{"?xml":{"@version":"1.0"},"edm:RDF":{"@xmlns:dc":"http://purl.org/dc/elements/1.1/","@xmlns:edm":"http://www.europeana.eu/schemas/edm/","@xmlns:wgs84_pos":"http://www.w3.org/2003/01/geo/wgs84_pos","@xmlns:foaf":"http://xmlns.com/foaf/0.1/","@xmlns:rdaGr2":"http://rdvocab.info/ElementsGr2","@xmlns:oai":"http://www.openarchives.org/OAI/2.0/","@xmlns:owl":"http://www.w3.org/2002/07/owl#","@xmlns:rdf":"http://www.w3.org/1999/02/22-rdf-syntax-ns#","@xmlns:ore":"http://www.openarchives.org/ore/terms/","@xmlns:skos":"http://www.w3.org/2004/02/skos/core#","@xmlns:dcterms":"http://purl.org/dc/terms/","edm:WebResource":[{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:DOC-R4WJVA83/b017ba86-1b11-43fb-a056-d1ae0fba10d4/PDF","dcterms:extent":"252 KB"},{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:DOC-R4WJVA83/d5ebbdbf-3147-4a75-a5b4-e928027bcf02/TEXT","dcterms:extent":"0 KB"}],"edm:TimeSpan":{"@rdf:about":"1982-2025","edm:begin":{"@xml:lang":"en","#text":"1982"},"edm:end":{"@xml:lang":"en","#text":"2025"}},"edm:ProvidedCHO":{"@rdf:about":"URN:NBN:SI:DOC-R4WJVA83","dcterms:isPartOf":[{"@rdf:resource":"https://www.dlib.si/details/urn:nbn:si:spr-goh8f1o9"},{"@xml:lang":"sl","#text":"Acta neophilologica"}],"dcterms:issued":"2020","dc:creator":"Turk, Boštjan Marko","dc:format":[{"@xml:lang":"sl","#text":"številka:1/2"},{"@xml:lang":"sl","#text":"letnik:53"},{"@xml:lang":"sl","#text":"str. 195-206"}],"dc:identifier":["ISSN:0567-784X","COBISSID_HOST:40083459","URN:URN:NBN:SI:doc-R4WJVA83"],"dc:language":"fr","dc:publisher":{"@xml:lang":"sl","#text":"Znanstvena založba Filozofske fakultete"},"dc:subject":[{"@xml:lang":"sl","#text":"francoska književnost"},{"@xml:lang":"sl","#text":"ikone"},{"@xml:lang":"sl","#text":"kult jaza"},{"@xml:lang":"sl","#text":"manierizem"},{"@xml:lang":"sl","#text":"pravoslavje"},{"@xml:lang":"sl","#text":"ptički brez gnezda"},{"@xml:lang":"sl","#text":"svetniki"},{"@xml:lang":"sl","#text":"teofanija"}],"dcterms:temporal":{"@rdf:resource":"1982-2025"},"dc:title":{"@xml:lang":"sl","#text":"Maurice Barres et l'icône de l'art moderne|"},"dc:description":[{"@xml:lang":"sl","#text":"l Greco's painting filled Barres with astonishment and admiration because it responded to the writer's apprehensions regarding the cult of the strong and the exceptional. It is the quest for the absolute that perfects beings dominated by the only one tendency - to live in exaltation of their selves until they merge with the absolute. For this reason Maurice Barres was able to grasp the multifunctional genius of the Greek painter and to transmit his message to posterity. Barres approached the painter from a multilateral perspective: he saw the mannerist traits. These have become an element of modern painting, especially in Pablo Picasso. The blue and pink period would not have been possible without the encounter of El Greco"},{"@xml:lang":"sl","#text":"La peinture d'El Greco remplissait Barres d'étonnement et d'admiration parce qu'elle répondait a la maniere dont l'écrivain appréhendait le culte du fort et de l'exceptionnel. C'est la quete de l'absolu qui perfectionne les etres dominés par l'unique tendance - vivre dans l'exaltation du moi jusqu'a ce qu'ils ne fusionnent avec l'absolu. Pour cette raison Barres était capable de saisir le génie multifonctionnel du peintre grec et de transmettre son message a la postérité. Barres approchait le peintre d'une perspective multilatérale : il s'apercevait des traits maniéristes. Ceux-ci sont devenus élément intégral de la peinture moderne, notamment chez Pablo Picasso. Les périodes bleue et rose n'auraient pas été possibles sans la rencontre d'El Greco"},{"@xml:lang":"sl","#text":"Maurice Barres je bil med prvimi, ki je Evropi in svetu posredoval spoznanje o razsežnosti dela manierističnega slikarja El Greca. Dejansko je bil ta štiri stoletja v pozabi. Barresa je pri Grku pritegoval kult jaza in kult moči, kot se je v francoski književnosti oblikoval od Stendhala naprej. Francoski avtor je v svoji viziji Grecove umetnosti kult jaza spajal s kultom svetnikov, zmagovalcev nad smrtjo in absolutnimi favoriti življenja kot transcendenčne danosti. Zato je bil tudi bistveno motiviran sporočilo o umetniškem formatu slikarja posredovati dalje, vse do avantgarde, kjer je njegova slikarska vizija prišla polno do izraza. Modre in vijolične periode pri Pablu Picassu si namreč ne morem misliti brez El Greca"}],"edm:type":"TEXT","dc:type":[{"@xml:lang":"sl","#text":"znanstveno časopisje"},{"@xml:lang":"en","#text":"journals"},{"@rdf:resource":"http://www.wikidata.org/entity/Q361785"}]},"ore:Aggregation":{"@rdf:about":"http://www.dlib.si/?URN=URN:NBN:SI:DOC-R4WJVA83","edm:aggregatedCHO":{"@rdf:resource":"URN:NBN:SI:DOC-R4WJVA83"},"edm:isShownBy":{"@rdf:resource":"http://www.dlib.si/stream/URN:NBN:SI:DOC-R4WJVA83/b017ba86-1b11-43fb-a056-d1ae0fba10d4/PDF"},"edm:rights":{"@rdf:resource":"http://creativecommons.org/licenses/by-sa/4.0/"},"edm:provider":"Slovenian National E-content Aggregator","edm:intermediateProvider":{"@xml:lang":"en","#text":"National and University Library of Slovenia"},"edm:dataProvider":{"@xml:lang":"sl","#text":"Univerza v Ljubljani, Filozofska fakulteta"},"edm:object":{"@rdf:resource":"http://www.dlib.si/streamdb/URN:NBN:SI:DOC-R4WJVA83/maxi/edm"},"edm:isShownAt":{"@rdf:resource":"http://www.dlib.si/details/URN:NBN:SI:DOC-R4WJVA83"}}}}