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In this paper, the authors discuss the psychoanalytic foundations of art psychotherapy. Creativity originates from the unconscious and represents internal conflicts, so art can serve as a unique window into the inner world of patients and further improve the psychotherapeutic process of psychodynamically oriented therapy. Based on the own clinical example and the examples from the literature, the benefits of art therapy in the practice of child psychotherapy are presented. The aim of this paper is, through the synthesis of older and newer literature, to remind clinicians of the great practical usefulness of art therapy as psychodynamically oriented psychotherapy, which in today’s time of many psychotherapeutic directions is unjustifiably positioned as an alternative psychotherapeutic option. [ABSTRACT FROM AUTHOR]

In 2011, Ivo Arany, the son of Dragutin, donated the legacy of his father to the Croatian Music Institute. The legacy consists of music magazines, concert posters, programs and other documents. The hardworking violist and organizer of Zagreb's music life Dragutin Arany (1899-1964) has collected newspapers almost his entire life, but so far only one part of his collection has been processed. A list of newspaper articles from the period 1912 to 1929 showed that 4,000 newspaper articles, music critics, announcements, essays, biographies and other texts were collected in that period only. Apart from the fact that the collection of Dragutin Arany off ers a rich source of information on the musical life of that period, it also depicts it with iconographic sources. Musical events and their protagonists have been recorded with photographs, drawings and cartoons, so the collection is not only a source for musical life but of the overall artistic and social life of Zagreb in the twentieth century. In the 1920s there are lot of amateur, but also professional photographers in Zagreb, such as Antonija Kulčar and Otto Antonini. Their photos, printed in newspapers and magazines document composers, conductors, opera singers, musical and other events. In that period, most of the painters do caricatures because it brings them money. Besides caricatures of musicians there is the interesting example of musician and caricaturist Ivo Tijardović, whose caricatures were also found in Arany's collection. There are also other drawings and music iconography elements mentioned in this paper. Altogether these elements of music iconography represent modern aspirations of that time and bring us closer to the reception of musicians between the world wars. [ABSTRACT FROM AUTHOR]

Crtež je prozor kroz koji možemo da zavirimo u detetovu svest. To je način na koji ono sebi objašnjava svet - kako ga vidi i doživljava. Crtajući oblike koje poznaje dete nasvesno u crtež unosi i svoje emocije, strahove, iskustva i eventualne poteškoće koje ima u odrastanju. Cilj rada je da prikaže dečije crteže u pedijatrijskoj ordinaciji. Korišćen je deskriptivni metod. Prostorije u zdravsvenim ustanovama i službama u kojima se leče deca skoro uvek na svojim zidovima imaju crteže koje su oslikali mali pacijenti. Pravo bogatsvo velikih umetničkih dela, malih pacijenata, a velikih umetnika se nalazi po zidovima ambulanti i čekaonica. Od trenutka rođenja, dete je svesno sveta oko sebe: vidi boje, oseća mirise, čuje zvuke - i na svoj način ih doživljava i utiskuje u svest. Kasnije ta imena, lica i zvukovi dobijaju jasniju definiciju i izraz (mama, tata, kuća, drvo, lekar, medicinska sestra...). U kasnijim fazama razvoja, dete ih „beleži䄭, pravi zapis o njima putem crteža. Često su crteži poklon lekaru ili medicinskoj sestri koji dete prilikom posete istima ostavi. Nekad, crtež nastane u toku hospitalizacije deteta koji ono želi da se okači i ulepšava prostorije bolnice što za njega predstavlja veliki uspeh i uvek sa osmehom na licu. To za medicinsko osoblje koje radi u pedijatrijskim službama, lekara i medicinsku sestru jeste veliki uspeh i satisfakcija-veselo dete, kao veliki korak ka ozdravljenju istog. [ABSTRACT FROM AUTHOR]