"VATRA
I PEPEO"
THE UNPUBLISHED MEMOIRS OF IVAN
MEŠTROVIC
JOSEPH E. O'CONNOR
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Journal of Croatian Studies, XXIV,
1983, – Annual Review of the Croatian Academy of America, Inc. New York, N.Y.,
Electronic edition by Studia Croatica, by permission. All rights
reserved by the Croatian Academy of America.
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Ivan Meštrović was a
secretive man. Despite the many clues that he left behind, despite the
prodigious number of sculptures and other works of art that he created, he remains
a controversial and enigmatic figure. He wrote to his second wife, Olga, that
it took him a long time to begin to trust anyone, and she insists that the only
person he was ever completely open with was his brother, Peter.[1]
His considerable literary output
is helpful to those who wish to understand him, but it too presents problems.
His memoirs, like all memoirs, must be handled with care; sometimes his memory
deceived him. But more importantly, they are incomplete. He had a knack for
compartmentalizing his life. Uspomene na političke ljude i dogodjaje
offers us a glimpse of his political activity but says virtually nothing about
his art, his family or any other aspect of his life.
Some of his other writings also
have a memoir quality about them. His Ipak se nadam is sometimes referred to as
a kind of philosophical or religious memoir, and his Imaginary Conversations
With Michelangelo provide some of his views on art. But each one offers only a
fragment of his life and work. Like the pieces of a jigsaw puzzle they have to
be carefully examined and cautiously fitted together.
There is at least one major piece
of the puzzle that has received little attention thus far: an unupublished
autobiographical fragment of about thirty-five thousand words entitled
"Vatra i Pepeo" which is included among his private papers. His son
translated the work into English and it is on that memoir that this paper is
based.
One approaches the memoir with
considerable caution. It deals with the decade of the first World War but it
was not written until about 1949-1950, when Meštrović was in his late
sixties. It is extremely difficult to tell to what extent he is reading back
into the events of the years covered in the memoir some of his feelings from a
much later time. Moreover, Meštrović was inclined to treat virtually
everything he wrote with something of the artist's imagination. He didn't see
reality in quite the prosaic way that we do who traipse after his image. He
tells us himself that his real world was the world of his "art and
imagination".[2] Or rather
that he lived in two worlds, "one illusory though visible to others, and
the other real though secret and unseen by other people. I guarded and
protected my inner world," he says, "and seldom allowed anyone a
glimpse of it".
Despite such cautions the memoir
is fascinating. It is not a smoothly polished work, not a finished product. And
therein lies its charm. It unfolds with disarming candor. There is a
directness, an almost childlike naivete, to his writing that offers an
extraordinary glimpse into his secret "inner world".
The memoir is a love story. We
know of two women whom Meštrović loved: Ruža Klein, his first wife, and
Olga Kesterčanek, his second. This is the story of a third woman, Ružena
Zatkova-Khvoshchinsky. Meštrović met her in Rome in 1912. She and her
husband, Vasilii, a member of the Russian diplomatic corps, came to visit him
in his studio. Meštrovir took an immediate dislike to Vasilii, and one of the
weakest elements in the narrative is Meštrović's un-favorable portrait of
him. At the same time he was attracted to Ružena. She was charming and
beautiful though not, perhaps, as beautiful as his own wife, Ruža.' But she was
"full of life and health", "earthly and elemental," he
says, and that was very appealing to him.
Meštrović's own marriage, on
the other hand, had lost some of its appeal. The picture he paints of Ruža is
not a very complimentary one. She was terribly jealous, he says, and often
tried to pry into his "most intimate thoughts." He did not like her
to visit his studio or to watch him work. She was always wondering whether or
not he had fallen in love with whoever's features he was modelling. Moreover,
Ruža could no longer have children, and children meant a great deal to
Meštrović. Nonetheless, he says, he was loyal; in the ten years of their
life together he had never been unfaithful. And he was not looking for an
affair now.
In fact Meštrović was
somewhat disturbed by his attraction to Ružena. He was prepared to accept he
fact that she appealed to him sexually—he believed that the attraction between
men and women is always sexual at base. But he was puzzled at the strength of
his feeling and wondered if he was caught up in something more, something
"supersexual", a spiritual "harmony of souls". The very
idea was repulsive to him. "I simply could not accept", he says,
"that there was love which did not arise from a sexual stimulus." He
wanted nothing to do with a spiritual relationship with Ružena.
Nor did he want a physical
relationship, at least not at this point. He was still in love with Ruža, and
he was not prepared to leave her. And he had no intention of taking another
man's wife. "Allow her beauty and sensuality to inspire your artistic
work", he told himself. "But under no circumstances get emotionally
involved with her".
Meštrović made no effort to
see Ružena again. Their next meeting was accidental, at a concert which he and
Ruža happened to attend. He was somewhat surprised, therefore, when Vasilii
Khvoshchinsky showed up at his studio several days later and asked him if he
would do a portrait of Ružena. "Do you find her face interesting?"
the Russian asked.
It was not precisely her face that
Meštrović was most interested in when Ružena came to his studio the following
week to begin modeling. For reasons that he confesses he did not understand,
his "attention kept being drawn downward" so that he "kept
extending the portrait to a point just above the knees". What emerged was
a three-quarter length figure, a figure without arms, however. Meštrović
tells us he never intended to leave it without arms. He forgot them, he says,
because he was "concentrating on the contours of the body". He also
tells us that the expression which he gave to the face was not exactly the
result of conscious intention on his part. She had seemed pale, disturbed,
tormented when she arrived at his studio, and that was what emerged in the
portrait. It was a legitimate interpretation of her, he believed, but it had
imposed itself upon him "without ... (his) conscious volition". He
was disconcerted by all this, and he did not feel after only two sessions with
Ružena that the portrait was finished. "I still must do something about
the arms which I have forgotten to make so far", he told her. It was she
who insisted the portrait was finished. "No, you have not forgotten the
arms. You saw, or perhaps you felt intuitively, that I am without arms. Leave
the portrait as it is. It shows me as I am".
The role of the subconscious in the creative process is always somewhat mysterious. In none of his other writings does Meštrović give as specific and graphic a description of the relationship between the subconscious and conscious as in this memoir. He has written elsewhere, in the manner of Michelangelo, of the "eye of the artist's soul" which sees in the rough stone the finished product even before the artist has picked up his chisel.[3] But in a wonderful passage from the memoir he connects this "inner eye" with his subconscious in a manner so matter-of-fact as to make it seem like an everyday occurrence. He refers to the piece on which he was working when he first met Ružena.
For many
nights I had been dreaming of these figures. Sometimes my work progresised
smoothly but during other dreams I encountered difficulties. After such
negative dreams, I would awake feeling listless and unhappy. Finally, this
morning I had woken up with the feeling that I knew how to express through
these figures the particular feeling of sadness that hat obsessed me ...
In my dream
I had seen the statue completely finished to the last detail. I saw it three
dimensionally and from all sides at the same time. Once this happened it was
easy for me to complete a statue in my own studio. It seemed to me that at this
point I was only copying a figure which had already been completed, as a
student copies a statue made by a master. I felt completely sure of myself,
serenely calm and so exhilarated that I started humming softly to myself, as I
often did when I felt good and my work progressed easily.
Meštrović's subconscious is
equally evident in his portrait of Ružena, though in a different fashion. The
"forgotten arms" bespoke a deeper truth than conscious reality. He
would later discover as their love became explicit that Ružena could embrace
neither him or life itself. "If only my missing arms would grow
again", she later told him. Similarly in the downcast and tortured
expression of her face he unknowingly forecast the torments of the spirit of
this woman whom he originally believed to be so "earthy and
elemental".
Ružena approved of the portrait;
her husband did not. Indeed, he was furiously jealous. It seemed to him to show
a woman who had already surrendered herself. Meštrović's wife came to the
same conclusion. Years later Vasilii confessed to Meštrović's that he had
wanted to kill him because of what he assumed the portrait symbolized and was
only prevented from doing so by the intervention of Ružena.
Whether or not Ružena had
surrendered in some psychological fashion, Meštrović made no attempt to
pursue her. It was Ružena who initiated their next contact. She came to his
studio to show him photographs of some Etruscan frescoes which had recently
been discovered in a cemetery fifty kilometers from Rome and asked if he would
like to go see them with her. The next day, as they wandered through the
Etruscan tombs, their conversation touched the theme that would dominate their
relationship: the conflict between physical and spiritual love. Ružena
disapproved of the pagan sensuousness of the frescoes, their celebration of the
pleasures of the flesh. When Meštrović responded that the Etruscans were
right and that "Christianity destroyed man's joy of life", she called
him a pagan. "There's nothing more magnificent than the Christian vision of
eternal life", she said.
Their visit to the Etruscan tombs
was the first in a series of trips to the Roman countryside, and with each trip
Meštrović's passion for Ružena grew stronger. He thought of her
constantly, he says, and couldn't fall asleep at night. They talked of history,
civilization and art which pleased him not at all. He did not like to think of
her as an intellectual. "It did not become her", he felt. "For
me she was the personification of womanhood—beautiful and sensual—and she
aroused my sexuality".
Meštrović returned to Croatia
during the summer of 1914, and in the confusing months before and after the
assassination at Sarajevo he and Ružena lost contact. Again it was she who
re-established the connection: she asked if she could watch while he worked on
a portrait of Rodin. After the portrait was finished she continued to visit his
studio, hurrying in and hurrying out as though she didn't want anyone to see
her. On one of her visits she happened to arrive just as he was finishing work
on the head of a woman, the features of which were inspired by Ružena. She
recognized the resemblance. Meštrović was embarrassed that she had
discovered his "most intimate feelings". It was a tense moment and
neither of them spoke. He walked around behind the chair in which she was
sitting, then suddenly leaned over and touched her hair and kissed her forehead
lightly, tenderly. "At that instant", he says, "I had a ...
vision—wings had sprouted from this woman's shoulders and formed a sort of
aureole around her head".
It was their first intimate
physical contact, and the restraints on Meštrović's passion dissolved. He
asked when he could see her again, and she responded, "Whenever you
like". They agreed to meet the next day, and when Ružena arrived at his studio
he immediately took her in his arms and kissed her, passionately this time. But
suddenly Ružena went limp, so limp that he feared she would fall to the floor
and dirty her beautiful dress. When he kissed her again she was utterly
unresponsive, and when he let her go she rushed from the studio.
The next day Meštrović found
a note from Ružena under his studio door. She invited him to meet her at the
Vatican Museum, in the Fra Angelico room with its atmosphere of "purity
and peace". Though she did not say so in the note, she had invited him
there to say farewell.
Ružena loved him, perhaps more
intensely than he loved her, but his passion frightened her. She loved most,
she told him, those artists "in whom the soul has conquered the
heart". Despite her own loveless marriage she would not agree to an
affair, partly out of respect for Ruža, but primarily because she felt that a
physical relationship would corrupt their love. She wanted to elevate their
love to a higher, purer plane. Mortal things perish, she told him.
"Earthly life is but a shadow of the other life which is eternal". By
suppressing her physical desires, or rather by transforming them into something
spiritual, she hoped to make their love immortal. "Love which is fulfilled
dies, but love which remains unquenched lasts forever".
Having refused his love Ružena
seemed to welcome the prospect of death. She spoke of suicide and later told
him she had taken up opium to escape the hopelessness of her life. In a
dream-like state, her body stiff "as if frozen", she said to him:
"I am that lamp which wants to burn in a votary chapel. I want my oil to
burn for a vow which I have made—with your help. You must decide if from time
to time you wish to look into the chapel where my lamp is burning, through the
small window on the locked door, and see my flame consumed to the last drop of
oil". In the months that followed she lost her appetite, neglected her
health, and soon contracted tuberculosis.
Meštrović was crushed. He had
no choice but to respect her wishes, but the end of their relationship hurt him
terribly. He had virtually no more contact with her. They met only once more,
immediately after the war, in a sanatorium in Lausanne, Switzerland, where
Ružena was dying of tuberculosis. He continued his work and his travel and even
fell in love, or at least tried to, with Maria Račić in England. But
he could not dispel the memory or Ružena. He dreamed about her frequently,
dreams so real that they "seemed like hallucinations". And once, in
the midst of the war, while his train was stopped in the station at Lausanne,
he had the strangest sensation that she was near. He left his compartment to
look for her and became so preoccupied with his search that his train pulled
out without him. Needless to say, he didn't find her. But she was there, he
later discovered, and she had seen him. She was so weak from tuberculosis that
she hadn't the strength to call to him.
Meštrović's lingering
obsession for Ružena was a constant source of pain for his wife Ruža. She
insisted that he "forget that other woman". Yet he could not forget.
He continued to feel that his subconscious "communicated in some way with
Ružena".
When the war ended Meštrović
headed for Zagreb. Stopping on the way in Geneva he was surprised by a
telephone call from Ružena who asked if he might come and visit her at the
sanatorium. He did so and they spent a few hours together. She was, as he put
it, "sublimely happy", apparently fulfilled in her spiritual love for
him. He on the other hand was sublimely unhappy, his passion undiminished but
now tinged with deep sorrow at her illness. She promised to send him a small
book of prayers in verse that she had composed and showed him several "winged
angels in flight" that she had painted in tempera on wood. As they said
farewell and he kissed her hand, she said, alluding to his early portrait of
her, "You love my hands, do you not? They have grown again and they will
become wings".
Meštrović never saw her
again. In 1923, while visiting some friends in Prague, he learned of her death.
When he returned from Prague to Zagreb he found in his accumulated mail
Ružena's notebook of verses and a postcard of one of the angels he had sculpted
for the Račić Mausoleum in Cavtat, on the back of which she had
written: "Today your angel has come to get my soul". The card was
dated the day of Ružena's death.
Such in brief is the story of the
memoir. But in his conversations with Ružena, and in his reflections on their
love, Meštrović also tells much about his values, his view of love and his
religious faith.
Meštrović's attitude toward
women was utterly traditional, the result, he suggests, of his peasant
upbrining. "I thought that God created woman for man", he writes,
"and that in return ... (man) had to take care of her and protect
her". More specifically, he thought of women as inspiration for his art.
He therefore didn't care much for "intellectual women". Their very
intellectualism diminished their "sensuality and physical appeal"
from which he drew inspiration. "Speaking as an artist", he says,
"a relationship with an intellectual woman was totally sterile from a
creative point of view ... "Early in their relationship Ružena presented
him with several books, and the gesture somewhat irritated him. He suspected
that she was trying to inspire him "with her intellect," and he would
have none of it. "No, dear lady", he said to himself. "Your mind
cannot inspire me. Only your body can do that".
Beyond the realm of art,
Meštrović saw the function of women as procreation. He meant nothing
demeaning by this for he thought of procreation as the highest form of human
activity. He likened the conception of new life to the creativity of the artist
and both, he believed, share in the divine. Ružena had argued that physical
love was base, but for Meštrović the sexual act was also spiritual. The
essence of eternity, he believed, was "energy and repetitiveness",
and the person who seeks to perpetuate himself through creation is "in
tune with eternity." Love is the force which drives and governs our
creativity; love is "the law of eternity." Procreation therefore
becomes divine, "the sublime act of womanhood," and the act of love
becomes "a pure and holy act because it creates life."
Meštrović's reverence for
procreation, his view that sex is holy, is simply an expression of his
pantheistic Christianity. He was fundamentally religious, but he was hardly
orthodox either in behaviour or in belief. He saw no sharp division between the
material and the spiritual, the temporal and the eternal. "All
phenomena," he says in his Imaginary Conversations With Michelangelo,
"end finally in eternity, thus in harmony. Accordingly, all forms, all
expressions, all motions are but the emanations of that constant ... harmonious
in themselves".4[4]
In the memoir he is equally explicit: life on earth and the spirit, the heart
and the soul, are not in ultimate conflict but in harmony. His objection to
traditional Christianity is that too often it emphasized disharmony.
An important figure in
Meštrović's view of Christianity is St. Francis of Assisi, whom he
sculpted and painted many times in his career. He admires St. Francis
"more than all the theologians put together," he says to Ružena,
precisely because he combined a reverence for the natural and the supernatural.
He bore the stigmata, the special sign of God's affection, and yet "he was
also a pantheist. He loved nature and all creation. He called all living things
and even inanimate objects ... his brothers and sisters".
Meštrović's memoir is as
remarkable for what he leaves out as for what he includes. He says virtually
nothing about politics despite the fact that the time-period covered in the
work is the most politically significant period of his life. Presumably his
reticence results from his having dealt with his political activity elsewhere,
yet it still reflects his extraordinary ability to compartmentalize his life.
Similarly he says little about his
art with the exception of a few specific pieces. Given the theme of the memoir,
it is particularly surprising that he says not a word about the Račić
Mausoleum on which he was working during the very years he covers. He does,
however, describe the episode that inspired the mausoleum.
Shortly after the war, when
Meštrović had recovered from his own near fatal bout with influenza, Ruža
told him that Maria Račić had died of the same illness. "It is
strange", he responds, "Maria had a premonition of death". And
then he tells of his last meeting with Maria in which she asked, "If we
don't see each other again, promise to build me a tomb and console me with the
hope that death is not the end of our existence".
The Račić Mausoleum is
Meštrović s finest architectural creation, an extraordinarily beautiful
monument to Maria and the other members of the Račić family who died
in the influenza epidemic. It is also, in a very real sense, a monument to
Ružena. The theme of angels, so dominant in the sculptures that adorn the
mausoleum and decorate the ceiling, is also dominant throughout the memoir: it
serves as a leitmotif for Ružena. She has no arms but she has wings, at least
in his brief vision of her when They first kiss. And at their last meeting, in
1918, she tells him that her arms have grown again, "and they will become
wings". Moreover, she paints "winged angels in flight" which she
shows to him with the comment, "These are the children I have conceived
with you".
It is not only the theme of angels
which links the mausoleum to Ružena; it is the form as well. He describes the
wings that "formed a sort of aureole" around Ružena's head, and he
reproduces exactly that image throughout the mausoleum. On one of the angels he
even reproduces the "wide open eyes that stared into the void" which
is how he described a self-portrait of Ružena that he had once seen in her
studio. She explained to him then that she had "opened wide ... (her) eyes
to see eternity."
Even the enigmatic inscription on
the bell of the mausoleum—"Know the mystery of love and thou shalt solve
the mystery of death and believe that life is eternal"—is as much a
reflection on his relations with Ružena as it is a response to the plea of
Maria Račić.
It is Ružena who forced him to struggle
with the meaning and mystery of love. She introduced him to another world, he
says, a world "even more secret and mysterious than the world of my
art". It is she who sacrificed her own life for the sake of an eternal
love, she who insisted that "love which is fulfilled dies, but love which
remains unquenched lasts forever".
Meštrović never accepted her
view. His own love of life, his faith in the harmony of the created and the
creator was too strong for him to accept a philosophy which denied the material
world for the sake of the spiritual. But the theme of the memoir, and the
significance of his relationship with Ružena, lies in his effort to understand
the mystery of love and ponder its relation to eternity.
Its is a fascinating coincidence
that at the very time that he was working on the Račić Mausoleum, at
the very time that Ružena was dying in Lausanne, Meštrović met the woman
who would fulfil what he had hoped to find in Ružena —the woman of elemental
earthiness with whom he would have the children who meant so much to him, the
woman with whom he would spend the next forty years of his life, his second
wife, Olga Kesterčanek.
[1] From a conservation with Olga Meštrović on April 27, 1983. See also a letter from Ivan Meštrović to Olga dated January 18, 1942.
[2] Unless otherwise noted, all quotations are taken from the unpublished English version of "Vatra i Pepeo" translated by Matthew Meštrović and included in his collection of his father's papers.
[3] Ivan Meštrović, "Michelangelo", The Slavonic Review, V (December, 1926), 225-241.
[4] Meštrović's "Imaginarni razgovori s Mikelandjelom" was published in Croatian in Hrvatska Revija (1951-60) and in German in Kunst ins Volk (1955-58). The quotation is taken from an unupublished English version included among the Meštrović papers in the collection of Olga Meštrović.