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1832-1925, ,
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, , , , 1994.
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, , 1982.

PORTRAIT-EVERLASTING INSPIRATION OF ARTISTS

(PAINTINGS IN THE ART-HISTORY COLLECTION )
SUMMARY

This exhibition presents the works of 29 artists with 42 portrait paintings, including 40 portraits and two selfportraits, made in the second half of the 19th and first half of the 20th century. In selecting the portraits, our aim was to
exhibit the works of the most renowned authors represented in the art-history collection.

The portrait, as a traditional subject matter in the modern Serbian art of painting, captured a prominent
position very early, immediately after the absolute domination of religious painting. The demand for a middle-class
portrait grew with the development of the middle class. At that time, such portraits were usually ordered by reputable
and rich persons (merchants, craftsmen, high-ranking officials) who used to engage recognized painters in that.
Nowadays, these portraits represent a valuable evidence of the period in which they were made, of the contemporary
costumes and uniforms, hairdos, portraiture styles and of the artists' painting methods.

Through these paintings we can follow the succession of movements in our art of painting, from classicism,
Biedermeier, romanticism and realism to impressionism and art schools that appeared between the two world wars
as a reflection of European visual-art styles coming, often belatedly, from big centers like Vienna, Prague, Munich or
Paris.

The period of the first half of the 19th century was marked by the artists living and working in the territory of
Austria-Hungary, today's Vojvodina. In these areas, the portraiture developed earlier and was of a higher quality, as
it was under the influence of the Western artistic centers, Vienna most of all. Among the painters who had accepted
the schools of classicism and Biedermeier, the most famous were Pavel Djurkovi, Nikola Aleksi and Arsenije
Petrovi.

Increasing numbers of educated Serbs were moving to Serbia from the mid 19th century. The establishment
of the autonomous Princedom of Serbia, as a continuation of a long-before interrupted history of the Serbian nation
and Serbian medieval state, provided an ideal ground for romanticist state of mind. Uro Kneevi and Jovan Popovi
were among the first artists to start working in Serbia. Further affirmation of the Serbian art was contributed by Pavle
Simi, Novak Radonji and Stevan Todorovi, who opened the first art school in Belgrade.

During the period of the second half of the 19th century, and particularly in its last quarter, the artists educated
at the academies of arts in Vienna and Munich occupied dominant positions. That was the time of realism, when most
of our painters depicted their contemporary environments but, as opposed to other developed milieux, they omitted
topics with social contents. The most renowned painters of that period were Uro Predi and Paja Jovanovi, the
supreme masters of academic realism.

The first decades of the 20th century belong to impressionism, one of the most popular movements in our
country, having originated in France. The most prominent representatives of this movement were Milan Milovanovi,
Kosta Milievi and Borivoje Stevanovi. The interwar period characterizes by the painters of exquisite artistic
abilities in the time abundant in various trends and inspirations related to modern movements, like fovism, cubism,
expressionism and others. This time, we are exhibiting the works of Vasa Pomoriac, Predrag-Pedja Milosavljevi and
Milan Konjovi.

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