„NEW WOMAN“ AND „NEW MAN“: CONCEPTUAL AND ARTISTIC DIALOGUE WITH MIROSLAV KRLEŽA

Abstract

The terms „new man“ and „new woman“, in terms of the 1920s in Zagreb, possessed their internal dynamics. They were not stable, and they moved in the range of unisonic anthropological type of the „Dinaric man“, to the adventurous leaders in the northern forest complexes of the Soviet Russia. Vertical clip was consisted of Krleža’s work, especially his marked lack of faith in the moral values of the modern city. Young artists from Zagreb (Tabaković, Ružička), will artistically develop Krleža’s attitudes. Everything was closing into the general question of identity, and the above mentioned artists interpreted Cezanne’s example with particular zeal, introduced by dicursivity of Krleža’s work, and all those consequences that were imprented on their visual grid by the fact differently perceived city. On the other hand, the „new woman“, Mica Todorović, she was both trauma and corrosive mechanism, intellectually provocative intervening in the tissue of urban vision of their own colleagues, and producing a different discursive moment, the ultimately modern and without fear of actuality of urban civilization.