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Sequence of 1915 Painting

Comes Artist

Croatia

Painting, Oil on Canvas

Size: 27.6 W x 19.7 H x 0.4 D in

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About The Artwork

Following the culmination of cyclical historical event through its revival in the form of the centennial anniversary, we meet with a preserved vision of the events of 1914 made in the 1920s. This kind of conservation in today's time of reviewing the past, causes the need for historical revisionism. Unlike revisionism that requires a new interpretation, this art concept is dealing with deconservation, by questioning the process of official selection of photos, film footage and images selected for the official interpretation of the assassination in 1914. Sources for the paintings are based on photographs and film sequences up to 2 or 3 frames, which gives the paintings a unique composition compared to the original sources. All images were made through visual euphemism, which is deliberately intensified in order to avoid a more subjective and narrative dysphemised approach and my own subjective interpretation of the same events through historical fragments (more source images instead of only one) ''Because each image is only a fragment, its moral and emotional weight depends on where it is placed'' (1). Therefore, the paintings created represent a testimony of the conservation process of the events of 1914 and by questioning it (deconserving it) the paintings provide a unique and collective representation of the same event. The moment when the assassination of 28th June of 1914 occurred is not shown in the paintings, but is emphasized through the events that preceded it and by the consequences that followed it, ranging from 1894.-1939. This allowed the paintings to create a more realistic view of the same event and subsequently the selection of photographic and film sources for the later historical interpretation of it, whose credibility is always called into question,e.g. like the photograph called The Falling Soldier by Robert Capa. Which puts a conclusion that the photographic image is not an evidence of history as itself is historical (2) Sources used for visual composition of the painting are from Croatian State Archives (HDA), Croatian History Museum (MPM), Austrian State Archives (OSA) and the Yugoslav Film Archive of RS (JKRS). (1) Susan Sontag,''Essays on photography'' (2)Peter Burke, ''Eyewitnessing, The Uses of Images as Historical Evidence''

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:27.6 W x 19.7 H x 0.4 D in

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Comes artist (doctorandus hum. sci., mag.art.) ante.b.m@hotmail.com PhD student of Art history and Master of Fine Arts. Born in Zagreb, Croatia. From 2010 he's enrolled in the painting department of the Academy of Fine Arts in Zagreb. In 2014 he finished the Undergraduate studies of Painting in the class of professor Igor Roncevic as an ''A'' student. In 2016 he finished the graduated studies of Painting in the class of professor Duje Juric as an ''A'' student and gained the academic title of a Master of Painting (mag.art.). From 2017 He's enrolled in the PHD study, Art history module in the Faculty of Humanities and Social Sciences of the University of Split. He exhibited in many group and solo exhibitions and various art workshops, among which he highlights the solo exhibition ''Deconservation of 1914'' in Sarajevo 2014., that due to the proximity and the opening day on the centenary of the Sarajevo assassination represents a Site-specific project. He holds lectures on the theme of cultural heritage and legacy in Croatia and the Balkans. He is an associate of the interdisciplinary magazine ''Obnova'' in which he writes and edits the art and culture segment, he is a member of the oldest Croatian cultural organisation ''Matica Hrvatska'' (Matrix Croatica) as well as the Croatian Royal Council. In 2013 his painting ''Novembarska događanja i SHS'' (The November events and the SHS state) was chosen by the ALU (Academy) committee for best student works of the academic year 2012/2013. He uses the artist name Comes which is the traditional Latin version of the nobility title traditionally held by his family ancestors. Beside contemporary and traditional painting techniques, he also specialises in heraldry, vexillology, scenography and stained glass techniques.

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