| Sažetak | Selo Hlebine nalazi se u središnjem sjevernom pridravskom dijelu gornje hrvatske Podravine. Pripada zbijenom, zgusnutom, aglomeriranom selu, tipu sela u nizu ili linijskom selu. Današnja arhitektura u selu građena je suvremenim materijalima i opremljena novim sustavima te je vizura sela promijenjena. U drugoj polovici 20. stoljeću došlo je do većih promjena u smislu strukture društva, tehnologije i ekonomije. Od 1980-ih, industrijalizacija je dovela do smanjenja poljoprivrede, koju počinju zamjenjivati djelatnosti u ostalim sektorima te nastupaju procesi deruralizacije i deagrarizacije, koji su prisutni i u današnje vrijeme, a praćeni su senilizacijom stanovništva. Uz Hlebine se povezuje „seljačka slikarska škola” ili „Hlebinska škola”, koja predstavlja slikare-seljake naivnog izraza iz Hlebina i okolnih podravskih sela, čija je temeljna slikarska načela postavio Krsto Hegedušić. Na njegov prijedlog, 1931. godine na izložbi „Zemlja” gostovali su hlebinski seljaci-slikari, Ivan Generalić, Franjo Mraz i Mirko Virius, koji predstavljaju pripadnike tzv. prve generacije „Hlebinske škole” i koji su dali temelj sljedećim generacijama slikara koji djeluju do danas. Popularizacijom naive, u Hlebine desetljećima dolaze kupci i galeristi te svi zainteresirani za ovu vrstu umjetnosti, ali i oni koji su željeli vidjeti odakle naiva potječe. Godine 1968., u Hlebinama je otvorena Galerija naivne umjetnosti koja je imala bitan utjecaj na promjene na selu, kao i na koncipiranje samog sela.
Cilj ovog rada bilo je istražiti, analizirati i protumačiti koje su se promjene desile u selu Hlebine, uključujući prostor i arhitekturu, način života stanovnika sela te simboličku promjenu sela koja je proizašla stvaranjem novih djelatnosti koje su uvjetovane nastankom naivne umjetnosti i popularizacije seljaka-slikara u ovome selu. Preispitalo se koji su to događaji, procesi i ključne osobe tijekom 20. stoljeća doveli do nacionalne i međunarodne prepoznatljivosti ovoga sela kao simbola naivne umjetnosti. Naposljetku, analiziralo se kako su Hlebine predstavljene, odnosno kako je konstruirana slika sela putem novinskih članaka i turističkih materijala u vrijeme kulminacije naivne umjetnosti krajem 1960-ih godina, te u današnje vrijeme. |
| Sažetak (engleski) | The village of Hlebine is located in the central northern Pridravina part of the upper Croatian Podravina. It belongs to a compact, condensed, agglomerated village, a type of village in a row or a linear village. Today's architecture in the village is built with modern materials and equipped with new systems, and the appearance of the village has changed. In the second half of the 20th century, there were major changes in terms of the structure of society, technology and economy. Since the 1980s, industrialization has led to the decline of agriculture, which is beginning to be replaced by activities in other sectors, and the processes of de-ruralization and de-agrarianization, which are present even today, and are accompanied by the aging of the population. Also, the „peasant-painting school” or „The Art of the Hlebine School” is associated with Hlebine, which represents painters-peasants with a naive expression from Hlebine and the surrounding Podravina villages, whose basic painting principles were laid down by Krsto Hegedušić. At his suggestion, in 1931, the Hlebin peasant-painters, Ivan Generalić, Franjo Mraz and Mirko Virius, were guests at the „Zemlja” exhibition. They represent the members of the so called first generation of the „The Art of the Hlebine School” and laid the foundation for the following generations of painters who work to this day. With the popularization of naive, buyers and gallerists have been coming to Hlebine for decades, as well as everyone interested in this type of art and those who wanted to see where naive came from. In 1968, the Gallery of Naive Art Hlebine was opened and had a significant impact on the changes in the village, as well as on the conception of the village itself.
The aim of this paper was to analyze and interpret the changes that took place in the village of Hlebine, including the space and architecture, the way of life of the village residents and the symbolic change of the village that resulted from the creation of new activities that were conditioned by the emergence of naive art and the popularization of peasant-painters in this village. It was examined which events, processes and key persons during the 20th century led to the national and international recognition of this village as a symbol of naive art. Finally, it was analyzed how Hlebine was presented, that is, how the image of the village was constructed through newspaper articles and tourist materials at the time of the culmination of naive art at the end of the 1960s, and at the present time. |
