Kunstnik
Sündinud koht: Vrbas, Serbia
The Lineage of a Painter
Born in Vrbas, Serbia, in 1906, Bela Pehan entered a world where art was a family language. His father, Jožef Pehan, was a recognized painter in Vrbas, providing a domestic landscape shaped by color and form. While his early academic pursuits in Vienna leaned toward the study of medicine, the pull of his father’s profession proved stronger. He eventually traded the stethoscope for the brush, enrolling in the Academy in Munich, where he completed his studies in 1930.
His early career was marked by a quiet, persistent presence in the art circles of Vojvodina. Even as a boy, he had been introduced to public exhibition by his father in 1913. By the time he was a student, he was already exhibiting with the "Independent Artists of Vojvodina" in 1928. His technical range was broad, extending beyond the canvas to include applied graphics, caricatures, sketches, and stage designs for the amateur theater in Vrbas.
A Life of Color and Pedagogy
Pehan’s professional life was split between the studio and the classroom. He was a dedicated educator, serving as a professor at the "Zarko Zrenjanin" gymnasium in Vrbas. This dual existence as both a creator and a teacher allowed him to influence the local artistic landscape for decades. His work was not confined to a single geography; he exhibited his vision in Stuttgart, Germany, as well as throughout Hungary and the various cities of Vojvodina.
His artistic evolution saw distinct phases, particularly after his involvement with the Art Colonies in Bečej in 1955. This period was characterized by a specific focus on variations of the theme of Vrbas. His contributions to the community were recognized through several honors, including:
The "October Prize" in 1972
The Art Salon Award of the House of Culture in Vrbas
Membership in the Association of Fine Artists of Vojvodina since 1968
The Final Years in Vrbas
The studio of Bela Pehan remained a fixture of the city, located at 34 Iva Lolor Ribar Street. It was here that he continued to refine his craft until his death in 1986. He left behind a body of work that reflected the shifting realities of his region, moving from the academic rigor of his Munich training to a more localized, thematic exploration of his home. He remains a significant figure in the history of Serbian academic painting, a man who balanced the discipline of the professor with the restless eye of the observer.
Muuseum
Näitustel asuvas koht Serbia
Origins and history of the museum
The Museum of Vrbas operates as an integral part of the Cultural Center Vrbas. Its institutional roots trace back to 1969, when the museum's collection was first established as the Homeland Collection. Following this foundation, the institution functioned within the House of Culture starting in 1971.
The current iteration of the Museum of Vrbas was formally established in 2015. This development followed a period of transition for the institution, which previously existed as a museum collection within the Cultural Center. The museum now maintains a dedicated presence, managing its various collections through organized research and cataloging efforts.
The museum building and its architecture
The museum is situated in a stately house located in the center of Vrbas, Serbia. The structure was built between the two World Wars and occupies a space that was formerly a private residence. This architectural setting provides a domestic context for the various collections housed within its walls.
The building's history is tied to the commercial life of the city, as it once functioned as a pharmacy. Specifically, the pharmacy of Milete Leskovac was founded in 1895, predating the current construction of the house. The interior layout reflects its previous use, featuring rooms and salons with large glass doors and internal windows that overlook the central hall. These architectural elements were preserved or adapted to accommodate the museum's permanent exhibition, "Vrbas, man and nature – synergy or something else."
The physical space has undergone significant modifications to meet the requirements of a modern institution. Recent renovations included the removal of certain walls and the creation of arched openings to improve the flow of the galleries. These changes allowed for the establishment of dedicated rooms for storage and a conservation laboratory. The museum is a component of the Cultural Center Vrbas.
The four major museum collections
The museum is organized into four distinct collections: Archaeological, Historical, Ethnological, and History of Art. These departments are unified under the permanent exhibition title "Vrbas, man and nature – synergy or something else." The collections reflect the diverse layers of the region, from prehistoric settlements to modern artistic expression.
The Archaeological collection contains artifacts recovered from significant local sites, including Čarnok, Šuvakov salaš, and the Polet brickyard. These finds provide evidence of early human presence in the area. The Historical collection focuses on the development of the region, featuring items such as a 13th-century church with three apses from Šuvakov salaš and artifacts from the X to XVI century settlement at the same location.
The Ethnological collection includes an "Etno kutak" (Ethno corner) designed by ethnologist Dušanka Marković. This section preserves the material culture and daily life traditions of the local population. The History of Art collection holds a significant number of works, particularly those by Bela Pehan, including several pieces from the mid-20th century. The museum also maintains items related to the Zajdl German family, which include paintings by Jožef Pehan.
Self-portrait (1932), 1932 - Bela Pehan
My wife, 1976 - Bela Pehan
Archaeological excavation, 1962 - Bela Pehan
Still Life, 1919 - Petro Kholodny (Elder)
Portrait of an old man in a hat, 1956 - Bela Pehan
Vase with Flower 1, 1982 - Bela Pehan
Key artifacts and museum highlights
The permanent exhibition, titled "Vrbas, man and nature – synergy or something else," organizes the museum's findings into a cohesive narrative of regional existence. Visitors encounter a digital display of the Pannonian Sea, which provides a visual context for the geological history of the area. This technological installation offers a specific perspective on the landscape that once covered the plains of Vojvodina.
The archaeological and historical collections provide tangible links to the past through several specific objects. Among these is an anthropomorphic pseudofibula recovered from the Polet brickyard. This artifact offers insight into the material culture of the Avar-Slavic cemetery. Additionally, the museum holds a sacrificial knife originating from a medieval church located at Šuvakov salaš. These items represent the physical remnants of the settlements that have occupied this territory over centuries.
