SURREALISM IN THE OPUS OF JOSIP SEISSEL

U istraživačkoj su fazi rada prikupljeni i sistematizirani podaci o nadrealističkome opusu Josipa Seissela, dok je u tekstu naglasak stavljen na tematiku i simbole njegovih djela u nadrealističkoj fazi te verbo-vizualnu slikarsku metodu. Rad ukratko predstavlja nastanak, faze i utjecaje nadrealizma kao avangardnoga pravca u umjetnosti 20. stoljeća te njegove predstavnike i manifestacije u Hrvatskoj. Naglasak se stavlja na poveznicu nadrealističkoga slikarstva s psihoanalitičkom teorijom Sigmunda Freuda, u čijem je središtu podsvjesno i zatomljeno. Nadalje, rad obuhvaća filozofsku pozadinu i glavne utjecaje avangardrnoga pokreta zenitizma, pod utjecajem ruskoga konstruktivizma, te njegove najznačajnije predstavnike u Hrvatskoj i Srbiji. U tom dijelu teksta, fokus je na Seisselovim najznačajnijim zenitističkim ostvarenjima. U posljednjemu poglavlju teksta, usporedbom nadrealističkoga slikarstva belgijskoga umjetnika Renéa Magrittea s motivski srodnim dijelom Josipa Seissela, ukazuje se na glavne značajke Seisselovoga doprinosa povijesti nadrealističkoga slikarstva.In research phase of my work I collected and systematised data from Joseph Seissel’s Surrealist opus, while in the text the highlight was put on the topic and symbols of his works in the Surrealist phase as well as on verbal-visual painting method. In short, this work represents the genesis, phases and influence of the Surrealism as avant-garde movement in the art of the 20th century as well as its representatives and manifestations in Croatia. The emphasis is put on finding connection between Surrealist painting with Sigmund Freud’s psychoanalytical theory with its central concepts of subconscious and suppressed. Furthermore, this work deals with philosophical background and main influences of avant-garde movement Zenithism as integral part of Russian Constructivism as well as its most important representatives in Croatia and Serbia. In that part of the text the focus is on the Seissel’s most important zenitihst creations. The last chapter deals with comparative analysis of Surrealist painting opus of Belgian artist Rene Magritte with his Croatian counterpart, when motifs are in question, Josip Seissel and emphasises Seissel’s major contribution to the history of Surrealistic painting