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Decisions on Designation of Properties as National Monuments

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60th session - Decisions

Stojan Čelić Legacy, the movable property

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Status of monument -> National monument

Pursuant to Article V para. 4 Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina and Article 39 para. 1 of the Rules of Procedure of the Commission to Preserve National Monuments, at a session held from 15 to 21 March 2005 the Commission adopted a

 

D E C I S I O N

 

I

 

The movable property of the Stojan Ćelić Legacy is hereby designated as a National Monument of Bosnia and Herzegovina (hereinafter: the National Monument).

The National Monument consists of 41 works of art, as follows:

  • four oils on canvas,
  • six drawings,
  • thirty-one graphics

The National Monument is housed in the Cultural and Education Centre in Bosanski Novi/Novi Grad, no. 71 Karađorđeva street.

The provisions relating to protection measures set forth by the Law on the Implementation of the Decisions of the Commission to Preserve National Monuments, established pursuant to Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina (Official Gazette of Republika Srpska no. 9/02) shall apply to the National Monument.

 

II

 

The Government of Republika Srpska shall be responsible for ensuring and providing the legal, scientific, technical, administrative and financial measures necessary to protect, conserve and display the National Monument.

 

III

 

The Government of  Republika Srpska shall provide appropriate physical and technical conditions for the safe keeping of the National Monument and shall supervise the protection thereof.

The display and other forms of presentation of the said collection in Bosnia and Herzegovina shall be effected pursuant to conditions to be stipulated by the ministry responsible for culture in Republika Srpska.

 

IV

 

Everyone, and in particular the competent authorities of Republika Srpska and urban and municipal authorities, shall refrain from any action that might damage the National Monument or jeopardize the preservation and rehabilitation thereof.

 

V

 

The removal of the National Monument or parts thereof (hereinafter: the movable heritage) from Bosnia and Herzegovina is prohibited.

By way of exception to the provisions of paragraph 1 of this Clause, the temporary removal from Bosnia and Herzegovina of the movable heritage for the purposes of display or conservation shall be permitted if it is established that conservation works cannot be carried out in Bosnia and Herzegovina.

Permission for the temporary removal of the movable heritage from Bosnia and Herzegovina under the conditions stipulated in the preceding paragraph shall be issued by the Commission to Preserve National Monuments, if it is determined beyond doubt that it will not jeopardize the National Monument in any way. 

In granting permission for the temporary removal of the movable heritage from Bosnia and Herzegovina, the Commission shall stipulate all the conditions under which the removal may take place, the date by which the items shall be returned to Bosnia and Herzegovina, and the responsibility of individual authorities and institutions for ensuring that these conditions are met, and shall notify the Government of Republika Srpska, the relevant security service, the customs authority of  Bosnia and Herzegovina, and the general public accordingly.

 

VI

 

            The Cultural and Education Centre in Novi Grad/Bosanski Novi, the Government of Republika Srpska, the Ministry responsible for regional planning in Republika Srpska and the heritage protection authority of Republika Srpska, and the Municipal Authorities in charge of urban planning and land registry affairs, shall be notified of this Decision in order to carry out the measures stipulated in Articles II – V of this Decision.

 

VII

 

The elucidation and accompanying documentation form an integral part of this Decision, which may be viewed by interested parties on the premises or by accessing the website of the Commission (http://www.aneks8komisija.com.ba) 

 

VIII

 

Pursuant to Art. V para 4 Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina, decisions of the Commission are final.

 

IX

 

This Decision shall enter into force on the date of its adoption and shall be published in the Official Gazette of BiH.

 

            This Decision has been adopted by the following members of the Commission: Zeynep Ahunbay, Amra Hadžimuhamedović, Dubravko Lovrenović,  Ljiljana Ševo and Tina Wik.

 

No: 04-2-950/03-4

16 March 2005

Sarajevo

Chair of the Commission

Amra Hadžimuhamedović

 

E l u c i d a t i o n

 

I – INTRODUCTION

 

Pursuant to Article 2, paragraph 1 of the Law on the Implementation of the Decisions of the Commission to Preserve National Monuments, established pursuant to Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina, a “National Monument” is an item of public property proclaimed by the Commission to Preserve National Monuments to be a National Monument pursuant to Articles V and VI of Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina  and property entered on the Provisional List of National Monuments of Bosnia and Herzegovina (Official Gazette of  BiH no. 33/02) until the Commission reaches a final decision on its status, as to which there is no time limit and regardless of whether a petition for the property in question has been submitted or not.

On 30 June 2003 the Bosanski Novi/Novi Grad Cultural and Education Centre, a public body, addressed the  Commission in Sarajevo with a proposal to designate the movable property of the Stojan Ćelić Legacy, housed in the Bosanski Novi/Novi Grad Cultural and Education Centre, as a national monument of Bosnia and Herzegovina.

Pursuant to the provisions of the law, the Commission proceeded to carry out the procedure for reaching a final decision to designate the Property as a National Monument, pursuant to Article V of Annex 8 and Article 35 of the Rules of Procedure of the Commission to Preserve National Monuments.

 

II – PROCEDURE PRIOR TO DECISION

 

In the procedure preceding the adoption of a final decision to proclaim the property a national monument, the following documentation was inspected:

  • Documentation on the subject of the procedure from the Bosanski Novi/Novi Grad Cultural and Education Centre

The findings based on the review of the above documentation are as follows:

 

1. Details of the items

Location

The Stojan Ćelić Legacy is housed in the Cultural and Education Centre in the old Municipal Assembly building at no. 71 Karađorđeva street, Bosanski Novi/Novi Grad.

Historical information

Stojan Ćelić was born on 16 February 1925 in Bosanski Novi/Novi Grad.  He moved with his family to Belgrade in 1937.  In 1942 he attended drawing classes in Mladen Josić’s school.  He enrolled in the Academy (now the Faculty) of Fine Arts in Belgrade in 1943, in Nedeljko Gvozdenović’s clas.  He graduated in 1951 and enrolled in a special postgraduate course, which he completed in 1953.  The following year he was selected as assistant in the same faculty, and was soon (1957) promoted to senior lecturer.  From 1971 to 1973 he was dean of the Faculty of Fine Arts.  From 1956 to 1960 he was secretary of the Artists’ Federation of Yugoslavia.  From 1965 to 1970 he was chief and executive editor of the periodical Umetnost (Art).  He was a full member of the Serbian Academy of Science and the Arts from 1978.  He exhibited both at home and abroad(1). His first solo exhibition held in 1954.  He received many awards(2). He was the author of a number of monographs, including monographs on Nedeljko Gvozdenović and Marko Čelebanović, and of numerous texts on the fine arts, as well as the books Između sveta i slike (Between the world and the image) (Nolit, 1981) and Sudbina skulpture (The Fate of Sculpture) (Clio, 1994). As well as painting and graphics, he was involved with tapestry(3), mosaics and art criticism.

He died on 30 April 1992 in Belgrade.

“The time at which Ćelić entered the art scene coincided with the period of post 1950 Yugoslav (Socialist Federal Republic of Yugoslavia) art, characterized by processes of continuity and discontinuity.  Continuity was embodied mainly by the pre-war generation of artists who, following the abandonment of social realism, topicalized variations of colourism and expressionism.  Discontinuity was initially embodied by the followers of the same generation and then by younger artists.

The younger artists were associated with a number of artists’ groups – the Independents, the Group of Eleven, the December Group, the Medijala, and the informalists – in which striking creative figures and a poetics of geometrism, fantasy, figuration and abstraction of various types evolved.  Following expressionism of colour and gesture, geometrism was formulated among the young artists of the December Group.(4) ” (Protić, 2003.)

«Ćelić's appearance on the art scene coincided with a number of major historical events, both at home and abroad, which had the effect of altering the official Yugoslav political attitude to art.  Some members of the new generation of artists, Ćelić among them, realized that it was vital to for the local art scene to become part of world trends.  They formulated their revolt against the traditional and ideological structures of society through two parallel trajectories that would define them in the social and the artistic sense.

The first organizational trajectory was made concrete with the formation of artists' groups as associations designed to manifest their views, which explains the heterogeneity of artistic expression, since what mattered was not that they agreed stylistically; function was what counted.  Ćelić was first a member of the Independents, and then of the December Group.(5)».

The second artistic trajectory entailed a definition of the points of reference of art that needed to be developed.

Both of these trajectories determined Ćelić's later work.  He knew «that major political events must necessarily influence the domain of culture» (Subotić, 1996, 52)

Ćelić and his contemporaries perceived that if the Yugoslav art of their day was to become part of European and world trends it was essential to resolve some issues of major importance for that time and those circumstances:

  • re-establishing the continuity of the artistic trends interrupted by the war
  • overcoming the powerful influence of the ideological structures of society
  • establishing the value formulae on which the new art was to be based
  • selecting stylistic and conceptual principles.

In this regard, Ćelić was of the view that «our art must think in particular of its own development».

«As well as the conventional visual solutions he had encountered in Renaissance and classical art, above all in the works of Poussin, and the heritage he had studied in our own and Byzantine mediaeval wall paintings and icon painting, his mainstays were associated with the examples essentially constructed by 20th century modern thought, but he was no stranger, either, to the European proponents of tendencies that were chronologically close to it.» (Subotić, 1996, 57) However, Ćelić insisted that «one should seek for the differences in the relationship between our art and world art, especially that of Paris, not for the similarities that are ordinarily sought.  He spoke of the unique processes of creation, of the essential and unrepeatable features of a given milieu and a given personality, thus saying that it was impossible for a work to be equated with those that had sprung from entirely different conditions, in some other part of the world, even if not far distant in time.» (Subotić, 1996, 59)

In resolving issues of the perception of reality, Ćelić presented the basis of his art in the late 1950s and early 1960s.  The process of rationalization of the image(6) took place largely through an analysis of space.» (Ristanović, 2004.)

«Almost the whole of Stojan Ćelić's creativity depended in fact on spatial arrangement, on the appropriation of space as the crucial motif in all its variety, on the attempt to interpret space not merely as a two-dimensional transposition of our environment, but as a conceptual phenomenon transcending human experience and paving the way to the transcendental and imaginative.  With the exception of short-term portrait painting, there are no other classical painterly subjects, still lifes or figural compositions: the whole of Ćelić's opus is dedicated to space, ranging from painting a specific place to its gradual sublimation and transformation into abstract compositions.  Later, in his mature phase, when he had «shifted the boundaries of space» – to a quest for the fourth dimension, for cosmic spaces, for the stars and galaxies – to the mental space of areas beyond discovery» (Subotić, 1996, 56-57)

The origins of the Stojan Ćelić legacy in Bosanski Novi/Novi Grad(7) are associated with the contacts that were established between painters and representatives of the municipality of Bosanski Novi and the Regional Museum during the exhibition of paintings in Banja Luka. The legacy came about with the aim of popularizing the fine arts.  In 1985 Ćelić visited Bosanski Novi and came to an agreement with the mayor, Miloš Dejanović, on the terms on which the legacy – a collection of art works and drawings of the town – would be bestowed.  It was agreed that within the year premises would be converted in the former no. 42 Tito street to house the collection.  It was then, too, that the idea of what the future artists' colony in Rakani would look like was developed.

 

2. Legal status to date

           The legacy has not to date enjoyed protected status.

 

3. Description of the property

The Stojan Ćelić legacy forms part of the Gallery of the Regional Museum of the Bosanski Novi/Novi Grad Cultural and Education Centre, a public body.  The legacy has been in this institution since 1988, when agreement was reached between the artist and Bosanski Novi Municipality.  It consists of:

  1. four oils on canvas,
  2. six drawings
  3. thirty-one graphics

The Gallery also includes works by B. Karanović, Đ: Mazalić, Lazar Drljača, Z. Mandić, M. Kopanja, V. Sovilje, L. Buison and D. Deruba.

 

The Stojan Ćelić Legacy consists of the following works:

1. SEA

Inventory no.: 00001,

Technique: oil on canvas,

Date of origin: 1980/81.

Size:130x162 cm,

Signature: Cyrillic, below centre, S. Ćelić,

Description: Abstract. Principal colours: green, blue and grey

2. SEA VI

Inventory no.: 00002,

Technique: oil on canvas,

Date of origin: 1983.

Size: 130x162 cm,

Signature: Cyrillic, below right., S. Ćelić,

Description: Abstract. Principal colours: dark and light blue

3. RAIN ON THE SHORE II

Inventory no.: 00003,

Technique: oil on canvas,

Date of origin: 1986.

Size:135x125 cm,

Signature: Cyrillic, below right., S. Ćelić,

Description: Abstract. Principal colours: blue, grey and green

4. NORTH II

Inventory no.: 00004,

Technique: oil on canvas,

Date of origin: 1990.

Size: 100x80 cm,

Signature: Cyrillic, below right., S. Ćelić,

Description: Abstract. Principal colours: blue, grey, ochre and black 

5. SKETCH FOR THE FALL OF ICARUS

Inventory no.: 00005,

Technique: drawing – ink on paper, steel pen, paper cm fabriano,

Date of origin: 1973.

Size: 69x104 cm,

Signature: Cyrillic, below left, S. Ćelić, Šema Ikarovog pada, 1973.

Description: Graphic abstract. Principal colours: black and white

6. DRAWING II

Inventory no.: 00006,

Technique: drawing – ink on paper, steel pen,  paper cm fabriano,

Date of origin: 1975.

Size: 69x104 cm,

Signature: Cyrillic, below right, S. Ćelić,

Description: Graphic abstract. Principal colours: black and white

7. RAIN ON THE SHORE

Inventory no.: 00007,

Technique: drawing – ink on paper, steel pen, paper arches,

Date of origin: 1973.

Size: 76x57 cm,

Signature: Cyrillic, below left, S. Ćelić, Drawing for 1978.

Description: Graphic abstract. Principal colours: black and white 

8. MEDITERRANEAN  

Inventory no.: 00008,

Technique: drawing – ink on paper, steel pen, paper cm fabriano,

Date of origin: 1978.

Size: 69x104 cm

Signature: Cyrillic, below left, S. Ćelić, Drawing for 1978.

Description: Graphic abstract. Principal colours:black and white

9. DRAWING FOR 1978 (I) ECHO

Inventory no.: 00009,

Technique: drawing – ink on paper, steel pen, paper cm fabriano,

Date of origin: 1978.

Size: 69x104 cm,

Signature: Cyrillic, below left, S. Ćelić, Drawing for 1978. (I) ECHO

Description: Graphic abstract. Principal colours: black and white           

10. DRAWING FOR 1978 V

Inventory no.: 000010,

Technique: drawing – ink on paper, steel pen, paper cm fabriano,

Date of origin: 1987.

Size: 69x100 cm,

Signature: Cyrillic, below left, S. Ćelić, Drawing for 1978. (V)

Description: Graphic abstract. Principal colours: black and white

11. SOLACE OF THE LEAVES I

Inventory no.: 000011,

Technique: graphic – silk screen, japan paper,

Date of origin: 1953/82.

Size: 65x50 cm,

Signature:Cyrillic, below left S. Ćelić. E.A. 1/25, below centre Stevan Raičković, Solace of the leaves I, below right. 1953/82.

Description: Graphic abstract. Principal colours: b lack and white 

12. SOLACE OF THE LEAVES II

Inventory no.: 000012,

Technique: graphic – silk screen, japan paper,

Date of origin: 1953/82,

Size: 65x50 cm,

Signature: Cyrillic, below left S. Ćelić. E.A. 1/25, below centre Stevan Raičković, Solace of the leaves II, below right. 1953/82.

Description: Graphic abstract. Principal colours: black and white

13. SOLACE OF THE LEAVES III

Inventory no.: 000013,

Technique: graphic – silk screen, japan paper,

Date of origin: 1953/82,

Size: 65x50 cm,

Signature: Cyrillic, below left S. Ćelić. E.A. 1/25, below centre Stevan Raičković, Solace of the leaves III, below right. 1953/82.

Description: Graphic abstract. Principal colours: black and white

14. SOLACE OF THE LEAVES IV

Inventory no.: 000014,

Technique: graphic – silk screen, japan paper,

Date of origin: 1953/82.

Size:65x50 cm,

Signature: Cyrillic, below left S. Ćelić. E.A. 1/25, below centre Stevan Raičković, Solace of the leaves IV, below right. 1953/82.

Description: Graphic abstract. Principal colours: black and white

15. SOLACE OF THE LEAVES V

Inventory no.: 000015,

Technique: graphic – silk screen, japan paper,

Date of origin: 1953/82.

Size: 65x50 cm

Signature: Cyrillic, below left S. Ćelić. E.A. 1/25, below centre Stevan Raičković, Solace of the leaves V, below right. 1953/82.

Description: Graphic abstract. Principal colours: black and white

16. FIGURES PLAYING

Inventory no.: 000016,

Technique: etching,

Date of origin: 1954,

Size: 65x50 cm,

Signature: Cyrillic, below left S. Ćelić, below centre Figures playing, below right. etching,

Description: Graphic abstract. Principal colours: black and white

17. RESISTANCE

Inventory no.: 000017,

Technique: etching, aquatint,

Date of origin: 1955,

Size: 65x48 cm,

Signature: Cyrillic, below left S. Ćelić, E.A. V/X 1955, below centre Resistance, below right. etching, aquatint,

Description: Graphic abstract. Principal colours: black and white

18. ROOT

Inventory no.: 000018,

Technique: etching,

Date of origin: 1956,

Size: 50x65 cm,

Signature: Cyrillic, below left S. Ćelić E.A. III/XX, below centre Root, below right. 1956,

Description: Graphic abstract. Principal colours: black and white

19. ENIGMA

Inventory no.: 000019,

Technique: etching, aquatint,

Date of origin: 1957,

Size: 65x50 cm,

Signature: Cyrillic, below left S. Ćelić E.A. III/X, below centre Enigma, below right. 1957,

Description: Graphic abstract. Principal colours: black and white

20. PRIZREN REGION

Inventory no.: 000020,

Technique: etching,

Date of origin: 1957,

Size: 50x65 cm,

Signature: Cyrillic, below left S. Ćelić E.A. V/X, below centre Prizren region, below right. 1957,

Description: Graphic abstract. Principal colours: black and white

21. SIMPLE REGION

Inventory no.: 000021,

Technique: etching, aquatint,

Date of origin: 1957,

Size: 50x65 cm,

Signature: Cyrillic, below left S. Ćelić E.A. V/X, below centre Simple region, below right. 1957, etching, aquatint,

Description: Graphic abstract. Principal colours: black and white

22. ANOTHER PART OF THE WORLD I

Inventory no.: 000022,

Technique: etching,

Date of origin: 1961,

Size: 48x65 cm,

Signature: Cyrillic, below left S. Ćelić E.A. X/X, 1961. below centre Another part of the world I, below right. etching, aquatint,

Description: Graphic abstract. Principal colours: black and white

23. ANOTHER PART OF THE WORLD II

Inventory no.: 000023,

Technique: etching,

Date of origin: 1961,

Size: 48x65 cm,

Signature: Cyrillic, below left S. Ćelić E.A. X/X, 1961. below centre Another part of the world II, below right. etching,

Description: Graphic abstract. Principal colours: black and white

24. THE DAWN OF DAY

Inventory no.: 000024,

Technique: graphic – combined technique:P etching, aquatint,

Date of origin: 1963.

Size: 76x56 cm,

Signature: Cyrillic, below left S. Ćelić E.A. III/X, 1961. below centre Dawn of day, below right. 1963,

Description: Graphic abstract. Principal colours: black and white

25. ABANDONED TRACKS

Inventory no.: 000025,

Technique: graphic – combined technique: etching, aquatint,

Date of origin: 1965.,

Size: 70x52 cm,

Signature: Cyrillic, below left S. Ćelić, Abandoned tracks, below centre February 1965, 8/8,

Description: Graphic abstract. Principal colours: dark and light blue, and ochre

26. END OF SUMMER II

Inventory no.: 000026,

Technique: graphic – combined technique: etching, aquatint,

Date of origin: 1965,

Size:76x56 cm,

Signature: below left S. Ćelić, E.A. III/X, below centre end of summer II, below right. 1965.

Description: Graphic abstract. Principal colours: black, white and red

27. THE CURSE OF THESEUS

Inventory no.: 000027

Technique: graphic – combined technique: etching, aquatint,

Date of origin: 1965.

Size: 76x56 cm

Signature: below left S. Ćelić, E.A. III/X, below centre The curse of Theseus, below right. 1965.

Description: Graphic abstract. Principal colours: black and white

28. TENDER REMAINS OF THE EARTH

Inventory no.: 000028,

Technique: graphic – combined technique: direct etching, aquatint,

Date of origin: 1966

Size: 76x56 cm,

Signature: below left S. Ćelić, E.A. IX/X, below centre Tender remains of the earth,

Description: Graphic abstract. Principal colours: black and white

29. WIND

Inventory no.: 000029

Technique: graphic – combined technique: direct etching, aquatint, etching,

Date of origin: 1967,

Size: 76x56 cm,

Signature: below left 15/20, S. Ćelić, 1967, below centre Wind, etching, aquatint,

Description: Graphic abstract. Principal colours: black and ochre

30. SPACES

Inventory no.: 000030,

Technique: graphic – combined technique: direct etching, aquatint

Date of origin: 1967,

Size: 76x56 cm,

Signature: below left S. Ćelić, E.A. III/X, 1967, below centre Spaces, below right dir. etch., aquatint

Description: Graphic abstract. Principal colours: black and white

31. DESERT

Inventory no.: 000031,

Technique: graphic – combined technique: direct etching, etching,

Date of origin: 1967,

Size: 78x54 cm,

Signature: Cyrillic, S. Ćelić, spec. print, below centre DESERT, below right. 1967,

Description: Graphic abstract. Principal colours: black and ochre

32. LARGE DARK SURFACE

Inventory no.: 000032,

Technique: graphic – combined technique: direct etching, aquatint, etching

Date of origin: 1969,

Size: 76x56 cm,

Signature: Cyrillic, below left E.A. VII/X S. Ćelić, below centre Large dark surface, below right. aquat., etching, 1969.

Description: Graphic abstract. Principal colours: black and white

33. SHIFTING THE BOUNDARIES OF SPACE

Inventory no.: 000033

Technique: graphic – combined techniqu:-etching, aquatint,

Date of origin: 1970,

Size: 76x56 cm,

Signature: Cyrillic, below left S. Ćelić, E.A. IX/X, below centre Shifting the boundaries of space, below right. 1970.

Description: Graphic abstract. Principal colours: black and white

34. DISASSOCIATION

Inventory no.: 000034,

Technique: graphic – combined technique: direct etching, etching, aquatint,

Date of origin: 1971,

Size: 76x56 cm,

Signature: Cyrillic, below left S. Ćelić, 2/20, below centre Disassociation, etching, aquatint, 1971

Description: Graphic abstract. Principal colours: black 

35. DAY OF BIRTH AND DEATH

Inventory no.: 000035,

Technique: graphic – combined technique: direct etching, etching, aquatint,

Date of origin: 1972,

Size: 78x54 cm,

Signature: Cyrillic, below left S. Ćelić, E.A. spec. print, below centre DAY OF BIRTH AND DEATH, below right. 1972.

Description: Graphic abstract. Principal colours: black and white

36. METAMORPHOIS I

Inventory no.: 000036,

Technique: graphic – combined technique: direct etching, aquatint,

Date of origin: 1982,

Size: 56x76 cm,

Signature:  Cyrillic, below left S. Ćelić, E.A. IX/XX, below right. Metamorphosis I, below right 1982.

Description: Graphic abstract. Principal colours:

37. METAMORPHOSIS II

Inventory no.: 000037,

Technique: graphic – combined technique: direct etching, aquatint,

Date of origin: 1982,

Size: 56x76 cm,

Signature: Cyrillic, below left S. Ćelić, E.A. IX/XX, below right. Metamorphosis II, below right 1982,

Description: Graphic abstract. Principal colours: black

38. METAMORPHOSIS III

Inventory no.: 000038,

Technique: graphic – combined technique: direct etching, aquatint,

Date of origin: 1982,

Size: 56x76 cm,

Signature: Cyrillic, below left S. Ćelić, E.A. III/XX, below right. Metamorphosis III, below right 1982,

Description: Graphic abstract. Principal colours: black

39. TERRA

Inventory no.: 000039,

Technique: graphic – combined technique: direct etching, aquatint,

Date of origin: 1982,

Size: 76x56 cm,

Signature: Cyrillic, below left S. Ćelić, spec. print, I/X, below centre TERRA, below right. 1982.

Description: Graphic abstract. Principal colours: black and grey

40. EARTH

Inventory no.: 000040,

Technique: graphic – combined technique: direct etching, aquatint,

Date of origin: 1983,

Size: 76x56 cm,

Signature: Cyrillic, below left S. Ćelić, 19/50, below centre Earth 1983, below right. 1983.

Description: Graphic abstract. Principal colours: black and white

41. 1979.

Inventory no.: 000041,

Technique: graphic – silk screen

Date of origin: 1979,

Size: 50x70 cm,

Signature: Cyrillic, below right. XI/XX S. Ćelić, 1979.

Description: Graphic abstract. Principal colours: black, light blue and red

 

4. Present condition of the property

The present condition of the items can be described as follows:

  • The items suffered no damage arising from the war
  • The items are on display in premises intended for the museum's permanent exhibits on the second floor of the building

III – CONCLUSION

 

Applying the Criteria for the adoption of a decision on proclaiming an items of property as a national monument, (Official Gazette of BiH nos. 33/02 and 15/03), as pertaining to movable heritage of Bosnia and Herzegovina, the Commission has enacted the Decision to designate the Legacy of Stojan Ćelić as a national monument.

The Decision was based on the following criteria:

B.  Historical value

C.  Artistic and aesthetic value

D.  Clarity

D.ii. evidence of historical change

D.iii. work of a major artist or builder

D. v. evidence of a typical way of life at a specific period

I. Completeness

I.i. physical coherence

I.ii. homogeneity

I.iii. completeness

I.iv. Undamaged condition

 

The following documentation forms part of this Decision:

Documentation from the Novi Grad/Bosanski Novi Cultural and Education Centre

ATTACHED:

a.    Stojan Ćelić Legacy – inventory,

b.    Interview with Stojan Ćelić – Radio Bosanski Novi. Interview conducted by Radio Bosanski Novi's editor, Predrag Šarac, on 18 May 1985,

c.    Letter from Stojan Ćelić to the director of the Regional Museum in Bosanski Novi, Ante Milinović, dated 05 June 1985,

d.    Letter from Stojan Ćelić to the director of the Regional Museum in Bosanski Novi, Ante Milinović, dated 12 December 1985,

e.    Letter from Stojan Ćelić to the director of the Regional Museum in Bosanski Novi, Ante Milinović, dated 12 December. 1985 with a list of the works bein g donated to the museum,

f.     Letter from the director of the Regional Museum in Bosanski Novi, Ante Milinović, to Stojan Ćelić, dated 20 December 1985,

g.    Letter from the director of the Regional Museum in Bosanski Novi, Ante Milinović, to Stojan Ćelić, dated 28 January 1986,

h.    Letter from the director of the Regional Museum in Bosanski Novi, Ante Milinović, to Stojan Ćelić, dated 12 February 1986,

i.     Agreement on the legacy, drawn up in Belgrade on 8 June 1988.

The documentation annexed to the Decision is public and available for view by interested persons on written request to the Commission to Preserve National Monuments of Bosnia and Herzegovina.

 

Bibliography

During the procedure to designate the Stojan Ćelić Legacy housed in the Novi Grad/Bosanski Novi Cultural and Education Centre as a national monument of Bosnia and Herzegovina the following works were consulted:

 

1978.    Meliha Husedžinović, Stojan Ćelić. Exhibition Catalogue, Fine Arts Gallery of Banja Luka, Banja Luka, 1978.

 

1996.    Irina Subotić, Snoviđenja iz stvarnosti (Illusions of Reality) Stojan Ćelić, Belgrade 1996, 9-101

 

1996.    Ivana Simeonović – Umetničko delo kao dokaz o vrhunskoj ljudskoj kreativnoj moći (A work of art as evidence of supreme human creative power) Stojan Ćelić, Belgrade 1996, 107-166

 

2003.    Sonja Ćirić, Jedan vek grafike: kultura, suština, vreme (A century of graphics – culture, essence, time). Vreme no. 673, Belgrade,  23.11. 2003.

 

2004.    Sava Ristanović, Stojan Ćelić – grafike, crteži, pasteli (Graphics, drawings, pastels). Exhibition Catalogue, Užice City Gallery, Užice, 2004.

 

2004.    Olivera Vukotić, Rani radovi – Izložba «Decembarska grupa» Galerija Zepter (Early works – exhibition of the December Group, Zepter Gallery). Dnevnik, 12.01.2004. Novi sad, 2004.

 

2003.    Miodrag B. Protić, Slikarstvo i vajarstvo 20. veka – Druga epoha – slikarstvo posle 1950. godine (20th century Painting and  Sculpture – second period – post 1950 painting), Belgrade 2003., www.rastko.org.yu

 

           Mirela Tišma-Klinić, unpublished documentation of the Novi Grad/Bosanski Novi Cultural and Education Centre,

 

             www.novigrad-bosanski novi.rs 

 


(1) 1951. First exhibited and noted by critics.

1952-1954. Exhibited with the Samostalni (Independents) group

1953. Exhibited graphics.

1954. Exhibited graphics in Venice as part of the exhibition of Contemporary Yugoslav Graphics.  First solo exhibition in Belgrade (17 paintings and 17 drawings)

1958. Took part in the work of the Ečka artists' colony

1961. Produced cartoon for tapestry. Produced by tapestry conservation and exhibition institution Jedinstveni Predeo in Studio 61.

1963. Travelled to Greece as commissioner of the exhibition Contemporary Yugoslav Painting and Graphics.

1964. Exhibited in Venice.

1967. Exhibited at the 7th international graphics exhibition in Paris.

1969. Exhibited in Sao Paulo.

1971. Took part in the work of the colony in Sićevo

1978. Produced first great mosaic, In Honour of the Sun, for the First May Factory in Pirot.

1983-1984. Opened a retrospective exhibition in the Museums of Modern Art in Belgrade, Ljubljana and Sarajevo.

1984. Took part in the work of the artists' colony in Počitelj.

1987. Solo exhibition of paintings and graphics in the Yugoslav Cultural Centre in Paris. Took part in the work of the Rakani artists' colony (Bosanski Novi/Novi Grad).

1987-1988 concentrated on pastels, which he exhibited in Sarajevo and Belgrade

1988. Stojan Ćelić Legacy in Bosanski Novi opened.

1990. Retrospective exhibition opened in the gallery of the Serbian Academy of Science and the Arts. Produced a series of pastels, exhibited in Ćuprija on the occasion of Matić day.

1992. Exhibition Art Portraits by Stojan Ćelić staged in the National Museum in Belgrade.  That autumn the exhibition was modified and moved to the Fine Arts Gallery in Novi Sad.

1993. Retrospective exhibition of graphics opened in Princess Ljubica's Konak in Belgrade. In reduced form, the exhibition was transferred to Pančevo. Investbanka calendar published with 12 colour reproduction (Tišma-Kalinić, unpublished documentation).

(2)  1958. October Prize for graphics.

1960. 7 May Prize for painting.

1969. Politika Award for solo exhibition in Salon of Museum of Modern Art.

1972. October Prize for painting.

1984. Plaque of the  City of Belgrade 1944-1948 for his work and contribution to the development of Belgrade.

1988. Order of Labour with the Red Flag.

1989. Received AVNOJ Award. (Tišma-Kalinić, unpublished documentation).

(3)   «Jedinstveni predeo», Study 61 in Belgrade – institution conserving and exhibiting tapestries.

(4)   «Geometrism began as a figurative trend which turned into an associative one (abstract works) and finally into abstracts of the kind met with in the works of  Lazar Vozarević (1925 to 1968), Mladen Srbinović (1925 to 1992), Stojan Ćelić (1925 to 1992), Miodrag B. Protić (1992). The notion of the superficial, pure, decorative was opposed, for the first time, to the «experiential» mode of nuancing every centimetre; illusionist deep space was replaced by topological and superficial.  New views of the subject introduced frontality and symmetry, regulatively central, on canvases that were often of large size. Later, in the 1960s and 1970s, this eased the transition to abstraction as a formal minimum aspiring to a spiritual maximum, to reviving the heritage of constructivism and supermatism, the aspiration to the absolute, to order, harmony and proportion as the hallmarks of moral values.» (Protić, 2003.)

(5) among the first members of this group were Miodrag Protić, Stojan Ćelić, Mladen Srbinović, Zoran Petrović, Miloš Bajić, Lazar Vozarević, Lazar Vujaklija... (Protić, 2003)

(6) this can most readily be followed through his drawings as the expression of an inner re-examination, particularly in the series of studies dating from that period.

(7) Speaking of Ćelić’s attitude towards Bosnia, Irina Subotić says: “He did not paint Bosnia, as did Jovan Bjelić, he did not belong to it in the softness of his accommodation with nature and in some deep, hard to describe sensibility bordering on nostalgia, and at times on melancholy.” (Subotić, 1996., 100)



Birth of day<br>tapestry, 1961 Another Climate III<br>oil/canvas, 1962In honor of sun<br>mosaic, 1978Portrait of Nikola Jankovic<br>oil/canvas, 1954
Remembering July 20<br>oil/canvas, 1970-1971Visiting Thera<br>pastel/paper, 1990.Portrait of Bosa Kićevac<br>oil/canvas, 1954 


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