19 TH INTERNATIONAL ''MINIATURES'' EXHIBITION 2016
WHAT ARE THE MINIATURES?
The international exhibition of small-format works of art (15 x 15 x 15 cm).
Dating from 1998, when the first exhibition took place in Zaprešić, a small town near Zagreb.
Presented once a year in Vršilnica (a threshing barn) – a cultural monument, part of the Novi Dvori complex under heritage protection.
Since 2012, The Miniatures function as a competitive exhibition, evaluated by a tripartite jury.
At The 18th Miniatures, the jury selected 148 artists among 464 applicants to present their work in Vršilnica.
At The 19th Miniatures, the jury selected 138 artists among 441 applicants to present their work in Vršilnica.
The jury also awards the artists with three cash prizes.
The Miniatures are becoming a travelling exhibition as well:
The 17th Miniatures – Đura Jakšić House, Belgrade and The Cultural Centre of Novi Sad
The 18th Miniatures – The Gallery of the Academy of Fine Arts in Sarajevo
The 19th Miniatures – Plevnik Kronkowska Gallery in Celje
In its content, the term miniature painting is burdened by its past, as all art is in general. Although the origin of miniatures is evident in many ancient cultures, its development as a genre in Western art is associated with the period of the Renaissance, when the inauguration of the beautiful as subject enabled the research of images and their mimetic capabilities. Even then, significant efforts were put into validating small-format art work and its qualities as equal to painting and sculpture of the period. The Italian historian Giorgio Vasari therefore described miniature as court art that serves as the benchmark of excellence. To support this statement, one may turn to the meticulously painted scenes from the Farnese Hours by Julije Klović, or the goldsmith art of Benvenuto Cellini, both displaying all the characteristics of the high art from their period. The miniature continued to develop simultaneously to the forthcoming changes in style up until the contemporary period, when the radically altered socio-aesthetic environment triggered its exit from the traditional genre framework, and its adaptation to the discourse of contemporary art, which includes universal plurality of approaches. The general rule that remains valid for the definition of miniatures is contained within their inherent capacity to transpose a great deal in small amounts, and cause an immediate, intimate contact with their observer. The miniature becomes a metaphor for the internal with the capacity of gathering the infinite, affirming the timeless size of its small format.