1 Damir Mataušić

Izložba / Exhibition

DAMIR MATAUŠIĆ

Kritička retrospektiva, 1974. – 2020.

A critical retrospective, 1974 – 2020

Autorica izložbe i kataloga /

Author of the exhibition and catalogue TATIJANA GARELJIĆ

Autori postava / Authors of set up DAMIR MATAUŠIĆ

TATIJANA GARELJIĆ

Odnosi s javnošću / Public relations LANA ŠETKA

Edukativni program / Educational program IRIS POLJAN

Zaštita i restauracija umjetnina / Artwork restoration

PETRA KURSAR

Suradnici / Associates TOMISLAV BILIĆ MIROSLAV NAĐ

Tehnička realizacija postava / Tehnical support KARLO GROSS

LUKA PETRINJAK DAMIR MEDVED JOSIP BUTORAC JURA JAZBEC

Na naslovnici / On the cover:

Nebeska vrata / Heavenly Gate, 1998.

DAMIR MATAUŠIĆ

KRITIČKA RETROSPEKTIVA, 1974. – 2020.

A CRITICAL RETROSPECTIVE, 1974 – 2020

3 Damir Mataušić

15. 9. – 25. 10. 2020.

Duga i plodonosna suradnja Damira Mataušića i Moderne galerije doživljava svoj vrhunac s retrospektivnim pregledom njegovog stvaralačkog opusa. Ma koliko da smo umjetnike najviše spremni procjenjivati po njihovom doprinosu razini i napredovanju njihove matične discipline, važno je kad postoji, istaknuti i njihovo šire društveno djelovanje kojim nesebično, po cijenu remećenja koncentracije potrebne za realizaciju svoje umjetničke vokacije, doprinose razvoju šireg kulturnog okruženja. Za djelokrug Moderne galerije stoga je iznimno važna Mataušićeva pedagoška djelatnost, budući da su pod njegovom paskom na zagrebačkoj Likovnoj akademiji stasale generacije umjetnika koji predstavljaju, a u budućnosti će to činiti i više, upravo onaj nezamjenjiv čimbenik života i razvoja likovnog stvaralaštva kojemu smo krovna muzejska institucija. Zahvalni smo da je od 2007. do 2015. godine bio član Upravnog vijeća Moderne galerije, aktivno pridonoseći dobrobiti i funkciji muzejske institucije. Moderna galerija posjeduje važnu zbirku medalja i to je bila osnova njegove inicijative, u suradnji s dr. Ivanom Mirnikom, da se 2012. godine naša muzejska savjetnica Tatijana Gareljić imenuje delegatom FIDEM-a / Fédération Internationale de la Médaille, najprestižnije udruge medaljarstva na svijetu. Od tada Moderna galerija ovu važnu platformu koristi kako bi poslovičnu kvalitetu hrvatskog medaljarstva ustrajno promovirala na najvišoj referentnoj međunarodnoj razini. Njihova višegodišnja suradnja na ovom poslu, kroz klasični će odnos kustosice i umjetnika doživjeti svoju prirodnu kulminaciju na realizaciji Mataušićeve izložbe.

Vraćajući se s ovim na pitanje same izložbe, važno je istaknuti njenu širu kulturološku vrijednost dovođenja medaljarstva u fokus interesa kulturne javnosti. Zahvaljujući, pak, Mataušićevom radu u nizu specifičnih disciplina koje se sve u konačnici podvode pod kiparstvo, izložba je ujedno i odlična prilika za proučavanje njihovog međusobnog odnosa. Medaljarstvo je izrazito osjetljiv medij likovnog izraza koji uz poslovično minuciozno preciznu mekoću oblikovanja i izvedbe, te rafinman u korištenju i kombinaciji plemenitih kovina, svoju izražajnost najviše zasniva na suptilnom osjećaju za kreiranje svjetlosnih efekata koji u doživljaju i percepciji prave svu ključnu razliku između zanatskog i umjetničkog rada. Bez obzira što Mataušićev rad u muzejskom kontekstu razmatramo u likovnim kategorijama, ne smije se ispustiti iz vida ni da su medalje, plakete, počasni i svečani lanci, kao sredstva važnih društvenih rituala, a kovanice kao svakodnevni predmeti, nositelji kodificiranih semantičkih i simboličkih značenja koja sežu u osvit civiliziranog svijeta, pa su dragocjeni materijal istraživanja i razumijevanja kako razvoja opće ljudske kulture, tako i specifičnih društvenih zajednica kroz povijest. Mataušićev referentni opus upravo se odlikuje balansiranjem univerzalno utvrđenih povijesno zadanih normi s elementima koji ukazuju na specifično naše tradicijsko nasljeđe i baštinu, a istovremeno izvedbom u leksiku suvremenog likovnog izraza uspješno funkcionira u današnjim protokolarnim uvjetima i potrebama, odnosno, dostojno predstavlja izborenu društveno-političku samobitnost u svakodnevnici. Složena estetsko-kulturološka polazišta koja je cizelirao radom u izvorišnoj disciplini, pri čemu se riječ disciplina ovdje odnosi koliko na

medij, toliko i na njegovu zahtjevnost, Mataušić je s lakoćom prenio u sakralnu i svjetovnu plastiku velikih dimenzija i prostorne kompozicije ostvarujući opus neusporedive formalne finoće i nadahnjujućeg duhovnog ozračja. To se posebno odnosi na inovativnu upotrebu svijetla u sugestiji simboličkih slojeva kroz emotivni doživljaj skulptura bez paralele u suvremenom likovnom stvaralaštvu.

Mataušićev rad pokriva tri silnice društvene moći: financijsku, političku i duhovnu. Malo je umjetnika koji polazeći iz životnog iskustva obilježenog pragmatičnim djelovanjem tih silnica uspijevaju istaknuti poetsku razinu njihovog postojanja. Trebamo li im na tome biti zahvalni ili ne? Ako su nam već novac, rituali i vjera potrebni za suočavanje s neizvjesnostima egzistencije i izvjesnosti smrti, postojanje ljudi koji ih uspijevaju transformirati u estetski užitak, velika su i nezamjenjiva životna utjeha.

Branko Franceschi

The long and fruitful collaboration between Damir Mataušić and the National Museum of Modern Art culminates with this retrospective review of his creative work. No matter how much we are willing

to evaluate artists based on their contribution to the level and progress of their main discipline, it is important, when it exists, to also point out their wider social activity and their selfless contribution, at the cost of disrupting the concentration needed to realize their artistic vocation, to the development of the broader cultural milieu. Mataušić’s educational work is therefore extremely important for the sphere of activity of the National Museum of Modern Art, since generations of artists have come of age under his tutelage at the Academy of Visual Arts in Zagreb. They represent, and will do so even more in the future, precisely that irreplaceable factor of life and development of artistic creation that falls under the umbrella of our museum institution. We are grateful that from 2007 to 2015, he was a member of the National Museum of Modern Art’s management board, making active contributions to the welfare and functioning of the museum. The National Museum of Modern Art owns an important collection of medals, and it was his initiative, together with Ivan Mirnik, PhD, that our museum advisor Tatijana Gareljić was appointed a delegate to FIDEM / Fédération Internationale de la Médaille in 2012, the most prestigious medal-making association in the world. Ever since, the National Museum of Modern Art has used this important platform to persistently promote the proverbial quality of Croatian medal-making at the highest international referential level. Through the classical relationship between curator and artist, their long-standing collaboration will experience its natural culmination in the organization of Mataušić’s exhibition.

Going back to the question of the exhibition itself, it is important to emphasize its broader cultural value in bringing medal-making into focus of interest of the cultural public. On the other hand, thanks to Mataušić’s work in a number of specific disciplines, all of which are ultimately subsumed under sculpture, the exhibition is also a great opportunity to study their mutual relationship. Medal-making is an extremely sensitive medium of visual expression that, with its proverbially meticulous and precise softness of design and execution, as well as a refinement in the use and combinations of precious metals, bases most of its expressiveness on a subtle sense of creating light effects, the experience and perception of which make the key difference between craft and a work of art. Regardless of the fact that we observe Mataušić’s work in the museum context in art categories, it must not be overlooked that medals, plaques, honorary and ceremonial chains, as implements of important social rituals, and coins as everyday objects, are carriers of codified semantic and symbolic meanings that go back to the dawn of civilization, and are therefore valuable materials for research and understanding of both the development of human culture in general, as well as specific social communities throughout history. Mataušić’s referential oeuvre is characterized precisely by balancing the universally established and historically set norms with elements that point to our specific traditional heritage, and at the same time, being executed in the lexicon of the contemporary visual expression, it successfully functions

in conditions and demands of today’s protocol i.e. it deservingly represents the won socio-political self-importance in everyday life. The complex aesthetic and cultural starting points that he chiselled by working in his source discipline, and the word discipline here refers both to the medium and to its high demands, Mataušić transferred with ease to the religious and secular sculpture, large in scale and spatial compositions, thus creating an opus of incomparable formal finesse and an inspiring spiritual

atmosphere. This is especially true of the innovative use of light suggesting symbolic layers through an emotional experience of sculpture that is unparalleled in the contemporary visual arts.

Mataušić’s work covers three main lines of social power: financial, political and spiritual. There are very few artists who, starting from their life experience marked by the pragmatic effects of those main lines, manage to emphasize the poetic level of their existence. Should we be grateful to them for that or

not? If we already need money, rituals and religion to come to terms with the uncertainties of being and the certainty of death, the existence of people who manage to transform them into aesthetic pleasure, is the greatest and irreplaceable consolation in life.

Branko Franceschi

DAMIR MATAUŠIĆ umjetnik je s više od četiri desetljeća kiparskog stvaralaštva specifičnog izričaja i definiranih artističkih poetika uspješno primijenjenih u više kiparskih disciplina: od medalja, kovanica, svečanih lanaca i počasnica do male plastike, reljefa i javnih spomenika; od intimističkih, oficijelnih, do javnih i sakralnih kiparskih ostvarenja duboke percepcije s izuzetnom posvećenošću u realizaciji djela. Odlika Mataušićeva rada uporaba je više vrsta materijala u kojima dominiraju

polirane kovine izvedene tehničkom preciznošću u inventivnim kompozicijama. Vrijednost njegova djela sintetizira povijesno i kulturno nasljeđe ne oduzimajući dignitet artističkom stvaralaštvu.

Mataušićeva suptilna osobnost podjednako anticipira kompleksne suvremene umjetničke izazove, a rezultat je osebujni kiparski opus s etabliranim statusom u suvremenoj hrvatskoj likovnoj umjetnosti.

Mataušića se ponajprije prepoznaje po mnogobrojnim i uspješnim kiparskim ostvarenjima medaljerskih djela i male plastike, uključujući osam počasnih lanaca i više od četrdeset djela kovanog optjecajnog novca Republike Hrvatske, nastalih od 1974. godine do danas. Polimorfni se opus grana u više stilskih i oblikovnih segmenata, a na izložbi će biti prezentirano oko stotinjak medaljerskih djela ovog majstora kiparske minijature.

No, kao što medalja ima dva lica, takav je i interdisciplinarni opus Damira Mataušića. Na ovoj izložbi prvi će put biti prikazana monumentalna spomenička javna i sakralna umjetnikova kiparska djela. Od Priveza u Omišlju (2004.), Pozdrava Zagrebu – skulpture makete grada Zagreba (2013.) i Bumbine livade (2016.) na jezeru Bundek u Zagrebu, do recentnog spomenika solani u Stonu (2020.). Jedinstvena kiparska rješenja karakterizira i opremanje interijera crkve sv. Augustina Kažotića u Zagrebu (2012., 2013.), župne crkve sv. Mirka (Emerika) u Šestinama (2016.), a kruna kipareva sakralnog spomeničkog ciklusa začuđujuć je prostor u kapelici Katoličkog bogoslovnog fakulteta u Đakovu (2018.).

Rad i intenciju za izradu malih formata u metalu kipar je usvojio od ranog djetinjstva u radionici svoga oca i vrsnoga gravera Vladimira Mataušića (1924. – 2011.).

Mataušićev raznorodni i mnogobrojni kiparski opus po tematici i sadržaju možemo povezati s velikim hrvatskim kiparom i medaljerom Ivom Kerdićem (1891. – 1953.). Zajednički im je dominantni

medaljerski opus, oblikovanje kovanica, svečanih lanaca i oplemenjivanje crkvenih prostora kiparskim djelima. U javnim spomenicima obojica respektiraju povijesni ambijent i prostorni sklad.

Po inventivnosti i imaginaciji Mataušić je nastavljač jedinstvenog kiparskog opusa svog profesora Želimira Janeša (1916. – 1996.).

Dr. sc. Bogdan Mesinger u dvije je monografije detaljno, sveobuhvatno i opsežno pisao o umjetniku, genezi djela i kompleksnosti njegova kiparskog opusa (Medaljer Damir Mataušić, Klovićevi dvori, 1998.; Mataušić, Školska knjiga, 2010.). Prethodila je monografija Damir Mataušić (Grafički zavod Hrvatske, 1993.) autora Feđe Vukića. O kiparevu ciklusu Credo pisao je Milan Bešlić u povodu izložbe u KIC-u 2010. Mons. Nedjeljko Pintarić (Prikupljanje silnica začuđenosti, u monografiji 2010.) i dekan KBF-a u Đakovu dr. sc. Ivica Raguž (Marija Majka Crkve, KBF Đakovo, 2018.) nadahnuto su pisali o kršćanskom aspektu Mataušićeva djela.

Damir Mataušić svojim je bogatim akademskim, stvaralačkim i pedagoškim radom zaslužan za recentnu afirmaciju medaljerstva i male plastike u hrvatskoj likovnoj umjetnosti. Od umjetničkih početaka do danas zastupljen je na polustoljetnim Memorijalima Ive Kerdića – triennalima hrvatskog

medaljerstva i male plastike kao najveće nacionalne umjetničke manifestacije ovih posebnih kiparskih disciplina u organizaciji Muzeja likovnih umjetnosti u Osijeku. U sklopu XI. Memorijala Ive Kerdića 2013. godine održana je njegova samostalna izložba kao Umjetnika kiparske minijature, kako ju je naslovio dr. sc. Daniel Zec, dugogodišnji autor ovih kiparskih priredbi,1 a 2019. godine umjetniku je dodijeljen Grand Prix XIII. Memorijala Ive Kerdića, za rad Identitet.2

Od 1974. godine do danas njegovi medaljerski radovi prezentirani su na najvećim bijenalnim izložbama diljem svijeta koje priređuje prestižna Međunarodna organizacija umjetničke medalje FIDEM. Motivirajućim organizacijskim i stručnim angažmanom profesor Damir Mataušić, uz dr. sc. Ivana Mirnika, uvelike doprinosi svjetskoj afirmaciji hrvatskog medaljerstva i domaćih medaljera u okvirima FIDEM-ovih manifestacija.

U svom nesebičnom pedagoškom djelovanju, zalaganjem za osnivanjem usmjerenja Male plastike i medaljerstva na Kiparskom odjelu Akademije likovnih umjetnosti u Zagrebu 1996. godine, profesor Mataušić zaslužan je za kontinuitet i revitalizaciju ovih dviju kiparskih grana prenošenjem svoga majstorskog znanja i iskustva stotinama studenata u proteklih četvrt stoljeća.

OD MEDALJE DO POČASNOG LANCA

U početku bijaše Medalja. U graverskoj radionici Mataušićeva oca Vlade, kao rani kiparevi medaljerski radovi Zdenac života (1973.), portretna plaketa Kolega i portretna medalja Tin Ujević (1974.). Slijedi više medalja inspiriranih hrvatskim graditeljskim, kiparskim i slikarskim romaničkim, gotičkim i

renesansnim majstorima: Radovanom, J. Dalmatincem, L. Lauranom, F. Lauranom, Vincentom iz Kastva i J. Klovićem, objedinjenim u Dekanski lanac Akademije likovnih umjetnosti u Zagrebu s medaljonom koji simbolizira Akademiju likovnih umjetnosti, ujedno završnim djelom Mataušićeva diplomskog rada 1979. godine i s uporabnom funkcijom do današnjih dana.

Serioznost djela i uspostava simboličkih i reprezentativnih kriterija rezultirali su povjerenjem umjetniku za izradu idejnog rješenja Lanca međunarodne misije znanosti i mira 1980. godine, s deset medalja koje predstavljaju poznate nobelovce, po zamisli hrvatskog humanitarca Vladimira Palačeka (1940. – 1990.). Mataušić je ingeniozno okupio vodeće hrvatske kipare i medaljere na

izvedbi portretnih medalja (Zdravko Brkić, Kruno Bošnjak, Ante Despot, Stanko Jančić, Želimir Janeš, Stipe Sikirica, Kosta Angeli Radovani, Marija Ujević), i na taj je način predstavio i recentno hrvatsko medaljerstvo. Sam je oblikovao medalju s likom Marie Curie, dok je završni medaljon koji simbolizira Međunarodnu misiju izradio njegov otac Vladimir. Bogdan Mesinger Matušićeve je počasne lance definirao posebnim medaljerskim žanrom3 po svojoj osnovnoj strukturi iz koje se formiraju u sustavno koncipiranu cjelinu.

Početkom novog milenija Damir Mataušić nastavlja impozantni niz izrade počasnih lanaca. Dekanski lanac Ekonomskog fakulteta u Zagrebu iz 2001. godine na piktografski način sažima predstavljanje ekonomije simbolima robe i novca u kružnim srebrnim pločicama između kojih su umetnuti bakreni

1. Daniel Zec, Umjetnik kiparske minijature, XI. Memorijal Ive Kerdića, GLU Osijek, 2013., str. 118.

2. Daniel Zec, XIII. Memorijal Ive Kerdića, MLU Osijek, 2019., str. 7.

3. Bogdan Mesinger, Mataušić, Školska knjiga, Zagreb, 2010., str. 36.

   

   slavonski banovci. Dva završna veća medaljona s utisnutim su amblemskim natpisom Ekonomskog fakulteta u Zagrebu i pročeljem zgrade kao uvriježenog simbola Sveučilišta u Zagrebu.

   Uporedo valovito oblikovan lanac s ručno obrađenim srebrnim kružnicama na kojima su graditeljski simboli grada i završnom polukružnom pločom s natpisom i povijesnim grbom predstavlja grad utemeljen na otočiću usred rijeke Une i tvore Gradonačelnički lanac Grada Hrvatske Kostajnice iz 2003. godine.

   Multipliciranjem i razradom simbola na karike lanca sa simbolom kao jedinim likovnim prikazom oblikovan je reprezentativni Počasni lanac predsjednika Hrvatske odvjetničke komore 2010. godine izbalansiranim ritmom kvadratića i kružnica iskovanih u plemenitim kovinama.

   Studioznim pristupom suvremenih premisa umjetnik je seriozno izradio Pektoralni križ za Sv. Oca Benedikta XVI. koji je posjetio Hrvatsku 2011. godine pod geslom „Zajedno u Kristu”. Na lancu od kockasto stiliziranih karika (praznih – srebrnih i crvenih – zlatnih pločica) ispolirani je zlatni križ istaknutih širokih krakova. Površina križa izvedena je s dinamičnim refleksijama što dodaje pokrenutu tjelesnost asocirajući na korpus Krista, okrunjenog srebrnim zvijezdama. Na desnoj strani križa reda se natpis glagoljicom, dok je na srebrnom naličju natpis molitve latinicom na hrvatskom jeziku.

   Na svečanom Lancu velikog meštra družbe Braće hrvatskog zmaja iz 2013. godine nalazi se srebrni pozlaćeni medaljon sa povijesnim simbolima ove ugledne udruge. Na aversu je hrvatski grb u nakitu sa zmajem, a na reversu je prikaz sjedišta društva u Kamenitim vratima, s latinskim natpisima naziva i gesla društva.

   Tin Ujević, 1974.

   Dekanski lanac Katoličkog bogoslovnog fakulteta u Đakovu iz 2015. godine s dominantnim je karikama od stiliziranih formi hrvatskog ornamenta prepleta s dvama dvostranim zlatnim medaljonima. Likovni prikaz i simboli Majke Marije Crkve na aversu te naziv i amblem KBF-a u Đakovu na naličju medaljona objedinjeni su u suvremeno oblikovanu cjelinu.

   

   Dekanski lanac Akademije likovnih umjetnosti u Zagrebu / Dean’s Chain of the Academy of Fine Arts in Zagreb, 1979.

   

   Portretne medalje

   Jedno od prvih Mataušićevih djela, koje nije slučajno medalja, s likom je osebujnog hrvatskog književnika Tina Ujevića. Osamdesetih godina umjetnik intezivira portretnu djelatnost i oblikuje tridesetak medalja istaknutih ličnosti iz hrvatske daljnje i bliže povijesti. Svako minijaturno djelo originalno je sažeto i decentno izvedeno, s individualnim karakteristikama i simboličkim

   značenjskim samosvjesnim prikazima. Mataušić iznalazi nove načine u predstavljanju osobnosti. Sumira fizionomije i meko oblikuje lik u karakterističnoj pozi. Prostor medalje ili plakete u idealnom je suodnosu s portretiranim. To može biti i prazni prostor, ali najčešće je niz simbola i natpisa koje stvaraju cjelovitu sliku razdoblja i razloga zašto je neki lik predstavljen medaljom. Agilno prilagođava stil i znalački bira način oblikovanja sadržaja natpisa i forme slova kao jednakovrijednih sastavnica počasne medalje.

   Kôd koji je uspostavio kod prvih počasnih medalja umjetnik neprestano nadograđuje, obogaćuje, prilagođava i varira, te postaje prepoznatljiv kod svih njegovih medaljerskih djela. Analizom umjetnički oblikovanog Matušićeva minijaturnog kruga otkrivamo najraznovrsnije nacionalne, povijesne, društvene, vjerske, umjetničke, znanstvene i kulturne identitete.

   Medalje muzejsko-galerijskog prostora

   Unikatna dugogodišnja suradnja zbila se tijekom osamdesetih godina prošlog stoljeća između medaljera Damira Mataušića i Muzejsko-galerijskog prostora u Zagrebu,4 kada je intenzivna djelatnost u priređivanju kompleksnih izložbi galerijskog prostora trajno obilježena Mataušićevim medaljama.

   Od 1983. godine u zadanoj standarnoj formi talira5 nastaju medaljerska djela posvećena zahtjevnim tematskim cjelinama u profinjenoj asocijativnoj interakciji sa motivski, simbolično i amblemski heterogeno izvedenim zadanim temama.

   Muzejski prostor – izložba

   „Riznica zagrebačke katedrale” / Museum Space – Exhibition “Zagreb Cathedral Treasury”, 1983.

   

4. Danas Galerija Klovićevi dvori.

5. Bogdan Mesinger, Damir Mataušić, MGC, Zagreb, 1998., str. 58-63.

   

   Sportske medalje

   U povodu međunarodne studentske multidisciplinarne sportske manifestacije Univerzijade održane u Zagrebu 1987. godine, umjetnik je izradio 14 medaljerskih djela s pojedinačno predstavljenim sportskim disciplinama izvedenim u plemenitim kovinama i više inačica. Ovim ekstenzira i nadograđuje svoj medaljerski opus od javnog značaja.

   Dubrovačke medalje

   Velikom sposobnosti uživljavanja u pojedine teme Damir Mataušić za grad – kolijevku hrvatskog medaljerstva6 svestrano oblikuje niz memorijalnih i jubilarnih djela, od pozlaćene medaljice sv. Vlaha do više počasnica osobama i događajima izvedenim od 2002. godine za Društvo prijatelja dubrovačke starine. Na njima suvremeno interpretira kulturološka polazišta i sintetizira bogatstvo Dubrovačke Republike.7

   Sakralne medalje

   Istim predanjem Mataušić oblikuje medalje sakralne tematike, bilo da su na njima prikazi vjerskih građevina, obrednih predmeta, vjerskih simbola, duhovnika ili svetaca, a dominiraju kršćanska ikonografija i hrvatska kršćanska baština kao pokretači bogatog, minuciozno istkanog stvaralačkog opusa izvedenog u plemenitim kovinama.

   

6. Pavao Dubrovčanin (Dubrovnik, oko 1420. – nakon 1478.) i Franjo Vranjanin (oko 1420. – 1502.) prvi su hrvatski medaljeri. Prva medalja iskovana na hrvatskom tlu izrađena je u dubrovačkoj kovnici i posvećena je obnovi crkve sv. Vlaha 1707. godine.

7. Božo Lasić, Dinko Lokas, Dubrovačke medalje i plakete, Knežev dvor, Dubrovnik, 2016., str. 100, 103, 112, 116, 124, 126-135. Dubrovnik, 1983.

   

   Damir Mataušić marljivo sofisticirano i dinamično intuitivno uranja i otkriva mnogo vrijednosti fragmentiranih identiteta. Umjetnik kontinuirano od 1988. godine zanosno i domišljato oblikuje brojne javne nagrade i počasnice za raznorodne institucije i udruge. Kreativnost njegova stvaralaštva u sinergiji je s implementacijom virtuozne kombinacije više plemenitih kovina na jednom medaljerskom djelu kojemu paradoksalno dodaje polikromatsku vrijednost.8

   NOVAC

   Mataušićeva medaljerska ingerencija neraskidiva je s njegovom izvedbom kovanica. Tako su medalje iskovane za Muzejsko-galerijski prostor svojom formom inspirirane talirima – cijenjenim i popularnim srebrnim novovjekovnim novcem visoke umjetničke vrijednosti. U presudnim vremenima za hrvatsku samostalnost i hrvatsku najnoviju povijest, kao samoincijativnu medijsku inspiraciju 1990. godine izrađuje repliku srednjovjekovnog slavonskog banovca kako bi simboličnom gestom privukao pozornost na hrvatsku tradiciju kovanja novca.

   Od 1994. godine umjetnik je sofisticirano izveo četrdeset i dvije kovanice optjecajnog i jubilarnog kovanog novca nominale od 5 do 1 000 kuna.

   Jubilarni srebreni novac nominale 150 kuna, odnosno 15 eura iz 2006. godine raritetni je projekt uspješne suradnje dviju država (Irske i Hrvatske) i rada dvaju umjetnika (Ivana Meštrovića i Damira Mataušića).9

   Zvono Lotroščak /

   Lotrščak Bell, 1986.

8. Bogdan Mesinger, Damir Mataušić, MGC, Zagreb, 1998., str. 63, 65.

9. Bogdan Mesinger, Mataušić, Školska knjiga, Zagreb, 2010., str. 141.

   

   

   

   

   Ćiril i Metodije / Cyril and Methodius, 1986.

   500. obljetnica Senjskog glagoljskog misala / 500th Anniversary of the Senj Glagolitic Missal, 1994.

   Nominala 25 kuna – U povodu 2000 godine (počast čovjeku) / Denomination 25 Kuna – Marking the Year 2000 (Human Foetus), 2000.

   „Među kovanim novcem vrijedi istaknuti seriju kovanog novca od 25 kn, koja se razlikuje od ostaloga kovanog novca bimetalnim sastavom i oblikom pravilnog dvanaesterokuta. Sav kovani novac od 25 kn

   – počevši od prvog izdanja, izdanog 1997. povodom obilježavanja završetka procesa mirne reintegracije područja Republike Hrvatske pod privremenom upravom UNTAES-a (…)”, pa do najnovijih kovanica iz 2019. godine izdanih povodom 25. godina uvođenja kune kao novčane jedinice RH i 350 godina osnivanja Sveučilišta u Zagrebu te kovanice Rijeka 2020 prijestolnica europske kulture iz 2020. „(…) imaju jednako naličje,10 dok se lice mijenja ovisno o prigodi. Autor svih serija kovanog novca od 25 kn je Damir Mataušić.”11

   MALA PLASTIKA I INTIMISTIČKA MEDALJA

   U formi medalja, reljefa i male skulpture Mataušić oživljava vlastite percepcije bogate idejnosti i spoznatljivih asocijacija stvarajući ih entuzijastički, poput alkemičara radosti. Od prvih intimističkih reljefa apstraktne figuracije Akt i Dvoje iz 1977. godine, kompaktno oblikovane skulpture Patka, ciklusa Stablo mladosti razvedenih formi, Prostor i Taktile – iz 1978. godine, preko stajaćice Zvono Lotrščak iz 1985., Jedara (1995., 1997.) od kristalnog stakla i kombiniranih kovina. Motive stabala s kratkim debelim deblom i bujnom kružnom, razgranatom i razlistalom krošnjom iz 1978. izvedene u kombiniranim tehnikama, autor razrađuje dva desetljeća poslije u novom ciklusu stabala iz 1998.,

   poetično nazvanom Drvo dječjih sanja, gdje svako karakteristično stablo predstavlja pojedino godišnje doba, uz javljanje novog motiva – oblaka, prvi put apliciranog na maloj skulpturi Slap iz 1997. i umnoženog na malim Nebeskim vratima iz 1998. godine. Motiv oblaka umjetnik potpuno oslobađa u obliku monumentalne plastike u prostoru kapelice Katoličkog bogoslovnog fakulteta u Đakovu 2018. godine.

   Slijede dosjetljive slobodne figuralne kompozicije u sinergiji posrebrene i pobakrenjene bronce:

   Padač, Ko eroplan, Plivač, Ronilac, Pegaz (1998.), kojima se stilski pridružuje i Baccanalia (2010.).

   Ciklus Vremena iz 2001. godine domišljato predstavlja 15 atmosferskih pojava izvedenih u formi stajaćica iz koloriranog drva, bakra, epoksija i stakla. Dvije medalje Kruh, sir i masline te Torta iz 2004. godine klasične su po formi, tehnici i materijalu, no po svojoj tematici svakako su malo iznenađenje.12

   U kombiniranim tehnikama i razigranim, perforiranim i apliciranim floralnim kompozicijama nastaje niz kromatskih, reljefastih nagradnih djela za zagrebački sajam cvijeća Floraart od 1992. do 2020. godine u korelaciji sa živahnim formama Mataušićeve male plastike.

   

10. Po propozicijama Hrvatske narodne banke: „Na naličju prigodnoga optjecajnoga kovanog novca od 25 kuna u središnjem dijelu jezgre kovanog novca nalazi se ispisana stilizirana brojčana oznaka nominalne vrijednosti »25«, kroz konture brojčane oznake vidi se kuna zlatica okrenuta nadesno, a njezino je tijelo ukomponirano u brojčanu oznaku. Iznad brojčane oznake i prikaza kune zlatice, na površini prstena kovanog novca, prikaz je grba Republike Hrvatske. Lijevo i desno od grba Republike Hrvatske, uz vanjski rub površine prstena ispisan je polukružno natpis REPUBLIKA HRVATSKA. Ispod brojčane oznake, unutar prstena kovanog novca, uz vanjski rub, ispisan je naziv novčane jedinice

    »KUNA«. Lijevo od naziva novčane jedinice, na površini prstena kovanog novca, polukružno je položena grančica hrasta lužnjaka s plodovima. Desno od naziva novčane jedinice, na prstenu kovanog novca, polukružno je položena grančica lovora u cvatu.” Gipsani modeli su promjera 150 mm.

11. Tomislav Bilić, Kuna – 25 godina novčane jedinice Republike Hrvatske, Arheološki muzej u Zagrebu; Hrvatska narodna banka, Zagreb, 2019., str. 47.

12. Bogdan Mesinger, Mataušić, Školska knjiga, Zagreb, 2010., str. 164-173.

    

    Ciklus religiozne tematike intimnog promišljanja vjerovanja Credo (2008. – 2010.)13 izveden je u sofisticiranim stiliziranim i ezoteričnim oblicima lijevanjem poliranog aluminija, a duhovnost je akcentirana pozlaćenim aplikacijama.

    

13. Milan Bešlić, Damir Mataušić. Kiparevo svjetlo tame (katalog izložbe), KIC, Zagreb, 2010. Akt / Nude, 1977.

    Damiru Mataušiću za medaljerski poliptih Identitet (2019.), izrađen od graviranog pleksi stakla, dodijeljen je Grand Prix XIII. Memorijala Ive Kerdića – triennala hrvatskog medaljerstva i male plastike. Autor je u formi ulančane medalje izradio svoj suvremeni portretni ključ.14

    Koliko je istinske vedrine u malom univerzumu Damira Mataušića. Plastično artikulira uobičajene pojave, stanja i teme zadivljujuće interpretacije na dosjetljiv i neočekivan način. Umjetnikova intimistička djela razigrana su i maštovita, poletna i pokretljiva, kreativna i inovativna.

    SAKRALNO KIPARSTVO

    Duboka uronjenost u temeljne kršćanke vrijednosti i dugogodišnje kiparevo iskustvo u oblikovanju sakralnih tema u medaljerstvu, kao i paradigma vlastitog poimanja vjere, kiparski oživotvorena u ciklusu Credo, uporišta su Mataušićevih djela sakralne tematike.

    U inovativnom djelu Raspet, mučen i uskrsnuo iz 2009. godine umjetnik je duboko transformirao sebe i svoj kiparski opus. Tijelo Krista po sredini širokog križa oblikovano je izrezanom siluetom u poliranoj pačetvorini uspravljenog kraka bijelog križa. Utjelovljenje Krista formira pozadinsko svjetlo. Na uvjetno nazvanom reljefu reducirani simboli čavala i bodljikave krune postavljeni su preko i pored iluzije korpusa. Autoreferencijalno djelo karakterizira samosvojna kiparska struktura. Minimalističkim postupcima i oblicima Mataušić je izveo izvanrednu monumentalnu kiparsku formu koja pobuđuje višeznačnu pozornost iz različitih perspektiva.

    Crkva sv. Augustina Kažotića u Zagrebu (2009. – 2013.)

    Crkvu sv. Augustina Kažotića kipar je opremio s jedinstvenim oltarnim raspelom, 14 reljefa križnog puta, procesionalnim križem, oltarom i svijećnjacima. Djela su izrađena od lijevane, polirane i luminirane bronce i djelomice su posrebrena. Karakterizira ih pročišćena forma, dostojanstvena simbolika i suptilno prelijevanje svjetla i sjena. U suglasju su s premisama arhitekta zdanja, akademika Borisa Magaša (1930. – 2013.)15 koji je svjetlu namijenio dominantnu ulogu u interijeru. Suvremeno

    su oblikovani uz poštivanje striktnih liturgijskih pravila, što monumentalnom Mataušićevu djelu u zadanom okruženju priskrbljuje dodatnu afirmaciju.

    Moćnik sv. Mirka u istoimenoj župnoj crkvi u Šestinama iz 2016. godine oblikovan je kao pravokutni reljef iz pozlaćenog luminiranog mesinga s pravokutnim, dijagonalno postavljenim ornamentima u čijem središtu je iluminirajuća kružnica, iznad s jednostavnim križem i na rubovima sa simetrično postavljenim floralnim stilizacijama. Diskretno je interpoliran u kapelicu uz respektiranje neoklasicističkog interijera i okolnih fresco ornamenata.16

    Svetohranište kapele bogoslovije Presvetog Srca Isusova izvedeno je iste godine kad je nakon puristički obnovljenog neogotičkog interijera (2007.) na bočni zid studentske kapelice aplicirana radijalna rozeta s pozadinskim osvjetljenjem i zrcalnim kružnim središtem sa simbolima alfom i omegom.

    

14. Daniel Zec, XIII. Memorijal Ive Kerdića, MLU Osijek, 2019., str. 7.

15. Kompleks dominikanskog samostana i crkve bl. Augustina Kažotića (1995. – 2004.) u slobodnijim oblicima izrasta u visinu, a svjetlo prima samo s otvora na vrhu tornja, osvjetljavajući cijelu unutrašnjost cvjetolikog polulebdećeg interijera crkve.

16. Na mjestu kapelice sagrađena je 1909. godine nova župna crkva sv. Mirka (Emerika) po projektu arhitekta Stjepana Podhorskog (1875. – 1945.) i s freskama slikarice Trude pl. Braun (1909. – 1948.).

    

    Kapelica KBF-a u Đakovu (2018.)17

    Veliki Mataušićev kiparski projekt opremanje je cjelokupnog interijera18 Kapelice Katoličkog bogoslovnog fakulteta Marije Majke Crkve u Đakovu 2018. godine. Kiparska djela slobodnih umjetničkih koncepcija, plemenitih po načinu izvedbe i kontekstu primjene, izrađena su u umjetnikovoj dominantnoj bimetalnosti luminiranih, poliranih i patiniranih kovina. Dijelovi oltara i ambona izrađeni su od uglačanog travertina i izbijeljenog jasena, a jasen se nalazi i na sedesu, klupama i okvirima prozora. U bijelom, minimalističkom prostoru kapelice izbalansiranih elegantnih oblika decentne su forme oltara, procesijskog križa, ambona, sedesa, četiriju evanđelista, svetohraništa, vječnog svjetla, gorućeg grma, škropionice, liturgijskih svijećnjaka i oblaka. Originalno kiparsko rješenje su dominantni motivi oblaka primijenjenih u svojstvu Božjeg oblaka na kojima su aplicirani simboli evanđelista.

    Na sedesu je naslon u obliku oblaka, kao što je i škropionica u oblaku. Oblak meko zasjenjuje i cijeli prostor visoko iznad. Između predstavljenih evanđelista nalazi se kružni reljef Gorućeg grma s frontalno postavljenim poprsjima Majke Božje s Djetetom Isusom Kristom, zaogrnutim Marijinim plaštom.

    Motiv stiliziranih razlistanih grana kao simbola Božje prisutnosti primjenjen je na vječnom svjetlu, reljefu oblaka na sedesu i u perforacijama na obrednim svijećnjacima. U kvadratnom svetohraništu simbolično predstavljene namjene je mekano, reljefno figuralno oblikovan raskriljeni pelikan koji ranjava svoje srce da bi nahranio potomstvo.19 Zaobljeni oblici i stilizirane figuralne forme dinamiziraju prostor i asociraju na radost stvaranja i doživljavanja Božje prisutnosti, dok elegantne geometrijske pravokutne forme križa, oltara, ambona, kao i salomonski čvorovi na ambonu i prozorskim vitrajima

    te na Dekanskom lancu upućuju na mudrost, duhovnu i materijalnu povezanost i dostojanstvo. Cjelokupna Mataušićeva koncepcija i kiparska djela u interijeru kapelice KBF-a u Đakovu vrhunac su zrele manifestacije umjetničke artikulacije neprijeporne vještine i sposobnosti prilagodbe osobnog izričaja u zadanom prostoru determirane namjene.

    JAVNI SPOMENICI

    Prvi javni spomenik Damira Mataušića postavljen je u povodu dolaska pape Ivana Pavla II. u Omišlju, 2004. godine. Privez je kompaktno izliveno, brončano spomen-obilježje dvostrukog oblikovnog značenja: glagoljičnog slova „I” i gljivolikog oblika lučke bitve. U istom duhu autor je 2006. godine izradio Ciborij za Omišalj iz plemenitih metala s prigodnim simbolima i natpisom.

    Pozdrav Zagrebu iz 2013. godine je skulptura – maketa grada Zagreba, smještena u samom centru grada s detaljnim urbanim rasterom, oblikovana iz lijevane bronce i postavljena na kamene blokove od travertina.

    Grad Zagreb resi još jedna Mataušićeva skulptura, a to je Bumbina livada, skulptura podignuta 2016. godine povodom 50. obljetnice Sajma cvijeća na jezeru Bundek. Skulptura je realizirana kao rezultat dugogodišnje autorove suradnje s organizatorima manifestacije Floraarta, za koje je kipar izradio više razigranih, cvjetnih, nagradnih plaketa oblikovanih kao mala plastika.

    Oltarno raspelo, crkva sv. Augustina Kažotića, Zagreb

    / Altar Crucifix, Church of St. Augustin Kažotić, Zagreb, 2009.

17. Ovaj jedinstveni crkveni interijer plod je svesrdne suradnje prof. dr. sc. Ivice Raguža, dekana Katoličkog bogoslovnog fakulteta u Đakovu (2014. – 2018.) i akademskog kipara Damira Mataušića.

18. Damir Mataušić, Marija Majka Crkve. Kapelica katoličkog bogoslavnog fakulteta u Đakovu, Đakovo, 2018., str. 13.

19. Ivica Raguž, Kapelica u slici i riječi. Marija Majka Crkve. Kapelica katoličkog bogoslavnog fakulteta u Đakovu, Đakovo, 2018., str. 31-74.

    

    

    25 Damir Mataušić

    

    Damir Mataušić 24

    Recentni javni spomenik Zrno soli (2020.) namijenjen je gradu soli – Stonu. Variranjem pačetvorinastih i kružnih oblika postolja, kubusa s prigodnim natpisom, koloriranih simbola molekule soli i reljefno izvedenog tlocrta grada upisanog u nepravilnu kružnicu prikazan je identitet lokaliteta.

    ***

    Mataušićev kompleksni opus inspirativan je za kazivanje o univerzalnom, baštinskom, religijskom i likovnom višeslojnom značenju, o često prisutnoj simbolici motiva stabla, oblaka, križa,

    kruga, pravokutnika i uporabe svjetla u njegovom medaljerstvu i skulpturi, te o podsvjesnom i asocijativnom, o kodu, genezi i strukturi kiparskog izričaja, o čemu je u više navrata pisao dr. Bogdan Mesinger.

    Ovom izložbom i katalogom prezentirano je 200 djela nastalih od 1974. do 2020. godine i presjek su golemog kiparskog opusa Damira Mataušića od preko 700 uradaka. Monumentalna kiparska djela obilježila su najnovije desetljeće umjetnikova stvaranja u kojem je sublimirao svoje originalne

    medaljerske i kiparske poetike te suvereno zakoračio iz komornog svijeta medaljerstva i male plastike u javni i sakralni prostor.

    Na kritičkoj retrospektivi predstavljen je Mali i Veliki svijet Damira Mataušića. Od Livade do Oblaka i Neba, od ludističkog do duhovnog svijeta ovog svestranog kipara i medaljera. Spajanjem naizgled nespojivih materijala, tehnika, likovnih rješenja i motiva nadahnuto proširuje mogućnosti plastičkog izričaja.20 Samosvojnim strukturiranim djelovanjem umjetnik ostvaruje zavidan kiparski opus i zauzima čvrstu poziciju u hrvatskoj recentnoj likovnoj umjetnosti.

    Tatijana Gareljić

    Bitva, Omišalj / Mooring, Omišalj, 2004.

    

    >

    Identitet / Identity, 2019.

20. Bogdan Mesinger, Mataušić, Školska knjiga, Zagreb, 2010., str. 309.

DAMIR MATAUŠIĆ is an artist with more than four decades of creative experience in a specific sculptural form who has successfully applied defined artistic poetics in several sculptural disciplines. It ranges from medals, coins, ceremonial chains and honorifics to small-scale sculpture, reliefs and public monuments. From intimate, official, to public and religious, his sculptures are characterized by profound insight and an exceptional devotion to the execution of the work. Mataušić’s work is distinctive for its usage of different types of materials, dominated by polished metals, and inventive compositions executed with technical precision. The value of his work synthetizes historical and cultural heritage without depriving artistic creativity of its dignity. Mataušić’s subtle personality

equally anticipates complex contemporary artistic challenges, and it resulted in a distinctive sculptural oeuvre with a firmly established status in the contemporary visual arts in Croatia.

Mataušić is primarily recognized for his numerous and successful works of medallic art and small-scale sculpture, including eight honorary chains and more than forty Republic of Croatia coins for general circulation, created from 1974 until present day. His polymorphic oeuvre branches out into several stylistic and formal segments, and the exhibition will showcase around a hundred medals works of this master of miniature sculpture.

However, just like a medal has two faces, so does Damir Mataušić’s interdisciplinary opus. This exhibition will present for the first time the monumental public and religious sculptural works of this artist. From Mooring in Omišalj (2004), Tribute to Zagreb – sculpture model of the City of Zagreb (2013) and Bumbina Meadow (2016) at the Bundek Lake in Zagreb, to the recent monument to the

saltworks in Ston (2020). Unique sculptural solutions characterize the interior furnishing of the Church of St. Augustin Kažotić (2012, 2013) in Zagreb, the Parish Church of St. Mirko (2016) in Šestine and the crowning achievement of the sculptor’s religious monumental cycle, the awe-inspiring space of the Chapel of the Catholic Faculty of Theology in Đakovo (2018).

The sculptor acquired the skill and intention for creating small formats in metal from early childhood in the workshop of his father, the distinguished engraver Vladimir Mataušić (1924 – 2011).

In terms of subject matter and content, we can draw a direct line between Mataušić’s diverse and abundant sculptural oeuvre and the great Croatian sculptor and medallist Ivo Kerdić (1891 – 1953). What they have in common is a dominant medal-making opus, the design of coins, ceremonial chains and the elevation of church spaces with sculptural works. They both respect the historical ambience and spatial harmony in public monuments.

In terms of inventiveness and imagination, Mataušić is the successor of the unique sculptural opus of his professor Želimir Janeš (1916 – 1996).

Taktila / Tactile, 1978.

In two monographs, Bogdan Mesinger, D.Sc. has written, comprehensively, extensively and in detail about the artist, the genesis of the work and the complexity of his sculptural oeuvre (Medaljer Damir Mataušić, Klovićevi Dvori Gallery, 1998, Mataušić, Školska knjiga, 2010). They were preceded by the monograph Damir Mataušić (Graphic Institute of Croatia, 1993) by Feđa Vukić. Milan Bešlić wrote about the sculptor’s series Credo on the occasion of the exhibition in the Cultural Information Centre (KIC) in 2010. Mons. Nedjeljko Pintarić (Prikupljanje silnica začuđenosti, Mataušić – in the monograph, 2010) and Ivica Raguž, D.Sc., dean of the Catholic Faculty of Theology in Đakovo, (Mary, Mother of the Church, Catholic Faculty of Theology, Đakovo, 2018) wrote inspired texts about the Christian aspect of Mataušić’s work.

27 Damir Mataušić

For his rich academic, creative and pedagogical work, Damir Mataušić is credited with the recent affirmation of medal-making and small-scale sculpture in Croatian visual arts. From his artistic beginnings to this day, he has been represented at the half-centennial Ivo Kerdić Memorials – Triennials of the Croatian Medal Making and Small-Scale Sculpture, as the largest national art event of these special sculptural disciplines, organized by the Museum of Fine Arts in Osijek. In 2013, as part of the XI Ivo Kerdić Memorial he staged a solo exhibition, titled Artist of Miniature Sculpture, conceived by Daniel Zec, D.Sc., a long-standing author of these sculpture events,1 while in 2019 the artist was awarded the Grand Prix of the XIII Ivo Kerdić Memorial for his work Identity.2

From 1974 until today, his medallic works have been presented at the largest biennial exhibitions around the world, organized by the prestigious FIDEM International Art Medal Federation. With their motivational, organizational and professional engagement, professor Damir Mataušić and Ivan Mirnik, D.Sc. made a great contribution to the international affirmation of Croatian medallic art and local medallists within the framework of FIDEM manifestations.

With his selfless educational activity and advocacy for the establishment of small-scale sculpting and medal-making study program in the Department of Sculpture at the Academy of Fine Arts in Zagreb in 1996, professor Mataušić is credited with the continuity and revitalization of these two branches of sculpture, passing on his mastery, knowledge and experience to hundreds of students during the past quarter century.

FROM THE MEDAL TO THE HONORARY CHAIN

In the beginning was the Medal. In the engraving workshop of Mataušić’s father Vlado, as the sculptor’s early medallic works, the Fountain of Life (1973), portrait plaque Colleague and the portrait medal of Tin Ujević (1974). They were followed by more medals inspired by the Croatian Romanesque, Gothic and Renaissance masters of architecture, sculpture and painting – namely, Radovan, Juraj Dalmatinac, L. Lauran, F. Lauran, Vincent of Kastav and J. Klović, that were united in the Dean’s Chain of the Academy of Fine Arts in Zagreb with a medallion symbolizing the Academy of Fine Arts, as Mataušić’s final graduation work in 1979, which still has a utilitarian function to this day.

The seriousness of the work and the establishment of symbolic and representative criteria resulted in the artist being entrusted with the conceptual design of the Chain of the International Mission for

Science and Peace in 1980, comprised of ten medals representing renowned Nobel laureates, based on the idea of the Croatian humanitarian Vladimir Palaček (1940 -1990). Mataušić ingeniously assembled leading Croatian sculptors and medallists to execute the portrait medals (Zdravko Brkić, Kruno Bošnjak, Ante Despot, Stanko Jančić, Želimir Janeš, Stipe Sikirica, Kosta Angeli Radovani, Marija Ujević), thus also showcasing recent Croatian medallic art. He personally designed the medal with the image of Marie Curie, while the final medallion symbolizing the International Mission was created by his father Vladimir. Bogdan Mesinger defined Mataušić’s honorary chains as a special medal-making genre3 because of their basic structure from which a systematically conceived unit is formed.

1. Daniel Zec, Umjetnik kiparske minijature, XI Memorijal Ive Kerdića, Gallery of Fine Arts Osijek, 2013, p. 118.

2. Daniel Zec, XIII Memorijal Ive Kerdića, Museum of Fine Arts Osijek, 2019, p. 7.

3. Bogdan Mesinger, Mataušić, Školska knjiga, Zagreb, 2010, p. 36.

   Lanac međunarodne misije znanosti i mira / Chain of the International Mission for Science and Peace, 1980.

   29 Damir Mataušić

   

   At the beginning of the new millennium, Damir Mataušić continued to create an impressive series of honorary chains. The Dean’s Chain of the Faculty of Economics in Zagreb, 2001 pictographically

   summarizes the presentation of economy through the symbols of goods and money in circular silver plates with copper Slavonian banovac inserted in-between. The two final larger medallions contain the emblematic inscription of the Faculty of Economics in Zagreb and its building façade as the conventional symbol of the University of Zagreb.

   A parallel wavy chain with hand-crafted silver circles depicting the city’s architectural symbols and the final semi-circular plate with an imprint and a historical crest represent the city founded on an island in the middle of the River Una, and form the Mayoral Chain of the City of Hrvatska Kostajnica, 2003.

   The representative Honorary Chain of the President of the Croatian Bar Association, 2010 was formed as the only visual representation by multiplying and elaborating symbols on the chain-links, with a balanced rhythm of squares and circles cast in precious metals.

   With a studious approach to contemporary premises and in all seriousness, the artist created the Pectoral Cross for the Holy Father Benedict XVI who visited Croatia in 2011, under the motto “Together in Christ”. A gold cross with prominent polished wide arms hangs from a chain of chequered stylized links (hollow – silver and gold plates – red). The surface of the cross is rendered with dynamic reflections which adds a moving corporeality reminiscent of the corpus of Christ, crowned with silver stars. On the right side of the cross there is an inscription in Glagolitic script, while on the silver reverse side is an inscription of a prayer in Croatian.

   On the ceremonial Chain of the Grand Master of the Brethren of the Croatian Dragon from 2013, there is a silver gilded medallion with historical symbols of this prestigious association. On the obverse

   is the bejewelled Croatian coat of arms with a dragon, and on the reverse is the illustration of the association’s seat in the Stone Gate, with inscriptions of its name and motto in Latin.

   The Dean’s Chain of the Catholic Faculty of Theology in Đakovo, 2015 is composed of the dominant links of stylized forms of the Croatian interweaving ornament with two double-sided gold medallions. On the obverse of the medallion there are visual representations and symbols of Mary, Mother of the Church and the reverse contains the name and emblem of the Catholic Faculty of Theology in Đakovo, joined into a whole and designed in a contemporary manner.

   Portrait Medals

   One of Mataušić’s earliest works, and not a medal by accident, portrays the distinctive Croatian writer Tin Ujević. In the 1980s, the artist intensified his portrait activity and designed thirty-odd medals with prominent persons from Croatian older and more recent history. Each miniature work is originally concise and subtly executed, with individual characteristics and confident symbolic conceptual portraits. Mataušić finds new ways to present personality. He summarizes the physiognomies and softly renders the figure in a characteristic pose. The surrounding space of the medal or plaque is ideally proportioned to the portrayed person. It can also be an empty space, but most often it is a series of symbols and inscriptions that present a complete picture of the period and reasons why someone is shown on a medal. He is agile in adapting the style and expert in the way he chooses the manner in which he renders the content of the inscription and forms of letters as equal components of the honorary medal.

   The artist constantly builds on, enriches, adapts and varies the code established in his first honorary medals, which becomes recognizable in all of his medallic works. The analysis of Mataušić’s artistically formed miniature circle reveals exceptionally diverse national, historical, social, religious, artistic, scientific and cultural identities.

   Medals of the Museum – Gallery Space

   During the 1980s, a one-of-a-kind long-term cooperation was established between the medallist Damir Mataušić and the Museum – Gallery Space in Zagreb,4 when Mataušić’s medals left a permanent mark on the intensive activity of organizing complex exhibitions in the gallery space. From 1983 onwards, in the given standard form of the thaler,5 he designed medals dedicated to demanding thematic units in a refined associative interaction with given topics, that were heterogeneously executed in terms of motif, symbolic and emblematic quality.

   Sports Medals

   On the occasion of the Universiade international student multidisciplinary sports event held in Zagreb in 1987, the artist created 14 medals with individually presented sports disciplines executed in precious metals and in several versions. This extends and adds to his oeuvre of medals of public importance.

   Dubrovnik Medals

   With an incredible ability to immerse himself in certain themes, Damir Mataušić created a comprehensive series of memorial and commemorative works for Dubrovnik – the cradle of Croatian medal-making,6 ranging from the gilded medal of St. Blaise to several honorary medals dedicated to persons and events and executed on behalf of the Society of Friends of Dubrovnik Antiquities from 2002 onwards. In them, he interprets the cultural starting points in a contemporary manner and synthetizes the affluence of the Republic of Dubrovnik.7

   Religious Medals

   With the same devotion, Mataušić creates medals with religious themes, whether they depict religious buildings, ceremonial objects, religious symbols, clergy or saints. They are dominated by the Christian iconography and Croatian Christian heritage as drivers of the richly and meticulously woven creative oeuvre rendered in precious metals.

   Damir Mataušić diligently, with sophistication and dynamism, intuitively immerses himself and reveals manifold values of fragmented identities. Since 1988, the artist has continuously and ingeniously designed numerous public awards and honorary medals, for various institutions

   

4. Today: Klovićevi Dvori Gallery

5. Bogdan Mesinger, Damir Mataušić, MGC, Zagreb, 1998, pp. 58-63.

6. Pavao Dubrovčanin, Dubrovnik, (c. 1420 – after 1478) and Franjo Vranjanin (c. 1420 – 1502) were the first Croatian medallists. The first medal cast in the territory of Croatia was made in the Dubrovnik mint and was dedicated to the renovation of the Church of St. Blaise in 1707.

7. Božo Lasić, Dinko Lokas, Dubrovačke medalje i plakete, Knežev dvor, Dubrovnik, 2016, pp. 100, 103, 112, 116, 124, 126-135.

   and associations. The creativity of his work is in synergy with the implementation of a virtuoso combination of several precious metals in one medal work to which he, paradoxically, adds polychromatic value.8

   MONEY

   Mataušić’s competence as a medallist is inseparable from his production of coins. Thus, the form of medals cast for the Museum – Gallery Space were inspired by thalers – the valuable and popular modern silver money of high artistic value. In 1990, during crucial times for Croatian independence and Croatian recent history, he made a replica of the medieval Slavonian banovac, as his own media inspired initiative, in order to draw attention, with a symbolic gesture, to the Croatian tradition of coinage.

   Since 1994, the artist executed, with great sophistication, forty-two denominational and commemorative coins with a nominal value ranging from 5 to 1,000 Kuna.

   Commemorative silver 150 Kuna, i.e. 15 Euro denominational coins from 2006 is a rare example of successful cooperation between two states (Ireland and Croatia) and the work of two artists (Ivan Meštrović and Damir Mataušić).9

   “Among the coinage it is worth mentioning the series of 25 Kuna coins, which differs from other coins with its bimetallic composition and the shape of a regular dodecagon. All 25 Kuna coins – from their

   first edition, issued in 1997 to commemorate the process of peaceful reintegration of the region of the Republic of Croatia under the temporary UNTAES administration,” to the newest coins from 2019 issued on the occasion of the 25th anniversary of the introduction of Kuna as the official currency of the Republic of Croatia and the 350th anniversary of the foundation of the University of Zagreb, as well as the coin Rijeka 2020 European Capital of Culture from 2020 – “have the same reverse side,10 while the obverse changes depending on the occasion. The author of all series of 25 Kuna coins is

   Damir Mataušić.”11

   

8. Bogdan Mesinger, Damir Mataušić, MGC, Zagreb, 1998, pp. 63, 65.

9. Bogdan Mesinger, Mataušić, Školska knjiga, Zagreb, 2010, p. 141.

10. According to the Croatian National Bank propositions: “On the reverse side of the commemorative denominational 25 Kuna coins, in the central part, there is a stylized inscription of the numerical designation of the nominal value “25”, through the contours of the numerical designation we can see a marten turned to the right, while its body is incorporated into the numerical designation. Above the numerical designation and

    representation of the marten, on the surface of the coin ring, is the coat of arms of the Republic of Croatia. To the left and right of the coat of arms of the Republic of Croatia, along the outer edge of the ring surface, REPUBLIKA HRVATSKA is inscribed in a semicircle. Underneath the numerical designation, inside the coin ring, along the outer edge, the name of the currency “KUNA” is inscribed. To the left of the name of the currency, on the surface of the coin ring, a twig of a pedunculate oak with fruit is laid in a semicircle. To the right of the name of the currency, on the surface of the coin ring, a laurel branch in bloom is laid in a semicircle.” Plaster models have a 150 mm diameter.

11. Tomislav Bilić, KUNA – 25 godina novčane jedinice Republike Hrvatske, Archaeological Museum in Zagreb, 2019, p. 47.

    

    SMALL-SCALE SCULPTURE AND INTIMATE MEDAL

    In the forms of medals, reliefs and small-scale sculpture, Mataušić animates his own perceptions of rich ideation and knowable associations, creating them enthusiastically like an alchemist of joy. From his earliest intimate reliefs of abstract figuration, the Nude and Two People from 1977, the compactly formed sculpture of the Duck, the series Tree of Youth with elaborate forms, Space and Tactile – from 1978, through the free-standing Lotrščak Bell from 1985, and Sails (1995, 1997) made from crystal glass and mixed metals. The artist further developed the tree motif with a short thick trunk and a lush, circular, branched and leafy canopy from 1978 executed in mixed media, two decades later, as a new series of trees from 1998 poetically titled the Tree of Children’s Dreams – where each distinctive tree

    represents a particular season, with an appearance of a new motif – the cloud, applied for the first time in the small-scale sculpture Waterfall from 1997 and multiplied on the small Heavenly Gate from 1998. The artist completely sets the cloud motif free in monumental sculpture form, in the chapel space of the Catholic Faculty of Theology in Đakovo, 2018.

    Kolega / Colleague, 1975.

    They were followed by inventive free figural compositions with a synergy of sliver-plated and copper- plated bronze, namely Skydiver, Like an Aeroplane, Swimmer, Diver, Pegasus (1998), stylistically also joined by the Baccanalae (2010).

    

    The series Times from 2001 inventively presents 15 atmospheric phenomena rendered in the form of free-standing objects made from coloured wood, copper, epoxy and glass. Two medals Bread, Cheese and Olives and Cake from 2004 are classical in form, technique and material, however their themes are definitely somewhat surprising.12

    From 1992 to 2020, Mataušić created a series of prized chromatic relief works for the Zagreb event Floraart, in mixed media with playful perforated and applied floral compositions and in correlation with lively forms of his small-scale sculpture.

    The series Credo (2008 – 2010)13 with religious themes and an intimate understanding of faith is rendered in sophisticated, stylized and esoteric forms by casting polished aluminium, while spirituality is accented with gilded applications.

    For his medallic polyptych Identity, made in 2019 from engraved plexiglass, Damir Mataušić won the Grand Prix of the XIII Ivo Kerdić Memorial – Triennial of the Croatian Medal Making and Small-Scale Sculpture. The artist created his contemporary portrait key in the form of a chained medal.14

    How much true brilliance there is in Damir Mataušić’s small universe. He sculpturally articulates ordinary phenomena, conditions and themes and interprets them in a captivating and unexpected manner. The artist’s intimate works are playful and imaginative, exciting and dynamic, creative and innovative.

    Stablo mladosti /

    Tree of Youth, 1978.

    

12. Bogdan Mesinger, Mataušić, Školska knjiga, Zagreb, 2010, pp. 164.-173.

13. Milan Bešlić, Damir Mataušić. Kiparevo svjetlo tame (exhibition catalogue), KIC, Zagreb, 2010.

14. Daniel Zec, XIII Memorijal Ive Kerdića, Museum of Fine Arts Osijek, 2019, p.7.

    Slap / Waterfall, 1987.

    Jedro / Sail , 1997.

    

    RELIGIOUS SCULPTURE

    Deep immersion in fundamental Christian values and the sculptor’s many years of experience in creating religious themes in medallic art, as well as the paradigm of his own understanding of faith that has sculpturally been brought to life in the series Credo, are the mainstays of Mataušić’s works with religious subject matter.

    Bumbina livada – javni spomenik, park Bundek, Zagreb / Bumbina Meadow

    – public monument, Bundek Lake, Zagreb, 2016.

    In the innovative work Crucified, Tortured and Resurrected from 2009, the artist fundamentally transformed himself and his sculptural oeuvre. The body of Christ, in the middle of a wide cross, is rendered as a carved silhouette in a polished parallelogram of the upright arm of the white cross. The embodiment of Christ if formed by the background light. On what is tentatively called relief, the reduced symbols of nails and the crown of thorns are placed over and next to the illusion of the

    corpus. This self-referential work is characterized by a distinctive sculptural structure. With minimalistic procedures and forms, Mataušić executed an extraordinary monumental sculpture that attracts ambiguous attention and different perspectives.

    Church of St. Augustin Kažotić in Zagreb (2009 – 2013)

    The sculptor furnished the Church of St. Augustin Kažotić with a unique altar crucifix, 14 reliefs of the Way of the Cross, a processional cross, an altar and candelabra. The works are made from cast, polished and illuminated bronze and are partly silver-plated. They are characterized by refined form, dignified symbolism and a subtle overflowing of light and shadows. They are in harmony with the postulates

    of the building architect, academician Boris Magaš (1930 – 2013),15 who intended light to play a dominant role in the interior. The works are designed in a contemporary manner respecting strict liturgical rules, which supplies additional affirmation to Mataušić’s monumental work in the given environment.

    The Relic of St. Mirko in the eponymous parish church in Šestine from 2016 is designed as a rectangular relief made from gilded illuminated brass, with rectangular diagonally positioned ornaments, the centres of which contain an illuminated circle, with a simple cross above and symmetrically placed floral stylizations on the edges. It is discreetly interpolated into the chapel respecting the neoclassical interior and the surrounding fresco ornaments.16

    The Sanctuary Chapel of the Seminary of the Sacred Heart of Jesus was created in the same year, when after the purist restoration of the neogothic interior (2007), the radial rosette with background lighting and a mirror circular centre with symbols of alpha and omega was applied on the lateral wall of the student chapel.

    Chapel of the Catholic Faculty of Theology in Đakovo, 201817

    In 2018, Mataušić undertook the large sculptural project of furnishing the whole interior18 of Mary, Mother of the Church, the Chapel of the Catholic Faculty of Theology in Đakovo. Sculptures with free artistic concepts, noble in execution and context of application, are made from the artist’s favourite bimetallic illuminated polished and patinated metals. Parts of the altar and the pulpit are made from the polished travertine and bleached ash, and ash is also found on the seats, benches and window frames. In the white minimalist space of the chapel, we find the balanced, elegant and modest forms of the altar, the processional cross, the pulpit, seats, the four Evangelists, the sanctuary, the eternal light, the burning bush, aspergillum, liturgical

    candelabra and clouds. The dominant cloud motifs are an original sculptural solution employed in the capacity of God’s cloud with symbols of the Evangelists applied thereon. There is cloud- shaped backrest on the seats, and the aspergillum is also in the cloud. The cloud also casts a soft shadow over the entire space high above. Between the representations of the Evangelists there is a circular relief of the Burning Bush, with frontally positioned busts of the Mother of God with Baby Jesus wrapped in Mary’s mantel. The motif of stylized leafy branches as the symbol

    

15. The complex of the Dominican monastery and the church of the Blessed Augustin Kažotić (1995–2004) grows in height with freer forms, and receives light only from an opening at the top of the tower, illuminating the entire space of the floriform semi-floating church interior.

16. The new parish church of St. Mirko designed by the architect Stjepan Podhorsky (1875 – 1945) was built in 1909, replacing the chapel, and containing the frescoes painted by Truda Hon. Braun (1909 -1948).

17. This unique church interior is the result of an ardent collaboration between prof. Ivica Raguž, D.Sc., dean of the Catholic Faculty of Theology in Đakovo (2014 -2018) and academic sculptor Damir Mataušić.

18. Damir Mataušić, Mary, Mother of the Church. Chapel of the Catholic Faculty of Theology in Đakovo, 2018, p. 13.

    

    of the presence of God is applied to the Eternal Light, the relief of the cloud on the seat, and as perforations on the ceremonial candelabra. In the square Sanctuary, with a symbolically presented purpose, there is a soft relief of a figurative pelican with spread wings wounding its heart in order to feed its offspring.19 Rounded shapes and stylized figurative forms dynamize the space and associate it with the joy of creation and experience of God’s presence, while the

    elegant geometric rectangular forms of the cross, the altar, the pulpit, as well as Solomon’s knots on the pulpit and stained glass windows, and on the Dean’s Chain point to wisdom, spiritual and material connection and dignity. The entirety of Mataušić’s concept and sculptural works in the interior of the Chapel of the Catholic Faculty of Theology in Đakovo represent a culmination of the mature manifestation of artistic articulation, indisputable skill and an ability to adapt personal expression in a given space with a defined purpose.

    Kapelica KBF-a u Đakovu

    / Chapel of the Catholic Faculty of Theology in Đakovo, 2018.

    

19. Ivica Raguž, Kapelica u slici i riječi. Marija Majka Crkve. Kapelica katoličkog bogoslavnog fakulteta u Đakovu, Đakovo, 2018, pp. 31-74.

    PUBLIC MONUMENTS

    Damir Mataušić’s first public monument was erected on the occasion of the visit of Pope John Paul II to Omišalj in 2004. Mooring is a compact public memorial cast in bronze, with a dual formal meaning – the Glagolitic letter “l” and the mushroom form of the port bollard. In 2006, in the same spirit, the artist made the Ciborium for Omišalj from precious metals with commemorative symbols and an inscription.

    Tribute to Zagreb from 2013 is a sculpture – model of the City of Zagreb situated in the city centre with a detailed urban raster cast in bronze and positioned on travertine stone blocks.

    The City of Zagreb is adorned with another Mataušić sculpture, and that is Bumbina Meadow, the sculpture erected in 2016 on the occasion of the 50th anniversary of the flower fair at the Bundek Lake. The sculpture is realized as a result of the artist’s long-term collaboration with the organizers of the Floraart event, for which the sculptor created several playful floral award plaques in the form of small- scale sculptures.

    The recent public monument Grain of Salt (2020) is intended for Ston, the town of salt. The location’s identity is illustrated by varying the quadrilateral and circular forms of the pedestal, the cube with a commemorative inscription, the coloured symbols of the salt molecule and the relief plan of the town inscribed in an irregular circle.

    ***

    Mataušić’s complex oeuvre inspires the lamentation about the universal, heritage, religious and visual multi-layered meanings. About the frequently present symbolism of the motifs of the trees, clouds, the cross, the circle, the rectangle and usage of light in his medal-making and sculpture. About the subconscious and the associative, the code, genesis and structure of the sculptural expression, as Bogdan Mesinger has repeatedly written about.

    This exhibition and catalogue present 200 works created from 1974 to 2020 and is a cross-section of Damir Mataušić’s vast sculptural oeuvre of more than 700 works. Monumental sculptures mark the latest decade of the artist’s creative work in which he sublimated his original medal-making and

    sculptural poetics and confidently stepped from the chamber world of medal-making and small-scale sculpture into public and religious space.

    The critical retrospective exhibition showcases Damir Mataušić’s Small and Big World. From the Meadow to Clouds and Sky, from the ludic to the spiritual world of this versatile sculptor and medallist. By combining seemingly incompatible materials, techniques, visual solutions and motifs he is inspired to expand the possibilities of sculptural expression.20 With independent structured activity, the artist created an enviable sculptural oeuvre and occupied an unassailable position in recent Croatian visual arts.

    Tatijana Gareljić

    

20. Bogdan Mesinger, Mataušić, Školska knjiga, Zagreb, 2010, p. 309.

Europsko prvenstvo u boćanju / European Bocce Championship, 1994.

Vino u Hrvata /

Croatian Wine, 1993.

Vino u Hrvata /

Croatian Wine, 1993.

Vatroslav Jagić, 1995.

Antun Barac, 1995.

Nagrada Marin Držić

/ “Marin Držić” Award, 1997.

Lovro Matačić, 1997.

Hrvatska franjevačka provincija sv. Ćirila i Metodija / Franciscan Province of Saints Cyril and Methodius, 1999.

Nagrada za životno djelo HAŠK Mladost / Lifetime Achievement Award HAŠK Mladost, 2001.

Kruh sir i masline / Bread, Cheese and Olives, 2004.

Torta / Cake, 2004.

Sv. Jeronim /

St. Jerome, 2005.

Zlatno zvono – nagrada Hrvatskoga oglasnog zbora / Gold Bell – Award of the Croatian Advertising Association, 2002.

Marin Držić, 2007.

Fra Aleksa Benigar, 2008.

Home, 2014.

Hrvatska kultura / Croatian Culture, 2009.

Muzej suvremene umjetnosti u Zagrebu / Museum of Contemporary Art, 2009.

Moderna galerija / National Museum of Modern Art in Zagreb, 2015.

Počasna medalja sveučilišta u Zagrebu / Medal “Honorary Medal of the University of Zagreb”, 2020.

Pektoralni križ Prebendara zagrebačke nadbiskupije / Pectoral Cross of the Prebends of the Zagreb Diocese, 2020.

Raspet, mučen i uskrsnuo

/ Crucified, Tortured and Resurrected, 2009.

Treći dan / Third Day, 2008.

Zajedništvo / Community, 2009.

Iskušenje / Temptation, 2010.

Četiri evanđelista / Four Evangelists, 2008.

Patka / Duck, 1978.

Blaž Baromić – spomen knjizi, Blaž Baromić – Book Memorial, 1997.

Drvo dječjih sanja – Četiri godišnja doba: jesen, ljeto, proljeće, zima / Tree of Children’s Dreams – Four Seasons: Autumn, Summer, Spring, Winter, 1998.

Floraart, 1992.

Floraart, 2015.

Floraart, 2006.

Floraart, 2020.

Ko eroplan / Like an Aeroplane, 1998.

Pegaz / Pegasus, 1998.

Baccanalia / Bacchanalia, 2010.

Ronilac / Diver,1998.

Vrijeme proljetno /

Springtime, 2001.

Vrijeme punog mjeseca /

Full Moon Time, 2001.

Vrijeme oblačno /

Cloudy Weather , 2001.

Vrijeme fjakasto /

Lazy Time, 2001.

Eventum – međunarodna nagrada Hrvatskoga oglasnog zbora / Eventum

– International Award of the Croatian Advertising Association, 2002.

Treći dan II / Third Day II, 2008.

Posljednja večera – idejno rješenje doportalnog reljefa crkve sv. A. Kažotića / “Last Supper” concept design for side-portal relief, Church of St.

A. Kažotić, 2014.

„Idite po svem svijetu” – idejno rješenje doportalnog reljefa crkve sv. A. Kažotića / “Go

all over the world” concept design for side-portal relief, Church of St. A. Kažotić, 2014.

Kiša po Bumbi / Rain on Bumba, 2015.

S glavom u oblacima, po Toniju / With Head in the Clouds according to Toni, 2016.

Dekanski lanac Ekonomskog fakulteta u Zagrebu / Dean’s Chain of the Faculty of Economics in Zagreb, 2001.

Gradonačelnički lanac Grada Hrvatske Kostajnice / Mayoral Chain of the City of Hrvatska Kostajnica, 2003.

Počasni lanac predsjednika Hrvatske odvjetničke komore

/ Chain of the Croatian Bar Association, 2010.

Svečani lanac velikog meštra Družbe Braća hrvatskog zmaja / Chain of the Grand Master of the Brethren of the Croatian Dragon, 2013.

Dekanski lanac KBF-a Đakovo

/ Dean’s Chain of the Catholic Faculty of Theology in Đakovo, 2015.

Pektoralni križ za Sv. Oca Benedikta XVI / Pectoral Cross for the Holy Father Benedict XVI, 2011.

Nominala 500 kuna – 900 godina Zagrebačke biskupije i Grada Zagreba / Denomination 500 Kuna

– 900th Anniversary of the Zagreb Diocese and the City of Zagreb, 1994.

Nominala 5 kn – 500. obljetnica tiskanja Senjskoga glagoljskog misala / Denomination 5 Kuna – 500th Anniversary of the Printing

of the Senj Glagolitic Missal, 1995.

Nominala 25 kn – 25 godina neovisnosti Republike Hrvatske / Denomination 25 Kuna – 25th Anniversary of Independence of the Republic of Croatia, 2016.

Crkva sv. Augustina Kažotića

/ Church of St. Augustin Kažotić, 2009.

Procesionalni križ u crkvi sv. Augustina Kažotića /

Processional Cross, Church of St. Augustin Kažotić, 2009.

Moćnik u crkvi sv. Mirka u Zagrebu / Relic of St. Mirko, 2016.

Kapelica KBF-a u Đakovu

/ Chapel of the Catholic Faculty of Theology in Đakovo, 2018.

Skulptura – maketa Pozdrav Zagrebu / Sculpture-model Tribute to Zagreb, 2012.

>

Skulptura – maketa Zrno soli, Ston / Sculpture – Model of the Grain of Salt, Ston, 2020.

POPIS IZLOŽAKA

Medaljerska djela

(medalje, plakete, taktile, stajaćice)

1. Tin Ujević

   1974. g., ø 32 mm, medalja, kovano srebro

2. Kolega

   1975. g., 80 x 85 mm, plaketa, lijevana bronca

3. Taktila

   1978. g., ø 95 mm, taktila, lijevana bronca, olovo

4. Ida

   1981. g., ø 100 mm, lijevana bronca, medaljon; ø 80 mm, bjelokost, zlato

5. Muzejski prostor – izložba „Riznica zagrebačke katedrale”

   1983. g., ø 38 mm, medalja, srebro

6. Dubrovnik

   1983. g., 40 x 35 mm, broš, srebro, reducirano drvo

7. U povodu izložbe „Drevna kineska kultura” 1984. g., ø 100 mm, medalja, lijevana bronca

8. Univerzijada ’87.

   1985. g., 150 x 70 x 90 mm, stajaćica, lijevana bronca i emajl

9. Zvono Lotrščak

   1986. g., 116 x 74 x 35 mm, stajaćica, lijevana bronca

10. Ćiril i Metodije

    1986. g., ø 100 mm, medalja, kovano, djelomično pozlaćeno srebro

11. 60 godina Hrvatskoga numizmatičkog društva

    1987. g., ø 100 mm, bronca, djelomice posrebrena

12. Europsko prvenstvo u boćanju 1994. g., 65 x 55 mm, kovano srebro, mjestimična pozlata

13. Vino u Hrvata

    1993. g., ø 65 mm, medalja, kovano srebro, mjestimična pozlata, emajl

14. 500. obljetnica Senjskoga glagoljskog misala

    1994. g., ø 150 mm, medalja, srebro, djelomično pobakreno

15. Vatroslav Jagić

    1995. g., ø 75 mm, medalja, lijevano srebro, djelomična pozlata

16. Antun Barac

    1995. g., ø 150 mm, 75 mm, medalja, lijevano srebro, djelomična pozlata

17. Stjepan Ivšić

    1995 g., ø 75 mm, medalja, lijevano srebro, djelomična pozlata

18. Otokar Keršovani – nagrada Hrvatskoga novinarskog društva

    1996. g., 240 x 155 mm, diptih, mala plastika, lijevana bronca

19. Nikša Antonini – nagrada Hrvatskoga novinarskog društva

    1996. g., 100 x 140 x 50 mm, mala plastika, lijevana bronca

20. Nagrada „Marin Držić”

    1997. g., 185 x 145 x 145 mm, mala plastika, lijevana bronca

21. Lovro Matačić

    1997. g., ø 90 mm, medalja, gravirano srebro, zlatni aplikat

22. Blaž Baromić – spomen knjizi 1997. g., 115 x 160 x 160 mm, mala plastika, lijevana bronca

23. Ivana Brlić Mažuranić

    1998. g., ø 150 mm, jubilarni novac, bronca

24. Franjevačka provincija sv. Ćirila i Metoda 1999. g., ø 60 mm, medalja, kovano srebro; ø 38 mm, srebrnjak, kovano srebro

25. Nagrada za životno djelo HAŠK Mladost 2001. g., 280 x 170 mm, mala plastika, triptih, lijevana bronca

26. Zlatno zvono – nagrada Hrvatskoga oglasnog zbora

    2002. g., 200 x 110 mm i 250 x 130 mm,

    mala plastika, lijevana bronca

27. Faust Vrančić

    2002. g., ø 40 mm, zlatnik, kovano zlato; srebrnjak, kovano srebro

28. Torta

    2004. g., ø 108 mm, medalja, lijevana bronca, mjestimično posrebreno

29. Kruh, sir i masline

    2004 g., ø 100 mm, medalja, lijevana bronca, mjestimično posrebreno i pozlaćeno

30. Iso Velikanović – nagrada za životno djelo 2005. g., ø 105 mm, medalja, lijevana posrebrena bronca

31. Sv. Jeronim – prigodom preuzimanja kardinalske naslovne crkve sv. Jeronima u Rimu, kardinal Josip Bozanić

    2005. g., ø 75 mm, medalja, kovano srebro, emajl

32. Baština – zaštitni znak spomenika kulture 2005. g., ø 200 mm, plaketa, lijevana bronca

33. Družba „Braća hrvatskoga zmaja”

    2005. g., ø 70 mm, medalja, kovano srebro, mjestimična pozlata

34. Isis

    2006. g., 100 x 70 mm, medaljon, kovano srebro, emajl

35. Hrvatska kultura

    2006. g., 92 × 87 mm, kovano srebro, ručna pozlata

36. „Doris Pack” – nagrada Hrvatskoga kulturnog kluba

    2006. g., 87 x 80 mm, medalja, lijevano srebro, ručna dorada (unikat)

37. Hrvatski prirodoslovni muzej

    1996. g., ø 65 mm, medalja, kovano srebro

38. Družba sestara franjevki od Bezgrješne 2006. g., ø 70 mm, medalja, kovano srebro, mjestimično pozlaćeno

39. Pastiri blaženici crkve zagrebačke

    – prigodom proslave 10. obljetnice nadbiskupske službe kardinala Josipa Bozanića

    2007. g., ø 75 mm, medalja, kovano srebro

40. Nagrada za životno djelo „Ivo Horvat” 2007. g., ø 105 mm, medalja, lijevana bronca

41. Nagrada za životno djelo „Vicko Andrić” 2007. g. ø 105 mm, medalja, lijevana posrebrena bronca

42. Sv. Nikola Tavelić

    2007. g., ø 65 mm, medalja, kovano srebro, mjestimično pozlaćeno

43. Fra Aleksa Benigar

    2007. g., 65 x 65 mm, medalja, kovano srebro, mjestimično pobakrenje

44. Sv. Dominik

    2007. g., ø 95 mm, medalja, kovano srebro, mjestimična ručna pozlata

45. Marin Držić

    2008. g., ø 70 mm, medalja, srebro, mjestimično pozlaćeno

46. Miho Pracat

    2008. g., ø 65 mm, medalja, kovano srebro, mjestimična pozlata

47. Četiri evanđelista

    2008. g., ø 105 mm, plaketa, lijevana bronca

48. Društvo prijatelja dubrovačkih starina 2009. g., ø 60 mm, medalja, kovano srebro, mjestimična pozlata

49. Bleiburg

    2009. g., ø 70 mm, medalja, tombak, mjestimično posrebreno, patina

50. Muzej suvremene umjetnosti

    2009. g., 54 x 52 mm, medalja, kovano srebro

51. Biskupija bjelovarsko-križevačka

    2010. g., ø 70 mm, medalja, kovano srebro, kovani tombak

52. Križevci

    2011. g., ø 70 mm, medalja, kovano srebro

53. Nagrada Jadranko Crnić

    2011. g., medalja, ø 85 mm, kovano srebro

54. Ana Marija Maruna

    2011. g., ø 65 mm, medalja, srebro

55. Andrija Mohorovičić

    2012. g., ø 90 mm, medalja, lijevana patinirana bronca

56. „Zagreb pozdravlja”, medalja makete grada Zagreba

    2013. g., 110 x 110 x 10 mm, lijevana patinirana bronca

57. Medalja Stjepan de Gradi (Društvo prijatelja dubrovačke starine)

    2013. g., ø 65 mm, medalja, kovano srebro

58. Home

    2014. g. ø 100 mm, medalja, kombinirana tehnika

59. Moderna galerija u Zagrebu

    2015. g., ø 65 srebro, djelomična pozlata

60. Heritage

    2015. g., ø 110 mm, medalja, lijevana bronca, patinirana i polirana

61. 300. obljetnica krunjenja MB Trsat 2015. g., ø 38 mm, medalja, srebro, djelomična pozlata

62. Velika Onofrijeva fontana

    2016. g., ø 65 mm, medalja, kovani patinirani tombak, kovano srebro i djelomična pozlata

63. Klica – u spomen Janešu

    2017. g., ø 95 mm, medalja – taktila, lijevani polirani aluminij, pozlaćeni mesing

64. II. zagrebačka sinoda

    2018. g., ø 75 mm, medalja, kovano srebro i djelomična pozlata

65. Identitet

    2019. g., ø 90 mm, poliptih, medalja, gravirano pleksi staklo

66. Niko Kapetanić

    2019. g., ø 100 mm, medalja, polirani aluminij

67. Počasna medalja sveučilišta u Zagrebu 2020. g., ø 90 mm, kovano srebro i zlatni aplikati

68. Pektoralni križ Prebendara zagrebačke nadbiskupije

    2020. g., 82 x 113 x 5 mm, kovano, djelomično pozlaćeno srebro i emajl

    Mala plastika

    (skulpture, reljefi)

69. Akt

    1977. g., 420 x 280 mm, komorna plastika, galvanizirani bakar, sjajni

70. Patka

    1978. g., 260 x 160 x 90 mm, mala plastika, lijevani aluminij i poliester

71. Stablo mladosti

    1978. g., 140 x 130 x 30 mm, mala plastika, lijevana bronca, vitrajni emajl, iskucano srebro

72. Stručak

    1992. g., 140 x 130 x 35 mm, mala plastika, lijevano srebro, pozlata

73. Senj – jedro IŽ

    1995. g., 150 x 150 x 400 mm, mala plastika, ručno oblikovano kristalno staklo

74. Zagrebačka slavistička škola l

    1997. g., 100 x 20 x 105 mm, mala plastika, lijevana bronca

75. Jedro

    1997. g., 190 x 190 x 250 mm, mala plastika, posrebreni bakar, krom

76. Slap

    1997. g., 130 x 130 x 180 mm, mala plastika, kombinirana tehnika

77. Nebeska vrata

    1998. g., 225 x 125 x 100 mm, mala plastika, kombinirana tehnika

78. Drvo dječjih sanja – Četiri godišnja doba: proljeće

    1998. g., 120 x 80 x 150 mm, mala plastika, kombinirana tehnika

79. Drvo dječjih sanja – Četiri godišnja doba: ljeto

    1998. g., 120 x 80 x 150 mm, mala plastika, kombinirana tehnika

80. Drvo dječjih sanja – Četiri godišnja doba: jesen

    1998. g., 120 x 80 x 150 mm, mala plastika, kombinirana tehnika

81. Drvo dječjih sanja – Četiri godišnja doba: zima

    1998. g., 120 x 80 x 150 mm, mala plastika, kombinirana tehnika

82. Padač

    1998. g., 220 x 260 x 150 mm, mala plastika, kombinirana tehnika

83. Ko eroplan

    1998. g., 225 x190 x 70 mm, mala plastika, lijevana posrebrena bronca, kromirani bakar

84. Plivač

    1998. g., 235 x150 x 150 mm, mala plastika, lijevana posrebrena bronca, epoksi

85. Ronilac

    1998. g., 300 x 220 x 140 mm, mala plastika, lijevana posrebrena bronca, pleksi

86. Pegaz

    1998. g., 130 x 240 x 170 mm, mala plastika, posrebrena bronca

87. Bura

    2001. g., 195 x 150 x 35 mm, mala plastika, kolorirano drvo, bakar, epoksi, staklo

88. Vrijeme fjakasto

    2001. g., 180 x 140 x 45 mm, mala plastika, kolorirano drvo, bakar, epoksi, staklo

89. Vrijeme berbe

    2001. g., 165 x 130 x 40 mm, mala plastika, kolorirano drvo, bakar, epoksi, staklo

    90. Vrijeme oblačno 2001. g., 140 x 170 x 40 mm, mala plastika, kolorirano drvo, bakar, epoksi, staklo	101.	Početak / Principium 2008. g., 268 x 230 x 35 mm, reljef, lijevani polirani aluminij
    2001. g., 150 x 160 x 25 mm, mala plastika, kolorirano drvo, bakar, epoksi, staklo 2001. g., 160 x 160 x 25 mm, mala plastika,	102. 103.	Svjedočanstvo / Testimonium 2009. g., 240 x 240 x 270 mm, mala plastika, lijevani polirani aluminij, lijevana bronca, poliester Ljubav
    kolorirano drvo, bakar, epoksi, staklo 93. Vrijeme zimsko II		2009. g., 270 x 230 mm, reljef, lijevani polirani aluminij
    2001. g., 180 x 105 x 30 mm, mala plastika, kolorirano drvo, bakar, epoksi, staklo 94. Vrijeme punog Mjeseca 2001. g., 170 x 110 x 25 mm, mala plastika,	104. 105.	Pokopan 2009. g., 270 x 230 mm, reljef, lijevani polirani aluminij Zajedništvo
    kolorirano drvo, bakar, epoksi, staklo 95. Vrijeme proljetno		2009. g., 270 x 230 mm, reljef, lijevani polirani aluminij
    2001. g., 180 x 1125 x 40 mm, mala plastika, kolorirano drvo, bakar, epoksi, staklo	106.	Iskušenje 2010. g., 270 x 230 mm, reljef, lijevani polirani aluminij
    96. Vjetrovito 2002. g., 160 x 190 x 60 mm, mala plastika, kolorirano drvo, bakar, epoksi, staklo	107.	Prolaz 2010. g., 220 x 320 x 50 mm, reljef, lijevani polirani aluminij
    97. Eventum – međunarodna nagrada Hrvatskoga oglasnog zbora 2002. g., 185 x 185 x 50 mm, mala plastika, patinirani mesing, pleksi	108. 109.	Nebesa 2010. g., 220 x 290 x 15 mm, reljef, lijevani polirani aluminij Vjera
    98. Histrion 2007. g., 130 x 100 mm, mala plastika, lijevana bronca	110.	2010. g., 270 x 230 x 10 mm, reljef, lijevani polirani aluminij Sumnja
    99. Kabinet 2008. g., 110 x 135 x 73 mm, mala plastika, srebro, mjestimično pozlaćeno, kolorirano drvo	111.	2010. g., 270 x 230 x 10 mm, reljef, lijevani polirani aluminij Bezdan
    100. Treći dan		2010. g., 270 x 230 x 10 mm, reljef, lijevani polirani aluminij
    2008. g., 205 x 155 x 45 mm, mala plastika, lijevani aluminij i patinirana bronca

    1. Vrijeme kišovito

    2. Vrijeme za letenje

    1. Znak

       2010. g., 270 x 230 x 10 mm, reljef, lijevani polirani aluminij

    2. Otajstvo

2010. g., 270 x 230 x 10 mm, reljef, lijevani polirani aluminij

124. Floraart 2020.

2020. g., 120 x 170 mm, patinirana bronca, pleksi

Počasni lanci

114. Gledanje	125.	Dekanski lanac Akademije likovnih umjetnosti u Zagrebu
2010. g., 270 x 230 x 10 mm, reljef, lijevani polirani aluminij		1979. g., 630 x 230 mm, svečani lanac, srebro, emajl, srebrni medaljoni
115. Vjerovanje 2010. g., 270 x 230 x 10 mm, reljef, lijevani polirani aluminij	126.	Lanac međunarodne misije znanosti i mira 1980. g., 650 x 220 mm, svečani lanac, srebro, pozlata, srebrni medaljoni
Stvaranje 2010. g., 270 x 230 x 10 mm, reljef, lijevani polirani aluminij Punina 2010. g., 270 x 230 x 10 mm, reljef, lijevani	127. 128.	Dekanski lanac Ekonomskog fakulteta u Zagrebu 2001. g., 600 x 400 mm, svečani lanac, lijevano srebro, bakar Gradonačelnički lanac Grada Hrvatska
polirani aluminij 118. Baccanalia		Kostajnica 2003. g., 500 x 350 mm, svečani lanac, rukom obrađeno srebro, patina
2010. g., 230 x 130 x 80 mm, mala plastika, lijevana bronca, patina	129.	Lanac Hrvatske odvjetničke komore
119. Zlatni stručak Floraarta		2010. g., 200 x 500 x 10 mm, rukom obrađeno srebro i zlato, emajl
2014. g., 140 x 130 x 35 mm, mala plastika, lijevano bronca, pozlata, inkrustrirani pleksi	130.	Lanac velikog meštra družbe „Braća
120. Bumbina livada, Floraart		hrvatskoga zmaja” 2013. g., 750 x 350 mm, kovano i gravirano
2014. g., 163 x 158 x 40 mm, mala plastika, lijevana patinirana bronca	131.	srebro finoće 925/1000 i djelomična pozlata Dekanski lanac KBF-a Đakovo
121. Kiša po Bumbi 2015. g., 160 x 230 x 260 mm, mala plastika, lijevani polirani aluminij	132.	2015. g., 940 x 220 mm, kovano srebro i zlato Pektoralni križ za Sv. Oca Benedikta XVI.
122. Albert, po Toniju		2011. g., 92 x 68 x 500 mm, poklon HBK, srebro i djelomična pozlata
2016. g., 3540 x 3200 x 80 mm, aluminij i polirani bakar	133.	Velered predsjednika Franje Tuđmana
123. S glavom u oblacima, po Toniju		2020. g., znak na lenti 58 mm x 53 mm, emajl i patinirano srebro; danica, ø 90 mm,
2016. g., 170 x 250 x 70 mm, aluminij i polirani bakar		zlato i srebro; umanjenica, ø 17 mm, zlato; mala oznaka,13,5 mm, emajl, zlato i srebro

Novac

(kovanice, modeli)

141. Nominala 150 kn – XXVI. olimpijske igre, Atlanta, 1996., streljaštvo i stolni tenis 1996. g., ø 37 mm, jubilarni novac, kovano

134. Nominala 500 kn – 900 godina Zagrebačke biskupije i Grada Zagreba		srebro otkov – E48339; sadreni modeli – E64049,
1994. g., ø 20 mm, jubilarni novac, kovano		E64050, E64052, E64053
zlato
otkov – E48321	142.	Nominala 25 kn – Hrvatsko podunavlje
		1997. g., ø 32 mm, optjecajni prigodni
135. Nominala 5 kn – 500. obljetnica tiskanja		novac, dvanaesterokut, bimetal, bakrena
Senjskoga glagoljskog misala		jezgra, niklani prsten
1995. g., ø 26,5 mm, optjecajni novac,		otkov – E48356; sadreni modeli – E61429,
slitina nikla i bakra		E61431
otkov – E46293; sadreni modeli – E64059,
E64060	143.	Nominala 25 kn – Prvi kongres hrvatskih
		esperantista
136. Nominala 5 kn – 500. obljetnica tiskanja		1997. g., ø 32 mm, optjecajni novac,
Senjskoga glagoljskog Misala		dvanaesterokut, bimetal, bakrena jezgra,
1995. g., ø 26,5 mm, jubilarni novac,		niklani prsten
kovano zlato, u ediciji 200 primjeraka		otkov – E48357
otkov – E48334
	144.	Nominala 25 kn – Pet godina Republike
137. Nominala 500 kn – Dan državnosti RH		Hrvatske u OUN-u
1995. g., ø 18 mm, jubilarni novac, kovano		1997. g., ø 32 mm, optjecajni novac,
zlato		dvanaesterokut, bimetal, bakrena jezgra,
otkov – E48325; sadreni modeli – E61439,		niklani prsten
E61444		otkov – E48358
138. Nominala 150 kn – Dan državnosti RH
1995. g., ø 37 mm, jubilarni novac, kovano	145.	Nominala 1000 kn – Baranja, crne rode
srebro		1997. g., ø 22 mm, jubilarni novac, kovano
otkov – E48327; sadreni model – E61438		zlato
		otkov – E48352; sadreni modeli – E64114,
139. Nominala 1 dukat – Hrvatski kraljevski		E64115
grad Knin
1995. g., ø 20 mm, jubilarni novac, kovano	146.	Nominala 500 kn – Baranja, orao štekavac
zlato		1997. g., ø 18 mm, jubilarni novac, kovano
otkov – E48329; sadreni modeli – E61406,		zlato
E61407		otkov – E48353; sadreni modeli – E64113,
		E64116
140. Nominala 150 kn – XXVI. olimpijske igre,
Atlanta, 1996., rukomet i gimnastika	147.	Nominala 200 kn – Baranja, crne rode
1996. g., ø 37 mm, jubilarni novac, kovano		1997. g., ø 40 mm, jubilarni novac, kovano
srebro		srebro
otkov – E48336; sadreni modeli – E64047,		otkov – E48354; sadreni model – E64112
E64048, E64051, E64054

148. Nominala 150 kn – Baranja, orao štekavac 1997. g., ø 37 mm, jubilarni novac, kovano srebro	155.	Nominala 150 kn – Svjetsko nogometno prvenstvo u Njemačkoj 2006. g., ø 37 mm, jubilarni novac, kovano
otkov – E48355; sadreni model – E64111 149. Nominala 25 kn – EXPO Lisabon, 98.		srebro finoće 925/1000 otkov – E54385; sadreni modeli – E64038, E64039
1998. g., ø 32 mm, optjecajni novac, dvanaesterokut, bimetal, bakrena jezgra,	156.	Nominala 150 kn – Meštrović; Republika
niklani prsten otkov – E54557 150. Nominala 25 kn – U povodu uvođenja eura 1999. g., ø 32 mm, optjecajni novac,	157.	Hrvatska – Republika Irska 2006. g., ø 37 mm, jubilarni novac, kovano srebro finoće 925/1000 otkov – E54603 Nominala 15 eura – Meštrović; Republika
dvanaesterokut, bimetal bakrena jezgra, niklani prsten otkov – E54557; sadreni model – E64004 151. Nominala 200 kn – Katarina Zrinska 1999.g., ø 40 mm, jubilarni novac, kovano	158.	Irska – Hrvatska 2007. g., ø 37 mm, jubilarni novac, kovano srebro finoće 925/1000 otkov – E54602 Nominala 150 kn – Benedikt Kotruljević
srebro otkov – E54560; sadreni modeli – E64083, E64084		2007. g., ø 37 mm, jubilarni novac, kovano srebro finoće 925/1000 otkov – E54605
152. Nominala 25 kn – U povodu 2000. g. (Počast čovjeku) 2000. g., ø 32 mm, optjecajni novac, dvanaesterokut, bimetal, bakrena jezgra, niklani prsten otkov – E54559; sadreni modeli – E64006	159. 160.	Nominala 150 kn – Hrvatski brodovi (avers) 2007. g., ø 37 mm, jubilarni novac, kovano srebro finoće 925/1000 otkov – E54604 Nominala 150 kn – FIFA 2010.
153. Nominala 25 kn – 10. obljetnica međunarodnog priznanja Hrvatske 2000. g., ø 32 mm, optjecajni novac, dvanaesterokut, bimetal, bakrena jezgra, niklani prsten	161.	2009. g., ø 37 mm, jubilarni novac, kovano srebro finoće 925/1000 otkov – E65236 Nominala 10 kn – Braille
otkov – E65272; sadreni model – E64002 154. Nominala 25 kn – Republika Hrvatska,		2009. g., ø 12 mm, jubilarni novac, kovano zlato finoće 986/1000 otkov – E65244
kandidat za članstvo u EU 2005. g., ø 32 mm, optjecajni novac,	162.	Nominala 25 kn – Godišnja skupština
dvanaesterokut, bimetal, bakrena jezgra, niklani prsten otkov – E65275; sadreni model – E64007		Europske banke za obnovu i razvoj, Zagreb, 2010. 2010. g., ø 32 mm, optjecajni novac, dvanaesterokut, bimetal, bakrena jezgra, niklani prsten otkov – E65269

163. Nominala 25 kn – Ugovor o pristupanju Republike Hrvatske Europskoj uniji 2012. g., ø 32 mm, optjecajni novac, dvanaesterokut, bimetal, bakrena jezgra, niklani prsten otkov – E65270	170.	Nominala 25 kn – 350. obljetnica osnivanja sveučilišta u Zagrebu 2019. g., ø 32 mm, optjecajni novac, dvanaesterokut, bimetal, bakrena jezgra, niklani prsten otkov – E65279
164. Nominala 25 kn – Republika Hrvatska, članica Europske unije 2013. g., ø 32 mm, optjecajni novac, dvanaesterokut, bimetal, bakrena jezgra, niklani prsten otkov – E65271; sadreni model – E64003	171.	Nominala 25 kn – 2020. hrvatsko predsjedanje Vijećem Europske unije 2019. g., ø 32 mm, optjecajni novac, dvanaesterokut, bimetal, bakrena jezgra, niklani prsten otkov – E65280
165. Nominala 100 kn – Republika Hrvatska,

članica Europske unije

2013. g., ø 34 mm, jubilarni novac, kovano srebro finoće 925/1000

otkov – E65248

Sakralna skulptura

(modeli, poliester)

Crkva sv. Augustina Kažotića u Zagrebu

166. Nominala 1000 kn – Republika Hrvatska,	172.	Raspet, mučen i uskrsnuo
članica Europske unije		2009. g., 2680 x 2300 x 300 mm, reljef,
2013. g., ø 34 mm, jubilarni novac, kovano		lijevani brušeni poliester
zlato finoće 986/1000
otkov – E65247	173.	Polaganje u grob – postaja križnog puta
		2012. g., 390 x 1000 x 50 mm, brušeni
167. Nominala 25 kn – 25 godina neovisnosti		poliester, lijevana polirana bronca
Republike Hrvatske (prijedlog 1)
2016. g., ø 32 mm, optjecajni novac,	174.	Isus pada prvi put pod križem – postaja
dvanaesterokut, bimetal, bakrena jezgra,		križnog puta
niklani prsten		2012. g., 390 x 1000 x 50 mm, brušeni
otkov – E65268		poliester, lijevana polirana bronca i
		djelomično posrebrenje
168. Nominala 25 kn – 25 godina primanja RH
u UN	175.	Isus uzima na se križ – postaja križnog puta
2017. g., ø 32 mm, optjecajni novac,		2012. g., 390 x 1000 x 50 mm, brušeni
dvanaesterokut, bimetal, bakrena jezgra,		poliester, lijevana polirana bronca i
niklani prsten		djelomično posrebrenje
otkov – E65267
	176.	Isus susreće svoju majku – postaja križnog
169. Nominala 25 kn – 25. obljetnica uvođenja		puta
kune u Republici Hrvatskoj		2012. g., 390 x 1000 x 50 mm, brušeni
2019. g., ø 32 mm, optjecajni novac,		poliester, lijevana polirana bronca i
dvanaesterokut, bimetal, bakrena jezgra,		djelomično posrebrenje
niklani prsten
otkov – E65278

1. Isusa osuđuju na smrt – postaja križnog puta 2012. g., 390 x 1000 x 50 mm, brušeni poliester, lijevana polirana bronca i djelomično posrebrenje

2. Veronika pruža Isusu rubac– postaja križnog puta

   2013. g., 390 x 1000 x 50 mm, brušeni poliester, lijevana polirana bronca i djelomično posrebrenje

3. Isusa svlače– postaja križnog puta 2013. g., 390 x 1000 x 50 mm, brušeni poliester, lijevana polirana bronca i djelomično posrebrenje

4. Šimun Cirenac pomaže Isusu nositi križ 2013. g., 390 x 1000 x 50 mm, brušeni poliester, lijevana polirana bronca i djelomično posrebrenje

5. Isus umire na križu

   2013. g., 390 x 1000 x 50 mm, brušeni poliester, lijevana polirana bronca i djelomično posrebrenje

6. Isus pada drugi put pod križem – postaja križnog puta

   2013. g., 390 x 1000 x 50 mm, brušeni poliester, lijevana polirana bronca i djelomično posrebrenje

7. Isusa pribijaju na križ – postaja križnog puta 2013. g., 390 x 1000 x 50 mm, brušeni poliester, lijevana polirana bronca i djelomično posrebrenje

8. Veronika pruža Isusu rubac – postaja križnog puta

   2013. g., 390 x 1000 x 50 mm, brušeni poliester, lijevana polirana bronca i djelomično posrebrenje

9. Isus tješi rasplakane jeruzalemske žene– postaja križnog puta

   2013. g., 390 x 1000 x 50 mm, brušeni poliester, lijevana polirana bronca i djelomično posrebrenje

10. Isusa skidaju s križa– postaja križnog puta 2013. g., 390 x 1000 x 50 mm, brušeni poliester, lijevana polirana bronca i djelomično posrebrenje

11. Posljednja večera – idejno rješenje doportalnog reljefa crkve sv. A. Kažotića 2014. g., 460 x 260 x 30 mm, luminirani polirani aluminij, doportalni reljefi crkve sv. A. Kažotića

12. „Idite po svem svijetu” – idejno rješenje doportalnog reljefa crkve sv. A. Kažotića 2014. g., 460 x 260 x 30 mm, luminirani polirani aluminij, doportalni reljefi crkve sv. A. Kažotića

13. Procesionalni križ crkve sv. Augustina Kažotića 2013. g., 340 x 440 x 50 mm, (štap 1800 mm), lijevana polirana bronca i polirani aluminij

    Crkva sv. Mirka u Šestinama

14. Moćnik Sv. Mirka

    2016. g., 740 x 800 mm, pozlaćeni mesing, staklo

    Kapelica KBF u Đakovu

15. Sedes

    2018. g., 99 x 79 x 55 cm, izbijeljeni jasen i polirani aluminij

16. Oblak

    2018. g., 170 x 78 x 90 cm, luminirani polirani aluminij

17. Evanđelist Ivan

    2018. g.,125 x 70 x 30 cm, luminirani polirani aluminij i patinirana bronca

18. Evanđelist Luka

    2018. g.,127 x 73 x 30 cm, luminirani polirani aluminij i patinirana bronca

19. Evanđelist Marko

    2018. g.,141 x 70 x 30 cm, luminirani polirani aluminij i patinirana bronca

20. Evanđelist Matej

    2018. g.,146 x 77 x 30 cm, luminirani polirani aluminij i patinirana bronca

    Javni spomenici

    (modeli, fotografije spomenika)

21. Privez – Omišalj, spomen obilježje 2004. g., 1100 × 1100 × 1500 mm, skulptura, lijevana bronca

22. Skulptura-maketa Pozdrav Zagrebu

    3550 x 3650 × 500 mm, lijevana patinirana bronca i kamen travertin, led

23. Bumbina livada, na Jezeru Bundek u Zagrebu

    2016. g., 3540 x 3200 mm; forex, patinirana bronca i aluminij

24. Skulptura – maketa Zrno soli Ston, spomen obilježje

2020.g.; ø 2000 mm x 1000 mm, bronca, kamen i kolorirani inox

LIST OF EXHIBITS

Medallic works

(medals, plaques, tactile, free-standing sculptures)

1. Tin Ujević

   1974, ø 32 mm, medal, wrought silver

2. Colleague

   1975, 80 x 85 mm, plaque, cast bronze

3. Tactile

   1978, ø 95 mm, tactile, cast bronze, lead

4. Ida

   1981, ø 100 mm, cast bronze, medallion, ø 80 mm, ivory, gold

5. Museum Space – Exhibition “Zagreb Cathedral Treasury”

   1983, ø 38 mm, medal, silver

6. Dubrovnik

   1983, 40 x 35 mm, brooch, silver, reduced wood

7. On the Occasion of the Exhibition “Ancient Chinese Culture”

   1984, ø 100 mm, medal, cast bronze

8. Universiade ’87

   1985, 150 x 70 x 90 mm, free-standing sculpture, cast bronze and enamel

9. Lotrščak Bell

   1986, 116 x 74 x 35 mm, free-standing sculpture, cast bronze

10. Cyril and Methodius

    1986, ø 100 mm, medal, wrought part gilt silver

11. 60 Years of the Croatian Numismatic Society

    1987, ø 100 mm, bronze, part silvered

12. European Bocce Championship

    1994, 65 x 55 mm, wrought silver, part gilt

13. Croatian Wine

    1993, ø 65 mm, medal, wrought silver, part gilt, enamel

14. 500th Anniversary of the Senj Glagolitic Missal

    1994, ø 150 mm, medal, silver, part coppered

15. Vatroslav Jagić

    1995, ø 75 mm, medal, cast silver, part gilt

16. Antun Barac

    1995, ø 150 mm, 75 mm, medal, cast silver, part gilt

17. Stjepan Ivšić

    1995, ø 75 mm, medal, cast silver, part gilt

18. Otokar Keršovani – Award of the Croatian Journalists’ Association

    1996, 240 x 155 mm, diptych, small-scale sculpture, cast bronze

19. Nikša Antonini – Award of the Croatian Journalists’ Association

    1996, 100 x 140 x 50 mm, small-scale sculpture, cast bronze

20. “Marin Držić” Award

    1997, 185 x 145 x 145 mm, small-scale sculpture, cast bronze

21. Lovro Matačić

    1997, ø 90 mm, medal, engraved silver, gold appliqué

22. Blaž Baromić – Book Memorial

    1997, 115 x160 x 160 mm, small-scale sculpture, cast bronze

23. Ivana Brlić Mažuranić

    1998, ø 150 mm, commemorative coin, bronze

24. Franciscan Province of Saints Cyril and Methodius

    1999, ø 60 mm, medal, wrought silver; ø 38 mm, silver coin, minted silver

25. Lifetime Achievement Award HAŠK Mladost 2001, 280 x 170 mm, small-scale sculpture, triptych, cast bronze

26. Gold Bell – Award of the Croatian Advertising Association

    2002, 200 x 110 mm and 250 x 130 mm, small-scale sculpture, cast bronze

27. Faust Vrančić

    2002, gold coin, minted gold; ø 40 mm, silver coin, minted silver

28. Cake

    2004, ø 108 mm, medal, cast bronze, part silvered

29. Bread, Cheese and Olives

    2004, ø 100 mm, medal, cast bronze, part silvered and gilt

30. Iso Velikanović – Lifetime Achievement Award

    2005, ø 105 mm, medal, cast silvered bronze

31. St. Jerome – on the occasion of the solemn taking possession of the titular church of St. Jerome in Rome, Cardinal Josip Bozanić 2005, ø 75 mm, medal, wrought silver, enamel

32. Heritage – Trademark of Monuments of Culture

    2005, ø 200 mm, plaque, cast bronze

33. “Brethren of the Croatian Dragon” Society 2005, ø 70 mm, medal, wrought silver, part gilt

34. Isis

    2006, 100 x 70 mm, medallion, wrought silver, enamel

35. Croatian Culture

    2006, 92 x 87 mm, wrought silver, hand gilt

36. “Doris Pack” – Award of the Croatian Cultural Club

    2006, 87 x 80 mm, medal, cast silver, finished by hand (unique item)

37. Croatian Natural History Museum 1996, ø 65 mm, medal, wrought silver

38. Community of Franciscan Sisters of the Immaculate Conception

    2006, ø 70 mm, medal, wrought silver, part gilt

39. Blessed Shepherds of the Church of Zagreb – on the occasion of the 10th anniversary of the service of Cardinal Josip Bozanić

    2007, ø 75 mm, medal, wrought silver

40. Lifetime Achievement Award “Ivo Horvat” 2007, ø 105 mm, medal, cast bronze

41. Lifetime Achievement Award “Vicko Andrić”

    2007, ø 105 mm, medal, cast silvered bronze

42. St. Nikola Tavilić

    2007, ø 65 mm, medal, wrought silver, part gilt

43. Fra Aleksa Benigar

    2007, 65 x 65 mm, medal, wrought silver, part coppered

44. St. Dominik

    2007, ø 95 mm, medal, wrought silver, part hand gilt

45. Marin Držić

    2008, ø 70 mm, medal, silver, part gilt

46. Miho Pracat

    2008, ø 65 mm, medal, wrought silver, part gilt

47. Four Evangelists

    2008, ø 105 mm, plaque, cast bronze

48. Society of Friends of Dubrovnik Antiquities 2009, medal, ø 60 mm, medal, wrought silver, part gilt

49. Bleiburg

    2009, ø 70 mm, medal, pinchbeck, part silvered, patina

50. Museum of Contemporary Art

    2009, 54 x 52 mm, medal, wrought silver

51. Diocese of Bjelovar-Križevci

    2010, ø 70 mm, medal, wrought silver, wrought pinchbeck

52. Medal Križevci

    2011, medal, ø 70 mm, wrought silver

53. Jadranko Crnić Award

    2011, medal, ø 85 mm, wrought silver

54. Ana Marija Maruna

    2011, ø 65 mm, medal, silver

55. Andrija Mohorovičić

    2012, medal, ø 90 mm, cast patinated bronze

56. “Tribute to Zagreb” medal of model of the City of Zagreb

    2013, 110mm x 110 mm x 10 mm, cast patinated bronze

57. Medal Stjepan de Gradi (Society of Friends of Dubrovnik Antiquities)

    2013, ø 65 mm, medal, wrought silver

58. Home

    2014, ø 100 mm, medal, mixed media

59. National Museum of Modern Art in Zagreb 2015, ø 65 silver and part gilt

60. Heritage

    2015, ø 110 mm, medal, cast bronze, patinated and polished

61. 300th Anniversary of the Crowning of the Mother of God of Trsat

    2015, ø 38 silver and part gilt

62. Large Onofrio Fountain

    2016, ø 65 mm, medal, wrought patinated pinchbeck, wrought silver and part gilt

63. Seed – Memorial to Janeš

    2017, ø 95 mm, medal-tactile, cast polished aluminium, gilt messing

64. II Synod of Zagreb

    2018, ø 75 mm, medal, wrought silver and part gilt

65. Identity

    2019, medal. ø 90mm, polyptych, engraved plexiglass

66. Niko Kapetanić

    2019, ø 110 mm, polished aluminium

67. Medal “Honorary Medal of the University of Zagreb”

    2020, ø 90 mm wrought silver and gold appliqués

68. Pectoral Cross of the Prebends of the Zagreb Diocese

    2020, 82 mm x 113 mm x 5 mm, wrought part gilt silver and enamel

    Small-scale sculpture

    (sculptures, reliefs)

69. Nude

    1977, 420 x 280 mm, chamber sculpture, galvanized copper, shiny

70. Duck

    1978, 260 x 160 x 90 mm, small-scale sculpture, cast aluminium and polyester

71. Tree of Youth

    1978, 140 x 130 x 30 mm, small-scale sculpture, cast bronze, stained glass enamel, embossed silver

72. Bouquet

    1992, 140 x 130 x 35 mm, small-scale sculpture, cast silver, gilt

73. Senj – Sail IŽ

    1995, 150 x 150 x 400 mm, small-scale sculpture, handmade crystal glass

74. Zagreb School of Slavic Studies l 1997, 100 x 20 x 105 mm, small-scale sculpture, cast bronze

75. Sail

    1997, 190 x 190 x 250 mm, small-scale sculpture, silvered copper, chromium

76. Waterfall

    1997, 130 x 130 x 180 mm, small-scale sculpture, mixed media

77. Heavenly Gate

    1998, 225 x 125 x 100 mm, small-scale sculpture, mixed media

78. Tree of Children’s Dreams – Four Seasons: Spring

    1998, 120 x 80 x 150 mm, small-scale sculpture, mixed media

79. Tree of Children’s Dreams – Four Seasons: Summer

    1998, 120 x 80 x 150 mm, small-scale sculpture, mixed media

80. Tree of Children’s Dreams – Four Seasons: Autumn

    1998, 120 x 80 x 150 mm, small-scale sculpture, mixed media

81. Tree of Children’s Dreams – Four Seasons: Winter

    1998, 120 x 80 x 150 mm, small-scale sculpture, mixed media

82. Skydiver

    1998, 220 x 260 x 150 mm, small-scale sculpture, mixed media

83. Like an Aeroplane

    1998, 225 x190 x 70 mm, small-scale sculpture, cast silvered bronze, chrome- plated copper

84. Swimmer

    1998, 235 x150 x 150 mm, small-scale sculpture, cast silvered bronze, epoxy

85. Diver

    1998, 300 x 220 x 140 mm, small-scale sculpture, cast silvered bronze, plexiglass

86. Pegasus

    1998, 130 x 240 x 170 mm, small-scale sculpture, silvered bronze

87. Bura Wind

    2001, 195 x 150 x 35 mm, small-scale sculpture, coloured wood, copper, epoxy and glass

88. Lazy Time

    2001, 180 x 140 x 45 mm, small-scale sculpture, coloured wood, copper, epoxy, glass

89. Harvest Time

    2001, 165 x 130 x 40 mm, small-scale sculpture, coloured wood, copper, epoxy, glass

90. Cloudy Weather

    2001, 140 x 170 x 40 mm, small-scale sculpture, coloured wood, copper, epoxy, glass

    2001, 150 x 160 x 25 mm, small-scale sculpture, coloured wood, copper, epoxy, glass 2001, 160 x 160 x 25 mm, small-scale sculpture,	102. 103.	Testimony / Testimonium 2009, 240 x 240 x 270 mm, small-scale sculpture, cast polished aluminium, cast bronze, polyester Love
    coloured wood, copper, epoxy, glass 93. Wintertime II.		2009, 270 x 230 mm, relief, cast polished aluminium
    2001, 180 x 105 x 30 mm, small-scale sculpture, coloured wood, copper, epoxy, glass 94. Full Moon Time 2001, 170 x 110 x 25 mm, small-scale sculpture,	104. 105.	Buried 2009, 270 x 230 mm, relief, cast polished aluminium Community
    coloured wood, copper, epoxy, glass 95. Springtime		2009, 270 x 230 mm, relief, cast polished aluminium
    2001, 180 x 1125 x 40 mm, small-scale sculpture, coloured wood, copper, epoxy, glass	106.	Temptation 2010, 270 x 230 mm, relief, cast polished aluminium
    96. Windy 2002, 160 x 190 x 60 mm, small-scale sculpture, coloured wood, copper, epoxy, glass	107.	Passage 2010, 220 x 320 x 50 mm, relief, cast polished aluminium
    97. Eventum – International Award of the Croatian Advertising Association 2002, 185 mm x 185 mm x 50 mm, small- scale sculpture, patinated messing, plexiglass	108. 109.	Heavens 2010, 220 x 290 x 15 mm, relief, cast polished aluminium Faith
    98. Histrion 2007, 130 x 100 mm, small-scale sculpture, cast bronze	110.	2010, 270 x 230 x 10 mm, relief, cast polished aluminium Doubt
    99. Cabinet 2008. g., 110 x 135 x 73 mm, small-scale sculpture, silver, part gilt, coloured wood	111.	2010, 270 x 230 x 10 mm, relief, cast polished aluminium Abyss
    100. Third Day 2008, 205 x 155 x 45 mm, small-scale sculpture, cast aluminium and patinated bronze	112.	2010, 270 x 230 x 10 mm, relief, cast polished aluminium Sign
    101. Beginning / Principium		2010, 270 x 230 x 10 mm, relief, cast polished aluminium
    2008, 268 x 230 x 35 mm, relief, cast polished aluminium

    1. Rainy Weather

    2. Time to Fly

    113. Sacrament

    2010, 270 x 230 x 10 mm, relief, cast

    Honorary chains

    polished aluminium	125.	Dean’s Chain of the Academy of Fine Arts in Zagreb
    114. Looking 2010, 270 x 230 x 10 mm, relief, cast polished aluminium	126.	1979, 630 x 230 mm, ceremonial chain, silver, enamel, silver medallions Chain of the International Mission for
    115. Belief 2010, 270 x 230 x 10 mm, relief, cast polished aluminium		Science and Peace 1980, 650 x 220 mm, ceremonial chain, silver, gilt, silver medallions
    2010, 270 x 230 x 10 mm, relief, cast polished aluminium 2010, 270 x 230 x 10 mm, relief, cast	127. 128.	Dean’s Chain of the Faculty of Economics in Zagreb 2001, 600 x 400 mm, ceremonial chain, cast silver, copper Mayoral Chain of the City of Hrvatska
    polished aluminium 118. Bacchanalia		Kostajnica 2003, 500 x 350 mm, ceremonial chain, hand-crafted silver, patina
    2010, 230 x 130 x 80 mm, small-scale sculpture, cast bronze, patina	129.	Chain of the Croatian Bar Association
    119. Floraart Gold Bouquet		2010, 200 x 500 x 10 mm, hand-crafted silver and gold, enamel
    2014, 140 x 130 x 35 mm, small-scale sculpture, cast bronze, gilt, incrusted plexiglass	130.	Chain of the Grand Master of the Brethren
    120. Bumbina Meadow – Floraart		of the Croatian Dragon 2013, 750 x 350 mm, wrought and engraved
    2014, 163 x 158 x 40 mm, small-scale sculpture, cast patinated bronze	131.	silver, purity 925/1000 and part gilt Dean’s Chain of the Catholic Faculty of
    121. Rain on Bumba 2015, small-scale sculpture, cast polished aluminium, 160 x 230 x 260 mm	132.	Theology in Đakovo 2015, 540 x 220 mm, wrought silver and gold Pectoral Cross for the Holy Father Benedict
    2016, 3540 x 3200 x 80mm, aluminium and polished copper	133.	XVI 2011, gift of the Croatian Bishops’ Conference, 92 x 68 x 500 mm, silver and part gilt Grand Order of President Franjo Tuđman
    polished copper 124. Floraart 2020		2020, Sign on the sash: 58 mm x 53 mm, enamel and patinated silver; morning star (danica) ø 90 mm gold and silver; smaller
    2020, 120 mm x 170 mm, patinated bronze, plexiglass		decorative version ø 17 mm gold; small designation 13.5 mm enamel, gold and silver

    1. Creation

    2. Fullness

    1. Albert according to Toni

    2. With Head in the Clouds according to Toni 2016, 170x 250 x 70 mm, aluminium and

    Money

    (coins, models)

    140. Denomination 150 Kuna – XXVI Olympic Games, Atlanta, 1996, Handball and Gymnastics

    134. Denomination 500 Kuna – 900th Anniversary of the Zagreb Diocese and the City of Zagreb		1996, ø 37 mm, commemorative coin, minted silver Coinage – E48336; Plaster models –
    1994, ø 20 mm, commemorative coin,		E64047, E64048, E64051, E64054
    minted gold
    Coinage – E48321	141.	Denomination 150 Kuna – XXVI Olympic
    		Games, Atlanta, 1996, Archery and Table
    135. Denomination 5 Kuna – 500th Anniversary		Tennis
    of the Printing of the Senj Glagolitic Missal		1996, ø 37 mm, commemorative coin,
    1995, ø 26.5 mm, circulation coin, alloy		minted silver
    nickel and copper		Coinage – E48339; Plaster models –
    Coinage – E46293; Plaster models –		E64049, E64050, E64052, E64053
    E64059, E64060
    	142.	Denomination 25 Kuna – Croatian Danube
    136. Denomination 5 Kuna – 500th Anniversary		Region
    of the Printing of the Senj Glagolitic Missal		1997, ø 32 mm, circulation
    1995, ø 26,5 mm, commemorative coin,		commemorative coin, dodecagon,
    minted gold, 200 items issued		bimetallic, copper core, nickel ring
    Coinage – E48334		Coinage – E48356; Plaster models –
    		E61429, E61431
    137. Denomination 500 Kuna – Statehood Day
    of the Republic of Croatia	143.	Denomination 25 Kuna – First Croatian
    1995, ø 18 mm, commemorative coin,		Esperanto Congress
    minted gold		1997, ø 32 mm, circulation coin,
    Coinage – E48325; Plaster models –		dodecagon, bimetallic, copper core, nickel
    E61439, E61444		ring
    		Coinage – E48357
    138. Denomination 150 Kuna – Statehood Day
    of the Republic of Croatia	144.	Denomination 25 Kuna – Fifth Anniversary
    1995, ø 37 mm, commemorative coin,		of the Admission of Croatia to the UNO
    minted silver		1997, ø 32 mm, circulation coin,
    Coinage – E48327; Plaster model – E61438		dodecagon, bimetallic, copper core, nickel
    		ring
    139. Denomination 1 Ducat – Croatian Royal		Coinage – E48358
    City of Knin
    1995, ø 20 mm, commemorative coin,	145.	Denomination 1000 Kuna – Baranja, Black
    minted gold		Storks
    Coinage – E48329; Plaster models –		1997, ø 22 mm, commemorative coin,
    E61406, E61407		minted gold
    		Coinage – E48352; Plaster models –
    		E64114, E64115

    146. Denomination 500 Kuna – Baranja, White- tailed Eagle 1997, ø 18 mm, commemorative coin, minted gold Coinage – E48353; Plaster models – E64113, E64116	153.	Denomination 25 Kuna – 10th Anniversary of the International Recognition of Croatia 2000, ø 32 mm, circulation coin, dodecagon, bimetallic, copper core, nickel ring Coinage – E65272; Plaster model – E64002
    1997, ø 40 mm, commemorative coin, minted silver Coinage – E48354; Plaster model – E64112	154. 155.	Denomination 25 Kuna – Republic of Croatia, EU Membership Candidate 2005, ø 32 mm, circulation coin, dodecagon, bimetallic, copper core, nickel ring Coinage – E65275; Plaster model – E64007 Denomination 150 Kuna – World Football
    1997, ø 37 mm, commemorative coin, minted silver Coinage – E48355; Plaster model – E64111 149. Denomination 25 Kuna – EXPO Lisbon, 98 1998, 32 mm, circulation coin, dodecagon, bimetallic, copper core, nickel ring	156.	Championship in Germany 2006, ø 37 mm, commemorative coin, minted silver purity 925/1000 Coinage – E54385; Plaster models – E64038, E64039 Denomination 150 Kuna – Meštrović;
    Coinage – E54557 150. Denomination 25 Kuna – On the Occasion		Republic of Croatia – Republic of Ireland 2006, ø 37 mm, commemorative coin, minted silver purity 925/1000
    of the Introduction of EURO 1999, ø 32 mm, circulation coin, dodecagon, bimetallic, copper core, nickel	157.	Coinage – E54603 Denomination 15 eura – Meštrović;
    ring Coinage – E54557; Plaster model – E64004 151. Denomination 200 Kuna – Katarina Zrinska 1999, ø 40 mm, commemorative coin,	158.	Republic of Ireland – Croatia 2007, ø 37 mm, commemorative coin, minted silver purity 925/1000 Coinage – E54602 Denomination 150 Kuna – Benedikt
    minted silver Coinage – E54560; Plaster models – E64083, E64084 152. Denomination 25 Kuna – Marking the Year 2000 (Human Foetus)	159.	Kotruljević 2007, ø 37 mm, commemorative coin, minted silver purity 925/1000 Coinage – E54605 Denomination 150 Kuna – Croatian Ships
    2000, ø 32 mm, circulation coin, dodecagon, bimetallic, copper core, nickel ring Coinage – E54559; Plaster models – E64006		(Obverse) 2007, ø 37 mm, commemorative coin, minted silver purity 925/1000 Coinage – E54604

    1. Denomination 200 Kuna – Baranja, Black Storks

    2. Denomination 150 Kuna – Baranja, White- tailed Eagle

    160. Denomination 150 Kuna – FIFA 2010	168.	Denomination 25 Kuna – 25th Anniversary
    2009, ø 37 mm, commemorative coin,		of the Admission of the Republic of Croatia
    minted silver purity 925/1000		to Membership in the United Nations
    Coinage – E65236		2017, ø 32 mm, general circulation coin,
    		dodecagon, bimetallic, copper core, nickel ring
    161. Denomination 10 Kuna – Braille		Coinage – E65267
    2009, ø 12 mm, commemorative coin,
    minted gold purity 986/1000	169.	Denomination 25 Kuna – 25th Anniversary
    Coinage – E65244		of the Introduction of Kuna as the
    		Monetary Unit of the Republic of Croatia
    162. Denomination 25 Kuna – Annual Meeting		2019, ø 32 mm, general circulation coin,
    of the European Bank for Reconstruction		dodecagon, bimetallic, copper core, nickel ring
    and Development, Zagreb, 2010		Coinage – E65278
    2010, ø 32 mm, circulation coin, dodecagon,
    bimetallic, copper core, nickel ring	170.	Denomination 25 Kuna – 350th Anniversary
    Coinage – E65269		of the University of Zagreb
    		2019, ø 32 mm, general circulation coin,
    163. Denomination 25 Kuna – Republic of Croatia		dodecagon, bimetallic, copper core, nickel ring
    Accession Treaty to the European Union		Coinage – E65279
    2012, ø 32 mm, circulation coin, dodecagon,
    bimetallic, copper core, nickel ring	171.	Denomination 25 Kuna – Croatian
    Coinage – E65270		Presidency of the Council of the European
    		Union 2020
    164. Denomination 25 Kuna – Republic of		2019, ø 32 mm, general circulation coin,
    Croatia, a Member of the European Union		dodecagon, bimetallic, copper core, nickel
    2013, ø 32 mm, circulation coin, dodecagon,		ring
    bimetallic, copper core, nickel ring		Coinage – E65280
    Coinage – E65271; Plaster model – E64003

    165. Denomination 100 Kuna – Republic of Croatia, a Member of the European Union 2013, ø 34 mm, commemorative coin, minted silver purity 925/1000

    Coinage – E65248

    Religious sculpture

    (models, polyester)

    Church of St. Augustin Kažotić in Zagreb

    	172.	Crucified, Tortured and Resurrected
    166. Denomination 1000 Kuna – Republic of		2009, 2680 x 2300 x 300 mm, relief, cast
    Croatia, a Member of the European Union		polished bronze
    2013, ø 34 mm, commemorative coin,
    minted gold purity 986/1000	173.	Deposition in the Tomb – Station of the Cross
    Coinage – E65247		2012, 390 x 1000 x 50 mm, brushed
    		polyester, cast polished bronze
    167. Denomination 25 Kuna – 25th Anniversary
    of Independence of the Republic of	174.	Jesus Falls for the First Time – Station of
    Croatia (proposal 1)		the Cross
    2016, ø 32 mm, general circulation coin,		2012, 390 x 1000 x 50 mm, brushed
    dodecagon, bimetallic, copper core, nickel ring		polyester, cast polished bronze and part
    Coinage – E65268		silvered

    175. Jesus Takes Up His Cross – Station of the Cross	183.	Jesus is Nailed to the Cross – Station of the Cross
    2012, 390 x 1000 x 50 mm, brushed polyester, cast polished bronze and part silvered		2013, 390 x 1000 x 50 mm, brushed polyester, cast polished bronze and part silvered
    176. Jesus Meets His Mother – Station of the Cross 2012, 390 x 1000 x 50 mm, brushed polyester, cast polished bronze and part silvered	184.	Veronica Wipes the Face of Jesus – Station of the Cross 2013, 390 x 1000 x 50 mm, brushed polyester, cast polished bronze and part silvered
    177. Jesus is Condemned to Death – Station of the Cross 2012, 390 x 1000 x 50 mm, brushed polyester, cast polished bronze and part silvered	185.	Jesus Consoles the Weeping Women of Jerusalem – Station of the Cross 2013, 390 x 1000 x 50 mm, brushed polyester, cast polished bronze and part silvered
    178. Veronica Wipes the Face of Jesus – Station of the Cross 2013, 390 x 1000 x 50 mm, brushed polyester, cast polished bronze and part silvered	186.	Jesus is Taken Down from the Cross – Station of the Cross 2013, 390 x 1000 x 50 mm, brushed polyester, cast polished bronze and part silvered
    179. Jesus is Stripped of His Clothes – Station of the Cross 2013, 390 x 1000 x 50 mm, brushed polyester, cast polished bronze and part silvered	187.	“Last Supper” concept design for side- portal relief, Church of St. A. Kažotić 2014, 460 mm x 260 mm x 30, illuminated polished aluminium, side-portal reliefs of the Church of St. A. Kažotić
    180. Simon of Cyrene Helps Jesus Carry His Cross 2013, 390 x 1000 x 50 mm, brushed polyester, cast polished bronze and part silvered	188.	“Go all over the world” concept design for side-portal relief, Church of St. A. Kažotić 2014, 460 mm x 260 mm x 30, illuminated polished aluminium, side-portal reliefs of the Church of St. A. Kažotić
    2013, 390 x 1000 x 50 mm, brushed polyester, cast polished bronze and part silvered	189.	Processional Cross, Church of St. Augustin Kažotić 2013, 340 x 440 x 50 mm, (staff 1800 mm) cast polished bronze and polished aluminium

    1. Jesus Dies on the Cross

    2. Jesus Falls for the Second Time – Station of

    the Cross

    2013, 390 x 1000 x 50 mm, brushed polyester, cast polished bronze and part silvered

    Church of St. Mirko in Šestine

    1. Relic of St. Mirko

       2016, 740 x 800 mm, gilt messing, church glass

       Chapel of the Catholic Faculty of Theology in Đakovo

    2. Seat

       2018, 99 x 79 x 55, bleached ash, polished aluminium

    3. Cloud

       2018, 170 x 78 x 90 cm, illuminated polished aluminium

    4. John the Evangelist

       2018,125 x 70 x 30 cm, illuminated polished aluminium and patinated bronze

    5. Luke the Evangelist

       2018,127 x 73 x 30 cm, illuminated polished aluminium and patinated bronze

    6. Mark the Evangelist

       2018,141 x 70 x 30 cm, illuminated polished aluminium and patinated bronze

    7. Matthew the Evangelist

       2018,146 x 77 x 30 cm, illuminated polished aluminium and patinated bronze

       Public monuments

       (models, photos of monuments)

    8. Mooring – Omišalj, public memorial 2004, 1100 x 1100 x 1500 mm, sculpture, cast bronze

    9. Sculpture-model Tribute to Zagreb 2012, 3550 x 3650 x 500 mm, cast

       patinated bronze and travertine stone, ice

    10. Bumbina Meadow, at the Bundek Lake in Zagreb

        2016, 3540 x 3200 mm; forex, patinated bronze and aluminium

    11. Sculpture-model Grain of Salt, Ston, public memorial

2020, ø 2000 mm x 1000 mm, bronze, stone and coloured inox

ŽIVOTOPIS

DAMIR MATAUŠIĆ rođen je u Zagrebu 1954. godine. Diplomirao je na Kiparskom odsjeku Akademije likovnih umjetnosti u Zagrebu 1979. godine u klasi prof. Želimira Janeša. Kao redoviti profesor predaje na Akademiji likovnih umjetnosti u Zagrebu na Kiparskom odsjeku – usmjerenje Mala plastika i medaljerstvo (prediplomski, diplomski i poslijediplomski specijalistički i doktorski studij). Prvu medalju realizirao je 1973. i od tada se intenzivno bavi medaljom i malom plastikom kao likovnim izrazom.

Danas njegov opus čini preko 650 uglavnom dvostrano kovanih medalja i malih plastika. Autor je više od 200 medalja kovanih u zlatu i srebru, 42 optjecajna i jubilarna apoena Republike Hrvatske i 15 € za Republiku Irsku, desetak godišnjih nagrada u kulturi, znanosti, sportu i javnom životu (Marin Držić, Lovro pl. Matačić, M. J. Zagorka, Ivo Horvat, Vicko Andrić, Stjepan Ivšić, Mladost, Floraart) te sedam dekanskih lanaca Akademije likovnih umjetnosti, Međunarodne misije za znanost i mir, Ekonomskog

fakulteta, gradonačelničkog lanca grada Kostajnice, predsjedničkog lanca HOK-a, lanca velikog meštra družbe Braće hrvatskoga zmaja i dekanskog lanca KBF-a u Đakovu. Autor je spomen-obilježja papi Ivanu Pavlu II. u Omišlju i nekoliko sakralnih obilježja: oltara, oltarnog križa i križnog puta crkve sv.

Augustina Kažotića u Zagrebu, moćnika sv. Mirka u crkvi na Šestinama, te cjelokupnog interijera kapelice Marije Majke Crkve Katoličkog bogoslovnog fakulteta u Đakovu. Autor je skulpture – makete Zagreb pozdravlja u Zagrebu. Damir Mataušić izlaže od 1974. godine. Priredio je 24 samostalne izložbe od kojih je najznačajnija monografska izložba u Galeriji Klovićevi dvori u Zagrebu 2000., te izložbe u Dolenjskom muzeju u Sloveniji 2003., Galeriji Forum u Zagrebu 2010. i u Galeriji likovnih umjetnosti

u Osijeku 2013. godine. Sudjelovao je na preko 100 skupnih izložbi, između ostalih na FIDEM-u (Internacionalna izložba medalja) u Parizu, Londonu, Budimpešti, Neuchatelu, Den Haagu, Lisabonu, Colorado Springsu, Glasgowu, Sofiji, Ottawi, te na izložbama skulptura u Austriji, Njemačkoj, Slovačkoj, Švicarskoj, Italiji, Mađarskoj i Americi. Specijalizirao se izvodeći projekte u državnim kovnicama u Beču, Cardiffu i Budimpešti. O radu Damira Mataušića izdane su tri monografije: 1993. autora Feđe Vukića, 1999. autora Bogdana Mesingera i 2010. cjelokupna s kompletnom bibliografijom i popisom radova autora Bogdana Mesingera. Radovi mu se nalaze u mnogim muzejskim i galerijskim zbirkama kao

što su: Moderna Galerija, Gliptoteka HAZU, Muzej suvremene umjetnosti, Tiflološki muzej, Arheološki muzej u Zagrebu, Muzej likovnih umjetnosti u Osijeku, zbirke u Vatikanu te u samostanskim galerijama na Hvaru, Korčuli, Humcu, sportskom muzeju u Laussani (Philip Noel Bacer) te u brojnim muzejskim

i privatnim zbirkama medalja i numizmatike u Hrvatskoj i inozemstvu. Dobitnik je nagrada na natječajima u Austriji 2000. i Japanu 2001. godine. Za svoj stvaralački doprinos i umjetnički rad 1996. odlikovan je Redom Danice hrvatske s likom Marka Marulića, a 2019. umjetniku je dodijeljen Grand Prix XIII. Memorijala Ive Kerdića.

BIOGRAPHY

DAMIR MATAUŠIĆ was born in Zagreb in 1954. He graduated from the Department of Sculpture of the Academy of Fine Arts in Zagreb, in the class of prof. Želimir Janeš. He lectures, as a full professor, at the Academy of Fine Arts in Zagreb, in the Department of Sculpture – study program of small-scale sculpture and medal-making (undergraduate, graduate and postgraduate specialized and doctoral study). He created his first medal in 1973, and ever since he has been intensely involved in creating medals and small-scale sculptures as a visual expression. Today, his oeuvre is comprised of more

than 650 mostly double-sided cast medals and small-scale sculptures. He designed more than 200 medals cast in gold and silver, 42 general circulation and commemorative denominational coins of the Republic of Croatia and a 15 Euro coin for the Republic of Ireland, around ten annual awards for culture, science, sport and public life (Marin Držić, Lovro Matačić, M.J. Zagorka, Ivo Horvat, Vicko Andrić, Stjepan Ivšić, Mladost, Floraart), as well as 7 dean’s chains for the Academy of Fine Arts, International Mission for Science and Peace, Faculty of Economics, Kostajnica Mayoral Chain, presidential chain of

the Croatian Bar Association, chain of the Grand Master of the Brethren of the Croatian Dragon and the dean’s chain of the Croatian Faculty of Theology in Đakovo. He also created the Public Memorial to John Paul II in Omišalj, as well as several other religious memorials: the altar, the altar cross and the Way of the Cross for the Church of St. Augustin Kažotić in Zagreb, the relic of St. Mirko in the church in Šestine, the entire interior furnishing of the Chapel of Mary, Mother of the Church in the Catholic Faculty of Theology in Đakovo, and the sculpture – model Tribute to Zagreb in Zagreb. Damir Mataušić has been exhibiting since 1974. He staged 24 solo exhibitions, the most important of which is the monographic exhibition in the Klovićevi Dvori Gallery in Zagreb in 2000, and exhibitions in the Dolenjska Museum

in Slovenia in 2003, Forum Gallery in Zagreb in 2010, and the Gallery of Fine Arts in Osijek in 2013. He has participated in more than 100 group exhibitions, among them FIDEM (International Art Medal Federation Paris, London, Budapest, Neuchatel, Den Haag, Lisbon, Colorado Springs, Glasgow, Sofia, Ottawa), and sculpture exhibitions in Austria, Germany, Slovakia, Switzerland, Italy, Hungary and America. He completed his specialist training by executing projects in the national mints in Vienna, Cardiff and Budapest. Three monographs were published about Damir Mataušić’s works: in 1993 by Feđa Vukić, in 1999 by Bogdan Mesinger and in 2010, again by Bogdan Mesinger, with a complete bibliography and a list of the artist’s works. His works can be found in many museum and gallery collections, such as: the National Museum of Modern Art, Glyptotheque of the Croatian Academy of Sciences and Arts, Museum of Contemporary Art, Typhlological Museum in Zagreb, Archaeological Museum in Zagreb, Museum of Fine Arts in Osijek, the Vatican Collection and in monastery galleries in Hvar, Korčula, Humac, Olympic Museum in Lausanne (Philip Noel Baker) and many other museums and private collections of medals and numismatics in Croatia and abroad. He won awards at competitions in Austria in 2000 and Japan in 2001. For his creative contribution and artistic work, he was awarded the Order of Danica Hrvatska with the image of Marko Marulić, and in 2019 he was awarded the Grand Prix at the XIII Ivo Kerdić Memorial.

IZLOŽBE / EXHIBITIONS

Samostalne izložbe / Solo exhibitions Skupne izložbe / Collective exhibitions

1986.	Muzejski prostor „Lotrščak”, Zagreb	1974.	FIDEM, Pariz, Međunarodna izložba medalja
	Galerija „Josip Kraš”, Zagreb	1979.	Umjetnički paviljon, Zagreb, XI. salon mladih
1989.	Galerija „Vama”, Varaždin		Galerija „Ulrich”, Zagreb, Nakit i sitna
	Galerija „Lapidarij”, Omišalj		plastika
1990.	Galerija „Portret”, Zagreb	1980.	Memorijal Ive Kerdića, Osijek
1992.	Muzej „Mimara” – atrij, Zagreb		Memorijal Ive Kerdića, Zagreb
1993.	Hotel „Adriatic”, Opatija		Memorijal Ive Kerdića, Berlin
1994.	Adria banka, Crikvenica	1983.	Knjižnica i čitaonica „Vladimir Nazor”,
	Muzej „Mimara” – prizemlje, Zagreb		Zagreb, Umjetnici Črnomerca
1995.	Franjevački samostan sv. Ante – atrij,		II. Memorijal Ive Kerdića, Nova Gradiška
	Zagreb		II. Memorijal Ive Kerdića, Pečuh
1997.	Galerija „Garestin”, Varaždin	1985.	Tiflološki muzej, Nova Gradiška, „Taktili ‘85”
	Galerija Zagrebačke slavističke škole	1986.	Knjižnica i čitaonica „Vladimir Nazor”,
	„Vincent iz Kastva”, Pula		Zagreb, Umjetnici Črnomerca
1998.	MGC „Klovićevi dvori”, Zagreb,	1987.	III. Memorijal Ive Kerdića, Osijek
	monografska izložba		III. Memorijal Ive Kerdića, Zagreb
2001.	TV izložba HTV-a, 20. 3. 2001., drugi		III. Memorijal Ive Kerdića, Beograd
	program, 21:10 h	1988.	Muzej „Mimara”, Zagreb, Fond humanosti i
2002.	Galerija Šovagović, Zagreb		solidarnosti
	Dubrovački muzeji, Dom Marina Držića,		Galerija nad Atlantikom, Zagreb,
	Dubrovnik		München, Split, Beograd, New York
2003.	Dolenjski muzej, Novo mesto, Slovenija		Salon „Izidor Kršnjavi”, Zagreb, Izložba
2006.	Galerija „Općinska vijećnica”, Omišalj		profesora ŠPUD-a
2008.	Dubrovački muzeji, Dom Marina Držića,	1990.	Muzejski prostor, Zagreb, Dvanaest
	Dubrovnik		hrvatskih medaljera
2010.	Gradski muzej Križevci, Križevci		Salon „Izidor Kršnjavi”, Zagreb, Izložba
	Veliki kaptol, Sisak		profesora ŠPUD-a
	Galerija „Forum”, Zagreb		IV. Memorijal Ive Kerdića, Osijek
2011.	Gradski muzej Varaždin, Varaždin	1991.	Zagreb art-fair, Zagreb
2013.	Gradski Muzej Osijek, XI. Memorijal Ive		Feldefing, Austrija, Ars Croatica
	Kerdića – „Izbor iz opusa”, samostalna	1992.	Muzejski prostor, Zagreb, 10. obljetnica
	izložba unutar Memorijala		Muzejskog prostora
2014.	Tiflološki muzej u Zagrebu, „Manje je		Salon sakralne umjetnosti, Split
	više”, izbor radova prilagođen slijepim i		Muzejsko-galerijski centar, Zagreb,
	slabovidnim osobama		Hrvatski umjetnici Herceg-Bosni (donacije)
2020.	Moderna Galerija, Zagreb, „Damir Mataušić		Salon „Izidor Kršnjavi”, Zagreb, Izložba
	– kritička retrospektiva”		profesora ŠPUD-a
			FIDEM, British Museum, London,
			Međunarodna izložba medalja
		1993.	V. Memorijal Ive Kerdića, Osijek
		1994.	Župni dvor, Senj
			FIDEM, Budimpešta, Međunarodna izložba
			medalja

	Gradska štedionica, Zagreb, Zagrebačka	2005.	VIII. Memorijal Ive Kerdića, Gradski muzej
	banka		Vukovar
	Salon „Izidor Kršnjavi”, Zagreb, Izložba		Muzej „Mimara” Zagreb, Donacija
	profesora ŠPUD-a		umjetnika samostanu Plehan
	Olimpijski muzej, Lausanne, Športska		Muzej grada Zagreba, Zagrebački
	medalja		umjetnički medaljoni
1995.	Salon „Izidor Kršnjavi”, Zagreb, Športska		Arheološki muzej, Zagreb, Zbirka Kopač
	medalja	2006.	Galerija Klovićevi dvori, Zagreb, Sakralna
1996.	FIDEM, Neuchâtel, Švicarska,		umjetnost
	Međunarodna izložba medalja	2007.	FIDEM, Colorado Springs, SAD,
1997.	ALU, Zagreb, Akademija likovnih		Međunarodna izložba medalja
	umjetnosti 1907. – 1997.		IX. Memorijal Ive Kerdića, Muzej Slavonije,
	Dom hrvatskih likovnih umjetnika, Zagreb		Osijek
1998.	VI. Memorijal Ive Kerdića, Osijek	2008.	Galerija ULUPUH, Zagreb, 10 na kvadrat
	FIDEM, Den Haag, Nizozemska,		– izložba u povodu 10. obljetnice
	Međunarodna izložba medalja		usmjerenja Mala plastika i medaljerstvo na
2000.	The University Museum, Indiana, SAD,		ALU Zagreb
	New works / New Europe	2009.	Kunstlerhaus, Beč, Austrija,
	University of Pennsylvania, SAD, New		Zeitgenossische Kroatische Bildhauerkunst
	works / New Europe		/ Contemporary Croatian Sculpture
	Galerie BTV, Innsbruck, Austria,		Lichthof des Auswartigen Amts, Berlin,
	Zeitgenossische Kroatische Kunst		Njemačka, Zeitgenossische Kroatische
	Muzej „Mimara”, Zagreb, Milenijski prag u		Bildhauerkunst / Contemporary Croatian
	medalji i novcu Hrvatskoga novčarskog		Sculpture
	zavoda		Bratislava, Slovačka, Contemporary
2001.	Galerija primijenjenih umjetnosti, Zagreb,		Croatian sculpture
	Hommage Juliju Kloviću		Gliptoteka HAZU, Zagreb, Suvremeno
	VII. Memorijal Ive Kerdića, Osijek		hrvatsko kiparstvo
	Indiana State University – Terre Haute,		Muzej „Mimara”, Zagreb, 15. obljetnica
	Indiana, SAD, New Works / New Europe,		Hrvatskoga novčarskog zavoda
	listopad / studeni		Kunstlerhaus, Beč, Austrija,
2002.	Galleries of Cleveland, Community College		Zeitgenossische Kroatische Bildhauerkunst
	in Cleveland, Cleveland, SAD, New Works /		/ Contemporary Croatian Sculpture
	New Europe		Lichthof des Auswartigen Amts, Berlin,
	FIDEM, Pariz, Međunarodna izložba medalja		Njemačka, Zeitgenossische Kroatische
2004.	Gliptoteka HAZU, Zagreb, Staklo u		Bildhauerkunst / Contemporary Croatian
	hrvatskomu suvremenom kiparstvu		Sculpture
	Muzej grada Zagreba, Zagrebački		Contemporary Croatian Sculpture,
	umjetnički medaljoni		Bratislava, Slovačka
	VII. Memorijal Ive Kerdića, Gradski muzej		Gliptoteka HAZU, Zagreb, Suvremeno
	Osijek		hrvatsko kiparstvo
	FIDEM, Lisabon, Međunarodna izložba		Muzej „Mimara”, Zagreb, 15. godina HNZ-a
	medalja		Muzej suvremene umjetnosti, Zagreb,
	Gliptoteka HAZU, Zagreb, Zbirka medalja –		Akvizicije
	stalni postav	2010.	Salone degli Incanti, Trst, Italija, Sculptura
	Samostan hercegovačkih franjevaca,		Croata contemporanea
	Zagreb, aukcija		Gradski Muzej Osijek, X. Memorijal Ive Kerdića

Galerija Jakopič, Ljubljana, Slovenija, Suvremena hrvatska skulptura

Moderna galerija, Zagreb, Nove akvizicije stalnog postava Moderne galerije

Cella Septichora, Pech, Mađarska, Kortars horvat szobraszat, Contemporary Croatian sculpture

2012. FIDEM, Glasgow, Ujedinjeno Kraljevstvo, Međunarodna izložba medalja

Crkva sv. Donata, Zadar, Častimo te križu sveti Župna crkva sv. Luke Evanđelista, Dubrava kod Šibenika

Arheološki muzej u Zagrebu, Dva desetljeća hrvatske kune

2014. FIDEM, Sofija, Bugarska, Međunarodna izložba medalja

2015. Moderna galerija, Zagreb, Nove akvizicije 2009. – 2014.

2016. Put svetosti – bl. Alojzije Stepinac, Europski dom – Bruxelles

Put svetosti – bl. Alojzije Stepinac, Domitrovićeva kula, Zagreb

Put svetosti – bl. Alojzije Stepinac, Veliki Kaptol, Sisak

Put svetosti – bl. Alojzije Stepinac, Osijek Nove akvizicije 2011. – 2016., Muzej likovnih umjetnosti, Osijek

FIDEM, Gent, Belgija, Međunarodna izložba medalja

XII. Memorijal Ive Kerdića, Muzej likovnih umetnosti Osijek

Hrvatska suvremena medalja, Studio Moderne galerije „Josip Račić”

2017. Želimir Janeš u sjećanju, Galerija Striegl, Sisak 2018. Dubrovačke medalje i plakete, Arheološki

muzej u Zagrebu

FIDEM, Ottawa, Kanada, Međunarodna izložba medalja

13. trijenale hrvatskog kiparstva, Gliptoteka HAZU

„U tebe se, Gospodine, uzdam” (prigodom

20. obljetnice proglašenja blaženim Alojzija Stepinca), Nadbiskupski pastoralni institut, Zagreb

2019. „Kuna – 25 godina novčane jedinice Republike Hrvatske”, Arheološki muzej u Zagrebu

Nakladnik / Publisher MODERNA GALERIJA ZAGREB /

NATIONAL MUSEUM OF MODERN ART

Andrije Hebranga 1 www.moderna-galerija.hr

Za nakladnika / For the publisher BRANKO FRANCESCHI

Urednica / Editor TATIJANA GARELJIĆ

Uvodnik / Introduction BRANKO FRANCESCHI

Predgovor / Essay TATIJANA GARELJIĆ

Fotografije / Photographs STANKO VRTOVEC

MIRO MARTINIĆ PETAR STRMEČKI GORAN VRANIĆ

Engleski prijevod / Translation into English ROBERTINA TOMIĆ

Lektura i korektura / Proof reading MATEJA FABIJANIĆ

Grafičko oblikovanje / Graphic design VIKTOR POPOVIĆ

Tisak / Print

MEDIAPRINT TISKARA HRASTIĆ

Naklada / Number of copies 500

ISBN 978-953-348-094-7

CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 001072631. / A CIP catalogue record for this boo kis available from the National and University Library in Zagreb under 001072631.

© 2020. Moderna galerija, Zagreb

Izložba je realizirana uz potporu Ministarstva kulture Republike Hrvatske /

Exhibition is realized thanks to the grant by the Ministry of Culture Republic of Croatia

ZAHVALE / ACKNOWLEDGMENTS

Moderna Galerija zahvaljuje na suradnji i posudbi djela: Arheološkom muzeju u Zagrebu

Hrvatskoj narodnoj banci

Akademiji likovnih umjetnosti u Zagrebu

Ljevaonici Akademije likovnih umjetnosti u Zagrebu Zagrebačkoj nadbiskupiji

Ekonomskom fakultetu u Zagrebu Gradu Hrvatskoj Kostajnici Hrvatskoj odvjetničkoj komori

Družbi„Braća Hrvatskoga zmaja“ u Zagrebu Katoličkom bogoslovnom fakultetu u Đakovu Muzeju suvremene umjetnosti u Zagrebu Turističkoj zajednici grada Zagreba

i svim pojedincima koji su posudili umjetničku građu za izložbu DAMIR MATAUŠIĆ – kritička retrospektiva.

Posebnu zahvalnost iskazujemo autoru Damiru Mataušiću na ustupanju dokumentacije za katalog i nesebičnom angažmanu

u koncepciji i opremanju postava izložbe, kao i njegovim kolegama, suradnicima i prijateljima Karlu Grossu i Luki Petrinjaku. /

We express special gratitude to Damir Mataušić for the catalog documentation and selfless engagement in the conception and furnishing of the exhibition set-up, as well as to his colleagues, associates and friends Karl Gross and Luka Petrinjak.

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