An exceptional sculptor and citizen of the world | Classic Prague
Croatian sculptor Ivan Meštrović (1883, Croatia – 1962, Indiana, USA) left an indelible mark on the international art scene with his work and creative activity. In Prague The city library on Mariánské náměstí you can see a cross-section of his work at the just opened exhibition of the Prague Capital Gallery. The exhibition will last until February 26.
Along with a firm anchoring in the ancient and Mediterranean tradition, Meštrović adopted the dominant elements of archaism, Viennese Art Nouveau, symbolism, impressionism, art deco, neoclassicism and late realism, which each time he was able to stamp his own unmistakable seal. During the six decades of her career, she presented her subjects in the form of religious motifs, figure studies, portraits and monumental sculptures at exhibitions held at home and abroad.
Meštrović often used his international fame and popularity to present his artistic and political ideals to the general public, which – in accordance with his life experiences – were subject to change. For example Meštrović’s friendship with the Masaryk family it gave him the opportunity to express his disillusionment with the conditions in the Kingdom of Serbs, Croats and Slovenes, later the Kingdom of Yugoslavia, which he himself tried to establish and which he represented with his work.
Meštrović created himself extremely extensive network of contacts, which included many Czechoslovak artists and politicians. He was related to Tomáš Garrigue Masaryk in terms of opinion and participation in the anti-Austrian foreign resistance during World War I. He established a close friendship with the sculptor Bohumil Kafka (1878–1942). The two sculptors corresponded regularly between 1907–1909. At the same time, Meštrović painted a portrait of Kafka in 1908. Their relationship was mutually beneficial; thanks to him, among other things, Meštrović became a member of the Czech Academy of Sciences and Arts and was instrumental in the fact that the commission for the establishment of the Žižka monument in Vítkov ultimately decided on Kafka’s proposal (1933).
Enchanted by the futuristic painter Růžena Zátková (1885–1923), Meštrović’s intimate companion during the tumultuous times of World War I, had a significant impact on his private life and work, especially in the paradigmatic works Vestal Girl (1917) and Račić Family Mausoleum (1920–1922).
Since 1903, when the sculptor first presented himself to the Prague public at a group exhibition of Croatian artists organized by the Mánes Association of Fine Artists. The connection with Czechoslovakia, but also with other European, North American and South American countries proves that Meštrović was a true citizen of the world. Among other things, the exhibition highlights Meštrović’s meetings with other important figures, including August Rodin (1840–1917), and the way in which they all influenced each other.
The current Prague retrospective evaluates Meštrović’s work from the Austro-Hungarian monarchy to the end of the Second World War. It is conceived as a map of Europe, within which Meštrović exhibited and created (Prague, Vienna, Paris, London, Rome, Zagreb, Belgrade, Split, Cavtat…). In addition to Europe, Meštrović also worked in the United States of America.
Photo: Zoran Alajbeg (Ivan Meštrović, Passion, 1904, bronze, Gliptoteka HAZU, Zagreb)