Pedagoška delatnost Narodnog Muzeja u Beogradu 1844 - 2011
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| 246 | 1 | 3 | |a Educational activities of the National Museum in Belgrade, 1944 - 2011 |
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| 500 | |a Zsfassung in engl. Sprache u.d.T.: Educational activities of the National Museum in Belgrade, 1944 - 2011 | ||
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Datensatz im Suchindex
| _version_ | 1819651415033774080 |
|---|---|
| adam_text | MUZEOLOŠKE SVESKE
14
EDUCATIONAL ACTIVITIES OF THE NATIONAL MUSEUM
IN BELGRADE,
18442011
The very idea of founding a museum emerged as part of the growth of the newly
established Princedom of Serbia. In the first half of the nineteenth century the
Princedom made efforts to install its administration and catch up with other
European countries in order to provide its place on the geopolitical map of
Europe. Two decades after the concept of a museum had been conceived,
Jovan
Sterija
Popović,
penman and playwright and the then minister of education of
the Princedom of Serbia, issued on 10th May
1844
the instruction that collected
antiquities in the territory of Serbs should be housed in one place. This marked a
successful end of years long efforts and is considered to be the foundation
date of the National Museum. Two years later,
Jovan
Sterija
Popović
wrote
catalogue descriptions of part of the national treasures kept in the premises of
the Ministry of Education at King
Petar
Street, and in
1848
the first inventory
book was published under the title List of Objects in Custody of the Serbian Museum
(Fig.
1).
During the service of Dr.
Jan Šafárik
(1861-1869),
Lyceum professor, the
Museum significantly enriched its funds and in
1863
together with the Library,
Museum and the Gymnasium, Society of Serbian Scholarship and the Ministry
of Education it was moved to the building Major
Miša Anastasijević
had recently
built on the Great Market, present-day Students Square. Contemporaries noted
that there were
349
visitors to the Museum in
1872
and a year later their number
rose to
401.
This is the first registered information on the number of visits. After
Stojan
Novaković,
the then director of the Museum and the Library, had been
appointed minister of education, he filed a Bill on the National Library and the
Museum explaining that the scope of work and increase of demands required
these two institutions to be divorced. The Bill was passed on 27th February
1881.
The new keeper of the National Museum became
Mihajlo Valtrović
(1881-
1905),
architect and professor of classical archaeology at High School. On
several occasions
Valtrović
sent letters to the minister drawing his attention
to inadequate space, overcrowded rooms and difficulties in providing public
access to the Museum which had as result purchasing of two buildings on King s
Square, present-day Students Square, for the needs of the Museum. Museum
Gallery was opened on the third floor of the bigger building and
124
works of
art were displayed all described in the catalogue titled list of Paintings Displayed at
the Gallery of the National Museum (Fig.
5).
In August
1904
the Museum was engaged
in the celebration of the First Serbian Rising thus given opportunity to present
to the public its display consisting of the Archaeological Department with the
Lapidarium,
Medieval Department, Gallery of Paintings and the Museum of
Vuk.
In the following year,
Mihajlo Valtrović
after almost a quarter of a century
of most diligent work, resigned from his post as keeper of the Museum and his
68
Pedagoška delatnost Narodnog muzeja u Beogradu,
1844 - 2011.
closest
collaborator archaeologist Dr. Miloje
Vasić
took the office
(1906-1919).
The
Exhibition of the Yugoslav Artistic Colony was organized in the re-arranged Museum
premises in
1907
and attracted greatest interest of the public. For the first time
ticket sale was introduced in order to monitor the number of visitors. That year
4298
visits were noted and two years later the number rose to
8015.
The interest
of the public was constantly increasing and finally, after detailed negotiations
with the Ministry, the decision was reached for the Museum to be open daily
from
9
to
12
am and from
2
to
5
pm
.
After the World War I, when some of the items kept in the Museum perished,
archaeologist Dr. Vladimir
Petković
(1919-1935)
took over the management of the
Museum. In
1922
the material was transferred into the spatious family home of
Raša
Milosevic at
Kneza Miloša
Street. During the first fourty days only
10380
people visited the Museum. Courses in prehistoric and antique archaeology were
organised in the beginning of the
1930s
in cooperation with the Society of Friends
of Art, and young people interested in numismatics gathered. In addition to
developed educative and pedagogical work the Museum made efforts to represent
contemporary creators in fine art to the public in the capital
.
However, it was not
until
1928
that the collection and displaying of works of contemporaty artists had
become part of museum policy. It was then that the Museum of Contemporary Art
was established and located in the Princess Ljubica s residence. Its first director
was Dr. Milan
Kašanin,
art historian. The core of the Museum fund consisted of
gifts and donations which Prince Paul
Karadjordjević,
as patron of the Museum,
acquired through his liaisons with members of European dynasties and friends.
The idea to merge the two museums and create a big, representative museum
institution was made official on 29th of March
1935
(Fig.
6).
The new museum
was called the Prince Paul Museum and Dr. Milan
Kašanin
(1935-1944)
appointed
its first director; Newspaper
Pravda
informed that in the first month after the
opening there were about
50 000
people visiting the Prince Paul Museum (Fig.
7).
The significance of the Museum was noted in all major world press
-
La
Républoque,
Le Figaro, Le
Temps,
Weltkunst....
which, although not failing to mention
the role of prince-regent Paul
Karadjordjević
in the endeavour, wrote about the
importance and quality of museum exhibits and their modernistic and European
orientation. By establishing the Museum, the young Kingdom of Yugoslavia
intended to present itself to Europe as a state of a very significant old culture
but also as a country which cherished contemporary artistic aspirations and was
open to cooperation. Prince Paul Museum hosted big international exhibitions,
the most important of them being the exhibition Italian Portrait through Centuries,
opened on the 27th March
1938.
In six weeks, the exhibition attracted attention
of more than
8 000
visitors. Remembered for the extraordinary works exhibited,
best organisation and readiness of Belgrade to accept and realise such a unique
endeavour, this exhibition is even nowadays considered to have been one of the
MUZEOLOŠKE SVESKE I4
greatest events in museum history of Yugoslavia.
At the beginning of German occupation the Museum shared the lot of Belgrade
and closed its doors to visitors in the early autumn of
1941.
In the beginnng of
the following year Belgrade press informed about a training course for museum
novices to start and the course lasted from
ist
of April
1942
until 28th of August
1944.
As protection against bombardment dangers, parts of the Museum
building were bricked up and reinforced. However, regardless of all hardships,
cold weather and theft threats, the Museum worked throughout the war years.
Its director
Kašanin,
although aware that the Museum in the new situation can
not regain its former splendour, still persevered in keeping discipline, collective
dedication to work and care of the collections.
First days of liberation found the Museum, headed by the writer
Veljko Petrović
(1944-1962)
at the same place. In
1951
it was moved to the present-day building
at the Republic Square under the new/old name National Museum and was
officially opened to the public on 23rd May
1952.
The new permanent display
offered chronological review of development of cultures and all the captions
and legends were adapted to the visitors, school children in the first place.
Orientation towards school visits and particularly the recommendations of
the 2nd International Congress of ICOM held in
1950
in London gave stimulus
to the idea to establish in
1954
a Propaganda Department for Educational and
Publishing Activities and Cultural Relations. There was a programme published
and it was distributed to educational institutions (Fig
8).
Broader public was
offered opportunity to indulge in activities within events called Week of Museum
carried out by a special Federal Committee established to that end in
1954.
Since
1957
movable educative exhibitions kept visiting towns across Serbia. Exhibition
of Drawings and Pastels of
Moša Pijade
was the first visiting exhibition organized that
same year and several years later followed visiting exhibitions Serbian Painting of the
Nineteenth Century and Painting of the Baroque. Visiting exhibitions experienced boom
in the
1960s
and
1970s.
By
mid-1960s (1964-1966)
reconstruction works closed the doors of the Museum
for visitors
.
Aware of the fact that the existing space and work conditions could
not answer requirements of new museological standards, Dr.
Lazar Trifunović,
art historian and director of the National Museum
(1962-1969)
launched a new
plan for thorough reconstruction of the space, staff and finances. The new
display of the National Museum was officially opened on 7th July
1966.
The most
important event in
1966
(October
-
December) was certainly the exhibition
Vincent van Gogh from the
Kröller-Müller
State Museum in Otterlo, Netherlands.
The exhibition was followed by intense PR activities in media inviting the public
to the Museum. As result
300 000
visitors from Yugoslavia and abroad (Fig. g) had
70
Pedagoška delatnost Narodnog muzeja u Beogradu,
1844 - 2011.
seen the exhibition. Further development of educative programmes was morally
and materially supported by the Society of Friends of the National Museum,
established on
іб 11
March
i960
on the basis of the former Antiquary Society.
This cooperation included competitions of students and high school pupils,
establishment of the Museum School and of Museum acquisitions service. This
policy made the National Museum in Belgrade not only the centre of artistic
life and a paradigm of successful museological work but also an active agent of
cultural development, greatly contributed to by the expertise and overwhelming
enthusiasm of
Lazar
Trifunovie.
Celebration of the 125th anniversary of the National Museum was organised
in
1969
during the directorship of art historian Dr. Miodrag
Kolarić
(1969-
1973).
This was the period of more limited educative activities of the Museum;
however they were elaborately organized which made the National Museum
recognizable for its cooperation in permanent and additional education of
school children and adults. When Dr. Vladimir
Kondić
assumed the office of
director of the National Museum
(1973-1980)
the Museum staff was rejuvenated.
The reorganization of the Museum in
1978
implied the renaming of the former
Propaganda Department for educational and publishing activities and cultural
relations into Department for Cultural and Educational Activities
.
This period
was marked by many international exhibitions like Antique Mosaics and ArtTreasures
of Tunisia, Old Art of China, Pre-Columbian Art of Peru, Thracian Treasures, Gold of Scythians from
Museum Treasuries of
UdSSR,
Celts in
Calila
-Art and Civilisation, Great Cultures of Mexico
-
the
Art of Aztecs attracting a very large number of visitors. Organization of fine art
competitions and competitions in the knowledge of museum collections initiated
cooperation with schools. Started in
1976,
the competitions Fine Art Spring and
knowledge competitions had soon become part of celebrations of the Day of the
Museum (Fig.
10,11).
The last competition of the Fine Art Spring was held in
2001
and repeated four years later in cooperation with the Children s Cultural Centre
in Belgrade when the retrospective exhibition of works was held. It represented
survey of themes, techniques and interests of Belgrade school children in the
last quarter of the previous century.
In the
1980s
the National Museum continued its active exhibition, publishing and
programmatic work. Its director at the time was the art historian Jevta
Jevtović
(1980-1997).
The visiting exhibitions Old Russian Icons, Columbian GoU, From El Greco
to Goya, Masters of World Painting from the Collection of Dr. A. Hammer, Vaults of the Moscow
Kremlin Museums (fig
12)
attracted huge interest of the public (tens of thousands
of people). The Open Graphic Atelier was focused on visitors and artists. It was an
artistic and educative project aimed at popularization of visual art disciplines.
Eminent experts from the Museum and public authorities participated in
events like On Thursdays at
6
pm and On Sundays at Eleven which were designed for
MUZEOLOŠKE SVESKE
14
the audience oriented to more popular lectures.
Pre
-school children were also
included in the pilot programmes offering better knowledge about the treasuries
of the Museum. Particular attention was paid to people with special needs, such
as realisation of the first hands-on exhibition of sculptures called Belgrade Sculptors
7900-7950,
held in
1991
(F/g.
13)
aimed at blind and visually impaired persons.
The early 1990s were marked by stagnation and lower quality of exhibition
activities, due to international political events which all exerted adverse
effect on the number of visits. However, school children were prepared for
knowledge competitions of collections of the National Museum and Fine Art Spring
competitions
,
seminars were organized like Introduction into the World of Shapes,
Awareness of the Painting, series of lectures under the title The Alphabet of the Visual.
Pre-school children were included in the programme called Museum Games. In
the second half of the
1990s
the Museum was headed by
Bojana Borić-Brešković
MA, classical philologist
(1997-2001).
It was due to the economic sanctions and
absence of international exhibitions that exhibiting of works of national artists
prevailed. Public appreciated the International Festival of Archaeological Film first
organized in
1998
in cooperation with the Festival of Archaeological Film in
Rovereto,
journal Archaeologia Viva and the Italian Cultural Institute (Fig.
ц
and
75).
It developed
into a traditional museum manifestation. After a sharp decline of the number
of visits in
1993,
this trend changed and in
1997
there were
65 910
visits noted.
Possible damages to museum fund due to bombardments required the permanent
display to be closed on 25th March
1999
and later only part of it was re-exhibited.
During the directorship of the academician and archaeologist Nikola
Tasić
(2001-
2003)
in December
2001
the initiative was launched to have the building of the
National Museum thoroughly reconstructed since the conditions for keeping
and displaying of the material had been most inappropriate. In May
2002
under
the High Patronage of the Prime Minister Dr.
Zoran Djindjic
and as part of the
campaign for renovation of the Museum, a donor s exhibition From Lepenski
Vir
to
Modern Art, Treasures of the National Museum- Belgrade was organized. By mid-2003 the
National Museum closed its permanent exhibition still organizing exhibitions
in the country and abroad. That same year Dr.
Tatjana
Cvjetićanin,
archaeologist
was appointed acting director and in
2004
officially appointed director. All
departments underwent reorganization, and Department for Cultural and
Educational Activities was transformed into Department for Education and
Work with the Public. In spite of the difficult situation the Department found
new modes to approach the public through different forms of work focusing its
activity on exhibitions and programmes outside the central building. Evident
progress was achieved in
2004
with the exhibition Impressive! when works of
impressionist from the Collection of Foreign Art were exhibited (Fig.
17).
The
number of visiting families with their children encouraged organization of
Pedagoška delatnost Narodnog muzeja u Beogradu,
1844 - 2011.
special
educational programmes which led to establishing the Children s Club
of the National Museum presently amounting to about
1000
members (Figs
18
ană
19).
Over
80
educative programmes had been organized since then within
the frames of numerous important exhibitions (Masters of Italian Art, In Touch with
Antiquity, The Magic of Amber, Trajan s Markets in Rome, Mosaics ofGamzigrad, We have the
honour of informing you, Italy
ană
Restoration of the Magnificent
Krater,
The Mystery oflepenski
Vir,
Vinca
-
Prehistoric Metropolis, French-Serbian Cooperation in Archaeology,
Hunăreă
Years of
Serbian Painting,
Paja
Jovanović).
Established seven years ago, the Children s Club of
the National Museum numbers over two hundred children among its members
who had outgrown the educative programmes for children less than
12
years
of age. As result the Teen Club of the National Museum
(2008)
was founded. It
offers activities for teenagers (thirteen to eighteen years of age) (Figs
20
ana
21).
In addition to programmes encouraging young visitors there are programmes
like Museum in Case for children and grown-ups which are adjusted to outdoor
spaces (Fig.
22).
The Museum in Case programmes are adaptable to the requirements
of children and people with special needs
.
Occasional activities aimed at people
with special needs are organized in the Gallery of Frescoes and Museum of
Vuk
and Dositej where educative programmes and smaller scale thematic exhibitions
are staged. Communication with persons with special needs during the visiting
exhibition In Touch with the Antiquity of the Louvre Tactile Gallery held in
2006
in
the Atrium of the National Museum (Figs
23
ană
24)
provided valuable experience.
Although primarily targeted to the blind and visually impaired the Belgrade
exhibition was adjusted to people with different kinds of special needs (Fig.
25).
Today, almost half a century since the renovation, the National Museum in
Belgrade is to undergo complete reconstruction which would provide adequate
facilities for keeping and studying its collections and their presentation to the
public. During this period the existing educative programmes will be developed
and base for development of new programmes for the new public created. Steps
taken should ensure establishing of the new Centre for Education of the National
Museum with segments required in the work with the public. Adequately
trained personnel and collaborators should take care that the stay of visitors in
the Museum is pleasant and good quality one (Fig.
26).
Having in mind the profile
of its public and diversity of their needs and interests, the Centre for Education
of the National Museum could be divided into four main sectors the activities of
which would intertwine and complement one another. The most complex School
Centre, divided into Basic thematic workshops, Museum play-rooms,
Stuăio
programmes,
Children s Club, Training for teachers, is based on different age levels and approaches
to the youngest that could be offered less formal ways of learning and visiting
the exhibition rooms (Fig.
27).
School children and students with deeper interests
will be offered the Youth Centre as a place where researches using information
technologies will be provided for the young ones, whilst the Crown-ups Centre will
73
MUZEOLOŠKE SVESKE
14
offer pleasant and relaxed stay in every part of the museum. Volunteers Centre
will gather enthusiastic people whose voluntary and temporary assistance will
benefit all parts of the Centre for Education. Sustained by a network of temporary
collaborators, the Centre will be able to answer new needs of the public of
different age and profile having various interests.
***
The experience supported by surveys of visitors interests proved that educative
activities were recognized as though silent still an important element in creating
good relations between the Museum and the community. The number of the
programmes, participation of great number of people and their affirmative
response were all indicators of a well based path the Department for Education
of the National Museum had taken. In spite of aggravating circumstances the
Department successfully realized its mission i.e. its educative activities by
applying original material evidence and didactic tools in different approaches
and methods in work with different categories of visitors.
Investment of available resources in development of the Centre for Education of
the National Museum and true understanding of its importance would create
conditions for establishing more fruitful and effective relations between the
Museum and its public. Permanent advancement of new knowledge and skills,
broadening the network of collaborators and volunteers, as well as creation of
partnership relations will certainly contribute to the quality of the appearance
of the National Museum as it should become a place that would by its openness
and attractiveness be a good match to the industry of entertainment and to the
interests of the increasingly hard-to-please public. The National Museum should
face these changes as adapting as possible to the needs and wishes of its users
.
74
Pedagoška delatnost Narodnog muzeja u Beogradu,
1844 - 2011.
APPENDIX
1 -
LIST OF ILLUSTRATIONS:
1.
List of Objects in Custody of the Serbian Museum, first inventory book of items,
1848
2.
Numismatic Collection of the National Museum, Inventory of
Jan Šafárik
3.
Toma,
the first demonstrator of the Museum, 1880s
4.
Description of items belonging to
Vuk Stefanović
Karadžič
estate,
1900
5.
The first published guide to the Museum,
1901
6.
Exhibition rooms of the Prince Paul Museum
7.
Public in the exhibition space of the Prince Paul Museum
8.
Programme of topics of the Propaganda Department for Educational
ană
Publishing
Activities and Cultural Relations,
1954
9.
Queues in front of the Museum, Vincent van Gogh exhibition,
1966
10.
Fine Art Spring manifestation, exhibition of works by pupils of Belgrade primary
schools,
1976
11.
Competition in the knowledge of the history and collections of the National
Museum,
1976
12.
Queues in front of the Museum, exhibition VaultsoftheMoscowKremlinMuseums,
1983
13.
Belgrade Sculptors,
1900-1950,
first specialized exhibition targeted at blind and
visually impaired persons,
1991
14.
Second International Review of Archaeological Film, poster for the manifestation,
2000
15.
Children s Day of the 70£h International Review of Archaeological Film, invitation card for
members of the Children s Club,
2009
16.
European Heritage Days,
2005
17.
Impressive!, exhibition, Atrium of the National Museum,
2004
18.
Children s Club of the National Museum, exhibition
Karel
Appel,
Works on Paper,
2004
19.
Children s Club of the National Museum, working sheet for the educative
programme Me ana My Family
, 2007
20.
Teen Club of the National Museum, invitation card for the educative
programme Self-portrait, the way artists see themselves,
2008
21.
Educative and research project
7+7
Life and Love. I SEE Art,
2011
22.
Museum in Case project, educative programme Dwelling in the Past,
2008
23.
Exhibition In Touch with the Antiquity, programme for persons with special
needs,
2006
24.
Guide to the exhibition In Touch with the Antiquity,
2006
25.
Exhibition
Raska
School of Architecture, Gallery of Frescoes,
2011
26.
Organization chart of the Centre for Education of the National Museum
27.
Organization chart of the School Centre with its branches
75
|
| any_adam_object | 1 |
| author | Gavrilović, Eliana 1964- |
| author_GND | (DE-588)1041860080 |
| author_facet | Gavrilović, Eliana 1964- |
| author_role | aut |
| author_sort | Gavrilović, Eliana 1964- |
| author_variant | e g eg |
| building | Verbundindex |
| bvnumber | BV041273337 |
| ctrlnum | (OCoLC)881732475 (DE-599)BVBBV041273337 |
| era | Geschichte 1944-2011 gnd |
| era_facet | Geschichte 1944-2011 |
| format | Book |
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| id | DE-604.BV041273337 |
| illustrated | Illustrated |
| indexdate | 2024-12-24T03:37:05Z |
| institution | BVB |
| institution_GND | (DE-588)1008371-6 |
| isbn | 9788672691337 8672691334 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-026246915 |
| oclc_num | 881732475 |
| open_access_boolean | |
| owner | DE-255 DE-12 |
| owner_facet | DE-255 DE-12 |
| physical | 78 S. Ill. 24 cm |
| publishDate | 2012 |
| publishDateSearch | 2012 |
| publishDateSort | 2012 |
| publisher | Narodni muzej |
| record_format | marc |
| series | Muzeološke sveske |
| series2 | Muzeološke sveske |
| spellingShingle | Gavrilović, Eliana 1964- Pedagoška delatnost Narodnog Muzeja u Beogradu 1844 - 2011 Muzeološke sveske Musée national (Belgrade) ram Narodni muzej Belgrad (DE-588)1008371-6 gnd Musées / Aspect éducatif / Serbie ram Museumspädagogik (DE-588)4075108-9 gnd |
| subject_GND | (DE-588)1008371-6 (DE-588)4075108-9 |
| title | Pedagoška delatnost Narodnog Muzeja u Beogradu 1844 - 2011 |
| title_alt | Educational activities of the National Museum in Belgrade, 1944 - 2011 |
| title_auth | Pedagoška delatnost Narodnog Muzeja u Beogradu 1844 - 2011 |
| title_exact_search | Pedagoška delatnost Narodnog Muzeja u Beogradu 1844 - 2011 |
| title_full | Pedagoška delatnost Narodnog Muzeja u Beogradu 1844 - 2011 Elijana Gavrilović |
| title_fullStr | Pedagoška delatnost Narodnog Muzeja u Beogradu 1844 - 2011 Elijana Gavrilović |
| title_full_unstemmed | Pedagoška delatnost Narodnog Muzeja u Beogradu 1844 - 2011 Elijana Gavrilović |
| title_short | Pedagoška delatnost Narodnog Muzeja u Beogradu |
| title_sort | pedagoska delatnost narodnog muzeja u beogradu 1844 2011 |
| title_sub | 1844 - 2011 |
| topic | Musée national (Belgrade) ram Narodni muzej Belgrad (DE-588)1008371-6 gnd Musées / Aspect éducatif / Serbie ram Museumspädagogik (DE-588)4075108-9 gnd |
| topic_facet | Musée national (Belgrade) Narodni muzej Belgrad Musées / Aspect éducatif / Serbie Museumspädagogik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026246915&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV000017273 |
| work_keys_str_mv | AT gavriloviceliana pedagoskadelatnostnarodnogmuzejaubeogradu18442011 AT narodnimuzejbelgrad pedagoskadelatnostnarodnogmuzejaubeogradu18442011 AT gavriloviceliana educationalactivitiesofthenationalmuseuminbelgrade19442011 AT narodnimuzejbelgrad educationalactivitiesofthenationalmuseuminbelgrade19442011 |