* SKULPTURE U ATELJEU KAMEN / STONE SCULPTURES IN ATELIER * SKULPTURE U ATELJEU STAKLO / GLASS SCULPTURES IN ATELIER* SLJEDEĆA IZLOŽBA / NEXT EXHIBITION1. VENERE / VENUSES2. ANĐELI / ANGELS3. FIGURE / FIGURES4.ANIMALIZAM / ANIMALISM5. OBJEKTI / OBJECTS6. RAZNO / VARIOUS7.SKULPTURE U PARKU / SCULPTURES IN PUBLIC PARKS8. STAKLENE SKULPTURE / GLASS SCULPTURESPRESS-INFO-FOTO O UMJETNIKU
VESNA BUNČIĆ      
LJEPOTA KAMENA IZ LIKE

Prostori našeg Muzeja Like Gospić obogaćeni su, eto, još jednim kulturno – umjetničkim sadržajem. U Galeriji toga kulturno – povijesnog spomenika postavljena je 52. izložba Ličkog likovnog anala. Naime, ovogodišnji Likanale posvećen je stvaralaštvu umjetnika koji ima čvrstu, „kamenu“ poveznicu s Likom – bračkom Zagrepčaninu koji stvara i u Rasoji, u Lovincu – Petru Hranuelliju. Jer, Petar Hranuelli je prvi hrvatski kipar u povijesti Like koji je dobrano ovladao ličkim kamenom, poznavajući njegovu ćud, pronalazeći ga u prirodi od Mazina do Lovinca, i potpunoma progovorio oblicima čistog kiparskog jezika.
Naglašavamo „da je ovo izložba prvi put u povijesti koju posvećujemo ličkom kamenu koji nije samo za nasip, gradnju kuća, već se i od njega mogu raditi i umjetnička djela“, kako je to izjavio i zapisao sam autor.
Treba odmah reći da stvaralački opus Petra Hranuellija, nastajao u razdoblju od dvadeset i pet godina pokazuje raznolikost kreativnog sadržaja i izražajnih formi.
Opredijelivši se od samog početka za jedan samo njemu svojstven koncept, on ga je postepeno gradio u autentičan stil, vođen prema unutarnjim diktatima oblikovnog jezika. Iako je i po vremenu stvaralačkog sazrijevanja, čak i generacijski, pripadnik danas najaktualnijim kreativnim transformacijama, Hranuelli je tek blago zahvatio takav duh vremena, mnogo se više koncentrirajući na zahtjeve nešto tradicionalnijeg, odnosno, postojanijeg kiparskog prosuđivanja. Drugim riječima, osluškujući potrebe suvremenog, nikada nije zaboravljao tradicionalno. Zato i te njegove Venere, namijenjene današnjici podsjećaju i nadovezuju se na početke te prastare umjetnosti, na prve prapovijesne kamene minijature tzv. orinjaške Venere. Zapravo, te najljepše primjere figurica žene (Venera iz Hohle Felsa, Venera iz Lespuguea, Venera iz Willendorfa) mogli bismo nazvati zajedničkim zametkom, preciznije: pramajkama – začetnicama roda Petrovih Venera.
U nečem nema dileme, po koncepciji kipar Hranuelli pripada suvremenom shvaćanju figurativnosti, on je bio i ostao „figurativac“. Njegove skulpture su prepoznatljive male nage ženske figure koje čine svojevrstan likovni dnevnik. To su stilizirani zapisi nastali ispod kiparove ruke u jednom dahu, oblikujući ih gotovo lakoćom igre.
Skulpture Petra Hranuellija su uvjetno i po pravilu nevelikih – malih dimenzija, prilagođene za držanje u ruci, zaobljenih ivica i zategnutih površina volumena. Usprkos malog formata, njegove skulpture u sebi nose naboj unutarnje mase pa tako nose obilježja monumentalne forme. Znači, Petar kao autor koji svojom izrazitom voluminoznošću (i najmanje figure djeluju masivno i monumentalno) daje uzdržljivu narativnu crtu, svi likovi nešto rade (Venera pleše, kliže se, vozi motor, žuri, trči maraton,...) ili im se nešto događa (Venera je umorna, ponekad joj je vjetar u kosi ili je, pak, dobila krila pa je postala anđeo).
Osnovna obilježja ovih skulptura sadržana su u odnosu intervencije umjetnika i prihvaćanju zadatosti materijala. To ukazuje na shvaćanje da materijal određuje gradivnost forme. Odnosno, svaka forma (djelo) se razotkriva kroz materiju, a potom materija, oduvijek kamen, utječe na oblik, na konačno djelo. Točnije: ponajprije se vrši izbor skulptorske tvari (kamen), slijedi proučavanje strukture iste tvari (glatki i šupljikavi kamen) te obrada (fina i rustična). Tvar se prosipa u jednostavne i nedorečene oblike. Dlijeto nastavlja, dubokim nagonom, tvar se kleše, brusi, polira i doživljava zatočenje u novom obliku. To su rješenja skulptorskih problema kojima Hranuelli ostvaruje svoj kiparski čin.
Međutim, unatoč tomu što na Petrovim skulpturama neprikosnoveno dominira jedna težnja – doseći i izraziti ljepotu, osobito ličkog kamena, poneki prosijavaju crvenkaste tonove, težeći izrazu svoje vlastitosti, ne zanemaruje djelovanje svjetlosti koja skulpturu čini životnom i uvjerljivom.
Pored skulpture baveći se i crtežom, sigurnim i snažnim, on u većini crteža ističe potrebu za redukcijom crtačkog prostora, tj. nestaje iluzija prostora. Likovi - oblici su plošni, plastičnost oblika se reducira na geometrizirane obrise jakih okvirnih linija; u pojedinim crtežima sjenčanje daje oblicima plastičnost. Riječ je naime o crtačkim studijama koje su uspješni predlošci majstorove male plastike.
Ovom prilikom tek je djelomično prikazan stvaralački opus kao dio slobodnih skulptorskih razmišljanja Petra Hranuellija bilo u skulpturi, bilo u crtežu. Pa neka ova izložba bude poticaj za daljnje akcije.

Vesna Bunčić
ravnateljica MLG


The Beauty of Stone from Lika

The space of our Museum of Lika in Gospic have been enriched with another cultural and artistic content. The 52 nd exhibition of the Lika Art Annals has been set up in the Gallery of this cultural and historical monument. Namely, this year´s Likannale is dedicated to the work of an artist who has a strong, “stone” connection with Lika – a native of Zagreb who also created in Rasoja, in Lovinac – Petar Hranuelli. Because Petar Hranuelli was the first Croatian sculptor in the history of Lika who mastered the Lika stone well, knowing its temper, finding it in nature from Mazin to Lovinac, and fully speaking the forms of pure sculptural language.
We emphasize that “this is the first exhibition in history that we dedicate to Lika stone, which is not only for the embankment, the construction of houses, but also works of art can be made out of it”, as stated by the author himself.
It should be immediately said that the creative work of Petar Hranuelli, created over a period of twenty-five years, shows the diversity of creative content and expressive forms. Having opted from the very beginning for a concept unique to him, he gradually built it into an authentic style, guided by the internal dictates of the form language. Although he is a member of the most current creative
transformations in terms of creative maturation, even for generations, Hranuelli has only slightly grasped such a spirit of the time, concentrating much more on the demands of somewhat more traditional, that is, more consistent Cypriot judgement. In other words, listening to the needs of the contemporary, he never forgot the traditional. This is why his Venus, intended for today, reminds
and builds on the beginnings of this ancient art, the first prehistoric stone miniatures, the so-called giant Venus. In fact, these most beautiful examples of female figurines (Venus from Hohle Fels, Venus from Lespugue, Venus from Willndorf) could be called a common embryo, more precisely: great-grandmothers – the originators of the genus Petar´s Venus.
There is no dilemma in anything, according to the concept, the sculptor Hranuelli belongs to the modern understanding of figurativeness, he was and remains “figurative”. His sculptures are recognizable small naked female figures that make a kind of art diary. These are stylized records created under the sculptor´s hand in one breath, shaping them almost with the ease of play.
The sculptures of Petar Hranuelli are conditionally and, as a rule, small – small in size, adapted to be held in the hand, with rounded edges and tight surfaces of volume. Despite its small format, his sculptures carry a charge of inner mass, thus bearing the characteristics of a monumental form. So, Peter as an author who with his distinct volume (and the smallest figures seem massive and monumental) gives a restrained narrative line, all the characters are doing something (Venus is
dancing, skating, riding a motorcycle, rushing, running a marathon,…) or something happens (Venus is tired, sometimes the wind is in her hair or she got wings and became an angel).
The basic features of these sculptures are contained in the relationship between the intervention of the artist and the acceptance of the givenness of the material. This suggests the understanding that material determines the constructiveness of form. That is, every form (work) is revealed though matter, and then matter, always a stone, affects the form, the final work. More precisely: first of all,
the selection of the sculptural substance (stone) is made, followed by the study of the structure of the same substance (smooth and porous stone) and processing (fine and rustic). The substance spills into simple and vague forms. The chisel continues, with a deep instinct, the substance is chiseled, ground, polished and experienced confinement in a new form. These are the solutions to the
sculptural problems by which Hranuelli realizes his sculptural act.
However, despite the fact that Peter`s sculptures are unquestionably dominated by one aspiration – to reach and express beauty, especially Lika stone, some sift reddish tones, striving to express their property, does not neglect the action of light that makes the sculpture alive and convincing. In addition to sculpture, dealing with drawing, safe and strong, he emphasizes in most drawings the
need to reduce the drawing space, i.e. the illusion of space disappears. haracters – the shapes are flat, the plasticity of the shapes is reduced to geometrized outlines of strong frame lines; in some drawings shading gives the forms plasticity. Namely, these are drawing studies that are successful
templates of the master`s small plastic. On this occasion, only a part of the creative opus is shown as part of the free sculptural thoughts of Petar Hranuelli, either in sculpture or in drawing. So left this exhibition be an incentive for further
action.

Vesna Buncic
Principal MLG


Design R
Copyright 2007 Petar Hranuelli - Design R
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