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Infuence of the heat input during MIG welding of series 5083 and 6082 aluminium alloys on weld joint microstructure
No full textU teorijskom dijelu rada detaljno je opisana zavarljivost legura serija 5xxx i 6xxx gdje su
opisane neke od najčešćih pogrešaka koje se javljaju prilikom postupka zavarivanja legura
aluminija. Navedene su i opisane posljedice prevelikog unosa topline na mehanička svojstva.
Također, opisani i uspoređeni su postupci MIG zavarivanja impulsnim strujama pri čemu je
taljiva elektroda na pozitivnom polaritetu i MIG zavarivanja izmjeničnom strujom.
U eksperimentalnom dijelu rada provedeno je zavarivanje aluminijevih legura 5083 i 6082
postupcima DC MIG i AC MIG na više različitih debljina limova. Nakon zavarivanja
analizirane su mikrostrukture uzoraka s naglaskom na utjecaj topline na mikrostrukturu.
Također, na svjetlosnom mikroskopu analizirana je pojava nepravilnosti u metalu zavara.
Zaključno, određen je kemijski sastav zavarenog spoja te stupanj miješanja. Uočeno je kako se
unosom topline utječe na mikrostrukturu zavara, pa je uporabom AC MIG zavarivanja dobivena
grublja mikrostruktura s više nepravilnosti nego kod DC MIG postupka zavarivanja. Također,
AC MIG postupak rezultirao je nižim stupnjem miješanja u odnosu na DC MIG postupak.In theoretical part of this thesis, the weldability of 5xxx and 6xxx series alloys are discussed,
addressing some of the most common defects that occur during the welding process. The
consequences of excessive heat input on mechanical properties are also explained. Additionally,
the MIG welding processes using pulsed currents with a consumable electrode on the positive
polarity and MIG welding with alternating current are described and compared.
In the experimental part of this thesis, welding of aluminum alloys 5083 and 6082 was
performed using DC MIG and AC MIG processes on various sheet thicknesses. After welding,
the microstructures of the samples were analyzed, focusing on the impact of heat on the
microstructure. Additionally, defects in the weld metal were examined using a light microscope.
Finally, the chemical composition of the weld joint and the degree of mixing were determined.
It was observed that the heat input affects the microstructure of the weld, with AC MIG welding
resulting in a coarse grained microstructure with more defects compared to the DC MIG
welding process. Additionally, the AC MIG process led to a lower degree of mixing compared
to the DC MIG process
Effect of microplastics treated with heavy metals on physiological and biochemical stress parameters in duckweed (Lemna minor)
No full textMikroplastika (MP) je kompleksno onečišćivalo te je sveprisutna u morskim, slatkovodnim i kopnenim ekosustavima. Pod utjecajem abiotičkih i biotičkih čimbenika njezina se svojstva mijenjaju, a time i potencijalna toksičnost za okoliš. U ovom radu je istražen utjecaj čiste MP (smjesa polietilena, polistirena, polipropilena i gume), kao i MP tretirane smjesom teških metala (olovo, cink i bakar) na vodenu leću (Lemna minor L.) putem Lemna testa i različitih fizioloških i biokemijskih pokazatelja stresa (sadržaj fotosintetskih pigmenata, karbonila i malondialdehida, te aktivnost antioksidacijskih enzima). Rezultati su pokazali da dolazi do otpuštanja metala s površine MP u hranjivu podlogu. Utvrđeno je nakupljanje Zn i Cu u vodenoj leći izloženoj najvećoj koncentraciji MP. Sedmodnevno izlaganje vodene leće česticama čiste MP ili MP s adsorbiranim metalima nije bitno utjecalo na rast vodene leće, izuzev čiste MP u koncentraciji 100 i 1000 čestica/L. Mikroplastika je izazvala promjene u aktivnosti antioksidacijskih enzima, no nije utvrđena lipidna peroksidacija ni oksidacijsko oštećenje proteina. Zamijećena je jača adsorpcija čestica MP (uglavnom polipropilena) na listićima vodene leće. Na temelju dobivenih rezultata može se zaključiti da je vodena leća pogodna za fitoremedijaciju čestica MP.Microplastics (MP) are very complex pollutants that are ubiquitous in the marine, freshwater and terrestrial enviroments. MP is affected by various biotic and abiotic factors that can change its properties and potential toxicity for the environment. In the present study, the effect of pristine MP (mixture of polyethylene, polypropylene, polystyrene and tyre wear particles) and MP treated with heavy metals (lead, copper, zinc) on duckweed (Lemna minor L.) has been evaluated using Lemna test and various physiological and biochemical stress parameters (photosynthetic pigments, carbonyls and malondialdehide as well as activity of antioxidant enzymes). The results showed that metals leached out from MP into the Steinberg medium. Metals Zn and Cu accumulated in duckweed exposed to the highest concentration of MP. Pristine MP and MP treated with heavy metals did not significantly affect the growth rate of Lemna minor, except pristine MP at higher concentration (100 and 1000 particles / L). Microplastics caused modulation of antioxidant enzyme activities, but lipid peroxidation and oxidative damage to proteins was not observed. Furthermore, MP (polypropylene) was found to strongly adsorb on duckweed fronds. Based on the obtained results, it can be concluded that the Lemna minor is suitable for the phytoremediation of MP
Improving bioremediation of waste streams through exogenous microbial cultures
No full textU modernom svijetu tehnološkog napretka, antropogene aktivnosti dovode do sve većeg onečišćenja voda. Procjedne vode koje nastaju iz organske frakcije miješanog komunalnog otpada sadrže visoko opterećenje te zahtijevaju fizikalnu, kemijsku ili biološku obradu prije ispuštanja u okoliš. Tehnologija bioremedijacije postaje sve važnija u suočavanju s navedenim izazovima jer pruža održivo i visokoučinkovito rješenje za sanaciju različitih vrsta onečišćenja. Onečišćujuće tvari putem procesa biorazgradnje ili biotransformacije prevode se u netoksične produkte i nusprodukte djelovanjem enzimskog kataboličkog potencijala mikroorganizama. Kako bi se povećala brzina i djelotvornost tehnologije bioremedijacije uvode se dodatni alati kao što su optimiranje procesnih čimbenika putem biostimulacije te korištenje autohtonih ili egzogenih kultura kao inokuluma u procesu bioaugmentacije.
U ovom radu istraživana je bioremedijacija procjedne vode iz organske frakcije iz miješanog komunalnog otpada. Uspoređena je djelotvornost uklanjanja organskog onečišćenja uz bioaugmentaciju egzogenih mikrobnih kultura Pseudomonas putida te aktivnog mulja.
Pokusi su provedeni u šaržnom reaktoru pri submerznim uvjetima u periodu od 10 dana. Ukupna prosječna vrijednost učinkovitosti procesa uklanjanja organske tvari za istraživane sustave iznosila je 89 %. Provedena istraživanja pružaju uvide u praktičnu primjenu bioremedijacije i doprinose daljnjem razvoju strategija za obradu otpadnih voda.In the modern society of technological progress, anthropogenic activities are leading to increasing water pollution. Leachates originating from the organic fraction of mixed municipal waste are highly contaminated and require physical, chemical or biological treatment before being discharged into the environment. Bioremediation technology is becoming increasingly important in overcoming these challenges as it offers a sustainable and highly effective solution for the remediation of various types of pollution. Pollutants, through processes of biodegradation or biotransformation, are converted into non-toxic products and byproducts through the enzymatic catabolic potential of microorganisms. To enhance the speed and effectiveness of bioremediation technology, additional tools are introduced, such as the optimisation of process factors through biostimulation and the use of indigenous or exogenous cultures as inoculants in bioaugmentation. In this work, the bioremediation of leachate from the organic fraction of mixed municipal waste was investigated.
The effectiveness of the removal of organic pollution removal with bioaugmentation with exogenous microbial cultures Pseudomonas putida and activated sludge was compared.
The experiments were carried out in a batch reactor under submerged conditions for 10 days. The average overall efficiency of the organic matter removal in the investigated systems was 89 %. The conducted research provides insights into the practical application of bioremediation and contributes to the further development of wastewater treatment strategies
The use of medications with anticholinergic and sedative effects: a cross-sectional study in nursing homes
No full textS obzirom na rastući broj dokaza o rizicima povezanih s primjenom lijekova s antikolinergičkim i sedativnim učincima
kod osoba starije životne dobi, cilj ovog istraživanja bio je utvrditi, korištenjem DBI skale, prevalenciju izloženosti DBI
lijekovima te istražiti povezanost njihove primjene s karakteristikama ispitanika i neželjenim zdravstvenim ishodima
među korisnicima domova za starije i nemoćne u Republici Hrvatskoj.
Presječno istraživanje provedeno je u domovima za starije osobe u tri hrvatske regije između kolovoza i studenog 2022.
godine. U istraživanje je bilo uključeno 225 ispitanika u dobi od 65 i više godina. Podaci su prikupljeni pomoću
standardiziranog interRAI-LTCF upitnika za sveobuhvatnu gerijatrijsku procjenu. Mjere ishoda uključivale su
(ne)ovisnost u obavljanju svakodnevnih aktivnosti (ADLs), skalu kognitivnih sposobnosti (CPS), kliničku skalu krhkosti
(CFS), prisutnost simptoma depresije te broj padova i hospitalizacija. Izloženost lijekovima s antikolinergičkim i
sedativnim učincima izračunata je pomoću DBI (engl. Drug Burden Index) skale, internacionalno validirane mjere za
procjenu opterećenja antikolinergicima i sedativima.
Medijan dobi ispitanika iznosio je 83 (IQR 79-86) godine. Prevalencija izloženosti DBI lijekovima iznosila je 77% te je
bila značajno viša među ispitanicima koji su bili izloženi politerapiji (87%) i prekomjernoj politerapiji (95%) te
ispitanicima sa simptomima depresije (88%). Izloženost DBI lijekovima bila je značajno povezana s lošijim rezultatima
na ADL skali (p=0,036) te većom krhkosti ispitanika (p=0,009). Najupotrebljivaniji DBI lijekovi bili su diazepam (29%
ispitanika), tramadol (29%), zolpidem (18%) i alprazolam (16%).
Uočena je visoka prevalencija izloženosti lijekovima s antikolinergičkim i/ili sedativnim učinkom među korisnicima
domova za starije. Korisnici izloženi DBI lijekovima bili su značajno slabijih funkcionalnih sposobnosti. Ova saznanja
potvrđuju valjanost DBI skale kao jednog od alata za prepoznavanje osoba starije životne dobi pod povećanim rizikom
od funkcionalnog oštećenja te ukazuju na potrebu za unapređenjem upravljanja terapijom korisnika domova za starije
osobe. Visoka prevalencija upotrebe benzodiazepina, „Z lijekova“ i tramadola ukazuje na potrebu za depreskripcijom.Given the increasing evidence of risks of anticholinergic and sedative medications use in older people, the aim of this
study was to determine, using the DBI scale, prevalence of exposure to DBI medications and explore the association of
DBI medications use with participant's characteristics and adverse health outcomes among Croatian nursing homes
residents.
A cross-sectional study was conducted in nursing homes in three Croatian regions between August and November 2022.
The study included 225 participants aged 65 years and older. Data was collected using a standardized interRAI-LTCF
questionnaire for comprehensive geriatric assessment. Outcome measures included (in)dependence in activities of daily
living (ADLs), cognitive performance scale (CPS), clinical frailty scale (CFS), presence of depressive symptoms and
number of falls and hospitalizations. Exposure to anticholinergic and sedative medications was calculated using the
Drug Burden Index (DBI), internationally validated tool that measures the burden of anticholinergic and sedative
medications.
Median age of participants was 83 (IQR 79-86) years. Prevalence of exposure to DBI medications was 77% and it was
significantly higher among participants exposed to polypharmacy (87%) and hyperpolypharmacy (95%) and participants
with symptoms of depression. Exposure to DBI medications was significantly associated with poorer performance on
ADL scale (p=0,036) and higher frailty among participants (p=0,009). The most frequently used DBI medications were
diazepam (29% of participants), tramadol (29%), zolpidem (18%) and alprazolam (16%).
High prevalence of exposure to drugs with anticholinergic and/or sedative effects was observed among nursing home
residents in Croatia. Residents exposed to DBI drugs had significantly poorer functional performance. These findings
confirm the validity of DBI as the tool for identifying older adults at higher risk of functional impairment and indicate
the need for improving pharmacotherapy management of nursing home residents. High use of benzodiazepines, „Zdrugs“ and tramadol suggests there are opportunities for deprescribing
Metal complexes of bis-1,2,3-triazole ligands with various central heteroatoms
No full text1,2,3-triazol predstavlja bitan farmakofor u dizajnu lijekova, a njegovi derivati stvaraju koordinativno-kovalentne veze s metalnim ionima što ih čini dobrim kandidatima u području anorganske medicinske kemije. U ovom radu opisana je sinteza simetričnih triazolnih tridentatnih liganada te njihovih metalnih kompleksa. Sinteza liganada provedena je regioselektivnom reakcijom 1,3-dipolarne cikloadicije dipropargilamina, dipropargil-etera i dipropargil-sulfida s aromatskim azidima kataliziranom bakrom(I). Strukture svih pripravljenih liganada potvrđene su spektroskopijom 1H i 13C NMR te FTIR. Novosintetizirani ligandi 5a–5d, 6a–6d i 7a–7d korišteni su za sintezu metalnih kompleksa s bakrom(II), cinkom(II), kobaltom(II) i niklom(II). Struktura i stabilnost sintetiziranih kompleksa potvrđena je pomoću spektroskopije UV-Vis i 1H NMR. Za ligand 6b i komplekse [Co(5d)2](NO3)2,
[Cu(6d)2](CF3SO3)2, [Ni(7a)2](BF4)2 i [Ni(7b)2](BF4)2 određene su kristalne strukture pomoću rendgenske difrakcije na jediničnom kristalu. Dobivene kristalne strukture metalnih kompleksa ML2 stehiometrije pokazuju trans-fac stereokemiju.1,2,3-triazole is a significant pharmacophore in drug design, while its derivatives form coordinative-covalent bonds with metal ions, which makes them good candidates in the field of inorganic medicinal chemistry. In this work, the syntheses of symmetric triazole tridentate ligands and their metal complexes were described. The syntheses of ligands were performed by the regioselective reaction of 1,3-dipolar copper(I)-catalyzed cycloaddition of dipropargyl amine, dipropargyl ether and dipropargyl sulfide with aromatic azides. The structures of the prepared ligands were confirmed by infrared spectroscopy and 1H and 13C NMR spectroscopy. The newly synthesized ligands 5a–5d, 6a–6d and 7a–7d were used for the preparation of metal complexes with copper(II), zinc(II), cobalt(II) and nickel(II). The structure and stability of the synthesized complexes were confirmed by UV-Vis and 1H NMR spectroscopy. For ligand 6b and complexes [Co(5d)2](NO3)2, [Cu(6d)2](CF3SO3)2, [Ni(7a)2](BF4)2 and [Ni(7b)2](BF4)2 crystal structures were determined by single-crystal X-ray diffraction. The crystal structures of metal complexes of ML2 stoichiometry show trans-fac stereochemistry
Connections between Croatian and Italian painting between 1872 and 1919
No full textOva disertacija istražuje i izdvaja komponentu talijanskih elemenata u slikarstvu hrvatskih autora u zadanom razdoblju od ostalih srednjoeuropskih utjecaja. Njihovo međusobno razlikovanje, kako će se tijekom razrade pokazati, nije uvijek jasno razgraničeno te zahtijeva priznavanje difuzne naravi nijansi u prijelazima. Ova je činjenica rezultat višestrukih čimbenika: od važnosti kulturne razmjene između Italije i prekoalpskih zemalja, koja se odvijala kroz nekoliko različitih kanala, do povijesne uvjetovanosti povezanosti dijelova sjeverne Italije s Austrijom te, konkretno, s austrijskom upravom. Uže područje rada sačinjavaju dijelovi opusa hrvatskih slikara, koji su nastali u, izravnom ili posrednom, kontaktu s talijanskim kulturnim krugom u razdoblju od 1872. do 1919. godine. Kao početna granica ove disertacije uzete su 1870-te godine jer označavaju odlazak prve trojice predstavnika hrvatskog slikarstva: Ferdinanda Quiquereza, Izidora Kršnjavoga i Nikole Mašića, s Akademije u Münchenu na putovanje u Italiju prema ruti: Venecija, Rim, Napulj (Capri). Završna 1919. godina označava kraj prvog razdoblja izložbi Proljetnog salona (1916.–1919.), kao prijelazni period koji je omogućio snažniji modernistički zamah ostvaren nakon rata te je označen ispreplitanjima jugendstilskih “zaostataka“ i naznaka avangardnijih pristupa u umjetnosti. Cilj istraživanja je obrada i interpretacija segmenta hrvatskog slikarstva 1872.–1919. na osnovi njegovih poveznica s talijanskim kulturnim krugom, koji do sada nije bio sustavno obrađen niti interpretiran, pri čemu su uporabljene uvriježene metode povijesti umjetnosti: formalna, komparativna i ikonografska analiza pojedinih djela, problemi stila i tipologije, terenski rad, proučavanje arhivske građe i objavljene literature. Smatramo da će se sagledavanjem situacije iz ovoga kuta doći do novih spoznaja o pojedinačnim opusima autora, ali i o cjelini ovog važnog segmenta hrvatskog slikarstva.Italy of the 19th and early 20th century is characterised by the specific artistic legacy, as well as a specific relationship towards modernism, that is a constant subject of research in international publications end exhibitions. Its cultural role as the unavoidable destination in the context of the phenomenon of the Grand Tour is markedly important, especially during the course of the 19th century. Travels of the Italians to the European countries north of Alps, as well as the numerous visits and stays of the foreigners in Italy (which would occasionaly turn into permanent residence) contributed to the formation of a vibrant Italian artistic scene in a complex exchange of experiences. While acknowledging Italian specific characteristics and contributions to the European artistic scene, it is nevertheless important to recognise its interweaving with the Mediterranean and (Middle)European traditions, especially those of the French, Austrian and German provenance. The aforementioned was facilitated by historical circumstances, such as the sporadic Austrian government over certain parts of northern Italy. The painter Giovanni Segantini played an especially prominent role in connecting Italy with the rest of Europe due to his extreme popularity and international presence. The establishment of international exhibitions, such as la Biennale di Venezia in 1895, brings new impetus to this interchange. Traditionally strong connections between Italy and Croatia, especially its maritime area, lose its intensity after the fall of the Republic of Venice in the year 1797. However they do not disappear altogether. Although Croatian artists were trained predominantly at the Academies in Vienna and Munich at the time, Italy was their third important destination chosen over two reasons: firstly for the reasons of direct training at the Italian Academies, and secondly as the destination of the European trend of travel to Italy, as the land of classical heritage, natural beauty and specific quality of southern light. Additional historical connection between the two countries was constituted by the fact of the joint Austrian government over Croatia and north Italian regions of Trentino and parts of Friuli-Venezia Giulia by the end of World War I, as well as Veneto during the periods from 1797 to 1805 and from 1815 to 1866. It is important to take notice of the fact that one of the most prolific and vibrant artistic centres of the period, Paris was the rarest choice of Croatian 19th century painters. Connections between Croatian and Italian painting between 1872 and 1919 were realised within three different artistic tendecies of the European art at the turn of the 20th century: firstly the practice of the plein-air landscape study in Italy as preparation for studio compositions; secondly the different manifestations of symbolism; and lastly the inclinations towards avanguard components in the painting of the early 20th century. The book Corot in Italy: Open-Air Painting and the Classical-Landscape Tradition written by Peter Galassi in 1991, as well as the exhibition In the Light of Italy: Corot and Early Open-Air Painting held in 1996–1997 in Washington related to it, proved to be the key in understanding the context of the plein-air study painting in Italy as preparatory work for grand studio compositions. It explaines how the tradition of the landscape and cityscape study in Italy founded in 1780s was codified by the Pierre-Henri de Valenciennes' influential 1800 treatise Elémens de perspective practique, à l'usage des artistes, suivis de Réflexions et conseils à un élève sur la peinture, et particulièrement sur le genre du paysage. Camille Corot’s Italian studies from the period between 1825 and 1828 represented the culmination in this strain of painting. Their purpose was didactic and their main characteristics were: painting in the open in direct study of nature, the effect of sketch due to the rapid brushstroke and spontaneous approach to painting, the use of oil technique usually on paper mounted onto cardboard, the codified topography of motifs following the ‘prescribed’ Italian itinerary, painting during summer months as well as the conscious choosing of the noon or more rarely early evening lighting, the choice to depict fragments of simple, anonymous, rural architecture or details of vegetation, for instance motifs of a tree or treetrunk. Although the tradition of plein-air study could be found elsewhere in Europe at the beginning of the 19th century, Italy was the key area at the turn of the 19th century where it flourished more intensly in the international context of artists and travellers from all around Europe. This was especially true of its regions around Rome and Naples. The significance of the ambiance of (southern) Italy for the history of the European landscape painting was noticed by the Croatian art critic Josip Pasarić in 1902. Seen in this light the relationship between the studio composition of the academic realism and spontaneous plein-air study painting becomes complementary. Galassi explains that the Scuola di Posillipo was formed in the Naples area during the second quarter of the 19th century as a provincial echo of the international school of painters in Italy practicing plein-air study. Moreover, it was founded by a Dutch, Anton Sminck van Pitloo. It formed the basis on which the later Neapolitan schools of painting in the second half of ottocento were built, enriching their expression further through contacts with the Florentine Macchiaioli and contemporary French painting. The next important Italian destination for Croatian painters was Venice. After a period of crisis it succeded in forming a unique expression through the synthesis of its distinctive tradition permeated by the artistic influxes from the rest of Italy and wider international contacts (especially after the establishment of the Venice Biennale exhibitions in 1895). Following the described complexity of the overall context the connections between Croatian and Italian painting should be evaluated in the elaborated terms of interdependences on wider European scene. Croatian painters Izidor Kršnjavi, Ferdinand Quiquerez, Nikola Mašić and Bela Čikoš Sesija set off to Rome and Naples from the Academy in Munich, where the tradition of the Italian journey was especially long cherished and formed an inseparable part of the education process. Their production of Italian plein-air landscape and cityscape studies should first and foremost be interpreted in the context of the tradition of the international school of painters in southern Italy established in classicism, onto which Italian ottocento schools of painting build upon. In Quiquerez and Kršnjavi the influence of Corot's legacy transformed through the painting of the Venetians Ippolito Caffi (more pronounced in Quiquerez) and Guglielmo Ciardi with his interpretation of the Macchiaioli and Scuola di Resina style of painting (more felt in Kršnjavi) can be discerned. Influences by Giacomo Favretto often mentioned in critique turn out to be nonexistent. In the painting of Nikola Mašić, on the other hand, within the same tradition connections to the Neapolitan painting of the second half of ottocento are more clearly articulated, namely those with: Filippo Palizzi, Mariano Fortuny, Francesco Paolo Michetti and Scuola di Resina. Key to the understanding of Mašić's painting however prove to be the painting of Filippo Palizzi. Just like Mašić, Filippo Palizzi enjoyed depicting animal world and was primarily a painter of genre scenes with occasional landscape studies done in macchia technique. Large part of Mašić's oeuvre after 1880 was formed by large scale Handtuchformats portraying genre scenes in accordance with Arcadian transformation of the legacy of Filippo Palizzi in the work of Francesco Paolo Michetti, alongside colouristic virtuosity and glitter of the embellished realism of the Catalan Mariano Fortuny y Carbò, who was also a protagonist on the Neapolitan scene of the second half of the 19th century. The introduction of the element of the modified legacy of Filippo Palizzi in combination with the fortunylike chromatics through interpretations of Francesco Paolo Michetti, as explained in the thesis, sets out a new context for the fortunismo of Nikola Mašić. Also, some examples of Mašić's painting, such as Slikar u bari (Painter in the marshes), 1878–80., Zatvorena vrata (Closed door) study, 1880., or a small detail depicting a flock of geese just above the water surface on the painting Guščarica na Savi (Goose Girl by the River Sava), 1880–81., display a speecific pennellata technique that creates vibrant surfaces in the manner of Antonio Mancini, whose painting is for the first time mentioned in connection to Nikola Mašić's production. Within this same prolonged classicist tradition of the landscape and cityscape study, less than two decades after Quiquerez, Kršnjavi and Mašić had sojourned there, Bela Čikoš Sesija also episodically embraced the premises of the southern Italian landscape and cityscape painting in the Neapolitan area. His plein-air landscape and cityscape studies with motifs focused on details, characterised by formal reduction and constructed relation of light and shadow build upon the traditions of the international school in Italy, Neapolitan and Macchiaioli painting. Inclination towards rural simplicity in the choice of motifs seen in the paintings of Bela Čikoš was also the legacy of the international school of painters in Italy, continued in the Italian realist ottocento painting all the way to the Postmacchiaioli era of the last quarter of the 19th century, the period of Čikoš's southern Italian soujorn. Nocturnal cityscapes which Čikoš sketches in Italy prove to be transitory towards symbolist painting. Although the tradition of the execution of studies in the lighting of the early evening is well documented in the history of the painting of the international school in Italy, as well as there are well known instances of nocturnal scenes in the context of the Italian ottocento painting of realist provenance, such as the cityscape of Naples by Adriano Cecioni, the painter that connected Florentine Macchiaioli and southern Italian Scuola di Resina, these studies by Bela Čikoš should be understood as an indication towards his later symbolist expression. The latter is affirmed by the choice of the subject of Pietà in a southern Italian study from the year 1893. Everything considered, we come to the conclusion that the Italian episode of Bela Čikoš should not be taken as a divergence in his oeuvre, but rather as a typical formation path of a 19th century painter, witnessed by the example of Arnold Böcklin, himself being a pivotal protagonist of the European symbolism, who spent much of his life in Italy where, among other things, he painted realist landscapes. As opposed to the landscapes painted in Italy, the post Italian landscapes by Bela Čikoš should be considered in the context of the German variant of 'impressionism'. The other important centre of the Italian realist tradition was Florence and the Macchiaioli. Vinko Draganja and Mato Celestin Medović were trained there. Apart from being a student of the Florentine Academy, key to intrepretation of Draganja's painting turned out to be a so far overlooked detail from his Autobiography of his friendship with the Italian painter Domenico Pesenti. Pesenti's oeuvre is directly comparable to that of Vinko Draganja during his Italian years. As shown in the thesis for the first time, the affinity in the choice of themes and motifs, as well as the composition and painterly approach, characterised by the transformation of the Macchiaioli legacy, within its marginal and belated echos and emphasising more pronouncely the narrative component of the painting, can be discerned. Also, while interpreting this kind of painting, the names of the Induno brothers, Domenico and Gerolamo from Milan (Pesenti was trained in Lombardy) with their continuance of the tradition of a specific genre painting should not be overlooked. Mato Celestin Medović spent a prolonged period of unsystematic training in Italy from 1880 till 1886. Within this scope of time, he also sojourned in Florence meeting Vinko Draganja there and studying at the private school of Antonio Ciseri. Traditionally Medović's Italian years and his artistic training there were not considered very important, but rather the major significance was given to his later Munich training. During the research for this thesis however, I came to conclusion that Medović's Italian experience was far more important than earlier presumed. Through the analysis of representative pieces of Medović's portraits and religious compositions clear connections to his Florentine teacher Antonio Ciseri can be seen. In addition to that, Medović's familiarity with the painting of of the 'Florentine Alma-Tadema', Giovanni Muzzioli turns out to be of outmost importance for his artistic expression, which has been noticed for the first time here. Muzzioli was a famous Florentine painter whose popularity reached its peak during Medović's sojourn in the city and whose painting was characterised by a hybrid amalgam of history painting and European tradition of plein-air and genre, especially that of the Macchiaioli provenance. In the first ever display of comparative analysis between Medović's and Muzzioli oeuvres, compatibility in the choice of themes and motifs, painterly approach and style is shown. Both painters treat representative history painting in a skillful academic manner, while the plein-air, landscape, cityscape and genre studies showcase free and sketchy pennellata with the simplified and reduced to essentials painterly approach. Especially interesting in their oeuvres is a special hybrid category of the so called 'historic genre' (generismo antichizzante / la pittura ‘di genere’ in versione greca e romana / la pittura storica di genere), in which figures in antique costume are arranged and added into directly studied plein-air landscape. The biggest surprise was the discovery of the formidable influence of the Italian painting on Bakanal from 1893 by Medović, the painting that has been firmly and unanimously considered as the crown jewel of Medović’s Munich training and was previously almost exclusively connected to the style of painting of Karl Theodor Piloty. There were however some early examples in the Croatian art writings considering the compatibility between Medović’s emblematic painting and Muzzioli’s Al Tempio di Bacco from the year 1881. Ljubo Babić accused Medović of plagiarism, while Vera Kružić-Uchytil and Igor Zidić stood up for the Croatian painter. The first ever detailed analysis presented in the thesis confirms significant parallels in composition and style with the selected examples of Giovanni Muzzioli’s painting, as well as sets out a completely novel observation about the affinities with the Antonio Ciseri’s painting Il Martirio dei Maccabei, 1858.–1863. The analysis further brings us to the conclusion that in Medović’s Bakanal we are not dealing with the act of plagiarism, to use the words of Ljubo Babić, but rather with a legitimate reinterpretation of the existing models transformed through Medović’s specific semantics that imbues the painting with the possible meaning of social criticism. All taken into consideration, key to the interpretation and understanding of the work of Vinko Draganja and Mato Celestin Medović turn out to be the Postmacchiaioli context of Florence of the 1880s and oeuvres of the Italian authors Domenico Pesenti and Giovanni Muzzioli, whose art transforms the Macchiaioli legacy in a hybrid painting that combines modern principles of the Tuscan heritage with the narrative and historic elements in an academic manner. In addition, Medović’s Italian teacher Antonio Ciseri turns out to be far more important for his painting than it was earlier supposed. Historically the Croatian coast was strongly connected to Venice, which underwent an identity crisis of sorts after the downfall of the Republic of Venice in 1797. Following the unification of Italy in 1866, ties between Venice and the other Italian cities became ever stronger and through these contacts Venetian artists worked with new experiences, modifying them through the filter of the Venetian specific tradition creating a particular and characteristic synthesis. Almost simultaneously, Josip Lalić and Emanuel Vidović set off to Venice for artistic training. They spent the second half of the 1880s and the first half of the 1890s there, and Vidović would revisit the city on a lagoon continuously throughout his life. Both painters were formed there through the initial cityscape and landscape painting of the combined Venetian and Macchiaioli inspiration. Soon they left for a short sojourn in Milan, from where Lalić departed for Paris and Vidović returned to Venice of his destiny. Early phase of Emanuel Vidović's painting depicting cityscapes of Venice and Chioggia is characterised by the Macchiaioli inspiration transformed by Venetian tradition. Rather poorly documented biography and curriculum vitae, which has been reconstructed with the help of archival materials and literature for purposes of this research, limit our understanding of the oeuvre of Josip Lalić. Our interpretation of the latter is based on the examples of paintings from Croatian and Italian collections. In the Roman museums Galleria Nazionale d'Arte Moderna e Contemporanea di Roma and Galleria Comunale d'Arte Moderna e Contemporanea di Roma fourteen paintigs by Josip Lalić (with the additional three that were destroyed presumably due to a Second World War bombing) were discovered during the course of this research and were subsequently presented to the Croatian community of art historians. The analysis has shown that the early painting by Josip Lalić, it would seem, could be compared to Emanuel Vidović’s early works. In both cases we are dealing with small formats of realist landscapes and citiscapes and, with Lalić especially, genre scenes from the everyday life in the city. They were painted in the combined Venetian and Macchiaioli tradition of free pennellata and sketchy approach often depicting Venetian canals (especially in Vidović). Basic Venetian connections with their painting are found in the work of Ippolito Caffi and contemporaries Bartolomeo Bezzi, Pietro Fragiacomo and especially Guglielmo Ciardi, and in the case of Josip Lalić also Alessandro Milesi. Often propounded as Vidović’s Venetian model, the painter Giacomo Favretto does not turn out to be the key connection of reference in interpreting Vidović’s early painting. The painting of Ante Katunarić, who frequented the Academy in Rome during the period from 1892 till 1896, was formed through contacts with Emanuel Vidović during their joint year long stay in Chioggia in 1897. Virgil Meneghello-Dinčić is also mentioned in the context of these artistic sojourns in Venice and Chioggia together with Vidović and Katunarić. His painting of this period is however completely lost and for this reason was not presented in this chapter. As far as Ante Katunarić is concerned, his painting of the period is formed in relation to Emanuel Vidović, but the dispersion of the artist’s interests resulted in a significantly lower artistic quality of his work. Just as with Emanuel Vidović and Josip Lalić, here too we are dealing with the basic Venetian inspiration, Guglielmo Ciardi above all, combined with that of the Tuscan legacy of Macchiaioli. In Katunarić’s work however more pronounced influences of French painting can be felt, which should be understood in the context of Postmacchiaioli atmosphere that synthesised the Macchiaioli and French Impressionists legacy. Also, one shou
The modernism of Kosta Angeli Radovani's figural sculptures
No full textDoktorska disertacija Modernizam figuralne plastike Koste Angelija Radovanija bavi se utvrđivanjem modernističkih značajki i izvora modernizma figuralne plastike Koste Angelija Radovanija (1916. – 2002.), te istraživanjem njegova cjelokupna opusa. Provedena je sustavna i cjelovita monografska obrada kiparskog opusa u kontekstu onodobne nacionalne i međunarodne likovne scene, te je prvi put sastavljen katalog svih poznatih djela ovog umjetnika. Istraženi su akt i portret, medaljerski opus, javna skulptura, spomenička plastika, crtež i grafika, njegov spisateljski opus, pedagoški doprinos te kulturno-društveni angažman. Učinjena je analiza i vrednovanje spomeničke i komorne plastike i načina rada, definiranje tipologije kao i interpretacija akta i portreta te formalna analiza i valorizacija važnijih radova. Djela su sistematizirana po vrsti, tehnici, temi i kompozicijskim rješenjima, te stilskomorfološkim značajkama. Istraživanje je dovelo do nekoliko novih hipoteza o ovom kompleksnom opusu, počevši od teze o dugotrajnom formativnom razdoblju. Utvrđeno je da iako nikada nije napustio figuraciju i prepoznatljivost antropomorfnog motiva te se koristio tradicionalnim materijalima i oblikovnim načelima, na formalnoj i konceptualnoj razini njegov način oblikovanja pripada umjerenom modernizmu. Taj se oblik modernizma razlikuje od prevladavajućeg apstraktnog izraza koji je u Hrvatskoj obilježio stilsku pojavu poslijeratnog visokog modernizma. Opus Koste Angelija Radovanija za dio likovne kritike nije bio dovoljno avangardan, a za drugi dio stručne javnosti nije bio dovoljno tradicionalan. Istraživanje je pokazalo da je uvodio inovacije u prikaz akta i portreta, te da je u tom području oblikovanja ostvario značajan doprinos u hrvatskom poslijeratnom kiparstvu modernizma. Ovo istraživanje, među ostalim, upućuje na to da je pri formiranju modernističkog izraza asimilirao mnogobrojne utjecaje – kiparstvo europskog modernizma, utjecaje izvaneuropskih kultura i drugih vrsta »primitivizama« i arhaizama. Disertacija donosi nove spoznaje o radu i djelovanju autora koje nadopunjuju, proširuju, te omogućuju novi pogled na neke aspekte dosadašnjih istraživanja kao i na cjelokupan opus. Ostvario je jedinstven i prepoznatljiv opus koji predstavlja značajan doprinos hrvatskoj i europskoj modernističkoj figuralnoj plastici.The doctoral dissertation focuses on the determination of modernist features and sources of modernism in the figural sculpture of Kosta Angeli Radovani (1916–2002), as well as on the research into his entire artistic oeuvre. A systematic and complete monographic analysis of his sculptural oeuvre was carried out in the context of the local and international artistic scene of the time. Figurative sculpture (nude and portrait), medal design oeuvre, public sculpture, memorial monuments, drawing, and prints were explored. The dissertation brings an interpretation of his creative oeuvre, as well as new knowledge of his pedagogical contribution and his cultural and social involvement. An analysis and evaluation of memorial and intimate sculpture and methods of work, the definition of typology as well as the interpretation of nudes and portraits and formal analysis and valorization of his more important works were carried out. The works were systematized by type, technique, theme and compositional solutions, as well as by stylistic and morphological features. After collecting data on the works, and, where necessary, also on their attribution, dating and photography, a catalog of all known works of this artist was created for the first time. Then, we analyzed the modernity of his artistic approach to the traditional theme of nude and portrait, which he formed using traditional materials and shaping principles. All this led us to new knowledge about the artist's work and activity. At the beginning of the dissertation, we set up the hypotheses for the scientific research work: 1. Although he never abandoned the figuration and recognizability of the anthropomorphic motif—using traditional materials and shaping principles—on a formal and conceptual level, his style of shaping belongs to moderate modernism; 2. He introduces innovations in the representation of nudes and portraits; 3. In the field of shaping female nudes and portraits, he makes a significant contribution to Croatian post-war sculpture of modernism; 4. Kosta Angeli Radovani's version of modernism differs from the prevailing abstract expression that, in Croatia, was associated with the concept of post-war modernism (for some, it was not avant-garde or traditional enough); 5. During the formation of modernist expression, he assimilated numerous influences — the sculpture of European modernism, the influences of non-European cultures, and other types of "primitivisms" and archaisms. In the introductory chapters, the methodology, hypotheses, and objectives of the scientific research work are presented, as well as is an overview of earlier research and critical reviews of literature. Then, the socio-political context and its influence on the sculptor's formative period were analyzed. A thesis is presented about the unusually long formative period (1926– 1952), which was divided into two parts—conditioned by both the social and artistic as well as cultural context, and by life circumstances of Kosta Angeli Radovani. The first part of the formative period includes the childhood and the creation of student works, as well as studies at the Brera Academy in Milan. When he went to study in Milan, he left the original influences of classics, then French modern sculpture, Aristide Maillol in the nude, and Charles Despiau in the portrait. At that time, his approach to shaping and interest in the subjects of nude and portrait was directed by his professor, a post-Donatellian artist Francesco Messina, who taught sculpture guided by the syntagm, "Do not invent!". The Italian art was dominated by figuration, and Milan was the center of the artistic movement of the Novecento. He gained insights into recent phenomena by following the program of Milan's avant-garde Galleria il Milione, which exhibited abstraction, as well as by studying works of sculptors who introduced modernism into the shaping of traditional subjects of nude and portrait (Arturo Martini, Giacomo Manzù, Marino Marini). He assimilated further influences during his numerous student trips through Italy. He was particularly impressed by the art of Etruscans, ancient Egyptians, and other ancient civilizations, as well as by medieval heritage. Presented are the circumstances and direct influences that determined the formation of his artistic expression. The source of his specific modernism is also analyzed and interpreted. After completing his studies and returning to Zagreb, the second part of his formative period begins (1939–1952). He spends the war years in Zagreb, where he attends a specialization at the Academy of Fine Arts in Zagreb. Until 1945, the bulk of his oeuvre consists of female nudes, portraits, and drawings that show the sculptor's need to free himself from previous influences, searching for his own expression. In that period, there is an increasingly pronounced stylization and reduction of the representation. After the end of the war, Angeli Radovani adjusts to the socio-political circumstances of the time. Socialist realism was a politically and state imposed doctrine, so, in the artistic expression, there were changes in themes of representation and shaping. Angeli Radovani covers the then naked female body with clothes because the motif of the nude is contrary to new socialist morality. He shows figures in the context of labor and social responsibility. The volume is closed, and the selection of themes limited. Until the end of the 1940s, he models within the framework of a realistic style of shaping, while his portraits of national heroes are influenced by socialist realism. For his Portrait of Nada Dimić (Portret Nade Dimić; 1947) he won the third prize of the Committee for Culture and Art of the Government of Socialist Federative Republic of Yugoslavia in 1948. Angeli Radovani participates in two public competitions for monuments, which was a new theme in his sculptural oeuvre (a monument to the Croatian poet Silvije Strahimir Kranjčević and The Monument to the Uprising of the People of Drežnica [Spomenik ustanku naroda Drežnice], which won the second prize and was realized in the village of Drežnica in 1949). A new impetus for a shift in the manner of his expression arises during a study trip in 1950– 1951. He travels through Italy, France, Belgium, and Switzerland, studying the art of nonEuropean cultures, absorbing the power of their simple, cubic forms. This is the time when his formative period ends, and the phase of mature expression begins. He works and researches a lot to find his own expression. This leads him to refine his sculptural language and establish a new idea of sculpture that would surpass all previous symbolisms, classicisms, and academicisms. His first solo exhibition in 1952 was also the first solo exhibition of a sculptor after the Second World War. The free choice of the theme of representation (nude) and the way in which he stylized the nude and the portrait heralded changes. The exhibition arouses numerous reviews in the press as well as polemics. After the chapter in which the presence and reception of the mature and late oeuvre of Kosta Angeli Radovani was researched, the figural sculpture that gained its full expression in the mature period of his creation was also researched. He abandons idealization, narrativeness, and realism in the representation of the body, the representation is reduced, and the surface of the sculpture intentionally unpolished and unfinished, which evokes a tactile experience. On the surface, there are visible traces of shaping by fingers and palm, the signs of the sculptor's physical gesture. Anatomical arbitrariness is visible in the shaping of the elements of some sculptures. The sculptor does not shy away from deformations and ugliness in order to achieve an expressive, sometimes grotesque impression. The feet, hands, thighs, and buttocks are oversized, which points to the simplicity of "primitivist" forms. He draws inspiration from the creations of non-European cultures and from various archaisms. He increasingly applies stylization and the speech of the masses; the nudes are voluminous, and the need to investigate various sculptural problems results in the execution of numerous variations of the same theme. He is engaged in the research into various relations of compositional elements, such as figure and pedestal, the closedness and openness of the mass to space, the flatness and saliency of the volume of sculpture, the polishedness and roughness of surface, which in some works joins at sharp edges contrary to anatomical accuracy. In a special chapter, the sculptural cycle The Quince (Dunja; 19 variations, 1957–1986) is interpreted, with which he reaches the pinnacle of sculptural research, creating distinctive variants of a lush, mature female body. In some examples, he reduces certain parts of the body to round geometric bodies (cylinder, sphere), or stylizes them to the edge of abstraction. He never abandoned the recognition of the motif, which was his conscious choice. Until 1963 dominates the nude in standing position, but then the seated nude prevails, which intrigues him with immense possibilities of composing numerous variants while searching for a balance of elements. They are connected by the principle of building the mass from the core. He innovates the role of the pedestal, which he either abolishes or integrates into the sculptural solution (it is part of the cast, or he chooses a wooden stump, an iron rail, on which the figure is seated). By analyzing his mature sculptural oeuvre, we determined various formal and stylistic features in the manner of his shaping. In the nudes, we distinguish between three ways of modeling: round volumes and organic forms, then organic forms that he, in individual parts, cubizes and shapes with flat surfaces that are joined at sharp edges, and more radical modeling by decomposing round volumes through the process of geometrization and cubizing. The representation of female nude, as the dominant theme of the sculptor's work— viewed in the context of "primitivist" art—can also be interpreted as a symbol of natural cycles, the primordial, and the fertility. The commitment to depicting human figure stems from personal humanism, but also from the artistic climate that prevailed after the Second World War, and which, after the Holocaust and the era of the atomic bomb, aroused the interest of a group of artists while returning to the sources, the pre-cultural and the prerational. The portrait, which is the sculptor's second major theme, is explored in separate chapters. In addition to memorial portrait sculptures, he also modeled portraits of acquaintances and academicians, renowned personalities from Croatian culture, art, history, and science. He made portraits to order, but also on his own initiative, attracted by an interesting, unusual physiognomy or personality and achievements of the person he portrayed, and motivated by the desire to solve a new artistic problem. Already during his schooling he models portraits under the influence of academic realism and other influences. He gets rid of these influences with portraits created during the war, when he abandons description and idealization. After a short period of modeling portraits in the spirit of socialist realism, in the early 1950s comes a shift toward more modern expression. Important for finding his own expression was his knowledge of the portrait oeuvres of Marino Marini and Marcel Gimond. In the voluminous portrait oeuvre of Kosta Angeli Radovani, we determined the existence of two dominant stylistic and morphological approaches—in the first, the face is elongated, the surfaces follow the bones of the skull, and the surface of the face is furrowed with lines, with which he achieves expressiveness, while in the other approach, there is a reduction of descriptive elements to essential physiognomic features of the portrayed, the volumetric thickening, and a higher degree of geometric stylization, emphasized abstraction, and abandonment of psychologization. From this approach, with further stylization, he started to emphasize geometrization. He modeled some portraits in multiple versions, returning to them in various time periods as they were stimulating for him in his solving of certain sculptural problems. It is the shaping, which focuses on shaping phenomena and research of form—rather than on the similarity to the model—that the elements of modernism are most present. He strove to present the key physiognomic characteristics and the unique character of the portrayed in a synthetic manner and with reduced means. He created a unique gallery of portraits of unknown persons, but also of those working in the public, such as renowned art historians like Kruno Prijatelj, Ljubo Karaman, the archaeologist Grga Novak, academicians, musicians, directors, and other people from cultural, scientific, and public life. By choosing various physiognomies and characters, he went beyond the individual level, presenting a general, universal image of man. He also created a notable oeuvre of relief portraits in the medium of portrait medal. These are predominantly portraits of people from public, cultural, and scientific life, as well as academicians whom he was modeling from 1963 to 2000. He mostly adhered to the traditional circular shape of the portrait medal. The representation is on the obverse, while the reverse is empty. His most significant medal design achievement is the Rector's Chain (Rektorski lanac; 1969). For medals, he uses two modeling methods. In one group of works there is an emphasized geometric stylization and harder modeling, while in the other group, there is softer modeling, a greater degree of reduction and highlighting of the experience of a person's character, as well as organic forms. He is focused on a condensed representation of physiognomy and the transfer of the experience of the portrayed. He does not elevate it to a symbol, a sign, which is the case in the classic medal design approach, but freely interprets it. The excellence of the portrait is manifested in the use of minimal visual artistic elements with which he achieves maximum expression. In the consistent shaping of the portrait, we find his unique contribution to and significance in the corpus of Croatian medal production. We found that the elements of modernism are manifested in the terseness of representation and the reduction of details, as well as in the emphasized stylization. Special chapters are devoted to drawing and print, which, until now, have been a less wellknown and poorly analyzed part of his oeuvre. For Kosta Angeli Radovani, drawing was his favorite art technique. With the help of drawings, we can follow the development of his artistic thinking, as well as changes that occurred in various stages of his creation. He used drawing in a wide range of forms, from sketches, with which he developed his ideas for sculptures and the reflection of body in space, to drawing as an independent visual artistic discipline, a rounded work of art. At the same time, he uses various artistic possibilities of drawing by using line—as a legible trace of gesture and movement—as well as spots. He creates drawings that are characterized by lightness and refinement, but also by power that he achieves with a clean, strong line. He achieves a range of representations from flat—made with a clean line—to voluminous, which are created by shading with pencil, charcoal, watercolor, or some other visual art technique. In drawing, the representation experienced a greater degree of deformity than in sculpture, motivated by a greater need for experimentation, creative freedom, and the specific qualities of the visual art technique. In two drawings created in 1957, he reached the edge of abstraction by reducing the representation and by radical geometric stylization. With drawings he also created templates according to which to make prints. The most common motifs are portraits and nudes – from the intimacy of The Quince or female nudes in the artist's studio, to the vortex of eroticized bodies playing and dancing. In prints, the central motif is a group of figures with emphasized movements and gestures, while the most common themes of representation are the struggle for freedom and justice. Along with the line with which he describes the scene, he also uses pure colors for the representation of the background and the volume of figures. Modernist features can be found in the deformities and expressive lines used to create the representation, as well as in the terseness and stylization of the representation. Monumental solutions are a less well-known and, so far, an only partially analyzed segment of the sculptural oeuvre of Kosta Angeli Radovani. This research has shown that, as a creator or co-creator, he had sixteen realized and fifteen unrealized projects. A special group consists of portrait sculptures placed in public spaces or in interiors of public institutions, cultural, and school facilities. By analyzing the entire oeuvre, the typology of memorial sculpture was established. This comprises reliefs, memorial figures (solid sculpture), spatially and sculpturally complex memorial solutions, as well as portraits and busts of real persons. Realized and unrealized solutions are dealt with in separate chapters, and, within this broader division, solid sculpture, relief, and monumental portraits and busts created for public spaces constitute separate units. From his earliest memorial solutions, he collaborated with architects. The ratio of creative contribution of the sculptor and the architect depended on the character of work. In the case of more complex memorial solutions, the architect's part was more emphasized in the design of architectural elements, while the sculptor's contribution was more pronounced in the sculptural execution of relief. The involvement of the architect in the elaboration of the conceptual project shows a high degree of responsibility of the sculptor toward the intervention in public space, and the need for each segment of the planning and execution of the artwork to be at a high professional level. He created monuments dedicated to work, while one unrealized monument is dedicated to workers' self-management, which is a rarity among post-war monuments. In addition, in several executions he shows female figures, which is also found in a smaller number of postwar memorial solutions. In the realized monuments, we can see a stylistic and morphological range from realistic monumental figural works (Monument to the Uprising of the People of Drežnica [Spomenik ustanku naroda Drežnice; 1949]), reliefs with narrative representations, to monuments characterized by modernist features through the reduction of elements, geometric stylization, and cubic construction of volumes (Macedonian Woman [Makedonka, 1956–1961]; Monument to Vjekoslav Karas [Spomenik Vjekoslavu Karasu, 1974]). In the execution of reliefs with figural themes, he applies geometric stylization, and, in this area, also modernizes the representation of figures. The most significant and the only spatially and sculpturally complex memorial solution realized is the Memorial Park to the Shot (Spomenpark strijeljanih) at Šubićevac in Šibenik (1961–1984), which he realized in collaboration with Zdenko Kolacio. The modernistically refined geometrized architectural elements establish a symbolic relationship with the place of exec
Determination of osmolality in isotonic drinks
No full textMnogi sportaši i tjelesno aktivni pojedinci koriste izotonične napitke kako bi osigurali pravilnu
hidrataciju tijekom intenzivnih fizičkih aktivnosti. Prema zahtjevu Europske agencije za sigurnost
hrane (eng. European Food Safety Authority, EFSA), izotonični napitci trebaju imati osmolalnost
u rasponu od 270 do 330 mOsm/kg, što odgovara osmolalnosti tjelesnih tekućina u ljudi. Na
hrvatskom su tržištu dostupni brojni sportski napitci koji se označavaju kao izotonični i
namijenjeni su tjelesno aktivnim pojedincima. U ovome je radu izmjerena osmolalnost izotoničnih
napitaka (n=18) dostupnih na hrvatskom tržištu. Dobivene su vrijednosti uspoređene s intervalom
izotoničnosti koji je propisala EFSA. Osmolalnost uzoraka izotoničnih napitaka mjerena je
krioskopskim osmometrom, metodom koja se temelji na određivanju točke ledišta. Trinaest
uzoraka izotoničnih napitaka imalo je vrijednost osmolalnosti u rasponu od 279 do 330 mOsm/kg,
što je bilo u skladu s propisanim kriterijima izotoničnosti. Pet uzoraka deklariranih kao izotonični
napitci imalo je osmolalnost u rasponu od 331 do 373 mOsm/kg, što je odgovaralo hipertoničnim
napitcima i, prema zahtjevima EFSA-e, ne bi se smjeli označavati kao izotonični. Prisutnost
napitaka s oznakom izotoničnosti koji ne udovoljavaju propisanim zahtjevima ukazuje na potrebu
za strožom kontrolom izotoničnih napitaka na hrvatskom tržištu.Many athletes and physically active individuals use isotonic drinks to maintain adequate hydration
during intense physical activities. According to the European Food Safety Authority (EFSA),
isotonic drinks should exhibit an osmolality between 270 and 330 mOsm/kg, corresponding to the
osmolality of human body fluids. Numerous sports drinks labeled as isotonic and intended for
physically active individuals are available on the Croatian market. In this study, the osmolality of
isotonic drinks (n=18) available on the Croatian market was measured. The obtained values were
compared with the isotonic range prescribed by EFSA. The osmolality of the isotonic drink
samples was determined using a cryoscopic osmometer, which measures osmolality based on the
freezing point depression method. Thirteen samples of isotonic drinks had osmolality values
ranging from 279 to 330 mOsm/kg, which complied with the prescribed isotonicity criteria.
However, five samples labeled as isotonic exhibited osmolality values ranging from 331 to 373
mOsm/kg, which corresponded to hypertonic drinks and, according to EFSA requirements, should
not be labeled as isotonic. The presence of drinks labeled as isotonic that don't meet the prescribed
requirements indicates the need for more rigorous control of isotonic drinks on the Croatian
market
Diagnostic and Therapeutic Approach to Abdominal Effusions in Dogs: A Retrospective Study
No full textIzljeve definiramo kao abnormalno nakupljanje tekućine unutar tjelesnih šupljina, a po
samim karakteristikama možemo ih klasificirati kao transudate, modificirane transudate i
eksudate. Abdominalni izljevi mogu biti uzrokovani bolestima različitih organskih sustava te
je stoga važno napraviti detaljnu dijagnostiku u svrhu adekvatne terapije pacijenta. Ovaj
diplomski rad je retrospektivna studija čiji je cilj bio utvrditi najčešće uzroke abdominalnih
izljeva u pasa i njihovu učestalost, kliničku manifestaciju u pacijenata te prognozu primarnog
procesa.
U svrhu dobivanja traženih podataka o pacijentima, pretražena je arhiva Klinike za
unutarnje bolesti i Klinike za kirurgiju, ortopediju i oftalmologiju u periodu od 1.1.2019. do
31.12.2023. Kriterije za ovo istraživanje ispunilo je ukupno 78 pasa. Najzastupljenije pasmine
s abdominalnim izljevima bile su križanci, labrador retriveri, malteški psići, američki stafordski
terijeri i njemački ovčari. Najveći broj pacijenata imao je simptome trajanja do tjedan dana.
Najčešći simptomi u istraživanoj populaciji bili su inapetenca, povraćanje, distendirani
abdomen, proljev i letargija. Obzirom na zastupljenost izljeva najčešći su bili eksudati, zatim
modificirani transudati i transudati. Septični eksudati bili su češće zastupljeni od neseptičnih
eksudata. Najčešći uzroci abdominalnih izljeva bili su tumori, upalni procesi različite etiologije,
abdominalna trauma, bolesti jetre te istovremena prisutnost upalnog i tumorskog procesa u
pacijenta. U pojedinim izljevima zabilježene su i vrijednosti glukoze, laktata, hematokrita, uree,
kreatinina, kalija te bilirubina koje su nas dodatno usmjerile u dijagnostici. Najčešće korištena
medikamentozna terapija obuhvaćala je tekućinsku terapiju, analgetike, antiemetike, inhibitore
protonske pumpe i antibiotike, dok su pojedini pacijenti zahtijevali i kirurške zahvate.
Preživljavanje u istraživanoj skupini bilo je 49 %, 42 % pacijenata je eutanazirano i 9 % ih je
uginuloEffusions are defined as abnormal accumulations of fluid within body cavities and
based on their characteristics, they can be classified as transudates, modified transudates or
exudates. Abdominal effusions can result from diseases affecting various organ systems,
therefore doing thorough diagnostic work is essential for appropriate patient treatment. This
thesis is a retrospective study aimed at identifying the most common causes of abdominal
effusions in dogs and their frequency, clinical presentation and prognosis of the primary
underlying condition.
To obtain the required patient data, the archives of the Clinic for Internal Medicine and
the Clinic for Surgery, Orthopedics, and Ophthalmology were reviewed for the period from
January 1st 2019 to December 31st 2023. A total of 78 dogs met the criteria for this study. The
most represented breeds with abdominal effusions were mixed-breed dogs, Labrador
Retrievers, Maltese, American Staffordshire Terriers and German Shepherds. Most patients
exhibited clinical signs for up to one week. The most frequent symptoms observed in the study
population were inappetence, vomiting, abdominal distension, diarrhea and lethargy. In terms
of effusion types, exudates were the most common, followed by modified transudates and
transudates. Septic exudates were more prevalent than non-septic ones. The most frequent
causes of abdominal effusions included neoplasia, inflammatory processes of various
etiologies, abdominal trauma, liver disease and the concurrent presence of inflammatory and
neoplastic processes in individual patients. For certain effusions, additional parameters such as
glucose, lactate, hematocrit, urea, creatinine, potassium and bilirubin were measured which
further aided in diagnostic assessment. The most commonly used medical treatments included
fluid therapy, analgesics, antiemetics, proton pump inhibitors and antibiotics, while some
patients also required surgical procedures. Survival in the studied group was 49 %, 42 % of the
patients were euthanized and 9 % die
Correlations and dynamics in many-body non-Hermitian systems
No full textOvaj rad istražuje međuigru temeljnih aspekata nehermitske kvantne mehanike i međudjelovanja čestica primjenom Bose-Hubbard modela s asimetričnim amplitudama preskoka i odbojnim interakcijama. U prvom dijelu analiziramo sustav s malim brojem bozona te pomoću računa smetnje i numeričkih metoda istražujemo razlike u odnosu na hermitski i jednočestični nehermitski slučaj. U nastavku proučavamo suprafluid-Mott izolator fazni prijelaz te ispitujemo kako nehermitska priroda sustava utječe na kritičnu vrijednost interakcije potrebnu za taj prijelaz.This thesis investigates the interplay between fundamental aspects of non-Hermitian quantum mechanics and particle interactions through the Bose-Hubbard model with asymmetric hopping and repulsive interaction. In the first part, we analyze a system with a small number of bosons and use perturbation theory and numerical methods to explore the differences compared to the Hermitian and single-particle non-Hermitian case. In the second part, we study the superfluid–Mott insulator phase transition and examine how system's non-Hermicity affects the critical value of interaction required for the transition to happen