Status of monument -> National monument
Published in the Official Gazette of BiH, no. 72/11.
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 on 11 March 2011 the Commission adopted a
D E C I S I O N
I
The movable property consisting of the Boško Karanović Homeland Collection in Bosanska Krupa is hereby designated as a National Monument of Bosnia and Herzegovina (hereinafter: the National Monument).
The National Monument consists of the following graphics:
1. Pietà panneau for the Bosnian Krajina (1970)
2. In memory of unknown combatants (1970)
3. Cazin square (1955)
4. Silver branch (1970)
5. Collage II (1967)
6. Two ephebes (Keva) (1965)
7. Rehearsal (1969)
8. Pietà panneau (1975)
9. Building the exhibition centre (1975)
10. Couple (1965)
11. Poplars on Vojvode Mišića Boulevard (1956)
12. Treetop (1955)
13. Cazin idyll (date unknown)
14. Shepherds (1955)
15. Night at the spring (c. 1955)
16. Two figures (1955)
17. Head (1955)
18. Shawl (c. 1955)
19. Idyll (1960s)
20. Three figures (1968)
21. Portrait II (date unknown)
22. Shepherds’ frieze (1957)
23. River Krka I (Bank) (1961)
24. River Krka II (Bank) (1961)
25. Poplars by the gentlemen’s tavern (1956)
26. In memory of unknown combatants II (1970)
27. Paris Commune I (date unknown)
28. Topčider (1957)
29. Girl (1963)
30. Ohrid (1951)
31. Concentration camp (1957)
32. Frieze (late 1960s/early 1970s)
33. Pietà panneau II (1970)
34. Six ephebes (1969)
35. Group (late 1960s/early 1970s)
36. Dead village (1970s)
37. Head (date unknown)
38. Market in Budva (1953)
39. Market (date unknown)
40. Idyll in the square (1966)
41. Kaneo (Ohrid) (1950)
42. Dance (illustration) II (late 1960s/early 1970s)
43. Rehearsal (between 1965 and 1970)
44. Picking plums in Pećigrad I (between 1950 and 1956)
45. Ballet dancers IV (date unknown)
46. Ballet dancers III (date unknown)
47. Ballet dancers I (date unknown)
48. Love (1949)
49. Nerezi (1950)
50. Brčko – Banovići railway line (1947)
51. Head (1950s)
52. Trio (date unknown)
53. Mother Mara (1950)
54. Trajanka and Rođo (1949)
55. Self portrait (1950)
56. Arabesque I (date unknown)
57. Arabesque II (date unknown)
58. Krušnica (Čaplja) (1949)
59. Game (nude) (1949)
60. Bosanska Krupa I (1949)
61. Bosanka Krupa II (1949)
62. Bosanska Krupa III (1949)
63. Mills on the Una (date unknown)
64. Pear (date unknown)
65. Walnut I (date unknown)
66. Olive (date unknown)
67. Walnut II (date unknown)
68. Apple (date unknown)
69. Pine I (date unknown)
70. Pines II (date unknown)
71. Kemin boat on the Ada (date unknown)
72. Spring on the Ada (1991)
73. Sunday on the Ada (1991)
74. Muslim woman (date unknown)
75. Paris Commune II (date unknown)
76. Paris Commune III (date unknown)
77. Paris Commune IV (date unknown)
78. Paris Commune V (date unknown)
79. River Krka (Bank) III (1961)
80. Počitelj (1988)
81. Bosanska Krupa (date unknown)
82. Bosanska Krupa (1972)
83. Edo Šarić (date unknown)
84. Muris Čorbić (date unknown)
85. Hasan Oraščanin (1982)
86. Živko Stojaković (date unknown)
87. Ahmet Hršić (date unknown)
88. Dragan Novaković I (date unknown)
89. Enver Krupić (date unknown)
90. Krušnica (date unknown)
91. Illustration I (date unknown)
92. Source of the Krušnica (1981)
93. Krušnica (Čaplja) I (1949)
94. Galloping horse (date unknown)
95. Hawthorn on the Krušnica (date unknown)
96. Branch on the Una (date unknown)
97. In the square II (date unknown)
98. Pines (date unknown)
99. Pomegranate (date unknown)
100. In the square I (date unknown)
101. In the plum orchard (between 1950 and 1956)
102. Greek (c. 1968)
103. Tree frogs (date unknown)
104. From the Parish Commune (date unknown)
105. Dragan Novaković II (date unknown)
106. Krupa Fort (date unknown)
107. Illustration (Jump) (date unknown)
108. Three figures (date unknown)
109. Ballet dancers II (date unknown)
110. Trajanka and Boško (1989)
The National Monument is housed in the Bosanska Krupa Centre for Culture, Education and Information, Trg Avde Ćuka bb, Bosanska Krupa.
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 the Federation of BiH nos. 2/02, 27/02, 6/04 and 51/07) shall apply to the National Monument.
II
The Government of the Federation of Bosnia and Herzegovina (hereinafter: the Government of the Federation) shall be responsible for providing the legal, scientific, technical, administrative and financial measures necessary for the protection, conservation and presentation of the National Monument.
III
To ensure the on-going preservation of the National Monument, the Government of the Federation shall provide suitable physical and technical conditions for the safe keeping of the National Monument by:
- providing suitable conditions to house the works of art in the Bosanska Krupa Centre for Culture, Education and Information in line with modern museum standards applicable to works of art;
- ensuring that the graphics are framed and that the conservation and restoration of the pictures is carried out as necessary.
The display and other forms of presentation of the National Monument in Bosnia and Herzegovina shall be carried out in line with conditions to be determined by the federal ministry responsible for culture (hereinafter: the relevant ministry).
Supervision of the implementation of the protection measures pertaining to the movable heritage shall be exercised by the relevant ministry.
IV
The removal of the movable heritage 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 or can be carried out to a higher standard and more quickly and cheaply abroad.
Permission for temporary removal 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 movable heritage in any way.
In granting permission for the temporary removal of the movable heritage, the Commission shall stipulate all the conditions under which the removal from Bosnia and Herzegovina may take place, the date by which the items shall be returned to the country, and the responsibility of individual authorities and institutions for ensuring that these conditions are met, and shall notify the Government of the Federation of Bosnia and Herzegovina, the relevant security service, the customs authority of Bosnia and Herzegovina, and the general public accordingly.
V
Everyone, and in particular the competent authorities of the Federation of Bosnia and Herzegovina, the Canton, and urban and municipal authorities, shall refrain from any action that might damage the National Monument or jeopardize the preservation thereof.
VI
The Government of the Federation, the relevant ministry and the Federation heritage protection authority shall be notified of this Decision in order to carry out the measures stipulated in Articles II to 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.kons.gov.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 day following its publication in the Official Gazette of BiH.
This Decision has been adopted by the following members of the Commission: Zeynep Ahunbay, Martin Cherry, Amra Hadžimuhamedović, Dubravko Lovrenović and Ljiljana Ševo.
No: 04.1-2.3-77/11-7
11 March 2011
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 7 December 2010 yhe Institute for the Protection of the Cultural Heritage in Bihać submitted a proposal to designate the Boško Karanović Homeland Collection, housed in the Bosanska Krupa Centre for Culture, Education and Information in Bosanska Krupa, 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 para. 4 of Annex 8 and Article 35 of the Rules of Procedure of the Commission to Preserve National Monuments.
Statement of Significance
The collection consists of 110 graphics by the academic graphic artist Boško Karanović, housed in the Bosanska Krupa Centre for Culture, Education and Information in Bosanska Krupa. The collection was donated by the artist to his native town. Boško Karanović (1924-2009), one of Yugoslavia’s leading graphic artists, trained in Belgrade and was among the founders of the graphic arts in Belgrade. He spent his working life as a professor in the graphics department of the Academy of the Fine Arts in Belgrade, and was one of the founders of the Graphics Collective in Belgrade. In the 1970s he launched the Krušnica artists’ colony in Bosanska Krupa, which is still active to this day. He was actively engaged in the production of graphics for more than twenty years, finding his own specific and highly personal direction. The homeland collection of graphics by Boško Karanović includes works from his entire creative range.
II – PRELIMINARY PROCEDURE
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 from the Bosanska Krupa Centre for Culture, Education and Information in Bosanska Krupa;
- Reference works on the subject.
The findings based on the review of the above documentation are as follows:
1. Details of the property
Location
The Boško Karanović Regional Collection is housed in the Bosanska Krupa Centre for Culture, Education and Information at Trg Avde Ćuka bb in Bosanska Krupa.
Historical background
The Boško Karanović Homeland Collection is based on a gift to the Krušnica artists’ colony in Bosanska Krupa in 2005 from the artist, who sent some of his graphics to the Krušnica Artists’ Society with letters and some via the Embassy of Bosnia and Herzegovina in Belgrade.
The idea to found a collection of graphics by Boško Karanović in Bosanska Krupa originated with the Krušnica Artists’ Society, which had been in existence for many years. The Krušnica artists’ colony was founded on the initiative of Zdravko Vajagić and Boško Karanović in 1970, when a number of Yugoslav artists were in Bihać at the Bihacit sculpture symposium. At that time, Boško Karanović was working on a monument with six mosaics outside the Cultural Centre in Bosanska Krupa. The following year the artists met spontaneously in Bosanska Krupa, and in 1972 a monument to the victims of fascism in Bosanska Krupa was erected under the auspices of the Krušnica artists’ colony. The colony did no further work until 1976, when Boško Karanović and Zdravko Vajagić drafted a proposal on the relations between the colonies in Bosanski Petrovac, Bihać, Cazin and Bosanska Krupa, suggesting that the Krušnica artists’ colony in Bosanska Krupa should be a graphic artists’ colony. The Art Workers’ Club, founded under the auspices of the Krušnica artists’ colony, became the colony’s organizer and host. The colony had its own Arts Council and a youth summer school, and is still active to this day.
At an extraordinary meeting of the Governing Board and Arts Council held on 10 November 2010, the Krušnica Artists’ Society of Bosanska Krupa adopted a resolution, in accordance with its articles of association and rules of procedure, under the terms of which the legacy known as the “Homeland Collection” of the academic graphic artist Boško Karanović, which had been gifted to the society and, in line with the artist’s wishes, to his native town, was transferred for safekeeping to the Bosanska Krupa Centre for Culture, Education and Information. Under the terms of the resolution, the Bosanska Krupa Centre for Culture, Education and Information was required to provide the conditions for setting up a gallery to display the graphics and other works by Boško Karanović.
Following this resolution, a committee was setup by Bosanska Krupa Municipality to inventory the art works by Boško Karanović. The commission identified 110 graphics, 79 of which from the “Homeland Collection” had been bequeathed to the town for the future gallery, and 31 drawings and miniatures sent by Boško Karanović in his letters to the Krušnica Artists’ Society.
Boško Karanović was born in Bosanska Krupa on 5 January 1924. He attended primary school in his native town, and grammar school in Bihać from 1934 to 1941, finally matriculating in Belgrade in 1943. He graduated from the Fine Arts Academy in Belgrade under Professor Mihajl Petrov in 1948, studying painting under Milo Milunović, Ivan Tabaković and Nedeljko Gvozdenović.
He was appointed as an assistant lecturer at the Academy of the Fine Arts in Belgrade in 1949, in which year he and a number of other artists (Mirjana Mihać, Dragoslav Stojanović-Sip, Mile Petrović, Dragoljub Kažić) founded a “Graphics Collective,” a shared graphics studio, followed in 1952 by a gallery on the Graphics Collective’s premises. The Arta Club of friends of the graphic arts and a collection of graphics were set up under the auspices of the Graphics Collective. Karanović also belonged to the Samostalni (Independents’) group until its dissolution, and worked with Atelje 6(1) in Novi Sad. He designed five public monuments with mosaics, in Belgrade, Rudo, Bela Crkva, Bosanska Krupa and Cazin, and gained a number of diplomas and charters in the applied arts. He was a member of the Yugoslav Artists’ Federation. He exhibited at solo and group exhibitions at home and abroad, and received many awards and accolades (the Belgrade October Award in 1958, the Belgrade October Salon Award in 1960, the Grand Seal of the Graphics Collective in 1968, the Purchase Award [Autumn Salon] Award of Banja Luka in 1968, the Golden Pin of the Fine Arts Society of Belgrade in1970, the 20th June Award of Bosanska Krupa in 1972, the Order of Work with golden wreath in 1972, the Vukova Award in 1985). From 1951 on he collected students’ graphics produced in the Academy of the Fine Arts.
He died in Belgrade on 31 March 2009.
2. Description of the property
Boško Karanović’s artistic career began in the late 1940s and early 1950s, when he and a number of other artists gave a huge boost to the graphic arts in Belgrade, which had been almost nonexistent before World War II.
In his 1983 study of Boško Karanović’s graphics, Zoran Pavlović notes that Karanović’s development as a graphic artist may be viewed as falling into two phases. He saw the first as lasting from 1948 to 1958, and the second as belonging to the 1960s. During the first stage, Pavlović identifies two groups of works, colour lithographs and woodcuts, and aquatints. In this period Karanović was producing figures or subjects seen in silhouette, as two-dimensional forms, simplified and synthesized, within which nodes of plasticity here and there cause more voluminous elements to stand out, but without insisting on full modelling. Such forms can be seen in the works Picking plums (aquatint, 1951), Shepherds (colour lithograph, 1955), Family (colour lithograph, 1955), and Playing in the plum orchard (colour lithograph, 1955)(2). The basic characteristic of the second groups of work from this period is the focus on colour in the production of graphics and a reliance on traditional graphics features. From Treetrunks (colour woodcut, 1954), through Treetops (gesso-cut, 1956) and Banovo Hill (colour woodcut, 1956) to Topčider (colour lithograph, 1957) and Poplars (colour woodcut, 1957), his investigations into the potential of various profiles of bold synthetic massed forms, particularly trees, stands out, where as well as the contact and overlap of freely-interpreted areas of “flat” colours, they go beyond the constraints of contour, reaching into the background and by this means, as well as in the quality of tonal dimensions, avoiding the limitations of the descriptive role of colour, pointing to the transition to its symbolic and expressive function. During this period Karanović concentrated mainly on nature as his subject, but also on themes from Antiquity(3).
The central theme of Karanović’s in the 1960s was the human figure, usually alone, but occasionally in pairs. In terms of technique, they feature deep, coarse lines, rustic in nature, building a powerful, suggestive drawing based on a geometrical rhythm of horizontals and verticals. The human figure woven into this rhythmic scaffolding is reduced to a brief, condensed note, a graphic symbol(4). This may be seen in graphics such as Edge of the forest (linocut, 1963), Dead satyr (linocut, 1963), Faun in the afternoon (linocut, 1964), Two ephebes (linocut, 1965) and so on. Pavlović regards this stage in Karanović’s work as the phase in which he achieved full artistic maturity(5).
In 1969 he produced the linocut Silver branch, after which he worked with reduced intensity. His graphics of the 1970s reveal his nostalgic, elegiac feelings, as in the graphic Memories of the Bosnian krajina (1970) and Pietà panneau (1975), after which he finally abandoned graphics in favour of painting.
The Institute for the Protection of the Cultural Heritage in Bihać contacted the Commission to Preserve National Monuments with a proposal to designate the movable property of the Boško Karanović Homeland Collection, housed in the Bosanska Krupa Centre for Culture, Education and Information in Bosanska Krupa, as a national monument of Bosnia and Herzegovina. The collection consists of the following works:
1. Pietà panneau for the Bosnian Krajina, 1970, aquatint, 49x39.5 cm, signature: bottom left: 2/10; bottom centre: Pietà panneau for the Bosnian Krajina; bottom right: Boško Karanović
The graphic is dominated by two rectangles. The artist reserved the top part of the rectangles for the stylized heads of a man and a woman respectively, filling the remaining area with diverse geometric forms. The background to the rectangles consists of irregular rounded forms.
2. In memory of unknown combatants, 1970, linocut, 52x43 cm, signature: bottom left: AO, bottom centre: In memory of unknown combatants, bottom right: Boško Karanović
The graphic is divided into three horizontal registers, the top with five medallions, the middle register with a stylized cartouche with rows of men’s faces, and the bottom filled with dark rectangles of various widths.
3. Cazin square, 1955, linocut, 60x40.5 cm, signature: bottom left: AO, bottom centre: Cazin square, bottom right: Boško Karanović
The drawing is in black and white. In the foreground are a number of women with headscarves, standing at a counter, with the outlines of a town in the background.
4. Silver branch, 1970, combined technique (aquatint and etching), 63.5x38.5 cm, signature: bottom left: AO, bottom centre: Silver branch, bottom right: Boško Karanović
The gnarled and twisted branch is depicted against a dark hatched background.
5. Collage II, 1967, linocut, 50x67 cm, signature: bottom left: illegible, bottom centre: Collage II, bottom right: Boško Karanović
Three hatched horizontal registers with strong contrasts of light and dark form a counterpoint to the figure of a man, arms raised, effectively reduced to a graphic symbol.
6. Two ephebes (Keva), 1965, linocut, 65x52 cm, unsigned
The middle of the black-and-white graphic depicts two ephebes (youths) working the land, portrayed as human figures in Antiquity, framed above and below by a stylized representation of a ploughed field.
7. Rehearsal, 1969, combined technique, 49x39 cm, signature: bottom left: AO
Three rectangles filled with dark crisscross lines are set against an ochre ground. Between them, as if on two photographic strips, are the half-length figures of men and women.
8. Pietà panneau, 1975, screen-print, 50x36.5 cm, unsigned
Colour graphic reduced to a few graphic symbols – the stylized heads of men and women and some geometric forms.
9. Building the exhibition centre, 1975, aquatint, 38x29.5 cm, signature: bottom left: AO, bottom centre: Building the exhibition centre, bottom right: Boško Karanović
Colour graphic in red and dark brown shades, showing scaffolding with a number of figures in action.
10. Couple, 1965, etching, aquatint, 40.5x26.5 cm, signature: bottom left: AO, bottom centre: Couple, bottom right: Boško Karanović
The graphic, dominated by dark and light tones, depicts two half-length figures.
11. Poplars on Vojvode Mišića Boulevard, 1956, aquatint, 40x26 cm, unsigned
Four leafless white trees are depicted against a dark ground.
12. Treetop, 1955, coloured linocut, 37.5x34.5 cm, signature: bottom centre: Treetop, bottom right: Boško Karanović
The scene is predominantly in shades of green, and consists of a treetop, a white trunk flecked with black here and there with a luxuriant green canopy.
13. Cazin idyll, colour woodcut, 37x34 cm, signature: bottom left: 66, bottom centre: Cazin idyll, bottom right: Boško Karanović
The graphic is in shades of ochre, green, brown and pink. The composition is dominated by a stylized tree trunk at the foot of which are two female figures.
14. Shepherds, 1955, gesso-cut, 34x28 cm, signature: bottom left: AO, bottom centre: Shepherds, bottom right: Boško Karanović
Pavlović identifies this graphic as one of Karanović’s most successful from the early 1950s. It is characterized by its “plastic silhouettes” in restrained modelling(6). The scene is of tree trunks behind which is a shepherd’s hut and in front of which are three figures, two standing and one seated, the latter accompanied by some sheep.
15. Night at the spring, c. 1955, aquatint, 23x17 cm, signature: bottom left: AO, bottom centre: Night at the spring, bottom right: Boško Karanović
A landscape in shades of green, with a single tree in the middle of the composition.
16. Two figures, 1955, linocut, 60x40 cm, signature: bottom left: AO, bottom centre: Two figures, bottom right: Boško Karanović
The drawing, in black-and-white, is dominated by two standing female figures, their faces partly concealed by headscarves, behind a grocery counter. A girl, facing the viewer, is seated by the counter.
17. Head, 1955, linocut, 57x36 cm, signature: bottom centre: Head, bottom right: Boško Karanović
The head of a woman, faced half concealed, is depicted in black-and-white lines against a dark ground.
18. Shawl, date unknown (c. 1955), colour linocut, 38x32 cm, signature: bottom left: AO, bottom centre: Shawl, bottom right: Boško Karanović
The graphic, mainly in blue, ochre, black and red, depicts the head of a woman, her face partly concealed by a shawl.
19. Idyll, 1960s, colour lithograph, 42x29 cm, signature: bottom left: AO, bottom centre: Idyll, bottom right: Boško Karanović
The centre of the graphic, which is mainly in orange, black and white, is dominated by a scene similar to that of the 1969 Rehearsal, above which are four women’s portraits, with rural motifs (a chicken, a pumpkin, a pannier) below.
20. Three figures, 1968, linocut, 61x38 cm, signature: bottom centre: three figures, bottom right: Boško Karanović
The graphic is in deep brown. The central composition consists of three figures reduced to graphic symbols, cut across by a frieze-like band; to either side of the sheet are triangular elements.
21. Portrait 2, date unknown, linocut, 44x34 cm, signature: bottom left: AO, bottom centre: Portrait 2, bottom right: Boško Karanović
The half-length portrait of a woman executed in dark, deeply cut lines.
22. Shepherds’ frieze, 1957, aquatint, 30x50 cm, unsigned
Black-and-white graphic of three figures in movement (three women and a man) portrayed very realistically, with animals in the background.
23. River Krka I (Bank), 1961, aquatint and etching, 38.5x27 cm, signature: bottom left: AO, bottom centre: River Krka I (Bank), bottom right: Boško Karanović
A black and white landscape entirely reduced to graphic symbols.
24. River Krka II (Bank), 1961, aquatint and etching, 39x28 cm, signature: signature: bottom left: AO, bottom centre: River Krka II (Bank), bottom right: Boško Karanović
A black and white landscape entirely reduced to graphic symbols.
25. Poplars by the gentlemen’s tavern, 1956, aquatint, 32.5x42.5 cm, signature: bottom left: 4, bottom centre: Poplars by the gentlemen’s tavern, bottom right: Boško Karanović
A number of trees with luxuriant canopies are depicted against a dark background.
26. In memory of unknown combatants II, 1970, linocut, 43x38 cm, signature: bottom left: illegible print number
The composition is divided along the middle by a light-toned band, forming two rectangles, the centre of which is occupied by stylized human figures (a man in the top rectangle, a woman in the rectangle at the bottom) with arms raised.
27. Paris Commune I, date unknown, linocut, 30x7 cm, signature, bottom centre: Paris Commune BK
The outline of a woman standing astride, with a sword in one hand and holding a long banner bearing the words République Fra aloft with the other. A number of heads lie at her feet.
28. Topčider, 1957, lithograph, 39x61 cm, signature: bottom left: illegible, Topčider, lithograph, bottom right: Boško Karanović
Pavlović writes of this and other similar graphics (Treetrunks, 1954, Banovo Brdo, 1956, Treetops, 1955 etc.) that they “reveal Karanović’s investigations into the potential of various profiles of bold synthetic massed forms, particularly trees, stands out, where as well as the contact and overlap of freely-interpreted areas of ‘flat’ colours, they go beyond the constraints of contour, reaching into the background and by this means, as well as in the quality of tonal dimensions, avoiding the limitations of the descriptive role of colour, pointing to the transition to its symbolic and expressive function.”(7)
29. Girl, 1963, linocut, 54.5x47 cm, signature: bottom left: illegible print number ?/26, bottom centre: Girl, bottom right: Boško Karanović
Portrait of a girl, her pale face and neck shaded with fine circular and spiral lines forming a contrast with the dark ground.
30. Ohrid, 1951, etching, 18x63 cm, signature: bottom centre: Ohrid, 1963, bottom right: Boško Karanović
View of the town.
31. Concentration camp, 1957, linocut, 29x70 cm, signature: bottom left: 21/21, bottom centre: Concentration camp, bottom right: Boško Karanović
The inmates’ suffering is depicted in geometric graphic symbols, short, powerful strokes covering the entire sheet.
32. Frieze, late 1960s/early 1970s, aquatint, 36x58 cm, unsigned
Black and white graphic of eight figures reduced to graphic symbols. The third figure from the left has a mark resembling pale crescent moons on its head.
33. Pietà panneau II, 1970, linocut, 45x45 cm, signature: bottom left: 40 lithograph, bottom centre: Pietà panneau II, bottom right: Boško Karanović
The graphic depicts a stylized round plate around the edge of which is a design of embossed copper plates. Within the plate is a scene of suffering – a man with face turned skywards and hands tied in front, beside whom is seated death, in the form of a skeleton playing a wind instrument (a stylized oboe). The background is of a rocky, tree-clad landscape.
34. Six ephebes, 1969, linocut, 47.5x40 cm, unsigned
To either side of the sheet are semicircles filled with geometric ornament, flanking the dark central square with the heads of six youths.
35. Group, late 1960s/early 1970s, linocut, 49x30, signature: bottom left: 20, bottom centre: Group, bottom right: Boško Karanović
Black and white, with dark rectangles filled with geometric forms alternating with female figures.
36. Dead village, 1970s, woodcut, 27x39 cm, signature: bottom left: 7/40, bottom centre: Dead village woodcut, bottom right: Boško Karanović
Suffering and death are depicted extremely realistically with an interplay of light and dark lines. At the bottom of the composition are the figures of three dead people – a man, a woman and a child – above whom is an elderly woman, facing to the side and with her right hand outstretched in the same direction. Behind her is the outline of a village.
37. Head, date unknown, linocut, 27x21 cm, unsigned. The stylized head of a woman, executed in bold dark lines.
38. Market in Budva, 1953, aquatint, 16x34 cm, unsigned
The busts of four women behind a grocery counter, against a dark ground.
39. Market, date unknown, linocut, 45x30 cm, unsigned. Several women behind a market stall laden with provisions.
40. Idyll in the square, 1966, colour lithograph, 39x50 cm, unsigned
Six stylized figures of women are depicted against a grey ground. The dominant colours are brick-red and yellow.
41. Kaneo (Ohrid), 1950, etching, 14x17 cm, signature: bottom left: AO, bottom centre: Kaneo (Ohrid); bottom right: Boško Karanović
The landscape has been drawn with fine, thin lines.
42. Dance (Illustration) II, late 1960s/early 1970s, 12x23 cm, signature: bottom left: AO, bottom centre: Dance (Illustration); bottom right: Boško Karanović
Several figures of women in stylized folk costume performing a round dance, depicted in light and dark tones.
43. Rehearsal, between 1965 and 1970, linocut, 17x16 cm, unsigned
The composition is surrounded by a thick, dark line within which are four columns each with three graphically simplified faces seemingly set on rectangular plinths. The graphic is in earth tones.
44. Picking plums in Pećigrad I, between 1950 and 1956, aquatint, 33x22 cm, unsigned
A very dynamic composition of plum-tree branches scattered over the entire surface, with the plum pickers, three women and a child, depicted in action.
45. Ballet dancers IV, date unknown, aquatint, 14x1.5 cm, signature: bottom left: AO, bottom centre: Ballet dancers IV, bottom right: Boško Karanović
Three male ballet dancers against a contrasting dark ground; the middle figure dancing, leg raised, while the others look on.
46. Ballet dancers III, date unknown, aquatint, 11x9.5 cm, signature: bottom left: AO, bottom right: Boško Karanović
A male ballet dancer and a ballerina against a contrasting dark ground.
47. Ballet dancers I, date unknown, aquatint, 15x12.5 cm, signature: bottom left: AO, bottom right: Boško Karanović
A male ballet dancer against a dark ground, gently lit from the top right by rays of light falling at his feet in a half-moon shape.
48. Love, 1949, linocut, 20x13.5 cm, signature: bottom centre: Love, bottom right: Boško Karanović
The interplay of light and dark depicts two embracing naked figures.
49. Nerezi, 1950. etching, 11.5x18.5 cm, signature: bottom left: AO above Nerezi 1950, bottom centre: Nerezi, bottom right: Boško Karanović
View of the village.
50. The Brčko-Banovići railway line, 1947, etching, 12.5x17 cm, signature: bottom left: AO, bottom centre: Brčko-Banovići, bottom right: Boško Karanović
Fine lines create a very realistic depiction of men at work, laying the Brčko-Banovići tracks, with a column of workmen in the background.
51. Head, 1950s, linocut, 17x13 cm, signature: bottom left: AO, bottom centre: Head, bottom right: Boško Karanović
The colour graphic is of the stylized head of a woman, the drawing emphasized by strong dark lines.
52. Trio, date unknown, colour linocut, 18x15 cm, signature: bottom left: AO, bottom centre: Trio, bottom right: Boško Karanović
The interplay of light and dark (shades of brown) forms three elongated faces, reduced almost to mere triangles.
53. Mother Mara, 1950, etching, 18x14 cm, signature: bottom left: 1/12, bottom centre: Mother Mara, bottom right: Boško Karanović
Fine lines create a very realistic portrayal of an elderly seated woman, facing left, head bent slightly towards her lap, looking at the handiwork she is holding.
54. Trajanka and Rođo, 1949, aquatint, 17x15.5, signature: bottom left: AO, bottom centre: Trajanka and Rođo, bottom right: Boško Karanović
A woman with a child in her lap against a dark ground.
55. Self portrait, 1950, etching, 19x12, 5 cm, signature: bottom left: AO, bottom centre: Self portrait, bottom right: Boško Karanović
The artist is seated at a table, working, wearing a dark coat and a cap, facing the viewer.
56. Arabesque I, date unknown, linocut, 20x13 cm, signature: bottom left: AO Arabesque I, bottom right: Boško Karanović
Abstract composition.
57. Arabesque II, date unknown, linocut, 20x13 cm, signature: bottom left: AO Arabesque I, bottom right: Boško Karanović
Abstract composition
58. Krušnica (Čaplja), 1949, mezzotint, 16x11.5 cm, unsigned
View of a river, partly concealed by a heron.
59. Game (nude), 1949, linocut, 16.5x15 cm, signature: bottom left: AO, bottom centre: Game, bottom right: BKaranović
A seated nude girl executed in dark strokes, her bent head resting on her left hand.
60. Bosanska Krupa I, 1949. etching, 14x19 cm, unsigned
View of the town of Bosanska Krupa, with the Krupa Fort in a rectangle in the middle, inscribed Crupa.
61. Bosanka Krupa II, 1949, etching, 14x19 cm, unsigned
View of the town of Bosanska Krupa, with the Krupa Fort in a rectangle in the middle, inscribed Crupa.
62. Bosanska Krupa III, 1949, etching, 14x19 cm, unsigned
View of the town of Bosanska Krupa, with the Krupa Fort in a rectangle in the middle, inscribed Crupa.
63. Mills on the Una, date unknown, aquatint, 15x12 cm, unsigned
A landscape with a number of mills on the river.
64. Pear, date unknown, lithograph on aluminium, 15x20 cm, signature: bottom left: 4/12, bottom centre: Pear, bottom right: Boško Karanovič
The forked, slightly leaning trunk of a pear tree.
65. Walnut I, date unknown, aquatint, 14x15 cm, signature: bottom left: AO, bottom right: Boško Karanović
The white trunk of a walnut tree against a dark ground, with some walnuts at the foot of the trunk.
66. Olive, date unknown, lithograph on aluminium, 15x12 cm, signature: bottom left: AO, bottom centre: Olive, bottom right: Bkaranović, by the left side, below the top left corner: B Karanović
Three [four?] olive trees, one in the middle, one by the artist’s signature on the left of the sheet, and two opposite the signature, on the right of the sheet.
67. Walnut II, date unknown, linocut, 11x15 cm, signature: bottom left: AO, bottom right: Boško Karanović
A faintly hatched ground against which is a walnut tree with a number of walnuts at its foot.
68. Apple, date unknown, etching, 21x15 cm, signature: bottom left: AO, bottom centre: Apple, bottom right: Boško Karanović
An apple tree.
69. Pine I, date unknown, lithograph on aluminium, 23x18, signature: bottom left: 1/2 algraph, bottom centre: Pine, bottom right: Boško Karanović
A pine tree.
70. Pines II, date unknown, lithograph on aluminium, 24x17 cm, signature: bottom left: 3/10 algraph, bottom centre: Pines, bottom right: Boško Karanović
Several tall pine trees.
71. Kemo’s boat on the Ada(8), date unknown, lithograph on aluminium, 25x21, signature: bottom left: 2/12, bottom centre: Kemo’s boat on the Ada, bottom right: B.Karanović
View of the Ada from the river bank, with a wooden jetty and a boat, and vegetation on the opposite bank.
72. Spring on the Ada, 1991, lithograph on aluminium, 31x24, signature: On the Ada, afternoon, 14.4.91 Boško Karanović, bottom right: Boško Karanović 91
View of the river through treetops.
73. Sunday on the Ada, 1991, lithograph on aluminium, 31x24 cm, signature: bottom centre: 14.4.91 Sunday on the Ada, bottom right: Boško Karanović
Several trees.
74. Muslim woman, date unknown, linocut, 23x20 cm, signature: bottom left: AO, bottom centre: Muslim woman, bottom right: Boško Karanović
The stylized portrait of a woman in a headscarf, in white and dark tones against an ochre ground.
75. Paris Commune II, date unknown, linocut, 7x30 cm, signature: bottom left: Ao, bottom centre: Illustration “Paris Commune”, bottom right: Boško Karanović
Black and white scene of Paris, with the words “Viva la comune [sic]” in capital letters in the bottom half of the illustration.
76. Paris Commune III, date unknown, linocut, 8x33 cm, signature: bottom left: Ao, bottom centre: Illustration “Paris Commune”, bottom right: Boško Karanović
Black and white scene of Paris, with the words “Viva la comune [sic]” in capital letters in the bottom half of the illustration.
77. Paris Commune IV, date unknown, linocut, 7.5x34 cm, signature: bottom left: Ao, bottom centre: Illustration “Paris Commune”, bottom right: Boško Karanović
Black and white scene of Paris, with the words “Viva la comune [sic]” in capital letters in the bottom half of the illustration.
78. Paris Commune V, date unknown, linocut, 7.5x34 cm, signature: bottom left: Ao, bottom centre: Illustration “Paris Commune”, bottom right: Boško Karanović
Black and white scene of Paris, with the words “Viva la comune [sic]” in capital letters in the bottom half of the illustration.
79. River Krka (Bank) III, 1961, aquatint i etching, 38.5x27 cm, signature: bottom left: AO, bottom centre: River Krka I (Bank), bottom right: Boško Karanović
Black and white landscape wholly reduced to graphic symbols.
80. Počitelj, 1988, woodcut, 21.5x29.5 cm, unsigned
Scenes from Počitelj (the fort, the ramparts, the medresa) reduced to the most recognizable sequences of the town.
81. Bosanska Krupa, date unknown, aquatint, 16x12 cm, signature: bottom left. AO, bottom centre: Bosanska Krupa, bottom right: BKaranović
View of the town.
82. Bosanska Krupa, 1972, engraving for degree, 22x20, signature: bottom left: AO, bottom right: Boško Karanović
Abstract composition with above it a ribbon inscribed 1942 Bosanska Krupa 1972
83. Edo Šarić, date unknown, drawing in Indian ink, 12x9 cm, signature: bottom right: Edo
Portrait sketch of a dark-haired man in profile, with a striking thick, dark moustache.
84. Muris Čorbić, date unknown, drawing in Indian ink, 12x9 cm, signature: top right: To Muris Čorbić, Teslić, 19..?
Half length portrait sketch of a bearded man with square black-framed glasses.
85. Hasan Oraščanin, 1982, drawing in Indian ink, 9x9 cm, signature: bottom left: Hasan, bottom right: 82
Portrait sketch of a rather stout man.
86. Živko Stojaković, date unknown, drawing in Indian ink, 11x11 cm, signature: bottom centre: Živko Stojaković, bottom right: BK
Portrait sketch of a middle-aged man.
87. Ahmet Hršić, date unknown, drawing in Indian ink, 9x12 cm, signature: bottom left: Hršić
Portrait sketch of a middle-aged man with a beard.
88. Dragan Novaković I, date unknown, drawing in Indian ink, 9x12 cm, signature: bottom right: Dragan N.
Half-length portrait sketch of a bearded man with glasses.
89. Enver Krupić, date unknown, drawing in Indian ink, 12x12 cm, signature: bottom right: BK
Portrait of an elderly man in profile against a dark ground.
90. Krušnica, date unknown, drawing in Indian ink, 12x17 cm, signature: bottom left: Krušnica, bottom right: Boško Karanović
Landscape of the Krušnica valley surrounded by hills.
91. Illustration I, date unknown, etching, 12.5x17 cm, unsigned
Black and white graphic of a number of horsemen, one carrying a banner, with women in folk costume in the background.
92. Source of the Krušnica, 1981, aquatint, 13.5x12 cm, signature: bottom left: Source of the Krušnica AO, middle right: Karanović'81, bottom right: Bkaranović
A gap in a rock face with large rocks, as if to represent the river.
93. Krušnica (Čaplja) I, 1949, mezzotint, 16x11.5 cm, unsigned
View of the river partly concealed by a heron.
94. Galloping horse, date unknown, lithograph, 12x19 cm, signature: bottom left: 3/10, III/l, bottom right: B. Karanović
Black and white graphic of a galloping horse.
95. Hawthorn on the Krušnica, date unknown, watercolour, 22x16 cm, unsigned
View of the River Krušnica surrounded by hills, with a hawthorn in the foreground, bottom right, in thick brush strokes in shades of red.
96. Branch on the Una, date unknown, watercolour, 22x16 cm, unsigned
View of the river through a tree branch.
97. In the square II, date unknown, linocut, 11x15 cm, signature: bottom left: A7, bottom centre: In the square, bottom right: Bkaranović
Black and white graphic with figures, a counter with groceries and a number of women behind the counter, depicted in stylized fashion as graphic symbols.
98. Pines, date unknown, lithograph on aluminium, 22x17 cm, signature: bottom left: 3/10 algraph, bottom centre: Pines, bottom right: Boško Karanović
Two tall pine trees rising above low-growing shrubs.
99. Pomegranate, date unknown, linocut, 11x17 cm, signature:bottom left: AO, bottom centre: Pomegranate, bottom right: Boško Karanović
Black and white stylized graphic symbols depicting a woman picking pomegranates.
100. In the square I, date unknown, linocut, 11x15 cm, signature: bottom left: A7, bottom centre: In the square, bottom right: Bkaranović
Black and white graphic with figures, a counter with groceries and a number of women behind the counter, depicted in stylized fashion as graphic symbols.
101. In the plum orchard(9), between 1950 and 1956, aquatint, 33x22 cm, signature: bottom left: AO, bottom centre: In the plum orchard, bottom right: BKaranović
A very dynamic composition of plum-tree branches scattered over the entire surface, with the plum pickers, three women and a child, depicted in action.
102. Greek, c. 1968, linocut, 53x46 cm, unsigned
Two circles with an inscribed cross to the left of the graphic, and a male figure in movement to the right, appearing to be covered with a grid pattern.
103. Tree frogs, date unknown, lithograph on aluminium, 19x10 cm, signature: bottom left: AO algraph, bottom centre: Tree frogs, bottom right: BK
A number of frogs in various positions.
104. From the Paris Commune, date unknown, linocut, 9x7 cm, signature: bottom left: From the Paris Commune, bottom right: BK
Portrait sketch of a bearded man.
105. Dragan Novaković II, date unknown, drawing in Indian ink, 8x11 cm, signature: top right: Dragan Novaković B. Novi
Half-length portrait sketch of a bearded man with glasses.
106. Krupa Fort, date unknown, drawing in Indian ink, 14x19 cm, unsigned
Black and white drawing with a mass of “rapid” strokes forming the composition, a view of the town.
107. Illustration (Jump), date unknown, linocut, 6x41.5 cm, signature: bottom left: AO Boško Karanović
The graphic is in shades of red and white. The frieze is divided into five sequences, each of which consists of a hurdle over which athletes are jumping, each athlete in a different position.
108. Three figures, date unknown, linocut, 24x16.5, signature: bottom left: AO, bottom centre: Three figures, bottom right: Boško Karanović
Black and white image of three stylized female figures.
109. Ballet dancers II, date unknown, aquatint, 9x10 cm, signature: bottom left: AO, bottom right: Boško Karanović
A male ballet dancer standing on his left leg, his right raised level with his body and his arms outspread, against a contrasting dark ground.
110. Trajanka and Boško, 1989, colour aquatint, signature: bottom right: Bkaranović, Trajanka and Boško
A graphic element resembling a distaff filled with various geometric forms against a blue ground.
3. Legal status to date
Thus far the collection of graphics by Boško Karanović in Bosanska Krupa has not enjoyed protected status.
4. Current condition of the property
The collection of graphics by Boško Karanović is housed in the Bosanska Krupa Centre for Culture, Education and Information in Bosanska Krupa, in unsuitable premises lacking the up-to-date conditions for safeguarding works of art and kept in portfolios or leaning up against each other. Most of the graphics are unframed.
III – CONCLUSION
Applying the Criteria for the adoption of a decision on proclaiming an item of property as a national monument of Bosnia and Herzegovina (Official Gazette of BiH nos. 33/02 and 15/03), the Commission has enacted the Decision cited above.
The Decision was based on the following criteria:
C. Artistic and aesthetic value
C.i. quality of workmanship
C.iii. proportions
D. Clarity (documentary, scientific and educational value)
D.iii. work of a major artist or builder
E. Symbolic value
E.v. significance for the identity of a group of people
G. Authenticity
G.i. form and design
G.ii. material and content
G.iii. use and function
G.iv. traditions and techniques
G.v. location and setting
G.vi. spirit and feeling
H. Rarity and representativity
H.ii. outstanding work of art or architecture
H.iii. work of a prominent artist, architect or craftsman.
The following documents form an integral part of this Decision:
- Documentation of the Bosanska Krupa Centre for Culture, Education and Information in Bosanska Krupa;
- 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 Boško Karanović Homeland Collection in Bosanska Krupa as a national monument of Bosnia and Herzegovina the following works were consulted:
1983 Pavlović, Zoran. Boško Karanović. Belgrade: Programmatic Council of the Graphics Collective Gallery (ed. Ljiljana Ćinkul Krstić), 1983
2003 Vujanović, Vojislav. Bosanska Krupa Likovna kolonija Krušnica (Krušnica artists’ colony, Bosanska Krupa). Bosanska Krupa: Centre for Culture, Education and Information, Krušnica Artists’ Association, Bosanska Krupa, for the publisher: Salih Suljanović, Oko Sarajevo, 2005 (exhibition catalogue)
2005 Isaković, Alaga (ed.). Zavičajna zbirka grafika Boška Karanovića (Boško Karanović Homeland Graphics Collection). Bosanska Krupa: Centre for Culture, Education and Information, Krušnica Artists’ Association, Bosanska Krupa, for the publisher: Salih Suljanović, Zenica, 2005 (exhibition catalogue)
2010 http://www.grafickikolektiv.org/html/monografijaBKa.php (27.12.2010)
(1) Five tapestries were produced in Atelje 61 based on his cartoons. Zoran Pavlović, Boško Karanović. Belgrade: Programski savet Galerije Grafički kolektiv (ed. Ljiljana Ćinkul Krstić), 1983, 41.
(2) Op.cit,1983, 5-7.
(3) Op.cit,1983, 7.
(4) Op.cit,1983, 13-16.
(5) Op.cit, 1983, 16.
(6) Op.cit,1983, 6.
(7) Op.cit,1983, 7.
(8) Translator’s note: the word ada means eyot.
(9) Identical to the graphic Plum picking in Pećigrad, no. 44 above
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