANA PETROVIĆ
Abstract (original language):
U radu je dat popis radova Dobrile Stojanović, istoričarke umetnosti koja je radni vek provela u Muzeju primenjene umetnosti u Beogradu, od njegovog osnivanja, posvetivši se, uglavnom, proučavanju tekstila, kostima, crkvenog umetničkog veza, tapiserije i ćilima. Rad u novoosnovanoj kulturnoj instituciji posle Drugog svetskog rata zahtevao je veliko angažovanje na sakupljanju, popisivanju i obrađivanju kulturne baštine. Dobrila Stojanović je svojim radovima ostavila značajan trag u istoriji primenjene umetnosti u domaćoj i stranoj javnosti.
Key words (original language):
bibliografija, Dobrila Stojanović, tekstil, kostim, moda, crkveni umetnički vez, crkvena odeća, crkveni tekstil, tapiserija, tepisi, ćilimi
DRAGINJA MASKARELI, BOJANA POPOVIĆ
AKVIZICIJE MPU
ACQUISITIONS MAA
LISTA RECENZENATA U ZBORNIKU 15/2019
LIST OF REVIEWERS / JOURNAL 15/2019