A 14 anni ha frequentato Meštrović, e a 90 anni ha sposato con frode un uomo 69 anni più giovane!

The exhibition “Dresden Diary of Anka Krizmanić,” opening tonight at the Museum of the City of Zagreb, celebrates one of the most prominent figures of Croatian modern art. The show marks the 130th anniversary of her birth and the 40th anniversary of her retrospective held at the Art Pavilion. Krizmanić, who studied and refined her craft in the heart of European avant-garde in the early 20th century, spent time in Dresden from 1913 to 1917, where she trained under the renowned artist Margarete Junge and befriended Otto Dix, a key figure in the expressionist movement. During this period, she absorbed the energy and rhythm of the city, which was instrumental in shaping the Expressionist movement through the group Die Brücke. Her work during these years is highlighted in the exhibition as a collection of experiences drawn from the vibrant cultural life of Dresden and the uncertainties brought about by wartime conditions. Krizmanić’s artistic journey began at a young age. She showed an early interest in painting and received her first formal art instruction at the Zagreb Pucara School from teacher Olga Höcker. Later, she continued her studies at the Higher Girls' School with Anke Bestall. Her life took a dramatic turn when her mother, Jelka, fled from their noble family and married a village teacher. After the early death of her father, the family agreed to renounce the surname Sivoš and adopt the noble Krizmanić name. Despite these challenges, Krizmanić's talent was evident from an early age. By the age of 14, in 1910, she had already begun exhibiting her work. The exhibition features a wide range of Krizmanić’s works, including portraits, depictions of individuals in intense psychological states, war scenes, self-portraits, and illustrations. A particularly notable series, titled “Mothers,” reflects the spirit of destruction, fear, and despair caused by the war. These drawings, previously unknown to the public, were recently restored and are being displayed for the first time. They are stored in the Glücksburg Collection of the Croatian Academy of Sciences and Arts and have been made available for this exhibition. According to the curators, the temporal distance between these works and earlier historical interpretations has allowed for a new perspective from art historians and a broader cultural understanding of her oeuvre. Among her best-known works are the cycles depicting lovers and dancers, which are recognized for their treatment of movement, body language, and dance. These pieces will receive special attention at a larger exhibition planned for 2028 in the newly renovated Art Pavilion. The exhibition also includes rare items such as the cover pages of her journals, offering insight into her personal and professional development. Curator Aneta Barišić emphasized that Krizmanić’s story is unique among artists of her time. Upon returning from Dresden, she was relatively included in intellectual circles, yet remained largely forgotten until 1986, when a major retrospective was organized at the Art Pavilion and a monograph published by Ivanka Reberski. The process of re-evaluation of her work began in the 1980s through the efforts of collector Josip Kovačić, who organized retrospectives and solo exhibitions. However, like many other female artists, she did not receive much recognition in historical and artistic surveys. Barišić noted that the exhibition aims to highlight Krizmanić not only as an accomplished expressionist graphic artist but also as a painter. She was particularly skilled in pastels, and her work spans beyond traditional feminine spheres of creation, such as graphics, sketches, design, illustration, to include paintings where she demonstrated exceptional mastery. The exhibition provides a comprehensive overview of her career, from her earliest beginnings to her later achievements, offering a deeper appreciation of her contributions to Croatian modern art.