PETAR PEDRO MARUNA/SLIKARSKA OBZORJA UMJETNIKA S DVIJE DOMOVINE by Narodni muzej Zadar

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Pod pokroviteljstvom ministrice kulture Republike Hrvatske dr. sc. Nine Obuljen Koržinek

Under the patronage of the Minister of Culture of the Republic of Croatia / Bajo el patrocinio del Ministro de Cultura de la Rep.blica de Croacia Nina Obuljen Koržinek, PhD

PETAR PEDRO MARUNA SLIKARSKA OBZORJA UMJETNIKA S DVIJE DOMOVINE ARTISTIC HORIZONS OF A PAINTER WITH TWO HOMELANDS HORIZONTES ARTISTICOS DE UN PINTOR DE DOS PAISES

13. 6. – 7. 7. 2017.

Narodni muzej Zadar Izložbeni paviljon Gradska loža, Zadar 13. lipnja – 7. srpnja 2017.

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9. MjeseÄ?evi blizanci II. / Lunar Twins II / Parto multiple luna II, 2002.

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Sadržaj / Content / Contenido

Marija Valčić

ŠIRENJE I SAŽIMANJE OPSTANKA

THE EXPANSION AND CONTRACTION OF SURVIVAL

SUPERVIVENCIA EN EXPANSIÓN Y CONTRACCIÓN

REPRODUKCIJE / REPRODUCTIONS / REPRODUCCIONES

DOKUMENTACIJA / DOCUMENTATION / DOCUMENTACIÓN

Životopis / Biography / Biografía

Samostalne i skupne izložbe / Solo and group exhibitions / Exposiciones individuales y colectivas

Zbirke i muzeji / Collection and Museums / Colecciones y museos

KATALOG IZLOŽENIH DJELA / LIST OF WORKS / LISTA DE OBRAS EXPUESTAS

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Marija Valčić

Petar Pedro Maruna ŠIRENJE I SAŽIMANJE OPSTANKA

I. Pedeset godina odsustva Što nas zbunjuje kod slikara Marune? Pedeset godina odsustva? Nepravda prema svim onima koji su stvarali izvan domovine, a mi o tome nismo ništa znali jer hrvatska ni intelektualna a ni politička scena nije znala artikulirati primjere slobodnih intelektualaca, umjetnika. Maruna je i kao slikar i kao intelektualac posve neprepoznatljiv, izvan okvira, jer nije bilo tradicije na koju bi se mogao osloniti. Poput svoje braće, Borisa i Šime, koji ne prihvaćaju življenje u totalitarističkom sustavu nekadašnje države, odabire odlazak iz Jugoslavije. Cjelina razumijevanja dolazi tek s ovom izložbom. Marunina razgranata djelatnost na nekoliko medija: crtež, grafiku i slikarstvo, bila je u međuvremenu predmetom brojnih interpretacija i u Argentini i u Španjolskoj te po čitavoj Europi. Na svakom papiru, u svakom kadru, Maruna nastoji ostati na danim i zadanim elementima, odnosno, što manje intervenirati onim sastavnicama što će narušiti pripadnost i skladnost. Kako autorova dob zahtijeva potpun retrospektivni osvrt, a izložbom se nudi tek evidentiranje i usustavljenje novijeg razdoblja, ovim katalogom želimo protumačiti njegove i slikarske i grafičke i crtačke stečevine, a jednom drugom prilikom moramo obećati i sebi i drugima retrospektivnu izložbu umjetnika. Marunin razvoj i njegovo razdavanje na niz tehnika i disciplina proizlazi iz njegove opsjednutosti prostorom. Maruna svojim poimanjem definitivno razbija shvaćanje prostora u akademskom smislu, onako kako ga je shvaćala renesansa i barok. Ali ima nešto što je zajedničko Maruni i Paulu Kleeu. Paul Klee shvaća svemir kao nešto živo i stvarno; “Čovjek je dio prirode, dio planinskog masiva”, govorio je Maruna. “U početku je djelo”, kaže Paul Klee, “ali je iznad njega ideja”. Ono svoje religijsko nalazi Maruna u dubokom doživljaju prirode, te iz njega stvara vlastitu kozmogoniju. Od djetinjstva promatra prirodu; svaka ptica, zmija, stablo, za njega je čudo. Svaka točka, svaka crta stvara nove i nove tajnovite pojave koje rastavlja i ponovo sastavlja te tako suprotstavljene čine tijelo slike. Slikar Maruna mogao se nositi s takvim zahtjevima jer ima sveobuhvatna znanja, prodornu moć opažanja i unutrašnjeg vođenja te su stoga i značenja njegovih djela vrlo složena i hermetička. Presudni je utjecaj na Marunu izvršio i posjet Parizu i tada otvorenom Centru Georges Pompidou (Centar je otvoren 31. siječnja 1977.), gdje je vidio djela Jacksona Polloca i Kazimira Maljeviča.

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13. Prapočetak / Before the start of all / Gran comienzo, 1969.

II. Grafike i crteži Crteži iz ciklusa Znakovi i pisma ustraju na snažnoj prepoznatljivosti s pismom istoka na jakim kontrastima crnine i bjeline kao punine i praznine. Petar Maruna u tim je crtežima daleko došao u ostvarenju simbioze dalekoistočnog likovnog svijeta i europskog duhovnog stava. Njegovi crteži i grafike stvaraju jedinstvo figuracije i apstrakcije; ljudski lik postaje dekorativni element. Duh, oblik i tehnika istočnoazijskog slikanja tušem duboko i s trajnim djelovanjem prodrli su u svijest moderne europske, ali i američke umjetnosti. Bilo je to nadahnuće, osobito za one umjetnike koji su se okrenuli od oponašanja stvarnosti i prenošenja vjerne slike stvarnosti figuracijom i zamijenili je likovnim simbolima i znakovima poniranja i senzibilnosti. Shvatio je i Maruna da se “bitno” može izraziti pismenim znakovljem. Potrebno je istaknuti da su u Kini i Japanu znakovi pisma oduvijek imali dominantni značaj. Pismo nije bilo samo sredstvo za prenošenje misli nego u isti mah i izraz samoga pisca, pa je stoga ta vještina izražavanja pojmova materijalnih predmeta u obliku likovnih znakova dovela do osobite estetike istočnoazijske kaligrafije jer sada “pisati” za pisce znači tvoriti sliku. Umjetnik Maruna, poput mnogih umjetnika moderne, naslućuje smisao te kaligrafije i doživljava je kao jezik koji se u dubini i samoći pojedinačne osobnosti samo poniranjem

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može osjetiti i rastumačiti. Slobodno se može reći da se radi o komunikacijskoj strani oblikovanja. Vještinom da se pojmovi za materijalne predmete izraze u obliku likovnih znakova, slikar Maruna nam poručuje: pisati znači tvoriti sliku. U svakome od nas, likovno osviještenih promatrača, slovni likovi odmah bude misaone asocijacije. Za Marunu kaligrafski oblici znakovi su nekog zbivanja koje se već dogodilo, a kao slika u sadašnjosti, ostaje prisutno. I najsitnija izmjena je značajna. Zato i kažemo da “pisanje” nije samo priopćenje neke misli nego je u isti mah i umjetnički postupak. Maruna je u crtežima napustio modeliranje iluzije prostora kako bi se približio ritmovima nježno intoniranih dekorativnih ploha apstrakcije. Čiste, obojane površine kojima crni potezi daju strukturu rasporeda i kompozicijske oblike, vrijedilo je naslijediti od Paula Gauguina (Eugène Henri Paul Gauguin, Pariz, 7. lipnja 1848. – Atuana, Hiva Oa, Markižansko otočje, 8. svibnja 1903.) iz vremena Pont-Avena. Po uzoru na Henrija Matissea (Henri-Émile-Benoît Matisse, Le Cateau-Cambrésis, 31. prosinca 1869. – Nice, 3. studenoga 1954.) Maruna je uspio u pokušaju napuštanja perspektivnog prostora i učvršćenja čovjeka, predmeta i predjela u njemu ostvarujući dvodimenzionalnu ravan ornamentalnih igara oblika. “Jaz koji je otkrićem perspektivne prirodne stvarnosti u renesansi nastao između zapadnjačke i istočnjačke umjetnosti je umanjen ili je odstranjen perspektivnošću Moderne”, rekao mi je u razgovoru Maruna. A rekli bismo, da je stvarnost koju su sazdali umjetnici dvadesetog stoljeća uobličila novi poredak u kojem se susreću sve sastavnice umjetnosti. Danas, konceptualna umjetnost, koja više nije vezana za predmete tjelesne stvarnosti, pokušava dostići neku bit koja se čini srodnom osnovnoj zamisli umjetnosti. Umjetnost slikara Marune naslućuje ono što je mislio i Buda kada je rekao: “Divno je gledati prirodu, strašno je biti prirodan”. Ciklus grafika, koji je bio izložen na izložbi u Zagrebu 2004. godine u galeriji Forum, najizričitije predstavlja kadrove s upisanim dominantnim vizualnim medijem kojeg oplemenjuje slikar s tekstualnim simbolom. Sve grafike tog ciklusa određuje suzdržana gama miješanih i prigušenih boja, ali i uspješna koloristička razigranost, rukopisna minucioznost, dok su sva slova i dalje ispisana grafičkim rukopisom. Radi se ponajprije o potrebi da se vizualnost grafičkog medija oplemeni egzistencijom riječi. Kao i u prirodi, koja je puna protivnosti, tako se i u umjetnosti, koja slijedi prirodu, harmonija stvara od sklada i nesklada, od složnog i nesložnog, od potpunog i nepotpunog. Zato bi se moglo reći da Maruna, potaknut djelima i umjetnicima koje je promatrao, stvara nov, nevidljiv metafizički sklad u svojim grafikama. Njegovi sasvim rani grafički radovi bili su doista figurativni. A put svođenja i sažimanja išao je preko asocijativnih uobličenja, znakovnih skraćenja, širenja bjeline papira. Nakon toga započinje tretirati sâm kadar vrtlogom boja, plohu po plohu, temperamentno i snažno kako bi dobio snažni otisak, poput ocrtavanja Božjeg zapisa u čovjeku.

III. Slikar ratova i apokalipse Marunine slike, ulja i akrili, nikad nisu bile uključene u neku od izložbenih dvorana u nas te tako nisu do danas ni bile klasificirane ni etiketirane, te tako ni uklopljene u korpus naše “nove slike”. Sam povratak slikarstvu i ulju i akrilu slikar je doživio kao osobni povratak purističkim i esencijalnim rješenjima, kao da mu je nedostajala ta poveznica, nit koja uspostavlja najsretnije kontinuitete. Ta linija kontinuiteta uspješno je predstavljena na izložbi. Možda smo najbliže odgonetci slikareva postupka ako pomislimo na neizostavnu dvostrukost: slikar izričito kaže da se u slici kompozicija mijenja zajedno s površinom kojom pokriva platno, a sam izraz tijesno je povezan s rasporedom, proporcijama figura ili samo jedne figure, s prazninama između njih. Ukratko, sve ovisi o ideji

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što je umjetnik ima o slici. A od svega, što je zapravo najzačudnije, ne zanima ga mrtva priroda ni krajolik, nego napose figura kojom pokušava izraziti religijski osjećaj života. Zapravo, slikar stvara i pritom govori o višoj koncepciji slikarstva koja mu omogućuje da izrazi unutrašnje vizije. Stoga i izgleda da u dvadesetom stoljeću svaka velika ličnost mora imati svoj vlastiti stil; svatko tko uistinu ponire u svijet oko sebe, ili svijet što ga u sebi živi, iznosi iz njega posve osobno iskustvo. Zato i u umjetnosti slikara Marune nalazimo toliko osobnih slikarskih znakova, simbola, alegorija, metafora. Osim toga, izvori su mu najrazličitiji, a to su književnost, pjesništvo, europska i španjolska mitologija. Dodala bih i izravne svakidašnje dodire i događaje s inspirativnom prirodom i gradovima Španjolske. Odatle tolika mnogostrukost i raznolikost situacija za koje se zalaže umjetnik i što je ujedno najvrjednije naslijeđe Europe. Najraniji strah čovječanstva zvao se Smrt. Smrt, a ne ubijanje, opterećivala je ljudsku dušu. Rat i razaranje bili su u umjetnosti prvi prikazi ljudskog djelovanja. Nezaustavljiv, poput sila prirode, izgledao je i rat u Hrvatskoj. Rušenje Berlinskog zida u studenom 1989. simbolično je označilo početak novog razdoblja europske povijesti u kojem je u većini istočnoeuropskih država jednostranački, komunistički režim zamijenilo višestranačje i demokracija. Međutim, Hrvatska će morati proći teži put. Rat je Hrvatsku pogodio s pozicije velikosrpske doktrine ciljano razarajući ne samo ljude nego i njene gradove, umjetnička djela, biblioteke, dakle, središta identiteta jednoga naroda. Nažalost, mnogo naše prošlosti leži pokopano pod ruševinama. Maruna, pogođen ratom u Hrvatskoj, radi cijeli ciklus slika kojim pokušava obuhvatiti transpoziciju suvremenog ratnog zbivanja i to uspijeva ciklusom slika Vukovar i Raspeće. Kreativno znatiželjan a metjerski potkovan, Maruna je maštu i vještinu okušao na ciklusu slika Vukovar. Slika je to ljudi u bijegu, ljudi što hitaju u nepoznato, minirano, a pred njima su samo nepregledna polja kukuruza. Tehničko vođenje rata, danas kada rakete iz velike udaljenosti razaraju i pogađaju točno cilj, potire svaku mogućnost scenskog jedinstva u umjetničkom prikazu. Kako mu slike ne bi djelovale namješteno i nepotpuno, slikar slika “stvarno razaranje” shvaćeno apstraktno a koje djeluje “elementarno”. Ne samo “ratnik” nego i čitavi narodi sada su ugroženi i moraju bježati. “Ljudi što bježe iz civilizacije 20. stoljeća, ljudi bez imena, ljudi, a ne junaci, to je što mene zanima”, govori Maruna. Kolektivnost koja ne nastaje voljom svijesti, nego djelovanjem zajedničke sudbine: “Za ciklus slika Raspeće, poslužila mi je slika, što ju je Picasso naslikao 1930. godine, a vidio sam je u Parizu, u Muzeju Picasso, i za koju se slobodno može reći da je zagonetna (…) Ta slika do danas nije objašnjena, u ikonografskom pogledu, a čini mi se da će još dugo proći vremena da je ljudi i struka shvati i objasni!” Slikarski postupak također utječe na stvaranje slika, te se tako i slika raspeća mijenja s vremenom. Vukovar je sada razapet na vrhu visokog bijelog i teškog monolita, sličan nekadašnjim gradskim neboderima.

IV. Slikar Mediterana Kroz brojne slike i grafike, krajem prošlog i početkom novoga milenija, raznim je naslovima htio reći kako insistira na spacijalnim atributima i punktovima. Ciklus akrila na platnu stvaran devedesetih godina prošlog stoljeća i prvih godina ovog, 21. stoljeća, naslovljen je Memorija prostora, Mjesečevi blizanci, Pašmanska memorija. Dakle, čitavo razdoblje obilježeno je terminologijom koja upućuje na korištenje površine kao nezemaljske, pa po tome i idealne s onu stranu sveg razumskog, tj. egzaktnog. Intuitivno se Maruna približio takvoj koncepciji prostora njegovim fragmentiranjem u skladu s ikonografijom djela, doživljajem prostora slike kao mjesta akcije i reakcije. Rođenjem kontinentalac (ako zanemarimo da je moćna planina Velebit uronjena svojim južnim dijelom u more), odgojem otočanin bodul, životno vezan za pomorsku silu Španjolsku, svoj lapidarni stil i izraz vezuje za

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Mediteran / Mediterranean / Mediterráneo, 2001.

Mediteran. Slike iz ciklusa Morski zapisi (1990. – 2001.) slikane su jednim dijelom prema prirodi, no većina i ne opisuje konkretni krajolik, nego im je nadahnuće iskustvo promatranja otoka i mora oko njega te su potaknute njegovom širinom i dubinom i svim opasnostima i blagodatima što nam more pruža. Stoga i nije slučajna prisutnost otvorene game i prevlast plavetnila. Slike ovog ciklusa nastale su iz osjećaja što ih grije priroda i plavetnilo njegovog Jadranskog mora, ali i čitavog Mediterana. I to je ono što ostaje u pamćenju, taj neobični elan linija, i to je mjerilo kojem se sve pokorava. Postoji slika koja je zajednička svim stvarima, biljkama, drveću, životinjama i ljudima, slika nekog iskonskog “sretnog doba”, “radosti života”, figurama djece koja se prepuštaju suncu i moru, glazbi , ljubavi i užitku. “To sve sadrži slika Mjesečevi blizanci, gdje smo moj brat i ja i linije, nositeljice života, linije koje se protežu i vijugaju, takoreći protječu u zanosnom zamahu, istim ritmom uz rubove tijela ili uz tijela mladih začetaka punih cvjetova i krošnji i crne rupe u sredini.” Aktualna izložba u svom slikarskom segmentu pokazuje autorove egzistencijalne afinitete i uspjehe i predstavlja dug od pedeset godina zatajivanja ovog umjetnika u nas. Umjetnikova recentna djela na ovaj način trajno su pohranjena u memoriju likovnog stvaralaštva Hrvata, ma gdje oni bili.

Zagreb, travnja 2016.

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Marija Valčić

Petar Pedro Maruna THE EXPANSION AND CONTRACTION OF SURVIVAL

I. Fifty years’ absence What confuses us about the painter Maruna? The fifty-year absence? The injustice to all those who created their art outside the homeland, while we in fact knew nothing about it, because neither the Croatian intellectual nor political scenes knew how to articulate examples of free intellectuals and artists. Maruna, as a painter and as an intellectual, is completely unrecognizable outside of that framework, because there was no tradition on which he could rely. Like his brother’s Boris and Šime, who did not accept life in the totalitarian system of the former Yugoslavia, he opts to leave the country. The totality of understanding is gained only with this exhibition. Meanwhile, Maruna’s diverse activity on several fronts (drawings and prints, painting) was the subject of numerous interpretations in Argentina and in Spain, as well as throughout Europe. On every paper in every scene, Maruna tries to stay with given and specified elements, or to intervene as little as possible with those components that can disrupt association and harmony. As the author’s age requires a complete retrospective survey, and the exhibition offers only recording and systematising from the recent period, with this catalogue we want to interpret his legacy of paintings and drawing and prints as a complete survey, and on another occasion, we must promise ourselves and others a retrospective exhibition of the artists. Maruna’s development and his divergence into a range of techniques and disciplines stems from his obsession with space. Maruna with his understanding of space definitely breaks the concept of space in the academic sense, as it was understood in the Renaissance and Baroque period. But there is something that is common to Maruna and Paul Klee. Paul Klee understood the universe as something alive and real, man is part of nature, part of the mountain range, Maruna used to say. In the beginning there is the work, says Paul Klee, but above that is the idea. Maruna finds that religious aspect of his in the deep experience of nature, and from it creates his own cosmogony. From a childhood spent observing nature, every bird, snake, tree, is a miracle for him. Each point, each line, creates additional new mysterious phenomena that disassemble and reassemble and thus opposed form the body of the painting. The painter Maruna could deal with such requirements as he has comprehensive knowledge, a penetrating power of perception and internal guidance, and thus also the meanings of his works are very complex and hermetic. A visit to Paris, and the then opened Centre Georges Pompidou (the Centre opened on 31 January 1977) had decisive influence on Maruna. Along with the works of Jackson Pollock and Kazimir Malevič.

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CrteĹž / Drawing / Dibujo, 1965.

II. Prints and Drawings Drawings from the signs and scripts series persist in their strong recognition of Eastern scripts, with strong contrasts of black and white, as well as of fullness and emptiness. In these drawings, Petar Maruna has come far in achieving a symbiosis of the Far East art world and the European spiritual attitude. His drawings and prints create a unity of figuration and abstraction; the human figure becomes a decorative element. The spirit, form and techniques of East Asian ink painting have deeply and permanently penetrated into the consciousness of modern European as well as American art. It was an inspiration, especially for those artists who have turned from imitating reality and transmitting life-like images of reality through figuration and replaced it with artistic symbols and signs of plunging and sensitivity. Even Maruna understood that the Essential can be expressed in written symbols. It should be noted that in China and Japan the characters of the scripts have always been of dominant significance. The script was not only a means of conveying thoughts, but at the same time an expression of the writer himself, and therefore the skill of expressing the concepts of material objects in the form of artistic signs led to the particular aesthetics of East Asian calligraphy, because now, for writers, writing means crafting an image. The artist Maruna, like many modern artists, senses the meaning of that calligraphy and experiences it

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as a language that, in the depth and solitude of individual personality, can only be sensed and interpreted by plunging into it. It is safe to say that this concerns the communication side of formation. With the skill of expressing concepts for material objects in the form of artistic signs, the painter Maruna tells us this: to write means to create an image. In each of us, artistically conscious observers, literal characters immediately awake thought associations. For Maruna calligraphic forms are signs of an event that has already occurred, but which remains present as an image in the present. Even the smallest change is significant. That’s why we say that writing is not just the communication of a certain thought, but at once also an artistic process. In his drawings, Maruna abandoned modelling the illusion of space, in order to approach the rhythms of gently intoned decorative surfaces of abstraction. The clean painted surfaces by which black segments give the structure of an arrangement, the compositional forms were worth inheriting from Paul Gauguin (Eugène Henri Paul Gauguin, Paris, 7 June 1848 – Atuan, Hiva Oa, Marquesas Islands, 8 May 1903) from the Pont-Aven period. From Henri Matisse (Henri-Émile-Benoît Matisse, Le Cateau-Cambrésis, 31 December 1869 – Nice, 3 November 1954), Maruna has inherited and succeeded in attempting to leave the space of perspective and fixing of the person within it, objects and landscapes, for a two-dimensional plane of ornamental forms. The gap which emerged between Western and Eastern art by the discovery of promising natural reality in the Renaissance is reduced or removed by the perspectivity of modern art, Maruna told me in an interview. And we could say that the reality that the artists of the twentieth century have constructed has shaped the new order in which all the elements of art meet. Today, conceptual art, which is no longer related to the objects of physical reality, is trying to reach some essence that seems related to the basic idea of art. The series of prints, which were exhibited at the exhibition in Zagreb in 2004 at the Forum Gallery, most explicitly represents scenes inscribed with the dominant visual medium which the painter enriches with a textual symbol. All graphics from that series are determined by a reserved gamma of mixed and muted colours, but also a successful colouristic playfulness, a meticulousness of manuscript, while all the letters are still printed with graphic handwriting. It concerns, above all, the need for visuality of the graphic medium to be ennobled by the existence of words. As in nature, which is full of contradictions, thus also in art, which follows nature, harmony is created from harmony and discord, of the harmonious and discordant, of the complete and incomplete. Therefore, it could be said that Maruna, inspired by the works and artists he observed, creates a new invisible metaphysical harmony in his prints. Maruna’s very early graphic works were truly figurative. The path of reduction and compression underwent associative embodiments, abbreviation of signs, expansion of the paper’s white space. After that he begins to treat the scene itself with a swirl of colours, surface by surface, temperamentally and powerfully in order to obtain a strong impression, such as the sketching of God’s record in man.

III. A painter of wars and the apocalypse Maruna’s paintings in oil and acrylic were never included in any of the exhibition halls in our country, and so to date have neither been classified nor labelled, nor incorporated into the body of our “new painting”. The return itself to painting in oil and acrylic was experienced by the painter as a personal return to purist and essential solutions, as if he missed that link, the thread that establishes the happiest continuity. This line of continuity has been successfully presented at the exhibition.

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Perhaps we are closest to deciphering the painter’s process if we consider the inevitable duality, as the painter explicitly states that the composition of the picture changes along with the surface by which it covers the canvas, and that very expression is closely associated with the arrangement, the proportions of a single figure or figures, with the voids that exist between them. In short, everything depends on the idea that the artist has about the image. And most importantly, which is actually the most striking fact, it isn’t still life or landscape that interests him, but in particular a figure by which he tries to express the religious feeling of life. The painter actually creates and thereby speaks of a higher conception of painting that allows him to express his inner visions. With that, it seems that in the twentieth century every great personality must have his own style, everyone who really delves into the world around him, or the world as he experiences it within himself, takes from it a uniquely personal experience. That is exactly why, in the art of the painter Maruna, we also find so many personal painterly signs, symbols, allegories, and metaphors. In addition, his sources are the most diverse, namely literature, poetry, and both European and Spanish mythology. I would also mention the direct daily contacts and events with the inspirational nature and cities of Spain. Hence so much multiplicity and diversity of situations for which the artist strives for and which, at the same time, is the most valuable legacy of Europe. The earliest fear of humanity was called Death. Death, not killing, burdened the human soul. In art, war and destruction were the first depictions of human activity. The war in Croatia also appeared to be unstoppable, just like the forces of nature. The demolition of the Berlin Wall in November 1989 symbolically marked the beginning of a new era in European history, in which most Eastern European countries replaced the one-party, communist regime with a multiparty system and democracy. However, Croatia would have to navigate a tougher road. The war impacted Croatia from the position of greater-Serbian doctrine and intentionally destroyed not only the people, but also its cities, artworks, and libraries, i.e., the centre of its identity as a nation. Unfortunately, much of our past lies buried beneath the rubble. Maruna, affected by the war in Croatia, creates an entire series of paintings in which he attempts to encompass the transposition of contemporary wartime events and succeeds through a series of paintings Vukovar, and Raspeće [Crucifixion]. Creatively curious and well-versed in his métier, Maruna tried his imagination and skill with the series of paintings titled Vukovar. The paintings are of people on the run, people rushing into the unknown, mined areas, and before them are just endless fields of corn. Technical management of the war today, when missiles can wreak destruction from great distances and strike a target with precision, erases any possibility of scenic unity in an artistic display. So that his paintings would not appear posed and incomplete, the painter paints “true destruction”, understanding it abstractly and acting elementarily. Not just the warrior, but also whole nations, are now at risk and must flee. People fleeing from the civilization of the 20th century, people with no names, people, not heroes, that’s what interests me, says Maruna. Collectivity that is not created by the will of consciousness, but by the action of common destiny. In the Raspeće [Crucifixion] series of paintings, I used a painting painted by Picasso in 1930, and I saw it in Paris, in the Picasso Museum, and for which it is safe to say that it is enigmatic. Even until today, this painting has not been explained in iconographic terms, but it seems to me that it will be a long time yet before the people and the profession understand and explain it! Painterly technique also influences the creation of the images, and thus the Crucifixion painting changes with time. Vukovar is now crucified at the top of a tall white and heavy monolith, similar to city skyscrapers of the past.

IV. Painter of the Mediterranean Through numerous paintings and prints, at the turn of the new millennium he wanted to tell, with various titles, that he insists on spatial attributes and points. The series of acrylic on canvas created in the 1990s and

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the early years of this, the 21st century was titled Memorija prostora, Mjesečevi blizanci, Pašmanska memorija [The Memory of Space, Lunar Twins, Pašman Memory]. Thus, the entire period was marked by terminology which indicates the use of surface as otherworldly, and thus also ideal, beyond the rational or exact. Maruna intuitively approached this concept of space, fragmentation of space in accordance with the iconography of works, the experience of the painting’s space as a place of action and reaction. An inlander by birth (if we ignore the claim that the southern part of the mythical mountain Velebit is immersed in the sea), by upbringing an islander (“bodul“), tied for life to the maritime power Spain, his lapidary style and expression is linked to the Mediterranean. Paintings from the series Morski Zapisi [Records of the Sea] (19902001) are painted partly from nature, though most do not describe a concrete landscape but rather are inspired by experience of observation of the island and the sea around it, and are driven by the breadth and depth of the sea and all the risks and bounty that the sea provides. Therefore the presence of an open gamma and the dominance of blue is certainly no accident. The paintings from this series were created out of a sense that they are warmed by nature and the blue of his Adriatic Sea, but also of the whole Mediterranean. And this is what remains in memory, that unusual enthusiasm of lines, and that is the standard to which all else is subordinate. There is a painting that is common to all things, plants, trees, animals and people, a painting of some primordial happy time, the joy of life, figures of children who are left to the sun and sea, to music, love and pleasure. All this is contained in the painting Mjesečevi blizanci [Lunar Twins], which depicts my brother and I and lines, the bearers of life, lines that stretch and wind, so to speak, in flowing ecstatic swings, with the same rhythm along the edges of the body or with the bodies of youthful beginnings full of flowers and trees and a black hole in the middle . The current exhibition in its painting segment shows the author’s existential affinities and successes, and represents a debt of fifty years’ failure to recognise this artist in here. In this way, the artist’s recent works are permanently stored in the memory of the artistic creativity of Croatians, wherever they may be.

Zagreb, April 2016

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Marija Valčić

Petar Pedro Maruna SUPERVIVENCIA EN EXPANSIÓN Y CONTRACCIÓN

I. Cincuenta años de ausencia Que nos confunde del pintor Maruna? Cincuenta años de ausencia? Justicia para todos los que adquirieron reconocimiento fuera de su país de origen, por qué Croacia no fungía como escena intelectual, ni política, por qué no sabía cómo articular ejemplos de intelectuales y artistas libres, o tal vez fue no encajo en los marcos tradicionales de la época? Maruna es un pintor e intelectual que no se le ha reconocido como es debido porque no existía una tradición en la que él podría basarse. Sus hermanos Boris y Šime no fueron recibidos en su país, él no acepta vivir en un régimen de totalitarismo, por ello elige marcharse de Yugoslavia. Con esta exposición se pretende, a grandes rasgos, la apreciación general de su obra, sus ramificadas actividades en distintos telares: dibujos, gráficos y pinturas era entre tanto, como también una serie de interpretaciones en Argentina, España y toda Europa. En cada papel, en cada trama, Maruna está tratando de plasmar elementos específicos, que significa intervenir lo menos posible en los componentes, los que pudiesen debilitar la lealtad y la coherencia. Ya en estos años de vida del autor, exige la plena revisión en retrospectiva que la exposición ofrece, en ella se encuentra el único expediente y sistema del período más reciente, con este catálogo se pretende que el público interprete su pinturas, gráficos y acervo como una visión general completa, en otra ocasión, prometemos a nosotros mismos y los demás una exposición retrospectiva del artista. El desarrollo de Maruna y expresión en la forma aunado a una serie de técnicas y disciplinas se deriva de su obsesión con el espacio. El artista con su entendimiento de las dimensiones definitivamente rompe con la noción de estas, en el sentido académico, tal como se entiende el Renacimiento y en el Barroco. Hay algo que es común entre Maruna y Paul Klee, Paul Klee entiende el universo como algo vivo y real, el hombre es parte de la naturaleza, es parte de la cadena montañosa, citando a Maruna. “En el principio es la obra,” a lo que Paul Klee expresa “pero por encima de la obra es la idea.”En su infancia, Maruna, observa la naturaleza, cada pájaro, serpiente, árbol, es como un milagro para él, encuentra en la naturaleza una profunda experiencia, y de allí crea su propia cosmogonía. Cada punto, cada línea crea nuevos y más nuevos fenómenos misteriosos que se arman y se desmontan, así hacen el cuerpo del cuadro. Maruna podía lidiar con todos estos conceptos pues contaba con un amplio conocimiento, profunda percepción y sugestión interna, por todo ello sus obras son complejas y herméticas. Los principales contribuyentes de Maruna efectuaron una visita a París y al Centro Georges Pompidou, abierto en 31 de enero de 1977, junto con las obras de Jackson Pollock y Kazimir Malevicha.

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16. Mediteran / Mediterranean / Mediterráneo. 1993.

II. Graficos y dibujos Dibujos de una serie de caracteres y letras insisten en un fuerte reconocimiento del occidente, particularmente del contraste de los negros y blancos, así como del lleno y vacío. Pedro Maruna realizó la hazaña de dibujar hasta llegar a materializar una simbiosis entre la actitud espiritual de Europa y del lejano oriente. Sus dibujos y gráficos son creados en una unidad de figuración y abstracción, con ello la figura humana se convierte en un elemento decorativo. Espíritu, formas y métodos de la pintura con una técnica de tinta de Asia Oriental, con efecto profundo y duradero en la conciencia del arte de la Europa moderna y americana. Fue la inspiración especialmente para aquellos artistas que iban más allá del alcance de la imitación de la realidad, la transmisión de las imágenes similares a través de la figuración, la utilización de los símbolos, signos de descenso y la sensibilidad de la técnica de juego. Se comprende a Maruna, esencialmente, mediante la expresión de símbolos escritos que hábilmente plasma. Como un punto interesante podemos señalar que en China y Japón los signos de la carta (signos escritos) siempre tenían un carácter dominante. La carta no era sólo un medio para transmitir pensamientos y eventos, sino al mismo tiempo, era una expresión del escritor y por lo tanto también la manifestación de las habilidades para expresar los conceptos de objetos materiales en forma de caracteres

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finos, con ello se condujo a una estética particular de la caligrafía de Asia Oriental, pues los escritores plasmaron medios para formar una imagen. El artista, al igual que muchos otros exponentes del modernismo, descubrió el significado de la caligrafía, pues él lo encuentra como una lengua profunda de soledad, internándose en la personalidad individual donde puede detectar e interpretar. Se podria decir que se trata de una comunicación mediante el diseño y una habilidad de trasmitir las condiciones de los artículos materiales expresados en formas de caracteres es finos, el Pedro Maruna expresa: “escribir significa crear una imagen.“ En cada uno de nosotros, observadores de mente-arte, los caracteres literales son inmediatamente asociaciones del pensamiento. Para el pintor en cuestión las formas caligráficas son signos de un evento que ya ha ocurrido, pero a medida que se conserva una imagen (como el pasado en el presente), el más pequeño cambio es significativo. Por ello escribir no es sólo una declaración de pensamientos, es también un proceso artístico. En sus dibujos Maruna abandona un modelado de ilusión de espacio para aproximarse en los ritmos disonantes, con ello suavemente culmina en la abstracción superficies decorativas, disminuyendo los colores en la superficie, con el cual el negro genera movimiento y finaliza otorgando una estructura de disposición y formas de composición, que es digno de la herencia de Paola Gauguin (Eugène Henri Paul Gauguin, París 7 de Junio de 1848 – Atuan, Hivaoa, Islas Marquesas 8 de mayo de 1903) desde el tiempo de Pont-Avena. De Henri Matisse (Henri-Émile-Benoît Matisse, Le Cateau-Cambrésis, 31 de Diciembre 1869 – Niza 3 de Noviembre de 1954). A su vez Maruna heredó las bases y una paleta de color especial, que ha llevado a un plano bidimensional con un juego de formas ornamentales, ha logrado plasmar objetos, regiones en dos dimensiones, espacios con ornamentación y juegos con formas. Ha marcado brecha des cubriendo una perspectiva de la realidad natural del renacimiento creada entre el arte occidental y oriental. Maruna refiere que la realidad que construyeron los artistas del siglo XX nos indica la gestión para hacer visible su relación con la realidad, para crear una actual forma de un nuevo orden en el que se reúnen todos los elementos del arte. Hoy el arte conceptual, que no está relacionado con los objetos de la realidad física, trata de llegar a un fondo que parece relacionarse con la idea básica del arte oriental. En Zagreb en 2004 en la Galería Forum, se expuso un ciclo de gráficos, representando, de la manera más explícita, el personal inscrito con los medios de comunicación visual dominante que enriquece al pintor con el símbolo de texto. Todos los gráficos de este ciclo muestran una gama de colores mezclados y apagados, pero también con éxito la exuberancia colorista y minuciosidad del manuscrito, mientras que todas las letras siguen imprimiéndose con escritura gráfica. Se trata, sobre todo, de la necesidad de que advierte el medio gráfico, ennoblecer la coexistencia de las palabras. La naturaleza, la cual está llena de contradicciones, se asemeja al arte, y se representan a sí mismas, de tal manera existe armonía y discordia, complejidad y fragmentación, completo e incompleto. Por lo tanto, se podría decir que Maruna, ha impulsado con obras e inspirando a artistas que observan y crean una nueva armonía metafísica visible en sus gráficos, pues sus obras ilustrativas desde muy temprano eran verdaderamente figurativas. Un camino de incrementar la compresión fue a través de asociativos, y la segmentación de signos plasmados en el papel blanco. Después de esto él comienza a tratarse a sí mismo como un remolino de colores, punto por punto, temperamental, recio, con el fin de obtener una fuerte impresión, fruto de un testimonio de la divinidad dentro del hombre, y entre las personas. Pinturas de Maruna, óleo y acrílico, nunca fueron incluidos en ninguna de las salas de exposiciones de Croacia y hasta hoy nunca fueron clasificados o marcados, por ello no fueron incorporados en el cuerpo de nuestra nueva imagen. En la pintura de aceite y acrílico, el artista es visto retomando un camino de regreso hacia lo personal, al purismo y a las solución esenciales, reanudándose con causas intrínsecas, de tal forma, perdiendo así la conexión con la continuidad. Esta línea de continuidad se ha presentado con éxito en la exposición. Tal vez estamos más cerca de descifrar el procedimiento del pintor si se tiene en cuenta la dualidad inevitable. Maruna estipula que la composición de la imagen cambia junto con un área del lienzo, y el término está estrechamente relacionado con el calendario,

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las proporciones de una sola figura o figuras y con las brechas entre ellos. En resumen, todo depende de la idea del artista sobre la imagen. Así es en realidad más particular, pues él no está interesado en la naturaleza muerta o el paisaje, sino en la figura con la que trata de expresar el sentimiento religioso de la vida. En realidad el pintor crea, y con ello habla de un concepto más elevado de la pintura que le permite expresar su visión desde el interior. Por tanto, parece que en el siglo XX, cada artista parece tener su propio estilo, cada uno se zambulle en el mundo que le rodea aunado al mundo que vive dentro de él, regalándonos una experiencia personal. Por eso en el arte de Pedro encontramos tantos signos de pintura, símbolos, alegorías, metáforas personales. Además sus fuentes icono gráficas son las más diversas, la literatura, la poesía, la mitología de España y de Europa. De la misma manera los contactos y eventos directamente inspirados en la naturaleza y ciudades de España. A partir de eso viene la gran multiplicidad y la diversidad de situaciones de contienda que ha vivido el artista y lo que es la herencia más valiosa de Europa.

III. Pintor de guerras y el apocalipsis El miedo más profundo de la humanidad se le conoce con la palabra muerte. La muerte o no morir acompañan al alma humana por siempre. La guerra y la destrucción en arte fueron las primeras representaciones artísticas da la actividad humana. Como el incontenible poder de la naturaleza, así era la guerra en Croacia. La caída del muro de Berlín en Noviembre de 1989, simbólicamente marcaba el comienzo de una nueva era en la historia europea en la que, en la mayoría de los países del Este de Europa, el partido único, régimen del comunismo, fue reemplazado por pluripartidismo y democracia. Sin embargo Croacia tendría que pasar por un camino más difícil. La guerra golpeó el país desde el flanco de la doctrina de gran agresión Serbia, habiendo daños no sólo a los individuos, sino también a ciudades, obras de arte, cultura, historia, bibliotecas, en suma, el centro de la identidad de una nación. Maruna, afectado con la guerra que sucedía en Croacia, se encontraba haciendo toda la serie de pinturas con las cuales intenta capturar la transposición de acontecimientos de la guerra y logra expresar esto a través de imágenes “Vukovar” y “Crucifixión”. Creativo y curioso, Maruna implementa su imaginación y talento en el ciclo de obras “Vukovar”. El cuadro muestra a la multitud que se dirige hacia lo desconocido entre minas para encontrarse finalmente con un sinfín de campos de maíz. Así también describe con su obra la gestión técnica de la guerra, como cuando los misiles de larga distancia impactan y destruyen el objetivo preciso, elimina toda posibilidad de la unidad escénica en una exhibición artística. Ya que sus cuadros no habrían sido convencionales y se encontraban incompletos, el artista comprende la destrucción como un acto abstracto que traduce a una forma pura en su obra. No sólo un guerrero sino también toda la nación ahora están en peligro y deben escapar. La gente huye de la civilización del siglo XX, la multitud sin nombre, personas, no héroes, eso es lo que me interesa, dice Maruna. Colectividad que no se crea por la voluntad de la conciencia, sino con la acción de un destino en común. En el ciclo de pinturas “Crucifixión” que Picasso pintó en 1930, en París, para ser más exactos en el Museo de Picasso, se puede describir que es francamente desconcertante. Esta obra, hasta hoy no está explicada, en términos iconográficos, y parece que va pasar mucho tiempo para que la gente y los profesionales la entiendan y expliquen. La técnica de su pintura tiene efecto en esta obra, por ello la obra “Crucifixión” se cambia con el tiempo. “Vukovar“ está puesto ahora en la parte superior del alto monolito blanco y pesado, similar a los antiguos rascacielos de la ciudad.

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IV. Pintor del Mediterráneo A través de numerosas pinturas y grabados en el pasado y en el umbral del nuevo milenio con diferentes títulos, se puede decir que insiste en los atributos espaciales y puntos. Un ciclo acrílico el cual creó en los noventa del siglo XX y en el primer año del siglo XXI que fue titulado “Memoria de espacio”, “Los gemelos de la Luna”, “La memoria de Pašman”. Así que, todo el período está marcado con la terminología que refiere al uso de la superficie como “no terrenal“, sin embargo, de ese ideal parte su racionalidad, es decir su exactitud. Maruna intuitivamente se acercó a este concepto de espacio, a la fragmentación del espacio de acuerdo con la iconografía de las obras, sintiendo e imaginando el espacio como un lugar de acción y reacción. Nació cerca de una montaña, lejos del mar, (si ignoramos una parte de la mítica montaña de Velebit que se encuentra en el mar), creció en la isla de Pašman, relacionado con el poder marítimo España, su estilo y expresión está conectado con el Mediterráneo. Cuadros del ciclo “Morski zapisi” (Notas marinas, 1990-2001) algunos inspirados en la naturaleza, la mayoría no describen un paisaje concreto, no obstante se inspiran en la experiencia de la observación de la islas y el mar alrededor de esta, son impulsados por la amplitud, profundidad, riesgos y beneficios que el mar nos brinda. De este modo, no es accidental la presencia de la predominante gama de azules. Cuadros de este ciclo fueron creados desde un sentido cálido de naturaleza y por supuesto del azul del Mediterráneo. Y esto es lo que nos queda en la memoria, esta línea es tan delgada e insólita que termina siendo la medida que obedece. En estas obras hay una imagen en común de todas las cosas, las plantas, los árboles, los animales y las personas, que mayormente proyectan imágenes de un tiempo feliz, la alegría de la vida en figuras de niños que se encuentran bajo el sol o frente al mar, la música, el amor y el placer. El cuadro “Mjesečevi blizanci” (Parto multiple luna) contiene todos esos elementos. El cuadro muestra mi hermano, yo y líneas, líneas de vida, las líneas que se extienden sinuosas, por así decirlo, en una corriente de oscilación de éxtasis al mismo ritmo a lo largo de los bordes del cuerpo, o con el cuerpo de los comienzos jóvenes llenos de flores y árboles y el agujero negro en el centro dice Maruna. La exposición actual en su segmento artístico muestra el triunfo existencial y afinidad del autor, muestra la historia a largo plazo como un no reconocido artista de Croacia. De esta manera obras recientes del artista están almacenadas permanentemente en la memoria de la creatividad artística de croatas, dondequiera que se encuentren.

Zagreb, Abril de 2016.

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REPRODUKCIJE / REPRODUCTIONS / REPRODUCCIONES

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1. Mediteran / Mediterranean / Mediterrรกneo, 1995.

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2. Mrtva priroda / Still life / Bodegรณn, 1967.

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3. Memorija / Memory / Memoria, 1995.

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4. Memorija / Memory / Memoria, 1993.

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5. MjeseÄ?evi blizanci I. / Lunar Twins I /Parto multiple luna I, 2001.

7. MjeseÄ?evi blizanci IV. / Lunar Twins IV / Parto multiple luna IV, 2000.

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8. Zlo / Evil / Mal, 2009.

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11. Vukovar III., 1991.

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10. Vukovar, 1991.

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12. Raspeฤ e / Crucifixion / Crucifixiรณn, 1995.

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14. Znak I. / Sign I / SĂmbolo I, s. a.

15. Znak II. / Sign II / SĂmbolo II, s. a.

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20. Drug / Freind / Amigo, 1972.

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18. Memorija III. / Memory III / Memoria III, 2001.

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17. Memorija XIV. / Memento XIV / Memoria XIV, 1993.

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DOKUMENTACIJA Životopis 1938. Rođen je u mjestu Potprag na južim obroncima Velebita kao prvorođeni sin majke Marije Čiklić iz Dobropoljane na Pašmanu i oca Grge, građevinskog radnika, cestara. Vrijedi zabilježiti da obitelj, majka i tada četiri sina, sami borave u surovim, ali i prirodom opjevanim ljepotama mitske planine Velebit dok otac nadniči daleko od mjesta boravka. Ratni vihor ubrzo dolazi i do njih na Velebitu te se majka sa sinovima sklanja u obližnji Obrovac. Međutim, Obrovac im pokazuje svoje drugo lice: ne prihvaća ih tada većinsko, pravoslavno stanovništvo, a ratno je ozračje tome još više doprinosilo. Kako bi preživjeli, sklanjaju se u Dobropoljanu na Pašmanu. 1949. – 1960. Obitelj 1949. godine seli u Zaprešić gdje braća Maruna pohađaju osnovnu školu. Petar Maruna pohađa i završava gimnaziju u Zagrebu. U Zagrebu pokušava upisati Likovnu akademiju (1958. i 1959.). U novoj sredini Petar otvoreno iskazuje svoju čvrsto usađenu želju za umjetničkim izražavanjem, kao i dvije godine mlađi mu brat Boris. Iz toga se mladenačkog vremena sačuvao pokoji crtež, objavljen u tadašnjem Poletu u čijem je uredništvu radio i ilustrator Vilko Selan Gliha, a gdje je već 1957. godine i brat Boris objavljivao svoje prve pjesme. Sadržaj i klasična kompozicija jasno upućuje na poznate popratne crteže iz tog vremena, ali ipak neuobičajena interpretacija same poezije koju crtež prati otklon je od plošnih, statičnih kompozicija rađenih na zadanu temu. Nedvojbeno, ovo, po godini nastanka mladenačko, a po snazi umjetničkog izraza, zrelo djelo, svrstava Marunu u red onih koji su rano prepoznali svoj put te ga isprepleli s mnogim recentnim, a različitim slikarskim koncepcijama i izrazima. Snažni je likovni senzibilitet odlučno disciplinirao priklanjanjem crtežu, izgradivši prepoznatljiv stil koji s lakoćom cijenimo po dosegnutom skladu njegova intelektualnog i umjetničkog života. Odlazi s Prva nagrada za crtež / First prize for drawing / Primer premio de dibujo, Zagreb, 1951.

braćom na izložbe i u kina po Zagrebu. Fasciniraju ga boje na platnu i filmovi Esther Williams (Sea of the Moon), Alibaba i četrdeset razbojnika. Prelistava

monografska izdanja ponajprije Henrija Matissea a zatim Picassa. Tijekom ne tako davnog susreta u njegovu atelijeru u Aranjuezu, izjavio je: “Prvu izložbu, koju pamtim, bila je izložba Josipa Vanište sa slikarom Miljenkom Stančićem 1952. u MUO u Zagrebu . I veliki Krleža je bio među posjetiteljima. Ušao je, predstavio se i bacio pogled na nekoliko slika. Onda se okrenuo, rekao da mu smetaju posjetioci i da možda i on nekome smeta i izašao iz dvorane. Bilo je to vrijeme EXAT-a, redovitih kolektivnih izložbi ULUH-a., bili smo željni kruha, a toliko umjetnosti je bilo oko nas. Izlazio je Narodni list tiskan tako sitnim slovima, djelomično i zbog oskudice papira, da ga je moj otac čitao uz povećalo. Izložbe su posjećivali krajnje skromno odjeveni ljudi, prostori za izlaganje bili su puni znatiželjnog svijeta, gladnih umjetnosti. Bilo je to još uvijek vrijeme točkica, jelo se u menzama, slavio Prvi maj. Prošlo je strašno mnogo vremena od toga, kao da je bilo jučer.” U razgovoru Maruna se vraća u 1953. godinu i na Putarov tekst o nastupu EXAT-a 51 koji se zalagao za apstraktnu umjetnost i sintezu svih disciplina likovnog stvaralaštva, gdje je pronašao u njemu i odgovor na tada nuđene kritičke opservacije teoretičara Gamulina, opservaciju o “kolonijalnom duhu” naše apstrakcije, koja, budući da je import i pomodno oponašanje eklatantno građanske kulture, ne nalazi stvarnih uporišta u socijalnoj stvarnosti i vizualnom iskustvu hrvatskog društva. Maruna nalazi da su takvi izmijenjeni i promjenjivi socijalni odnosi “dinamični i obiluju mnoštvom novih vidova stvari i

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pojmova”, nadajući se da će i on sam moći imati dovoljno prilike da o tome i o sebi u tom svijetu iskaže zaista nove likovne misli i osjećaje. Nijanse su jednako potrebne i kod ocjene zbivanja u ranom poraću, iako je činjenica da razdoblje socijalističkog realizma u našoj umjetnosti traje relativno kratko i da su njegove posljedice manje drastične nego u drugim zemljama “realsocijalizma”. No, unatoč tome, brzina kojom su se odmah nakon prvih znakova liberalizacije počeli javljati novi oblici likovnog izraza, danas se čini upravo začudnom. Na pomolu je inauguracija nove politike otvaranja. Umjetnička djela nastala u okrilju specifičnog oblika “duhovnog egzila” koja su omogućila da se posve ne prekinu neke bitne linije kontinuiteta hrvatske moderne umjetnosti, do tada pažljivo skrivana po zakutcima privatnih atelijera, počela su izlaziti na svjetlo dana. Iste godine Maruna se susreće s apstraktnom umjetnošću Ede Murtića na izložbi “Doživljaj Amerike”. Nakon izložbe suvremene francuske umjetnosti 1952. godine, državne se granice otvaraju izložbama recentne europske umjetnosti i u Zagrebu će se sljedećih godina moći vidjeti pregledi švicarske, belgijske, talijanske i njemačke suvremene likovne produkcije, te velika i poticajna izložba crteža i skulptura Henryja Moorea u Umjetničkom paviljonu. Osim izravnih susreta sa suvremenim europskim stvaralaštvom, ključni događaj koji će u mnogome presudno utjecati na emancipaciju hrvatske likovne scene, bilo je otvorenje Galerije suvremene umjetnosti u Zagrebu 1955. godine. Međutim, u vrtlogu događanja, dobro raspoznajući znakove vremena, braći Maruna potpuno je jasno da to nije dovoljno, te da bi u trenucima dok čekaju neka bolja vremena u “kući svoga oca” jednostavno mogli nestati, te se spremaju na bijeg. Godine 1960. bježi, (odnosno, bolje rečeno, odlazi u progonstvo) s dvojicom braće u Italiju. Jedan od njih je već spomenuti hrvatski pjesnik Boris Maruna (1940. – 2007.). Po prvom bijegu iz zemlje bivaju uhvaćeni i provode osam mjeseci u zatvoru. Nakon toga ponovo pokušavaju pobjeći i domoći se Italije. U izbjegličkim logorima provode osam mjeseci. Borave u tri kampa u Italiji: u Trstu u San Sabi, zatim nedaleko od Napulja u San Antoniju i onda u Pontecagnanu u Capui, najstarijem gradu u Italiji. U razgovoru sjećanja naviru: “Nacrtao sam prizor s jedne plaže u Napulju i s tim Obitelj Maruna na okupu, Zaprešić, 1959; s lijeva na desno: brat Boris, otac Grga, Petar, majka Marija i brat Šime. / Family Maruna together, Zaprešić in Croatia, 1959; from left to right: brother Boris, Grga father, Peter, mother Mary and brother Šime. / Familia Maruna juntos, Zaprešić en Croacia, 1959; de izquierda a derecha: el hermano Boris, Grga padre, Pedro, la madre María y hermano Šime.

crtežom sam se upisao na Likovnu akademiju u Cordobi”. U tih osam mjeseci što ih braća provode po logorima Italije, njihovo ponašanje i interesi i nisu baš u skladu sa situacijom koja ih je snašla. Braća krate vrijeme obilazeći po Napulju crkve, razgledavajući

umjetnine, a Petru Maruni posebno je ostao u sjećanju Caravaggio i njegova slika Bičevanje Isusa u muzeju Capodimonte. Još se i danas sjeća sjena koje su padale na sliku tog jutra kada su se braća zatekla u muzeju. Tek će kasnije, na Akademiji u Argentini u Cordobi i Buenos Airesu, proučavajući umjetnost i slikare, shvatiti tu uporabu svjetlosnih efekata, preciznije rečeno, svjetlosti u sjeni velikog Caravaggia, tu njegovu radikalnost, realizam prikazanja modela, koja mu je osigurala jedinstveni položaj u povijesti umjetnosti. Pozadina slike je crna, a Isus je osvijetljen ukoso kao da na njega pada svjetlost reflektora. Oni koji ga muče, okrenuti su od svjetla nalaze se u polusjeni. „Taj chiaroscuro efekt niti jedan slikar, nakon Caravaggia nije mogao na slikama izostaviti“, sjećanja su to koja je Maruna podijelio s nama. 1961. – 1969. Godine 1961. emigrira s braćom u Argentinu, u Cordobu. Od 1962. do 1964. radi s argentinskim slikarom Ernestom Farinom. Na Likovnu akademiju u Cordobi upisao se 1963. Crtež nacrtan crvenim i crnim tušem u Napulju, koji mu je bio ulaznica za Akademiju, izlaže iste godine na izložbi u Buenos Airesu i postiže veliki uspjeh. Mnogi slikari i posjetitelji izložbe obraćaju

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mu se s poštovanjem i divljenjem. Na izložbi ga je potražio spomenuti Ernesto Farina, slikar talijanskih korijena koji je Maruni ponudio suradnju i zajednički rad u svom atelijeru. U prvom je kontaktu slikar Farina mislio da razgovara s umjetnikom talijanskog podrijetla, na što mu Maruna spremno odgovara da je on Hrvat, ali da je kulturom i Talijan budući da je sazrijevao čitajući Manzonija, Dantea i Leopardija. Na sebi je Maruna taj dan imao bijelu košulju i traperice, 23 godine i mnoge svjetove u glavi. Objeručke je prihvatio prijedlog da radi za Ernesta Farinu. Radio je na izradi grafičkih mapa od ponedjeljka do petka i u jednom tjednu već je mogao zaraditi polovicu plaće. U stanu pjesnika i novinara Vinka Nikolića, Buenos Aires, Argentina, 1963.; s lijeva na desno: brat Boris, brat Šime, gospođa Nikolić, Vinko Nikolić i Petar Maruna. / In the apartment of the poet and journalist Vinko Nikolic, Buenos Aires, Argentina, 1963; from left to right: brother Boris, brother Šime, Ms. Nikolić, Vinko Nikolić and Pedro Maruna. / En el apartamento del poeta y periodista Vinko Nikolić, Buenos Aires, Argentina, 1963; de izquierda a derecha: hermano Boris, hermano Šime, Sra. Nikolić, Vinko Nikolić y Pedro Maruna.

Atelijer je imao zaposlena još tri slikara i dva dizajnera. Uspješan slikarski rad za slikara Farinu naprasno je prekinut jer su nagovještaji za nadolazeći državni udar bili sve očigledniji. Nakon vojnog udara i obaranja Peróna s vlasti (1955.), uslijedilo je razdoblje političke nestabilnosti u Argentini s čestim državnim udarima

(1962., 1966., 1971.). Na predsjedničkim izborima 1972. pobijedio je peronistički kandidat Héctor Cámpora koji je iduće godine omogućio Perónu ponovno preuzimanje vlasti. No, Maruna se tada već nalazi u Španjolskoj na svom novom slikarskom i životnom početku. Sva nastojanja Farine da se Maruna vrati u Argentinu i nastavi rad u studiju ostala su neostvarena. Godine 1964. odlazi u Madrid i nastavlja studij na Visokoj školi lijepih umjetnosti San Fernando kao stipendist OCAU. (Organización Católica de Asistencia Universitaria) gdje i diplomira 1969. Od 1969. do 1982. godine živi i radi u Malagi, oženivši svoju kolegicu s posla na školi, Marisu, koja mu postaje oslonac i vertikala i u privatnom i društvenom životu uspješno razumijevajući njegovu umjetnost. 1974. – 2016. Španjolsko državljanstvo Maruna dobiva 1974. godine. Svoju izložbenu aktivnost, koja traje do današnjih dana, započeo je 1962. godine. Sastoji se od pedesetak samostalnih izložbi i više od stotinu skupnih. Malo se toga u Hrvatskoj zna o radu i djelatnosti ovog umjetnika, no malo se toga uopće zna o djelatnosti iseljenih hrvatskih umjetnika. Tako u Hrvatskoj reviji, publikaciji Matice hrvatske, u prvome broju iz 2010. godine, autor Gojko Borić prvi put piše sustavni pregled o djelovanju i životu iseljenih Hrvata u Španjolskoj i pritom spominje rad Petra Pedra Marune i njegovo djelovanje u Madridu, Španjolskoj. Čudno je da u mnogim tiskovinama u kojima se istraživalo djelovanje hrvatskih emigranata koji su nakon Bleiburga, uglavnom preko Italije, našli utočište u mnogim državama, pa tako i u Španjolskoj, postoji samo jedan sustavni tekst o Hrvatima u glavnom gradu Španjolske, i to tekst spomenutog autora Borića. Čak ni u monumentalnoj knjizi trojice istraživača: Ivana Čizmića, Marina Sopte i Vlade Šakića, Iseljena Hrvatska (Golden marketing – Tehnička knjiga, Zagreb, 2005.) nema posebnog poglavlja o Hrvatima u Španjolskoj. Ipak, ponešto se o Hrvatima u Španjolskoj može naći u novom nakladničkom projektu, Leksikonu hrvatskog iseljeništva i manjina (Hrvatska matica iseljenika i Institut društvenih znanosti Ivo Pilar – elektroničko izdanje, inačica tiskovnog izdanja). Projekt je to od prvorazredne nacionalne važnosti, na inicijativu Zdenke Babić Petričević, predsjednice Matičina Upravnog odbora i saborske zastupnice. Rad na tom projektu, u kojem su sudjelovali brojni hrvatski i međunarodni znanstvenici i stručnjaci na području migracija i iseljeništva (među kojima su i oni iz Leksikografskoga zavoda “Miroslav Krleža” te Nacionalne i sveučilišne knjižnice), započeo je 2007. godine. Naslovnica Leksikona, slika Historica Croatica, rad je hrvatskog slikara iz Australije Charlesa Bilicha. Stoga, doista malo znamo o životu

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i radu mnogih istaknutih Hrvata u Španjolskoj, a mnogi od njih su i profesionalno i kao ličnosti ostavili brojne kulturne i znanstvene zasade koje danas baštini i tako velika zemlja kao Španjolska. Dijelu onih koji su krenuli u nepoznato i našli se u Španjolskoj pomogla je Crkva. Stoga jer se Crkva u Španjolskoj, poučena iskustvom Građanskog rata (1936. – 1939.), spremno odazvala pozivu pape Pia XII. (1876. – 1958.), omogućivši tako velikom broju izbjeglih, posebno intelektualaca, da ili nastave studij u Španjolskoj ili da se zaposle u odgovarajućim odgojnim, obrazovnim i kulturnim institucijama. Sve se provodilo posredstvom organizacija OCAU (Organización Católica de Asistencia Universitaria) i OCARE (Organización Católica de Asistencia Refugiados de Espańa) koje je osnovala Biskupska konferencija Španjolske na Papino izravno traženje. U predgovoru Statuta obiju organizacija piše: “OCAU i OCARE osnivaju španjolski katolici s nakanom da pomognu studentima i intelektualcima iz istočne i srednje Europe čije se zemlje nalaze pod komunističkom vlašću. Na ovo nas obvezuje kršćanska solidarnost u ovom teškom povijesnom trenutku, i to je naš odgovor na poziv Crkve.” Prva se u pružanju pomoći iskazala međunarodna organizacija katoličkih sveučilištaraca Pax Romana kojom je tada predsjedao Španjolac prof. Joaquin Ruiz Giménez. Na kongresu u Londonu u kolovozu 1945. pozvane su nacionalne podružnice da “prouče mogućnosti pomaganja izbjeglim studentima”. Španjolska podružnica Pax Romane ubrzo započinje pripreme za osnivanje OCAU-a, što je uslijedilo već 1946. godine. Osnivanje institucija OCAU i OCARE odvijalo se u razdoblju kad Španjolska proživljava velike nedaće. Građanski rat iza sebe ostavio je oko dva milijuna žrtava, porušene gradove i sela. K tomu, iako je bila neutralna u Drugom svjetskom ratu, postala je žrtvom mirovnih dogovora saveznika. Godinama je podnosila ekonomsku blokadu i političku izolaciju i tek je 1952. bila primljena u Ujedinjene narode. Pomaganje izbjeglim sveučilištarcima i intelektualcima značilo je materijalno osiguranje i pružanje mogućnosti studiranja te stvaranja pogodnog ozračja kako bi se, kako piše u Povelji OCAU-a, “pridonijelo svestranoj intelektualnoj, stručnoj i duhovnoj izgradnji” stipendista. U tom nastojanju i prema nakanama korisnika pomoći, sveučilištarci su činili tri skupine. Većina je odlučila započeti ili nastaviti studije u Španjolskoj, drugi su koristili privremeni boravak očekujući odlazak u druge zemlje, a treći, najčešće svećenici i svećenički kandidati, dobili su povlasticu besplatnog upisa i studiranja na fakultetima. Petar Maruna odlučio se za studij na Visokoj školi lijepih umjetnosti San Fernando. Mediji su naveliko pisali o Maruninu stvaralaštvu njegova životnog i umjetničkog razdoblja u Španjolskoj, a mi u monografiji prikazujemo preslike samo nekih objavljenih kritičkih osvrta. Valja pamtiti da je Španjolska zemlja brojnih slikara, pa ako stranac, makar i španjolski državljanin kao što je Maruna, biva hvaljen, onda je to mnogo veći uspjeh no što ga imaju domaći umjetnici. Maruna je kao grafičar dobio dvije španjolske nacionalne nagrade (1987. Cadaques, Barcelona i 1988. Ramos, Ferrol), a njegove slike nalaze se u mnogim muzejima, od kojih ćemo u nastavku spomenuti samo one važnije. Od prve godine svoga života u Španjolskoj Maruna je njegovao naklonost prema španjolskoj kulturi i vrijeme je provodio po muzejima, osobito u Pradu, gdje je učio od velikana Goye, Picassa, Velázqueza. Izlagao je, osim u Argentini i Španjolskoj, i u Švicarskoj. Na izložbi u Lausannei u samo jednom danu prodane su mu sve grafike i crteži. U Zagrebu, gradu u kojemu je proveo ranu mladost, slikar izlaže prvi put 2004. godine. Recentni opus od tridesetak grafika i crteža predstavio je zagrebačkoj publici u prostoru galerije Forum i likovnom postavu Milana Bešlića. Rezimirajući dosadašnji slikarski opus Petra Marune, čini mi se potrebnim naglasiti da će sa samo dvije izložbe u domovini njegov doprinos hrvatskom slikarstvu biti značajan i dragocjen. Nakon velikih izložbi, međunarodnih priznanja i nagrada, ovdje izložene svjetovne i sakralne slikarske teme kojima se Maruna unatrag niza godina predano posvećuje iskušavajući vlastite granice senzibiliteta, dio su opusa neupitne estetske i umjetničke vrijednosti. Umjetnik živi u nekadašnjoj proljetnoj rezidenciji španjolskih kraljeva u mjestu Aranjuez u blizini Madrida gdje ima atelijer u kojem je sve donedavno intenzivno slikao. Mnogima je ovo mjesto poznato ne samo po upisu u UNESCO-vu listu zaštićene baštine već i po poznatom koncertu, (1939.), skladatelja Joaquína Rodriga, Concierto de Aranjuez, kojim je proslavljeno ovo Petar Maruna / Peter Maruna / Pedro Maruna, Aranjuez, 2001.

mjesto širom svijeta, koncertu koji još uvijek odzvanja u kući umjetnika Marune.

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DOCUMENTATION Biography 1938 He was born in Potprag on the southern slopes of Velebit as the firstborn son of his mother Marija Čiklić from Dobropoljana on Pašman and his father Grga, a construction worker and roadbuilder. It is worth noting that the family, the mother and her four sons, lived alone in the raw but also naturally adorned beauty of the mythical mountain of Velebit, while the father laboured away far from their home. The winds of war soon catch up with them on Velebit as well, and the mother with her sons takes refuge in nearby Obrovac. However, Obrovac shows them its other side, as they are not accepted by then majority Orthodox population, a situation to which a wartime atmosphere contributed even more. To survive, they take refuge in Dobropoljana on Pašman. 1949 – 1960 In 1949, the family moves to Zaprešić, where the Maruna brothers attend primary school. Petar Maruna attends and finishes high school in Zagreb. In Zagreb, he tries to gain admission to the Academy of Fine Arts (1958 and 1959). In the new environment, Petar openly expresses his deep-seated desire for artistic expression, as does his two-years-younger brother, Boris. The odd drawing from this youthful time has been preserved, published in Polet magazine of the time, where the illustrator Vilko Selan Gliha worked in the editorial office, and where his brother Boris had already published his first poems in 1957. The content and classical compositions clearly indicate known background drawings from that time, but the still very unusual interpretation of poetry itself, which the drawing follows, is a deflection from the flat, static compositions created by others, on a given theme. Undoubtedly, this is the year when the youthful, but by the force of artistic expression mature work places Maruna amongst those who recognised their path early and intertwined it with many recent but different artistic concepts and expressions. He determinedly disciplined a powerful artistic sensibility by inclining towards drawing, constructing a distinctive style that is easily appreciated by the achieved harmony of his intellectual and artistic life. With his brothers he visits exhibitions and cinemas around Zagreb. Fascinated by colours on the screen and the films of Esther Williams (Sea of the Moon) and Alibaba and forty thieves. He leafs through monographs, primarily those of Henri Matisse and then Picasso. During the not-so-long-ago meeting in his studio in Aranjuez, he stated: The first exhibition that I remember was the exhibition of Josip Vaništa with the painter Miljenko Stančić in 1952, at the Museum of Arts and Crafts in Zagreb. The great Krleža was also among the visitors. He entered, introduced himself and cast a glance at a few paintings. Then he turned and said that the visitors bothered him and perhaps he too was bothering someone, so he left the hall. It was the time of EXAT51, regular group exhibitions at ULUH, we had a hunger within us, and were surrounded by so much art. Narodni list was published in such small print, in part because paper was scarce, that my father read it with a magnifying glass. The exhibitions were attended by quite modestly attired people, the premises for the presentation were filled with a curious crowd, hungry for art. It was still a time of ration books, eating in canteens, and celebrating May Day. So much time has since passed, but it seems like only yesterday. In conversations, Maruna goes back to the year 1953 and to Putar’s text about the EXAT51 performance, which advocated for abstract art and the synthesis of all disciplines of artistic creativity found therein and a response to the critical observation offered at the time by the theorist Gamulin, concerning the colonial spirit of our abstraction, which, being an import and fashionable imitation of glaring civic culture, finds no real foothold in the social reality and the visual experience of the Croatian society. Maruna finds that these and similar amended and changing social relations are dynamic and rich in a multitude of new forms of things and concepts, naively expecting that he himself will have ample opportunity to, about this and about himself, express the truly new artistic thoughts and feelings in this world. The nuances are also just as necessary

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when evaluating developments in the early post-war period, although it is a fact that the period of socialist realism in our art is relatively brief and that its consequences are less drastic than in other countries with real socialism. But despite this, the speed with which new forms of artistic expression began to emerge immediately after the first signs of liberalisation seems simply astounding today. We are on the verge of inaugurating a new policy of openness. Works of art created under the auspices of a specific form of spiritual exile, which have allowed some important lines of continuity of Croatian modern art to not be completely cut, which had until then been carefully concealed in the corners of private studios, have began to see the light of day. That same year, Maruna encounters the abstract art of Edo Murtić at the exhibition “The American Experience”. After the exhibition of contemporary French art in 1952, the state borders are opened to exhibitions of recent European art, and in Zagreb in the coming years people will be able to see overviews of Swiss, Belgian, Italian and German contemporary art production, and large and stimulating exhibitions of drawings and sculptures by Henry Moore at the Art Pavilion. In addition to direct encounters with modern European creations, a key event, which will in many respects crucially affect the critical emancipation of the Croatian art scene, was the opening of the Gallery of Contemporary Art in Zagreb in 1955. But in the vortex of events, astutely recognising the signs of the times, it was clear to the Maruna brothers that this is not enough, and that in moments while waiting for better times in “their father’s house” they could simply disappear, so they make preparations to flee. In 1960 he flees with his two brothers (or, more precisely, goes into exile) to Italy. One of them is the aforementioned Croatian poet Boris Maruna (1940-2007). After their first escape from the country, they are caught and spend eight months in prison. Later they try to escape again and get to Italy. They spend eight months in refugee camps. They reside in three camps in Italy: San Sabba in Trieste, and then not far from Naples in San Antonio, and in Pontecagnano in Capua, the oldest town in Italy. I drew a scene from a beach in Naples and with this drawing, I enrolled at the Academy of Fine Arts in Cordoba. In those eight months the brothers spend in Italian camps, their behaviour and interests do not exactly correspond to the situation that befell them. The brothers pass the time visiting the Naples’ churches and looking at art, while Caravaggio and his painting The Flagellation of Jesus in the Museum of Capodimonte is indelibly etched in Petar Maruna’s memory. Even today he remembers the shadows that fell on the painting that morning when the brothers found themselves in a museum. Only later, at the Academy in Argentina in Cordoba and Buenos Aires, studying art and artists, will he understand that use of lighting effects, more precisely, the light in the shadow of the great Caravaggio, that radicalism of his, the realism of the model presentation that secured him a unique position in the history art. The background of the painting is black, and Jesus is illuminated at an angle as if the light from a spotlight were falling upon him. Those who are torturing him are facing away from the light, half in the shade. After Caravaggio, no painter was able to omit that chiaroscuro effect from their paintings. These are the memories that Maruna has shared with us. 1961-1969 In 1961, he imigrates with his brothers to Cordoba, Argentina. From 1962 to 1964 he worked with the Argentine painter Ernest Farina. In 1963 he enrolled in the Academy of Fine Arts in Cordoba. Lines On the beach in Naples, he drew a picture in red and black ink, and on arrival in Argentina exhibited precisely that drawing at an exhibition in Buenos Aires. With the drawing he achieved great success and aroused curiosity, and many painters and visitors to the exhibition paid him respect and admiration. At the exhibition he was sought out by the painter Ernesto Farina, a painter of Italian heritage who offered Maruna cooperation and collaboration in his studio. The drawing made with red and black ink in Naples, which was his ticket to the Academy, was exhibited the same year at the exhibition in Buenos Aires and achieved great success. Many painters and visitors to the exhibition paid him respect and admiration. At the exhibition he was sought out by the mentioned Ernesto Farina, a painter of Italian heritage who offered Maruna cooperation and collaboration in his studio. At the first contact, the painter Farina thought he was speaking with an artist originally from Italy, to which Maruna readily replied that he was Croatian, but that he was culturally also Italian, having read Manzoni, Dante and Leopardi during his

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formative years. That day Maruna had on a white shirt and jeans, with 23 years and many worlds in is head. He gladly accepted the proposal to work for Ernest Farino. He worked on the development of graphic maps from Monday to Friday and in one week he was already able to make half his monthly salary. Another three artists and two designers were employed at the studio. His successful painterly work for the painter Farina was abruptly interrupted because hints about the upcoming coup were becoming increasingly obvious. The military coup and the ouster of Peron from power (1955) was followed by a period of political instability in Argentina with frequent coups Petar Maruna u atelijeru slikara Ernesta Farine u Cordobi, Argentina, 1962. / Peter Maruna in the studio of the painter Ernesto Farina in Cordoba, Argentina, 1962 / Pedro Maruna en el estudio del pintor Ernesto Farina en Córdoba, Argentina, 1962.

(1962, 1966, 1971). The presidential election of 1972 was won by the Peronist candidate Héctor Cámpora, who would allow Perón to retake

power the next year. But Maruna is already in Spain at that time, making a new beginning in painting and in life. All efforts by Farina to get Maruna to return to Argentina and continue working in the studio remained unrealised. In 1964 he went to Madrid and continued his studies at the College of Fine Arts of San Fernando on a scholarship of the O.C.A.U. (Organización Católica de Asistencia Universitaria), from which he graduated in 1969. From 1969-1982, he lives and works in Malaga, marrying his work colleague at the school, Marisa (María Luisa Meseguer Báez Maruna), who becomes his pillar of support both in private and social life by successfully understanding his art. 1974 – 2016 Maruna was granted Spanish citizenship in 1974. In 1962 he began his exhibition activity, which has lasted until today. It consists of about fifty solo exhibitions and more than a hundred collective exhibitions. Little is known in Croatia about the work and activities of this artist, but little is known generally about the activities of émigré Croatian artists. Thus, in Hrvatska revija, the publication of Matica hrvatska no. 1 from 2010, the author Gojko Borić for the first time writes a systematic review of the work and life of Croatian emigrants in Spain, with mention of the work of Petar Pedro Maruna and his activity in Madrid, Spain. It is strange that in many publications which investigated the activities of Croatian émigrés who after Bleiburg find refuge, mainly via Italy, in many countries, including Spain, there exists only one systematic text about the Croatians in the Spanish capital, and that is the text of the mentioned author Borić. Even the monumental book by three researchers: Ivan Čizmić, Marin Sopta and Vlado Šakić, Iseljena Hrvatska (Golden marketing – Tehnička knjiga, Zagreb, 2005) lacks a separate chapter on the Croatians in Spain. However, something about the Croatians in Spain can be found in the new publishing project: Leksikon hrvatskog iseljeništva i manjina (Lexicon of Croatian emigrants and minorities) (Croatian Heritage Foundation and the Institute of Social Sciences Ivo Pilar (in electronic form, version for print edition). The project is of the utmost national importance and the initiative came from Zdenka Babić Petričević, president of the CHF Board of Directors and member of the Croatian Parliament. Work on that project began in 2007 and involved the participation of numerous Croatian and international scientists and experts in the field of migration and emigration (including those of the Lexicographic Institute Miroslav Krleža and the National and University Library). The front page of the Lexicon, the painting Historica Croatica, is the work of the Croatian painter from Australia Charles Bilich. For that reason, we really do know little about the life and work of many prominent Croatians in Spain, and many of them have both professionally and personally, sown the seeds of

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culture and science that today are part of the heritage of even such a large country as Spain. Part of those who set out into the unknown and end up in Spain were helped by the Church. This is because the Church in Spain, drawing on the experience of the Civil War (1936-1939), readily accepted the invitation of Pope Pius XII (18761958), thereby allowing a large number of refugees, in particular, intellectuals, to either continue their studies in Spain or to find employment in appropriate institutions of upbringing, education and culture. Everything was carried out through the organisation OCAU (Organización Universitaria)

Católica and

OCARE

eAsistencia (Organización

Católica de Asistencia Refugiados de España), established by the Bishops’ Conference of Spain at the Pope’s direct request. In the preamble to Bylaws of both organizations, it states: OCAU and OCARE are established by Spanish Catholics with the intention to help the students and Petar Maruna pri izradi grafika, Španjolska, oko 1970. / Pedro Maruna in creating graphic prints, Spain, around 1970 / Pedro Maruna en la creación de impresiones gráficas, España, hacia 1970.

intellectuals from eastern and central Europe whose countries are under communist rule. To this we are obliged by Christian solidarity in this

difficult moment in history, and this is our response to the call of the Church. The first to distinguish itself in providing assistance was the international organisation of Catholic university students Pax Romana, then chaired by the Spaniard prof. Joaquin Ruiz Giménez. At the congress in London in August 1945, the national affiliates were called upon to study the possibility of assisting refugee students. The Spainish branch of Pax Romana soon begins preparations for the establishment of the OCAU, which followed already in 1946. The establishment of the institutions OCAU and OCARE took place at a time when Spain was experiencing great adversity. The civil war left behind about two million victims and destroyed towns and villages. In addition, although it was neutral in World War II, it became a victim of the allies’ peace agreements. For years it endured the economic blockade and political isolation, and only in 1952 was admitted to the United Nations. Helping refugee university students and intellectuals meant material security and providing opportunities to study, as well as creating a suitable atmosphere in order to, as stated in the OCAU Charter, contribute to the versatile intellectual, professional and spiritual development of the scholarship recipients. In this endeavour and according to the intentions of beneficiaries, the university students formed three groups. Most decided to begin or continue their studies in Spain, others used it as a temporary residence while awaiting departure for other countries, and the third, mostly priests and priestly candidates, were given the privilege of free admission and study at the universities. Petar Maruna decided to study at the San Fernando College of Fine Arts. The media have extensively written about Maruna’s creativity, through his life and art period in Spain, and in the monograph we show copies of only some published critical reviews. It should be remembered that Spain is a country of many artists, so if a stranger, even a Spanish citizen like Maruna, is being praised, that is a much greater success than for local artists. As a graphic artist, Maruna won two Spanish National awards (in 1987 Cadaques, Barcelona, and in 1988 Ramos, Ferrol), and his paintings can be found in many museums, of which we will mention only the more important ones below. From the first year of his life in Spain, Maruna nurtured an affection for Spanish culture and spent his time in museums, especially in the Prado, where he learned from the greats Goya, Picasso, Velázquez. Besides Argentina, he has also exhibited in Spain and in

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Switzerland. At the exhibition in Lausanne all his prints and drawings were sold in just one day. It was not until 2004 that painter had an exhibition in Zagreb, the city where he spent his early years. The recent oevre of thirty prints and drawings was presented to the Zagreb audience in the Forum gallery with artistic arranging by Milan Bešlić. In summarising the painterly oevre of Petar Maruna so far, it seems necessary to point out that even with just two exhibitions in the homeland, his contribution to Croatian painting will be important and valuable. After major exhibitions, international recognition and awards, the secular and religious themes of the paintings exhibited here, to which Maruna has dutifully dedicated himself going back many years, testing the limits of his own sensibility, are part of an oeuvre that is of unquestionable aesthetic and artistic value. The artist lives in the former spring residence of Spanish kings in Petar Maruna sa suprugom Marisom i njezinom sestrom, Aranjuez, 2008. / Pedro Maruna with his wife Marisa and her sister, Aranjuez, 2008. / Pedro Maruna con su esposa Marisa y su hermana, Aranjuez, 2008.

Aranjuez near Madrid, where he has a studio in which, until recently, he was intensively painting. For many, this place is known not only for its entry into the UNESCO list of protected heritage but

also for the famous concert (1939) of the composer Joaquín Rodrigo, the Concierto de Aranjuez, for which this place is celebrated around the world, a concert that still resounds in the house of Maruna the artist.

DOCUMENTACIÓN Biografía 1938. Nació en Potprag en las laderas del de sur de Velebit, como el primer hijo de María Čiklić de Dobropoljana en Pasman, y el padre, Grgo, quien fue trabajador de construcción de caminos. La familia, la madre y en aquel momento los cuatro hijos viven en un área remota y de acceso complicado, su padre trabaja arduamente, no obstante lejos de ellos, sin embargo esto se compensa un poco pues se encontraban en compañía de la naturaleza junto a la belleza de la mítica montaña Velebit, mientras que sus padres trabajan lejos de su lugar de residencia. La guerra pronto vendría cerca de Velebit y la madre con los hijos se refugió en las cercanías en Obrovac. No obstante, Obrovac les muestra su otra cara, los rechazan porque la población, de mayoría ortodoxa, actuó de manera desfavorable para ellos, para sobrevivir, se dirigen a Dobropoljana en isla Pasman. 1949.- 1960. En 1949 la familia se translata a Zapresic, donde los hermanos Maruna asistían a la escuela primaria y donde Pedro Maruna asistió y terminó la escuela secundaria en Zagreb, donde intentó matricularse en la Academia de Bellas Artes (en el año 1958 y 1959). En el nuevo ambiente, Maruna abiertamente declaró su profundo deseo por la expresión artística, como su, dos años más joven, hermano Boris. En aquellos tiempos de juventud de Maruna, nos brindó dibujos, los cuales fueron publicados en el periódicos Polet, cuyo editorial e ilustrador fue Vilko Selan Gliha, y en donde en 1957 su hermano Boris publicó sus primeros poemas. Para Polet, Pedro hizo un retrato de Zvonko Bušić. El contenido y la composición clásica se relacionan claramente con los dibujos famosos de ese tiempo, pero la interpretación muy inusual de poesía que dibujó se desvió de composiciones planas y estáticas creadas por otros, sobre un tema determinado. No hay duda de que este joven desafió los marcos establecidos, su poder de la expresión artística maduro y el tiempo puso Pedro cerca de quienes

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reconocen su camino muy temprano, se fueron entrelazando en su camino con muchos recientes pero diferentes conceptos y expresiones artísticas. La poderosa sensibilidad artística y disciplina muy decisivamente aliados con el dibujo, crean un estilo reconocido del que nosotros fácilmente apreciamos por alcanzar en virtud de su vida intelectual y artística. Visita con sus hermanos los cines de la ciudad, fascinado con el color de lienzo del lugar. Mira las películas de Esther Williams (Sea of the Moon), Alibaba y los cuarenta ladrones. Voltea a través de monografías sobre todo de Henri Matisse y después de Picasso. La primera exposición que recuerdo fue la exposición de Josip Vaništa con el pintor Miljenko Stančić en 1952, en la ciudad de Zagreb, en el museo de art and crafts y Krleža fue uno de los visitantes. Krleža entró, se presentó y miró algunos cuadros. Luego se volvió y le dijo que estaba molesto por los visitantes, tal vez alguien le molestó y salió de la sala. Eso fue en el tiempo de EXAT51, de ordenar exposiciones de ULUH, Maruna refiere – Me encontraba hambriento de arte, por la escasez de papel se publicó “Narodni list”, en un impreso con letras muy pequeñas, mi padre tenía que leer los con una lupa, explica el virtuoso. Las exposiciones fueron visitadas por personas vestidas muy modestamente, los espacios de presentación despertaron gran curiosidad en la gente, había mucha hambre de arte. Eran tiempos de paz, se comía en sitios públicos, se celebraba el Primero de Mayo. Ya ha pasado mucho tiempo de eso, pero siento como si fuera ayer. En la conversación con Maruna, expresa su retorno en el año 1953, en el texto de Putar, de EXAT51 que no fue publicado, el cual defiende el arte abstracto y la síntesis de todas las disciplinas de la creación artística, ahora llamado total design, así como la observación de Gamulin de espíritu abstracto colonial ya que la importación e imitación de moda, cultura, de ciudad, no encontraba su punto de apoyo regio en la realidad de socialismo y la experiencia visual de la sociedad croata. Maruna encuentra que tales modificaciones y cambios en las relaciones sociales son muy dinámicos y llenos de muchas nuevas formas y términos. Ingenuamente él esperaba que tendría una gran oportunidad para debatir esto, desde sí mismo y sus conceptos litigar sobre la expresión de los nuevos pensamientos y sentimientos en un contexto artístico. Además de encuentros directos con novedades europeas modernas, acontecimiento dominante, que en muchos sentidos tenía una influencia decisiva sobre la emancipación de la escena del arte croata, fue la apertura de la Galería del nuevo Arte en Zagreb en 1955. No obstante, en este remolino de eventos, en el mismo tiempo, para los hermanos Maruna fue claro que esto no era suficiente, tuvieron que esperar en casa de su padre para posteriormente simplemente desaparecer, ellos solos se prepararon para huir. En el año 1960, se va al exilio a Italia junto con sus dos hermanos (uno de ellos reconocido como poeta croata, el fallecido Boris Maruna), donde pasaron ocho meses en campos para refugiados. Después del primer intento se escapar de Yugoslavia fueron arrestados y pasaron ocho meses en prisión. La suerte no estuvo de su lado y de nuevo y planearon escapada a Italia, que culminación con éxito. Vivieron en tres campos, el primero Trieste, y el segundo San Saba, después, cerca de Nápoles, se encontraron finalmente en San Antonio y luego en Pontecagnanou en Capua, la ciudad más antigua de Italia. Dibujé una escena de una playa en Nápoles y con ese dibujo, me matriculé en la Academia de Bellas Artes de Córdoba. En esos ocho meses que mis hermanos están por los campos italianos su comportamiento y los intereses han pensado mucho y no están de acuerdo con toda la situación que les ocurrió. Los Hermanos acortaban su tiempo visitando la iglesias de Nápoles, viendo el arte, y Pedro Maruna, quedó atrapado al descubrir un cuadro del pintor Caravaggio “flagelación de Jesús” en el Museo de Capodimonte. Aún hoy recuerda las sombras que cayeron en el cuadro este mañana, cuando los hermanos estuvieron en el museo. 1961.-1969. En 196l. emigró con sus hermanos a Argentina, en Córdoba. Entre los años 1962 a 1964 trabaja con el pintor argentino Ernesto Farina. Se matriculó en 1963 en la Academia de Bellas Artes de Córdoba. En la playa de Nápoles hizo un esbozo de tinta de color rojo y negro que cuando llegó a Argentina fue exhibido precisamente este dibujo en una exposición en Buenos Aires. Este bosquejo ha logrado un gran éxito y despierta la curiosidad de muchos artistas y visitantes de la exposición que hablan sobre él con respeto y admiración. En la exposición fue buscado por pintor – Ernesto Farina – pintor de raíces italianas, que ofreció a Maruna su cooperación y trabajo conjunto en su estudio. En el primer contacto Farina pensó que

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hablaba con un artista de origen italiano, a lo que Maruna rápidamente intervino diciendo que es de origen croata, no obstante por cultura es una parte italiano pues maduró leyendo Manzoni, Dante y Leopardi. Ese día Maruna tenía una camisa blanca y jeans, 23 años y muchos mundos en su cabeza. Aceptó con gusto la propuesta de Ernesto Farina. Trabaja en la producción de mapas gráficos de lunes hasta viernes y en una semana ya podía ganar la mitad del sueldo, ahí había pocos empleados, tres artistas y dos diseñadores. Trabajo exitoso de arte para Farina fue interrumpido repentinamente por el golpe de estado de aquel país. Después prosiguió un golpe militar y el derrocamiento de Perón en el poder (en 1955), seguido por Rastanak braće 1965. godine, Pariz. Petar odlazi u Madrid, a Boris u Californiju. / Parting two brothers in 1965, Paris. Petar goes to Madrid, and Boris in Los Angeles, California. / Partiendo dos hermanos en 1965, París. Pedro va a Madrid, y Boris en Los Ángeles, California.

un período de inestabilidad política en Argentina con frecuentes golpes de Estado (1962, 1966, 1971). En la elección presidencial en 1972 ganó el candidato peronista Héctor Cámpora, en este mismo año se le permite a Perón

tomar el poder de nuevo. Pero Maruna ya está en España en un nuevo comienzo de la pintura y de la vida. Todos los esfuerzos de Farina para que Maruna regresara a Argentina y contínuara trabajando en su estudio, no se cumplieron. A partir de 1964, se trasladó a Madrid, donde continúa sus estudios en la Escuela de Bellas Artes de San Fernando con una beca de la O.C.A.U. (Organización Católica de Asistencia Universitaria). Se graduó en 1969. Desde 1969 hasta 1982 vive y trabaja en Málaga. 1974. – 2016. La ciudadanía española la obtuvo en 1974. Casado con su compañero de trabajo Marisa (María Luisa Meseguer Báez Maruna), que sigue siendo un amigo fiel y en el trabajo y en la vida. Su actividad es de un pintor profesional, que hace hasta hoy, desde sus comienzos en 1962. Su actividad se compone de cincuenta exposiciones individuales y más de un centenar de exposiciones colectivas. En Croacia poco se sabe sobre su trabajo y actividades, aunque también se sabe muy poco de los artistas croatas fuera de su país. En la revista “Matica Hrvatska” edición número 1 de Croacia 2010 fue publicado un artículo del autor Gojko Borić, quien escribe por primera vez y realiza una revisión sistemática de la vida de los inmigrantes croatas en España, y también menciona el trabajo y las actividades de Pedro Maruna en una época de creación y su desarrollo en Madrid, España. Es inusual que en muchos revistas en las que se investigan y publican las actividades de los emigrantes croatas, después de Bleiburg, principalmente a través de Italia, encuentren refugio en muchos países, también en España, donde solo hay un artículo sobre los croatas en Madrid, y esto es del autor Borić. No existe tampoco en el monumental libro de Ivana Čizmić, Marina Sopte y de Vlado Šakić “Iseljena Hrvatska” (Zagreb, 2005) ni un capítulo especial sobre los croatas en España. Sobre los croatas en España puede se sabe sobre un nuevo proyecto editorial Léxico de los emigrantes croatas y minorías en forma impresa y electrónica. Es un proyecto de importancia nacional, realizado conjuntamente por el Instituto de Ciencias Sociales Ivo Pilar como ejecutor y la Fundación para la Emigración Croata. La iniciativa partió del presidente de la Junta de Administración y representante del Parlamento de Croacia Zdenka Babic Petricevic. Trabajó en el proyecto, al que asistieron numerosos científicos y expertos croatas y distintos profesionales internacionales en materia de migración y emigración, incluyendo las del Instituto lexicográfico y la Biblioteca Nacional y Universitaria, aquello tuvo lugar en 2007. Lexicon Inicio con imágenes de la historia de Croacia, el trabajo es distinguido y fue realizado por el pintor croata de Australia, Charles Bilich, a lo que podemos concluir que sabemos muy poco de la vida y el trabajo de muchos croatas importantes en este país, muchos de ellos tienen un alto desempeño profesional y personalmente dejaron un legado cultural y científico que hoy ha heredado España y su pueblo

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Un gran número de los refugiados en España se debió al apoyo de la Iglesia, pues basándose en la experiencia de la Guerra Civil (1936-1939) aceptó la invitación del Papa Pío XII. (1876 – 1958) y permitió a un gran número de refugiados, especialmente los intelectuales, que continuara sus estudios en aquel país o para ser empleado en la educación en instituciones culturales apropiados. Esto fue posible gracias a las organizaciones OCAU (Organización Católica de Asistencia Universitaria) y OCARA (Organización Católica de Asistencia a Refugiados de España), creada por la Conferencia Episcopal de España petición del Papa. En el prefacio del Estatuto de las dos instituciones se lee: OCAU y OCARE establecidos por católicos de España con la intención para ayudar a los estudiantes e intelectuales de Europa oriental y central, cuyos países se encuentran bajo el régimen comunista. Esto nos obliga a la solidaridad cristiana en este difícil tiempo de la historia, y esta es nuestra respuesta a la llamada de la Iglesia. La primera ocurrió en la palabra Pax Romana presidida por el profesor español Joaquín Ruiz Giménez. En el congreso en Londres en agosto de 1945 convocó a sus ramas nacionales para ver las posibilidades para ayudar a los estudiantes refugiados. Después de regresar a Madrid la filial española de Pax Romana comenzó con los preparativos para el establecimiento de OCAU, que fue en el siguiente año 1946. Pax Romana es una organización mundial de estudiantes universitarios católicos establecida en la ciudad de Friburg, Suiza en 1921. La organización se desarrolló especial y fuertemente en España, los Países Bajos y en Suiza, ahora está asociada con las Naciones Unidas y la Unión Europea. El establecimiento de estas dos instituciones, OCAU y OCARE, ocurre en un momento en donde España se encontraba transitando innumerables problemas, aunque era neutral en la Segunda Guerra Mundial y se convirtió en un aliado al acuerdo de paz, acababa de finalizar su guerra civil, que dejó cerca de dos millones de víctimas, ciudades y pueblos destruidos. Por años tuvo que soportar el bloqueo económico y el aislamiento político hasta 1952 cuando se integró en las Naciones Unidas. Ayudar a los refugiados estudiantes universitarios e intelectuales significaba seguridad material, proporcionando oportunidades para estudiar y crear una atmósfera adecuada con el fin de, como se indica en la Carta de OCAU, contribuir a la versatilidad, cooperar en un desarrollo profesional, espiritual e intelectual con becas. Así pues con el empeño y las intenciones de los beneficiarios, los académicos formaron tres grupos. En el primero la mayoría decidieron empezar o continuar sus estudios en España, otros utilizaron una residencia temporal en España en espera de salida a otros países, y la tercera, en su mayoría curas y candidatos para curas fueron dados el privilegio de reconocimiento de estudios y la matrícula libre-libre en las universidades. OCAU estuvo activa durante veinte años. Los medios de comunicación han escrito mucho sobre creatividad de Maruna, y en su catálogo, se muestran algunas de sus obras. Hay que recordar que España es país de muchos artistas, y siendo extranjero como Maruna, se alabó, entonces un éxito mucho más grande del de los artistas oriundos de aquel país. Maruna como un artista gráfico ganó dos premios Nacionales de España (1987.Cadaques, Barcelona, y en 1988 M. Ramos, Ferrol), y sus pinturas se pueden encontrar en muchos museos de los cuales mencionaremos sólo algunas importantes; -Museo de la Real Academia de Bellas Artes San Fernando en Madrid, Museo Espańol del grabado Contemporáneo (Marbella), -Museo de Bellas Artes (Malaga), -Museo de Vaticano, Museum of Fine Arts (Boston), Bibliothque Nationale (Paris), -Museo Fundacio Guayasamim (Quito) itd. Todo el tiempo Maruna alimentó su afición por la cultura española y pasó gran parte de su tiempo en museos, especialmente en el Museo del Prado donde aprendió desde el gran Goya, Picasso y Velázquez, obras que se han expuesto en Argentina, España y Suiza. En Lausana, Suiza, en un solo día de exposición, vendió todos sus grabados y dibujos. El pintor expone por primera vez en 2004, bosquejos que realizó en Zagreb, ciudad donde vivió su juventud, el reciente trabajo de treinta grabados y dibujos exhibe, por primera vez presente, ante una audiencia de dicho país en el galería Forum y colocado de arte de Milan Bešlić. Resumiendo el opus de Maruna, hasta hoy, parece necesario señalar que el artista con sólo dos exposiciones en Croacia, ha hecho una contribución significativa para la pintura croata. Después de grandes exposiciones, premios internacionales, temas seculares y religiosos de la pintura de color de la carga nacional, el pintor ha demostrado dedicación tentadora propia a los límites de la sensibilidad, que son parte de la obra a nivel estético y artístico incuestionable. El artista vive y trabaja en la antigua residencia “primaveras” de los reyes españoles en Aranjuez, cerca de Madrid, donde tiene su estudio. Para muchos, este lugar es conocido no sólo por su entrada en la lista de la UNESCO como patrimonio protegido, sino también por la famoso concierto (1939) del compositor Joaquín Rodrigo, Concierto de Aranjuez, que ha hecho famosos este lugar en todo el mundo.

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Samostalne izložbe / Solo exhibitions / Exposiciones individuales Faksimil osvrta na samostalnu izložbu Petra Marune / Facsimile critical review of the individual exhibition / Facsímil revisión crítica de la exposición individual, Vjesnik, Zagreb, 2004.

1963 Galería 21, Córdoba, Argentina 1964 Galería de Arte Moderno, Córdoba, Argentina 1971 Galería de Arte C.A.A., Málaga 1973 Galería de Arte C.A.A., Málaga

1995 Galería Brita Prinz, Madrid

1974 Sala de Exposiciones Diputación Provincial de Málaga

1996 Galería C.A.M., Aranjuez

1975 Galería Seiguer, Madrid

2002 Galería Tolmo, Toledo

1976 Galeria du Bourg, Lausanne

2004 Fundacion / cies Betanzos

1977 Galeria du Bourg, Lausanne

2004 Galerija Forum, Zagreb

1978 Galería de Arte C.A.A., Málaga 1979 Galería “Z”, Buenos Aires 1980 Galería de Arte Llona, Marbella 1982 Sala de Exposiciónes Diputacion Provincial de Málaga 1982 Galería Grafica Torculo, Madrid 1983 Colectivo Palmo, Málaga 1984 Salon de Villanuova, Aranjuez 1986 Galería Tolmo, Toledo 1987 Galería Granero, Cuanca 1988 Galería Brita Prinz, Madrid 1989 Galería Fort, Cadaques 1990 Galería Mainel, Burgos 1990 Galería Tolmo, Toledo 1990 Galería Arracada, La Coruna 1990 Galería C.A.M., Aranjuez 1993 Centro de Arte y Cultura “Posada de la Hermandad”, Toledo 1994 Galería “Gravura”, Málaga

Skupne izložbe / Group exhibitions / Exposiciones colectivas 1958 Školski Muzej Zagreb 1961 Salon Nacional, Museo Bellas Artes, Córdoba, Argentina 1963 Salon Nacional, Museo National de Bellas Arte, Buenos Aires 1963 Salon Nacional, Museo Bellas Arte Córdoba, Argentina 1966 Exposición Nacional de Bellas Artes, Madrid 1968 Exposición Nacional de Bellas Artes, Madrid 1968 Exposición Internacional de Dibujo, Juan Miro, Barcelona 1969 Concursos Nacionales, Museo Español de Arte Contemporáneo, Madrid 1972 Bienal Nacional de Pintura, Museo de Bellas Artes, Málaga

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1973 Pintura Actual Malaguena Museo de Bellas Artes, Málaga 1982 Grabado Internacional, Franc Fedele, New York, Ibiza 1974 Cuarto Premio Nacional de Dibujo Pancho Casio,

Grafic, ‘82 Ibiza

Santander

1983 Sintesis Temporada, Torculo, Madrid

1974 Pintura Actual Malagueña, Sevilla

1986 I Bienal Iberamericana de Arte Seriado, Sevilla

1975 Cincuemtario Español de Surrealismo Galería Atenas, 1986 Mini Print Internacional, Cadaques, Barcelona Zaragoza

1986 Veinte Aniversario Galería Seiquer, Madrid

1975 Veinte Pintores Contemporánes, Museo de Antequera, 1987 Premio Internacional de Grabado Beilla, Italia Antequera

1987 Incisori Spagnoli, Comune di Canelo, Italia

1976 Fiera Internacional de Basilea

1987 Mini Print Internacional, Cadaques, Barcelona

1977 Fiera Internacional de Basilea

1987 Principado de Andorra, Northearsten University,

1977 Pintura Actual Malaguena, Galería Carteia, Algeciras

Boston

1978 Primera Muestra del Colectivo Palmo, Málaga

1987 Montserrat College de Beverly, New York

1978 Dibujos de Pintores Españoles, Galería Atalaya, Gijon

1988 Estampa Contemporánea en España, Conde Duque,

1979 II Exposición de Pintores Andaluces, Universidad de

Madrid

Sevilla

1988 Galería Fort Cadaques, Barcelona

1979 Colectivo de Grupo Palma Málaga

1988 Le Chateau Royal de Collioure, France

1980 Exposición Internacional de Dibujo Juna Miro,

1988 Hanaru Galery, Corea

Barcelona

1988 Premio maximo Ramos, Ferrol

1980 Colectiva del Grupo Palmo, Málaga

1989 Galeria des Editions Universelles, Toulouse, France

1980 Grabado Contemporáneo en Málaga, Galería Torculo,

1989 Museo de la Estampa, Mexico D. F.

Madrid

1989 Metro Convention Center, Toronto

1981 Galería Harras Málaga Contemporio de Picasso, Museo de Málaga 1982 Grabado Contemporáneo Andaluz, Alcazaba, Málaga 1982 Pintura Contemporánea Malagueña, Museo Municipal, Marbella

Iz kataloga skupne izložbe / From the Catalog of the collective exhibition, Sevilla, 1979.

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Zbirke i muzeji / Collection and Museums / Colecciones y museos Museo Español de Gribado Contemporáneo, Marbella

KATALOG IZLOŽENIH DJELA / CATALOG OF PAINTINGS / CATÁLOGO EXHIBIO OBRAS

Museo de la Real Academia de Bellas Artes de San Fernando,

1. Mediteran / Mediterranean / Mediterráneo

Madrid

1995.

Museo Vaticano, Roma

akrilne boje na platnu / acrylic on canvas / pintura acrílica

Museo de Arte Moderno, Barcelona

sobre lienzo

Museum of Fine Arts, Boston (EE.UU.)

195 x 200 cm

Bibliothèque Nationale, Paris Biblioteca Nacional, Madrid

2. Mrtva priroda / Still life / Bodegón

Museo Municipal El Ferrol

1967.

Diputación Provincial, Málaga

ulje na platnu / oil on canvas / óleo sobre lienzo

Museo de Bellas Artes, Málaga

100 x 81cm

Concejalía de Cultura, Toledo Calcografía Nacional de Madrid

3. Memorija / Memory / Memoria

Fundacion Guayasamín, Quito

1995.

Fundacion Fort, Cadaques

akrilne boje na platnu / acrylic on canvas / pintura acrílica sobre lienzo

Umjetnička djela Petra Pedra Marune posjeduju privatni

130 x 110 cm

kolekcionari širom svijeta. / Petar Pedro Maruna’s artworks are owned by private collectors around the world. / Las

4. Memorija / Memory / Memoria

obras de arte Peter Pedro Maruna poseen colecciones

1993.

privadas de todo el mundo.

akrilne boje na platnu / acrylic on canvas / pintura acrílica sobre lienzo 195 x 200 cm 5. Mjesečevi blizanci I. / Lunar Twins I /Parto multiple luna I 2001. akrilne boje na platnu / acrylic on canvas / pintura acrílica sobre lienzo 150 x 150 cm 6. Memorija II. / Memory II / MemoriaII 2012. akrilne boje na platnu / acrylic on canvas / pintura acrílica sobre lienzo 130 x 220 cm 7. Mjesečevi blizanci IV. / Lunar Twins IV / Parto multiple luna IV 2000. akrilne boje na platnu / acrylic on canvas / pintura acrílica sobre lienzo 150 x 150 cm

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8. Zlo / Evil / Mal

16. Mediteran / Mediterranean / Mediterráneo

2009.

1993.

akrilne boje na platnu / acrylic on canvas / pintura acrílica

sobre lienzo

150 x 150 cm

150 x 200 cm

9. Mjesečevi blizanci II. / Lunar Twins II / Parto multiple

17. Memorija XIV. / Memento XIV / Memoria XIV

luna II

1993.

2002.

akrilne boje na platnu / acrylic on canvas / pintura acrílica

sobre lienzo

130 x 220 cm

150 x 150 cm 18. Memorija III. / Memory III / Memoria III 10. Vukovar

2001.

1991.

akrilne boje na platnu / acrylic on canvas / pintura acrílica

sobre lienzo

150 x 200cm

160 x 260 cm 19. Memorija IV. / Memory IV / Memoria IV 11. Vukovar III.

2001.

1991.

akrilne boje na platnu / acrylic on canvas / pintura acrílica

sobre lienzo

150 x 200cm

160 x 260 cm 20. Drug / Freind / Amigo 12. Raspeće / Crucifixion / Crucifixión

1972.

1995.

akrilne boje na platnu / acrylic on canvas / pintura acrílica

sobre lienzo

92 x 73 cm

160 x 260cm 13. Prapočetak / Before the start of all / Gran comienzo 1969. grafika / graphics / gráficos 60 x 40 cm 14. Znak I. / Sign I / Símbolo I s. a. tuš na papiru / ink on paper / tinta sobre papel 60 x 40 cm 15. Znak II. / Sign II / Símbolo II s. a. tuš na papiru / ink on paper / tinta sobre papel 40 x 60 cm

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Petar Pedro Maruna Slikarska obzorja umjetnika s dvije domovine NARODNI MUZEJ ZADAR Izložbeni paviljon Gradska loža, Zadar 13. lipnja - 7. srpnja 2017. Narodni trg, Zadar NAKLADNIK Narodni muzej Zadar ZA NAKLADNIKA Renata Peroš TEKST Marija Valčić LIKOVNI POSTAV Marija Šarić Ban TEHNIČKA REALIZACIJA Ivo Mrkić i Milan Marinković TISAK Grafikart d.o.o., Zadar NAKLADA 200 primjeraka FOTOGRAFIJE Goran Vranić LEKTURA Mateja Fabijanić PRIJEVOD NA ENGLESKI Rudi Vedo PRIJEVOD NA ŠPANJOLSKI Martina Vukašina GRAFIČKO OBLIKOVANJE Bachrach & Krištofić TISAK Grafikart d.o.o., Zadar NAKLADA 200 ISBN 978-953-7477-48-6 CIP zapis dostupan u racunalnom katalogu Znanstvene knjižnice Zadar pod brojem 150629033 Posebnu zahvalnost iskazujemo gospodinu Šimi Dujmović Maruna, na njegovu osobnom zalaganju pri realizaciji ove izložbe.