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Abstract: The Fisherman fountain, a canonical work of the sculptor Simeon Roksandi, was first displayed at the 77th International Art
Exhibition in Rome in 1907. Its artistic value was recognized by the Serbian cultural elite and it soon became part of Serbian cultural space
and national artistic decorum. The sculpture was the key artistic artefact in the Serbian pavilion at the Balkan Exhibition in London in 1907. By
1911 the fountain was mounted in Kalemegdan Park in Belgrade, becoming one of the citys symbolic and memory landmarks. The fountain, a
classic piece of European sculpture, emerged from the artistic and cultural milieu of Munich, to which Simeon Roksandi, trained at the Munich
Art Academy, also belonged. In accordance with the general postulates of the European artistic canon, the Fisherman was defined as unity of
the modern and classical value systems. Archaic modernism postulated the revival of original, vital, pre-classical Hellenism as embodied in the
vigorous form and dynamic structure of the Fisherman. The creative return to the past materialized in Roksandis sculpture is reinterpreted in
accordance with broader ideational and cultural trends of the period. Freuds archaeology of the unconscious and Darwins selectionist evolu-
tionism were largely responsible for recognizing primitive proto-man in the figure of the Fisherman. According to contemporary interpreters, the
Fisherman was seen as a visual sign of a wide-ranging movement based on the idea of classical revival as a prerequisite for the revitalization of
modern, late 19th-century man.
Keywords: Simeon Roksandi, Fisherman, Belgrade, Munich, Darwinism, classical revival, archaic modernism, sculpture

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Summary: IGOR BOROZAN

REVIVAL OF CLASSICAL ANTIQUITY AND ARCHAIC MODERNISM: SIMEON ROKSANDIS

FISHERMAN (STRUGGLE) FOUNTAIN

The Fisherman fountain, a canonical work of the sculptor Simeon Roksandi, now sitting in Kalemegdan Park in Bel-
grade, drew the attention of art critics soon after it was first shown to the public at the 77th International Art Exhibition in
Rome in 1907, where it was displayed in the first and most important exhibition hall and won critical acclaim. In the Serbian
press it was seen as matching up to the national canon given that apart from its indisputable universal artistic value, the art-
ists ethnic origin was seen as contributing to its importance. The repute of the sculptural composition was soon confirmed
at the large Balkan Exhibition in London later that year. It became an emblem of the young Serbian state and a metaphor for
its cultural progress, confirming the transfer of a classic work of European (German) art into national space.
The identified referentiality of Roksandis sculpture suggests that the work should be situated in the system of Ger-
man critical thought of the last decades of the 19th century. Looking up to the work of his contemporaries, Roksandi was
indirectly led to adopt and reinterpret motifs and modes of expression, with an outcome indirectly leading to the classical
value system and art practice. Instead of a cold and standardized reinterpretation of the classical canon, it gave rise to the
evocation of the archaic style attuned to the idea of a progressive return to classical antiquity. Contemporary theoretical
systems such as Freudian interpretation of the subconscious or Darwinian selectionist optimism, combined in a form of
cultural pessimism, determined the form and content of Roksandis Fisherman. The epic portrayal of the struggle between
a fisherman (proto-man) and nature (snake) defined mans place in the contemporary world, shedding light on the tenets of
modern man at a time the established moral, social and religious beliefs were being eroded.
Roksandis classification as a sculptor close to symbolist poetics can be partially accepted, with the qualification that
his self-perception is brought in line with the symbolist poetics of so-called second modernity. The modernity of symbolism
born out of a progressive return to myth, fiction and fantasy largely remained faithful to the principles of figural represen-
tation, transcending the abstraction of modernist form. Existential questions of contemporary humankind were being dealt
with through an archaicized form and animal synthesis. The Fishermans reduction of form and purification of idea indirect-
ly points to the artists work but also to his modern self being realized in a reinterpretation of archaic antiquity.

ILLUSTRATIONS
Fig. 1 Simeon Roksandi, Fisherman, 2013 (photo by Milo Jurii)
Fig. 2 Serbian Pavilion at the Balkan Exhibition in London in 1907
(Nova Iskra no. 1112, 1907: 319)
Fig. 3 Simeon Roksandi, Fisherman, ca 1913
(Milo Jurii collection)
Fig. 4 Simeon Roksandi, Fisherman, coloured picture postcard,
aklovi ed., ca 1922 (Milo Jurii collection)
Fig. 5 Simeon Roksandi and the Fisherman in his Roman atelier in
1906 (Godinjak Grada Beograda XLIII: 170)

47