Age, Biography and Wiki

Antun Motika was born on 30 December, 1902 in Pula, Austria-Hungary (now Croatia), is a Croatian Artist. Discover Antun Motika's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 89 years old?

Popular As Antun Motika
Occupation N/A
Age 89 years old
Zodiac Sign Capricorn
Born 30 December 1902
Birthday 30 December
Birthplace Pula, Austria-Hungary (now Croatia)
Date of death 13 February, 1992
Died Place Zagreb, Croatia
Nationality Croatia

We recommend you to check the complete list of Famous People born on 30 December. He is a member of famous Artist with the age 89 years old group.

Antun Motika Height, Weight & Measurements

At 89 years old, Antun Motika height not available right now. We will update Antun Motika's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

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Antun Motika Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Antun Motika worth at the age of 89 years old? Antun Motika’s income source is mostly from being a successful Artist. He is from Croatia. We have estimated Antun Motika's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
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Source of Income Artist

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Timeline

1902

Antun Motika (30 December 1902 – 13 February 1992) was a Croatian artist.

He was an innovative artist, not attached to any particular artistic school or tendency.

Motika was a prolific painter, who left behind a great legacy.

Although he occasionally painted with oil on canvas, he generally preferred watercolor or gouache, whose application he preceded with a series of preparatory drawings in pencil or charcoal.

1921

He attended schools in Pula, Zminj, Pazin and Sušak, where he graduated in 1921.

1926

He studied sculpture at the Royal Academy of Art and Crafts with R. Valdec in Zagreb, only to eventually switch to painting, graduating in 1926.

Motika was fluent in Italian.

From the artist's early period, his works reveal "artistic talent and a tendency to examine multiple artistic disciplines."

Thanks to his academic studies, focused on modeling and volume, he acquired assuredness in drawing and compositional freedom.

1929

From 1929 to 1930, he drew caricatures for the Zagreb satirical newspaper Koprive (initially he signed himself under the pseudonym Lopata).

Motika made use of the form principles of neoclassical figuration as well as synthetic cubism.

He became a professor in Mostar, where he lived and painted from 1929 to 1940 (the so-called "Mostar period").

1930

His sojourns in Paris in 1930 and 1935 were crucial for his artistic development, enabling him, after post-academic research and perturbations, "to base figurative expression on abstraction and minimalization of the visible world, and to devote himself exclusively to personal figurative expression" (so-called "post-impressionistic intimism").

After Paris, Motika is said to have opted for "a distinctive version of post-impressionist impressionism."

He assimilated Pierre Bonnard's lyricism and Raoul Dufy's coloristic vibration.

Simply put, before Paris, Motika's paintings are generally dark, after Paris the paintings are overtaken by light.

1933

He organized his first exhibitions in Zagreb (1933 and 1935), gaining attention and positive reactions, and the good propensity of art critics towards him.

1940

In 1940 he was transferred to Zagreb, where he worked at the School of Applied Arts until his retirement in 1961.

From the beginning of 1940, he systematically worked on studio research (so-called experiments: decalcomania, collages, photographs, chimneys, frothing, works on cellophane and glass, study of lumino-kinetic effects, application of organic materials).

In the late 1940s, he again painted urban views ranging from almost monochrome works (Na Zrinjevcu zimi, 1940) to the dominance of greenery and accents of pure colors (Maksimir, around 1948).

1941

From 1941 until his retirement in 1961, he worked at the School of Applied Arts in Zagreb, where he taught various courses.

His paintings from the Cycles of Mostar are considered the most radical abstract landscapes in Croatian modernism.

1950

Until the second half of the 1950s, his painting is dominated by a harmonious rhythm of colors and strokes, sometimes accompanied by Arabesque lines (the so-called "stenogrammatic approach") and unfilled white surfaces.

Motika is said to have "built his paintings with brush strokes and subtly harmonized tonal values, with the drawing only being perceived as an Arabesque, which was expressed in numerous interiors, portraits, erotic scenes, city views and landscapes."

He drew his favorite motifs and themes (interiors, still lifes with open windows, nudes, female portraits, views) from his immediate surroundings.

His sistematic studies, personal poetics and lyrical vocation led to the creation of the Cycles of Mostar landscapes.

Here, "the attachment to pure light is expressed, and at the same time they are one of the most radical appearances from the mimetic tradition to the field of abstract painting in Croatian modernism."

In Mostar, Motika created works with a specific lyrical atmosphere, full of light and "saturated tonal atmosphere."

The Mostar period is dominated by the painting medium, marked as it is by transparency and bright chromatics, research with subdued colors, and the use of so-called mixed technique.

From that period are the so-called.

erotic drawings, which testify to Motika's superior mastery of drawing conventions.

In numerous sketches for ceramics and gouache collages, he shaped autonomous artistic practice, "creating the preconditions for a new form syntax, which in the 1950s and 1960s was equally expressed in his drawings, projects and experiments, paintings and sculptures."

1952

Motika's exhibition Archaic Surrealism (1952), produced a strong reaction among Croatian critics, and is considered "the boldest rejection of the dogmatic framework of socialist realism."

The exhibition has become the main topic of theoretical and ideological discussion among Croatian critics.

Motika was one of four children of Anka (Ana), originally from Bakar, who was from a family of sailors, and Antun Motika, who was from Motiki, near Orbanići, Marčana.

His father was born into a family of farmers.

In 1952, he created a cycle of drawings in Zagreb called Archaic Surrealism (Arhajski nadrealizam).

The exhibition thereof has become the main subject of theoretical and ideological discussion in Croatian fine arts criticism.

Motika's so-called Archaic Surrealism symbolically speaks of the author's attitude towards contemporary art and social context; Motika opts for liberation from the dictates of ideological propaganda (that is of social realism), and for freedom of artistic expression.

In the same year, he exhibited for the second time at the Venice Biennale.