BRANKO VE POLJANSKI I NADREALISTIČKA KONCEPCIJA SLIKE
DOI:
https://doi.org/10.18485/f_zsmu.2026.22.1Ključne reči:
Branko Ve Poljanski, Primitivism, Zenitism, Surrealism, Syncretism, Fine arts, ParisApstrakt
U kontekstu jugoslovenske avangarde Branko Ve Poljanski (1898–1947) poznat je kao publicista i pesnik, ideolog i aktivista zenitistizma (1921–1926). Tokom postzentitističkog perioda (1927–1947) gradio je karijeru slikara u Parizu, gde je stekao neposredne uvide u idejnu platformu i formalna rešenja nadrealizma. Uprkos animozitetima između lidera ova dva pokreta, znatan deo vizuelne produkcije Poljanskog proistekao je iz kreativne asimilacije nadrealističke koncepcije slike, koja se očitava na tematskoj i formalno-jezičkoj ravni, kao i u metaforici prizora. To potvrđuju njegovi radovi (auto)refleksivnih sadržaja u kojima se kao glavni toposi detektuju snoviđenje, ljubav i ludilo, a metodologija artikulacije vizuelnog iskaza počiva na primitivističkoj leksici, principu slobodnih asocijacija i postupku simuliranog automatizma. U nizu autoportreta, prikaza ženskih i muških likova, figura ili situacija Poljanski gradi sliku „drugosti“ belih Evropljana načelno i Sopstva posebno, problematizujući pitanja umetničke slobode, rodnih odnosa i društvenog morala. Iako nije u pitanju manifestni nadrealizam, reč je o idejno vrlo srodnom ali autohtonom poimanju i predočavanju vlastite persone i stvarnosti.
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