kolekcionar-kao-kustos-i-selektor-iii by ARTE galerija Beograd

kolekcionar

kao kustos i selektor KOLEKCIJA MARJANOVIĆ

collector

as a curator and selector

THE MARJANOVIC COLLECTION

Beograd / Belgrade, 2021

SADRŽAJ / TABLE OF CONTENTS

199

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PREDGOVOR KOLEKCIONAR KAO KUSTOS I SELEKTOR (III) PREFACE COLLECTOR AS CURATOR AND SELECTOR (III) INTERVJU SA NIKOLOM MARJANOVIĆEM INTERVIEW WITH NIKOLA MARJANOVIĆ KOLEKCIJA MARJANOVIĆ THE MARJANOVIC COLLECTION KATALOG RADOVA CATALOGUE OF WORKS BIOGRAFIJE BIOGRAPHIES SPISAK RADOVA LIST OF WORKS

PREDGOVOR KOLEKCIONAR KAO KUSTOS I SELEKTOR (III) PREFACE COLLECTOR AS CURATOR AND SELECTOR (III)

Kolekcionar kao kustos i selektor je projekat ARTE galerije započet 2009. godine sa idejom i ciljem da kroz izložbenu i izdavačku delatnost unapredi i upozna širu javnost sa stanjem na sceni savremenog umetničkog tržišta. Iz osnovne delatnosti naše galerije da formira zbirke umetnina, proizašla je i odgovornost za održavanjem zdravog odnosa između privatnog i javnog. Izlaganjem umetničkih dela iz privatnih kolekcija, izdavanjem bogato ilustrovanih publikacija, organizovanjem aukcija i digitalizacijom zbirki, ARTE galerija široj i stručnoj javnosti omogućava uvid u značajan korpus radova kroz konstantno povećavanje vidljivosti domaćeg umetničkog nasleđa. Za razliku od izložbe organizovane 2009. godine, na kojoj su bila zastupljena dela iz petnaest privatnih kolekcija, 2013. se broj raspoloženih kolekcionara da javno pokažu svoja dela podigao na pedeset. Tom prilikom organizovana je velika izložba u galeriji Progres na kojoj je publika imala priliku da vidi dela autora poput Petra Lubarde, Ivana Tabakovića, Dada Đurića, Vladimira Veličkovića, Leonida Šejke, Radomira Damnjanovića Damnjana i drugih umetnika koji su svojim radom postizali uspehe u okviru i van naših granica. Tada je projekat proširen publikacijom sa dvanaest eseja uglednih istoričara umetnosti koji su čitaocima predstavili najznačajnije umetničke fenomene druge polovine XX veka sa 350 reprodukcija umetničkih dela iz privatnih kolekcija. Iz naziva projekta prepoznaje se i afirmiše uloga Kolekcionara, bez čijih ulaganja i posvećenosti umetničko tržište ne bi postojalo. Međutim, akviziranje pre-

Collector as curator and selector is a project of ARTE Gallery which started in 2009, with an idea and aim to improve and acquaint the general public with the situation on the scene of contemporary art market through exhibitions and publishing activities. From the primary activity of our gallery to form art collections, arose the responsibility for maintaining a healthy relationship between the private and the public. By exhibiting works of art from private collections and publishing richly illustrated publications, through organizing auctions and digitizing collections, ARTE Gallery provides the general and professional public with an insight into the significant corpus of art works by constantly increasing the visibility of domestic artistic heritage. Unlike the exhibition organized in 2009, which displayed works from fifteen private collections, in 2013 the number of collectors willing to show their works publicly rose to fifty. On that occasion, a large exhibition was organized at Progres Gallery, where an audience had an opportunity to see works by authors, such as Petar Lubarda, Ivan Tabaković, Dado Đurić, Vladimir Veličković, Leonid Šejka, Radomir Damnjanović Damnjan and other artists who achieved success within and beyond our borders. Then the project was expanded with a publication of twelve essays written by eminent art historians, presenting to the readers the most significant artistic phenomena of the second half of the 20th century with 350 reproductions of art works from private collections. From the title of the project, the role of the Collector is recognized and affirmed, without whose invest7

vazilazi jednostavan čin kupoprodaje i podrazumeva angažovan odnos prema predmetu kolekcioniranja. Biti kolekcionar, pored finansijskih investicija, zahteva ulaganje vremena i truda u upoznavanje materije, iščitavanje literature, posećivanje izložbi, umetničkih sajmova i drugih dešavanja relevantnih za umetnički svet. Odatle se javlja potreba za otvorenim i dimaničnim odnosom između kolekcionara i galeriste, koji počiva na međusobnom poverenju. Uspešan galerista ne sme dozvoliti da bude isključivo posrednik, koji traži dela određenog umetnika ili čak određeno delo posebno za svog klijenta, već mora dobro poznavati aspiracije pojedinačne kolekcije kako bi osmislio strategiju, savetovao i usmeravao kolekcionara. Privatne kolekcije su živ organizam koji proživljava različite transformacije, pojedine akvizicije menjaju pogled na dotadašnju zbirku i određuju joj nov smer koji neretko podrazumeva otuđivanje određenih dela, a ponekad i cele poetike. Rehabilitaciju umetničkog dela na tržištu omogućavaju galeristi, koji imaju najprecizniji uvid u fluktuacije cene različitih umetnika, tj. kojima je u interesu da vode računa o investicionom potencijalu vlasnika, ali i koji raspolažu specifičnim kanalima komunikacije neophodnim za mrežu sekundarnog umetničkog tržišta. Ove godine u dva izlagačka prostora ARTE galerije u Beogradu biće predstavljen deo zbirke jednog Kolekcionara – porodice Marjanović. U pitanju je kolekcija grafika, crteža, slika i skulptura pomno formirana od sedamdesetih godina prošlog veka, čiji fundus broji preko 270 radova. Širok spektar interesovanja uključuje dela Nadežde Petrović, Jovana Bijelića, Milana Konjovića, Petra Lubarde, Ivana Tabakovića, Petra Omčikusa, Ljube Popovića, Radomira Reljića, Radomira Damnjanovića Damnjana, Dušana Otaševića, Mrđana Bajića i brojnih drugih umetnika. Dela iz Kolekcije sporadično su izlagana u našoj galeriji u okviru različitih tematskih i samostalnih izložbi, dok je beogradska publika imala prilike da se sa radovima upozna u Prodajnoj galeriji Beograd (sedamdesete i osamdesete, 2014), Galeriji RTS-a (radovi na papiru Ivana Tabakovića, 2014) i Galeriji Grafičkog kolektiva (Grafike inostranih autora, 2016). Kako bi pokazali celokupan fundus svoje zbirke, Nikola i Jelena Marjanović uložili su višegodišnji trud i na-

ments and dedication the art market would not exist. However, acquisition goes beyond the simple act of buying and selling and implies an engaged attitude towards the object of collecting. In addition to financial investments, being the collector requires investing time and effort in getting to know the material, reading literature, visiting exhibitions, art fairs and other events relevant to the art world. Hence the need for an open and dynamic relationship between the collector and the gallerist, which is based on mutual trust. A successful gallerist must not be exclusively a mediator, looking for the works of a certain artist or a certain work especially for his client, but must know well the aspirations of an individual collection in order to devise a strategy, advise and guide the collector. Private collections are a living organism that undergoes various transformations, individual acquisitions change the view of the previous collection and determine its new direction, which often implies the alienation of certain works, and sometimes of the entire poetics. Rehabilitation of an art work on the market is made possible by gallerists, who have the most precise insight into the price fluctuations of different artists, who are interested in taking into account the investment potential of the owner, but also who have specific communication channels necessary for the network of the secondary art market. This year, a part of the collection of the Marjanović family will be presented in two exhibition spaces of ARTE Gallery in Belgrade. It is a collection of graphics, drawings, paintings and sculptures carefully formed from the 70’s of the last century, which includes over 270 works of art. A wide range of interests includes the works by Nadežda Petrović, Jovan Bijelić, Milan Konjović, Petar Lubarda, Ivan Tabaković, Petar Omčikus, Ljubo Popović, Radomir Reljić, Radomir Damnjanović Damnjan, Dušan Otašević, Mrđan Bajić and numerous other artists. The works from the Collection were sporadically exhibited at our gallery within various thematic and solo exhibitions, while the Belgrade audience had an opportunity to get acquainted with the works at the Sales Gallery Belgrade (seventies and eighties, 2014), RTS Gallery (works on paper by Ivan Tabaković, 2014) and Graphic Collective Gallery (Graphics by foreign authors, 2016).

por da bi u julu 2021. godine objavili knjigu Kolekcija Marjanović.1 U publikaciji se, pored skoro tri stotine reprodukcija umetničkih dela, nalaze i tekstovi Nikole Marjanovića (O kolekciji u prvom licu), zatim slikara i profesora Čedomira Vasića, Irme Lang - direktorke Galerije Milan Konjović, istoričarke umetnosti dr Ane Ereš i vajara Mrđana Bajića. Njihov projekat bio je katalizator realizovanja izložbe u galeriji ARTE. Prvom u nizu planiranih izložbi na kojima će u ARTE galeriji samostalno biti prikazane najznačajnije domaće kolekcije krunišemo godine prijateljstva, saradnje, razmene iskustava i obostranog uživanja u umetnosti. Ovom prilikom želimo da izrazimo najdublju zahvalnost porodici Marjanović na ukazanom poverenju, velikodušnosti, srčanosti i predanosti kojima su pristupili sakupljanju, čuvanju i prezentovanju umetničkih dela iz svoje kolekcije.

In order to showcase their entire collection, Nikola and Jelena Marjanović invested many years of hard work and effort to publish the book entitled The Marjanović Collection1 in July of 2021. In this publication, in addition to almost three hundred reproductions of works of art, there are also texts by Nikola Marjanović (On The Collection in the first person), by painter and professor Čedomir Vasić, by director of the Milan Konjović Gallery, Irma Lang, by art historian dr Ana Ereš and by sculptor Mrđan Bajić. Their project was the catalyst for the realization of the exhibition at ARTE gallery. We are crowning the years of friendship, cooperation, exchange of experiences and mutual enjoyment of art with the first in a series of planned exhibitions at which the most important domestic collections will be presented at ARTE Gallery. On this occasion, we would like to express our deepest gratitude to the Marjanović family for the trust, generosity, courage and dedication with which they approached the collection, storage and presentation of art works from their collection.

ARTE Galerija / ARTE Gallery

1 N. Marjanović, Č. Vasić, I. Lang, M. Bajić, A. Ereš, KOLEKCIJA MARJANOVIĆ / THE MARJANOVIĆ COLLECTION, Nikola Marjanović, Beograd, 2021.

1 N. Marjanović, Č. Vasić, I. Lang, M. Bajić, A. Ereš, KOLEKCIJA MARJANOVIĆ / THE MARJANOVIĆ COLLECTION, Nikola Marjanović, Beograd, 2021. 9

INTERVJU SA NIKOLOM MARJANOVIĆEM INTERVIEW WITH NIKOLA MARJANOVIĆ

Pedeset godina predanog rada na zbirci je zavidan „staž”, da li je vredelo odvojiti nezanemarljivo vreme potrebno za likovnu edukaciju, finansijska sredstva, verovatno u nekim trenucima i preživljeni stres?

Fifty years of dedicated work on a collection is a commendable „past service“, was it worth expending a considerable amount of time required for artistic education, financial means, and even stress in some moments?

Apsolutno! Ne računajući porodicu, najlepše stvari koje su mi se dogodile, vezane su za kolekciju. Verujem da se to vidi i iz knjige1. Svi ti susreti koje sam imao sa umetnicima ili ljudima koji su vezani za umetnost, sve posete muzejima, izložbama, ateljeima... to nema cenu. Da ne pominjem teška vremena (bombardovanje, pandemija), kad su slike delovale poput sedativa i vraćale nas u normalu.

Absolutely! With the exception of family, the most beautiful things that have happened to me are related to the collection. I believe that can be seen from my book1 as well. All those meetings I had with artists or people related to art, all visits to museums, exhibitions, studios... All that is invaluable. Not to mention the hard times (bombing, pandemic), when the paintings acted like sedatives and brought us back to normal.

Iako je privatna kolekcija kao „živa stvar” podložna različitim izmenama, gledajući unazad da li postoje odluke koje biste promenili?

Although a private collection is like „a living thing“, subject to various changes, looking back, are there any decisions that you would have made differently?

Naravno da postoje. Neke radove nije trebalo da kupimo, a kod nekih sam pogrešio što ih nismo kupili. Iako sam o tome pisao u knjizi, pomenuću neke. Vrlo mi je žao što nemamo reprezentativan rad Milice Stevanović ili Radovana Kragulja, na primer. Voleo bih i da imamo neku grafiku Marka Krsmanovića i Stevana Kneževića. A najviše mi je žao što nisam kupio radove Dejvida Hoknija ili jedan rad na papiru Aleksandra Rodčenka, kada sam za vreme boravka u SAD osamdesetih godina, imao priliku. S druge strane, vrlo sam srećan kad

Of course there are. We shouldn’t have bought some works, and for some, I was wrong not to buy them. Although I wrote about it in my book, I will mention some of them. I am very sorry that we do not have the representative work of Milica Stevanović or Radovan Kragulj, for example. I would also like to have some graphics by Marko Krsmanović and Stevan Knežević. And what I am most sorry about is that I did not purchase any works of David Hockney or one work on paper by Alexander Rodchenko, when I had the opportunity during my stay

1 N. Marjanović, Č. Vasić, I. Lang, M. Bajić, A. Ereš, KOLEKCIJA MARJANOVIĆ / THE MARJANOVIĆ COLLECTION, Nikola Marjanović, Beograd, 2021.

1 N. Marjanović, Č. Vasić, I. Lang, M. Bajić, A. Ereš, KOLEKCIJA MARJANOVIĆ / THE MARJANOVIĆ COLLECTION, Nikola Marjanović, Beograd, 2021. 11

pogledam neke od prvih slika koje smo nabavili i koje mi se i danas dopadaju jednako kao i nekad. U prvom redu mislim na neke radove Aleksandra Cvetkovića, Vladimira Pajevića i Veselina Draškovića, ali i strane grafike. S obzirom da ste imali uvid u savremenu umetničku i kolekcionarsku delatnost na Zapadu, možete li da objasnite koje su ključne razlike između domaće i internacionalne sredine? Razlike su ogromne. Pre svega, odnose se na tržište. Internacionalno je ogromno i uređeno. Njime nije lako manipulisati. Ne kažem da manipulacija nema, ali one znatno teže prolaze. Uticaj pojedinca, ili nekoliko njih, je zanemarljiv. Kolekcionari se oslanjaju na ekspertizu galerista, imaju u njih poverenja i koriste njihove usluge prilikon nabavke ili prodaje svojih radova. Aukcije su posećene i uspešne. Čitav sistem aukcija je drugačiji. Kreće se od relativno niske početne cene koja stimuliše učesnike da se nadmeću. Na kraju, svako delo se proda za onoliko koliko stvarno vredi. I nema raznih marifetluka na koje se može naići ovde. Da li su inostrane ili domaće privatne zbirke uticale na aspiracije koje ste imali povodom svoje kolekcije? Ko su kolekcionari čiju praksu poštujete i iz kojih razloga? Naravno, postoje kolekcionari koji su uticali na mene. Neke sam spomenuo u knjizi, pa ih sad ne bih ponovo spominjao. Generalno, kolekcionari su prilično sujetni ljudi, pa ne bih nikog posebno isticao, iako neke od njih, odnosno, njihove kolekcije, izuzetno volim. Pomenuću par imena starih kolekcionara čije kolekcije vrlo cenim. Moram da napomenem da njihove kolekcije nikad nisam video u celosti, ali, preko raznih retrospektivnih i drugih izložbi, imao sam mogućnost da upoznam jedan deo radova koji čine te kolekcije. Pre svih, pomenuo bih kolekcije Kolomana Trčke, Lazara Savatića i Vlade Cucića. Svaka slika koja je ikad bila deo tih kolekcija spada u najbolje radove konkretnih autora i njihovom nabavkom se ne može načiniti greška. Naravno, nije potrebno trošiti reči na kolekciju Pavla Beljanskog. Dela nastala između dva svetska rata koja pripadaju toj kolekciji čine sam vrh srpske umetnosti

in the United States in the 1980s. On the other hand, I am very happy when I look at some of the first paintings that we acquired and that I still like today as much as I used to. First and foremost, I am thinking about some works by Aleksandar Cvetković, Vladimir Pajević and Veselin Drašković, but also some foreign graphics. Since you had an insight into contemporary art and art collecting activities in the West, can you explain the key differences between domestic and international environment? The differences are huge. First of all, they relate to the market. International market is huge and well organized. It is not easy to manipulate. I’m not saying that there is no manipulation, but they are much harder to pass. The influence of an individual, or several of them, is negligible. Collectors rely on the expertise of gallerists, they have confidence in them and use their services when purchasing or selling their works. Auctions are well attended and successful. The whole auction system is different. It starts from a relatively low starting price which stimulates participants to compete. In the end, each piece sells for as much as it is really worth. And there are no various tricks that can be found here. Did foreign or domestic private collections had an impact on aspirations you had regarding your own collection? Who are the collectors whose practice you respect and for what reasons? Of course, there are collectors who have influenced me. I mentioned some of them in my book, so I wouldn’t mention them again now. In general, collectors are quite vain people, so I would not single out anyone in particular, although I like some of them, that is, their collections, very much. I will mention a couple of names of old collectors whose collections I really appreciate. I have to mention that I have never seen their collections in their entirety, however, through various retrospectives and other exhibitions, I had the opportunity to get to know some of the works that make up those collections. First of all, I would like to mention the collections of Koloman Trčka, Lazar Savatić and Vlado Cucić. Every painting that has

u tom periodu. Ne mogu reći da imam uvid u inostrane privatne kolekcije. Naravno, obišli smo neke, kao što je Frikova (Frick) kolekcija u Njujorku, Kostakisova kolekcija ruske avangarde u Solunu ili Kortold Institut (Courtauld Institute) u Londonu, Tisen Bornemica (Thyssen Bornemisza) u Madridu, ali, to nije dovoljno da se kompetentno izjašnjavam o toj temi. Da li možete objektivno da sagledate uticaj koji je Vaš kolekcionarski angažman imao na određene umetnike, njihovu egzistencijalnu sigurnost, valorizaciju...? O uticaju našeg angažmana na egzistencijalnu sigurnost pojedinih umetnika smešno je i govoriti. Verovatno se dogodilo da je, ponekad, naša kupovina rada od nekog umetnika ovom dobro došla, ali svakako ne kao neka stalna finansijska podrška, već kao, eventualno, jednokratna infuzija. Što se tiče uticaja na valorizaciju pojedinih umetnika, mogao bih da se setim par primera, a očekujem da ih bude još. Vaše prve akvizicije datiraju u sedamdesete, kada na izlagačkoj sceni mesto konceptualne umetnosti dobija određenu vidljivost. Kakav stav imate prema tom vidu umetničkog izražavanja? Posebno je zanimljivo što je upravo jedan od nosilaca identiteta Vaše kolekcije, Radomir Damnjanović Damnjan, postigao značajne uspehe u konceptualnom izražavanju, ali se u Vašoj zbirci on dominantno vezuje za tradicionalne oblike likovnih umetnosti. U knjizi je jasno napisano da su predmet kolekcioniranja isključivo standardna dela, da tako kažem, likovne umetnosti – slike, grafike i skulpture. Proširivanje sfere našeg interesovanja i na neke druge oblike vizuelne umetnosti (konceptualna umetnost, fotografija, performans, itd.) nam se učinilo kao prevelik zalogaj. Damnjan, kao uostalom i Ivan Tabaković, je, naravno, izrazito zanimljiv umetnik. Čega god se latio, to je bilo dobro. Ipak, istakao bih da je najvrednije priznanje, međunarodnu nagradu „Vanda Svevo” na Bijenalu u Sao Paulu 1963. godine, dobio za ulje na platnu iz ciklusa „Asocijacija na potonuli grad”. Što se tiče kon-

ever been a part of these collections is among the best works of the specific authors, and their purchase cannot be a mistake. Of course, it is not necessary to expend any words on the collection of Pavle Beljanski. The artworks created between the two world wars that belong to that collection belong to the very top of Serbian art in that period. I cannot say that I have insight into foreign private collections. Of course, we visited some, such as Frick’s collection in New York, Kostakis’ collection of the Russian avant-garde in Thessaloniki or the Courtauld Institute in London, Thyssen Bornemisza in Madrid, but that’s not enough for me to speak competently on that subject. Can you objectively assess the influence that your collector’s effort had on certain artists, their existential security, valorization... ? Commenting on the impact of our engagement on the existential security of certain artists is quite ridiculous. It probably happened that, sometimes, our purchase of a work from an artist came in handy, but certainly not as a permanent financial support, but as, possibly, a one-time infusion of funds. As for the influence on the valorization of individual artists, I could remember a couple of examples, and I expect there to be more. Your first acquisitions date back to the 1970s, when conceptual art gained a certain visibility on the exhibition scene. What is your attitude towards that kind of artistic expression? It is especially interesting that one of the bearers of the identity of your collection, Radomir Damnjanović Damnjan, has achieved significant success in conceptual expression, however, in your collection, he is predominantly associated with traditional forms of fine arts. The book clearly states that the subject of collecting are exclusively standard works of fine arts - paintings, graphics and sculptures. Extending the sphere of our interest to some other forms of visual art (conceptual art, photography, performance, etc.) seemed like too much for us. Damnjan, like Ivan Tabaković, is, of course, an extremely interesting artist. Whatever he did, it was good. However, I would like to point out that the most valua-

ceptualne umetnosi, voleo bih da istaknem da mislim da bi svako dobro umetničko delo trebalo da se, pored ostalog, odlikuje i konceptom. Kada umetničko delo sadrži samo koncept, onda imam problem. Dakle, mislim da se umetnička dela ne dele na „konceptualna” i ona druga (kako njih u tom slučaju nazvati?), već na dobra, tj. dela koja imaju sve neophodne elemente dobrog dela, uključujući i koncept, i ona ne baš tako dobra, tj. dela kojima nešto nedostaje. Umetnička dela kao investicija jedna je od ključnih tema kada je reč o kolekcioniranju, kakav je Vaš stav o tom segmentu sakupljačke prakse? Posmatrati kolekcioniranje isključivo kao investiciju je pogrešno. S druge strane, zanemariti finansijski aspekt kolekcioniranja, je još pogrešnije. Mislim da sam o tome pisao u knjizi prilično detaljno. Na osnovu čega određujete finansijsku granicu ulaganja u umetnost, da li je budžet presudan faktor ili se radi o nekim neopipljivim faktorima (uverenja, tržišne prognoze...)? Isključivo sopstveno uverenje, odnosno, još preciznije, šta možemo sebi da dopustimo. Naravno, odgovor na pitanje „šta možemo sebi da dopustimo” je krajnje subjektivan. Nebrojeno puta smo kupili nešto što „niko normalan” u našoj situaciji ne bi kupio. Zapadnemo u probleme, ali se iz problema izvučemo, a rad ostane... Mislim da je svakom kolekcionaru jasno o čemu govorim. Za druge ne znam. Nikad ništa nismo kupili zato što je to „dobra investicija”, bilo po našem ili nečijem tuđem mišljenju. S druge strane, vodili smo računa da to ne bude uludo potrošen novac koji se ne može više nikad povratiti. I o tome ima dosta u knjizi... Kako doživljavate otuđivanje radova, odnosno cirkulisanje dela na tržištu? Svako ko poželi da kupi poneki umetnički rad će, kadtad, morati nešto i da proda. Naravno, izuzetak su vrlo bogati ljudi koji su u stanju da investiraju u nove radove bez prodaje starih. I, da se razumemo, takvih kolek14

ble recognition, the international award “Vanda Svevo” at the Biennale in Sao Paulo in 1963, was received for an oil on canvas from the cycle titled “Association with the Sunken City”. As far as conceptual art is concerned, I would like to point out that I think that every good work of art should, among other things, be distinguished by its concept. When a work of art contains only a concept, I have a problem with that. Therefore, I think that works of art are not divided into “conceptual” and the others (what to call them in that case?), but into good, i.e. works that have all the necessary elements of a good work, including the concept, and those not so good, i.e. works that are lacking something. Works of art as an investment is one of the key topics in art collection, what is your attitude towards that segment of the collector’s practice? It is wrong to view collecting of art solely as an investment. On the other hand, neglecting the financial aspect of collecting is even more wrong. I think I wrote about it in detail in my book. On the basis of what do you determine the financial limit of investing in art, is the budget a decisive factor or are these some intangible factors (beliefs, market forecasts ...)? Exclusively our own belief, that is, even more precisely, what we can afford ourselves. Of course, the answer to the question “what can we afford ourselves” is extremely subjective. Countless times we have bought something that “no normal person” would buy in our situation. We get into trouble, but we get out of trouble, and the work of art remains... I think every collector understands what I’m talking about. I don’t know about others. We have never bought anything because it was a “good investment”, either in our opinion or someone else’s. On the other hand, we took care that it was not wasted money that could never be returned. I wrote a lot about that in my book... How do you experience the alienation of works of art, i.e. the circulation of works of art on the market?

cionara ima i neki imaju divne kolekcije. Kolekcionari poput nas moraju povremeno da otuđe ponešto, ako žele da dođu do nečeg novog. Iskreno, meni je vrlo teško kad dospem u situaciju da se moram odreći nekog rada do kog mi je stalo. S druge strane, ništa lepše nego kad sa drugim kolekcionarom obavim zamenu koja i meni i njemu odgovara. Da li postoje dela od kojih ne želite da se odvojite? Po kojim kriterijumima se vrši selekcija/eliminacija radova? Naravno da postoje. To su oni radovi koji spadaju u kategoriju „to nikad neću prodati”. Ali, kao što smo videli u knjizi, i ti se radovi prodaju, kad se sklope određene okolnosti. Meni se sada čini, najiskrenije, da Ljubinu „Sobu u Firenci”, Tomaševiću „Pećku patrijaršiju” (i još ponešto!), skulpture Olge Jevrić, neke radove Mrđana Bajića i Damnjana i, verovatno, još ponešto, nikad neću prodati. No, svaki kolekcionar se suočio sa situacijom da ne može da kupi neki važan rad ako ne proda nešto drugo. Naravno, najlakše se prodaje baš ono što i mi najviše volimo, pa to liči na odricanje od dela tela, kao da ti neko seče ruku. Zato nije čudo što sam neke slike koje sam u nekom trenutku morao da otuđim, kasnije ponovo nabavljao. Kako unaprediti situaciju domaćeg umetničkog tržišta? Na koje načine bi institucionalna podrška / izmena pravne regulative unapredili poziciju kolekcionara? Mislim da postoji širok raspon mogućnosti na koje bi država mogla da unapredi situaciju na domaćem tržištu umetničkih radova. Prvi, očigledan korak bi bilo uspostavljanje institucije koja bi bila nadležna (i kompetentna) da potvrđuje (ili ne!) autentičnost umetničkih dela. To podrazumeva više od imenovanja grupe ljudi kojima bi se poverio takav zadatak. Neophodno bi bilo uspostaviti i referentnu laboratoriju u kojoj bi se vršile sve potrebne hemijske i druge analize. Jednom rečju, neophodno je formirati tim kompetentan i tehnički opremljen da odgovori na izazove koje predstavljaju falsifikati na našem tržištu. Dalje, država bi mogla da stimuliše kolekcionarstvo određenim olakšicama kroz poresku politiku, kao što je to slučaj u mnogim ze-

Anyone who wishes to buy some artwork will, at some point, have to sell something. Of course, the exception are very rich people who are able to invest in new works of art without selling the old ones. And, let’s be clear, there are such collectors and some of them have wonderful collections. Collectors like us have to occasionally alienate something if they want to acquire something new. Honestly, it is very difficult for me when I get into a situation in which I have to give up some work that I care about. On the other hand, there is no greater joy when I swap works with another collector that suits both him and me. Are there any works of art that you don’t want to be separated from? According to which criteria is the selection/elimination of works carried out? Of course there are. These are the works that fall into the category of “I will never sell them”. But, as we have seen in my book, these works are also being sold, when certain circumstances come together. It seems to me now, honestly, that I will never sell Ljuba’s “A Room in Florence”, Tomasević’s “Patriarchate of Peć” (and some other!), sculptures by Olga Jevrić, some works by Mrđan Bajić and Damnjan, and probably some more. But every collector is faced with the situation that he cannot buy some important work if he does not sell something else. Of course, things that are sold the most easily are exactly those we like the most, so it looks like giving up a part of your body, as if someone has cut your hand off. So it’s no wonder that I re-acquired some paintings that I had to alienate at some point. How the situation on the domestic arts market could be improved? In what ways would institutional support/change in regulations improve the position of collectors? I think there is a wide range of possibilities through which the state could improve the situation on the domestic artwork market. The first, obvious step would be to establish an institution that would be in charge (and competent) to confirm (or not!) the authenticity of works of art. That means more than appointing a group of people who would be entrusted with such a task. It would be necessary to establish a reference laboratory in which 15

mljama. No, to je složeno pitanje koje prevazilazi moje znanje. Minimalan korak koji bi se mogao učiniti jeste oslobađanje od carine prilikom kupovine i unošenja u zemlju značajnih radova srpskih umetnika. Postoji, siguran sam, i čitav niz mogućnosti da se olakša i stimuliše rad galerija i aukcijskih kuća, kako bi se oživelo tržište umetničkim radovima, ali to je više pitanje za galeriste. Poznato je da brojni kolekcionari iz određenih razloga žele da održe anoniman status kada se dela iz njihovih zbirki izlažu ili publikuju, da li ste se Vi u nekom trenutku pokajali što ste uvek transparentno predstavljali dela iz Vašeg vlasništva? Za sada nisam, a valjda i neću... Ta dilema uvek postoji – ako si transparentan, kažu da se praviš važan; ako nisi, kažu da nešto kriješ... Koje dileme se javljaju prilikom odluke da dela napuste privatnost Vašeg doma i na određeni period budu dostupna široj javnosti? Nema tu nekih dilema. Ako bi radovi trebalo da budu izloženi na adekvatnom mestu, pogotovo ako je u pitanju neka javna institucija, dileme nema, pozajmljujemo rad bez problema. Ako je u pitanju posebno osetljiv rad, trudimo se da se obezbedi adekvatna zaštita. Još nikad nismo odbili da pozajmimo rad. Koliko i kako se menja „sadržaj” slike promenom konteksta u kome je ona izložena tj. da li su neka dela dobila novo značenje ulaskom u vaš lični prostor, odnosno u kojoj meri se razlikuje doživljaj umetničkog dela u privatnom prostoru i u galerijskom? Moj prvi impuls je bio da je dobro delo dobro delo, bez obzira da li je u privatnom prostoru ili u galeriji. Međutim, kad malo bolje razmislim, mogu da se setim dobrih dela i u privatnom i u galerijskom prostoru, koja ne izgledaju dobro ako su loše postavljena i obrnuto. Mislim da je važniji kvalitet dela, kvalitet prostora i osećaj za estetiku onog ko dela postavlja, nego 16

all the necessary chemical and other analyzes would be performed. Namely, it is necessary to form a team which is competent and technically equipped to respond to the challenges posed by counterfeits on our market. Furthermore, the state could stimulate art collecting with certain subsidies through tax policy, as is the case in many countries. But it is a complex issue that surpasses my knowledge. The minimum step that could be taken is exemption from customs duties when buying and bringing significant works of Serbian artists into the country. There are, I am sure, a whole range of possibilities to facilitate and stimulate the work of galleries and auction houses, in order to revive the market for works of art, but that is more a question for gallery owners. It is known that many collectors, for some reason, want to maintain an anonymous status when works from their collections are exhibited or published, have you at any time regretted that you have always transparently presented works in your property? For now, I haven’t, and I guess I won’t... That dilemma always exists – if you’re transparent, they say you’re pretending to be important; if you’re not, they say you’re hiding something... What dilemmas arise from the decision to make the works leave the privacy of your home and to make them available to the general public for a certain period of time? There are no such dilemmas. If the works are to be exhibited in an adequate place, especially if it is a public institution, there is no dilemma, we borrow our works without objection. If it is a particularly sensitive work, we try to provide adequate protection. We have never refused to borrow our works. In what way and to which extent “the content” of the painting is being changed depending on the context in which it is being exhibited, i.e., did some works of art gain a new meaning by entering your personal space, that is, to which extent experiencing the work of art differs in a private space and in a gallery?

čiji je prostor, privatni ili galerijski. Svakako mogu reći da neke svoje slike ne mogu da zamislim na drugom mestu sem onog na kom se trenutno nalaze. Koliko samostalnih izložbi je imala Kolekcija (poput Ivan Tabaković: Radovi na papiru)? Pored pomenute, još dve: Radovi iz osamdesetih u kolekciji Marjanović u prodajnoj galeriji „Beograd” i Strane grafike u Grafičkom kolektivu. Mislim da su sve tri izložbe bile zanimljive za javnost, jer su izloženi radovi koji se prilično retko mogu videti. Meni lično, posebno je draga izložba radova iz osamdesetih, jer mislim da smo na njoj podsetili javnost na neke umetnike koji su, potpuno neopravdano, iz jednih ili drugih razloga, praktično zaboravljeni. Ovom prilikom publika će videti jedan deo posleratnih radova iz Vaše kolekcije, kakve su Vam dalje ambicije povodom izlaganja radova iz zbirke? Voleo bih da napravimo jednu izložbu slika velikog formata. Upravo taj format predstavlja problem – nije lako prikazati tridesetak slika velikog formata. No, nadam se da ćemo naći neko rešenje. Koji savet biste dali novim kolekcionarima? Mislim da je o tome u knjizi pisano vrlo detaljno. Ne može se to tek tako reći. U par reči, da što više čitaju i gledaju, kako bi što brže došli do nekog svog sistema vrednosti, do nekog svog mišljenja. Takođe, da ne propuštaju priliku da obiđu neki muzej ili izložbu, jer su saznanja koja se tamo stiču nezamenljiva.

My first impulse was that a good work of art is a good work of art, whether in a private space or in a gallery. However, when I think about it a little more, I can remember good works in both private and gallery spaces, which do not look good if they are badly placed and vice versa. I think that the quality of the work, the quality of the space and the sense of aesthetics of the one who sets the works is more important than whose space it is, private or gallery-owned. I can certainly say that I can’t imagine some of my paintings anywhere other than where they are placed currently. How many solo exhibitions did the Collection have (such as Ivan Tabaković: Works on Paper)? In addition to the one mentioned, two more: Works from the 1980s in the Marjanović collection in the “Prodajna galerija Beograd” and Foreign graphics in the Graphic Collective. I think that all three exhibitions were interesting to the public, because they exhibited works that can only be seen quite rarely. Personally, I especially like the exhibition of works from the eighties, because I think that we reminded the public of some artists who are, completely unjustifiably, for one reason or another, practically forgotten. On this occasion, the audience will see a part of the post-war works from your collection, what are your further ambitions regarding the exhibition of works from the collection? I would like to organize an exhibition of large format paintings. That format is actually a problem – it is not easy to display about thirty large format paintings. But I hope we will find a solution. What advice would you give to new collectors? I think that I wrote about that in my book in great detail. It is not quite that simple. In a few words, they should read and watch as much as possible, in order to form their value system and opinion as quickly as possible. Also, they should not miss any opportunity to visit a museum or an exhibition, because the knowledge gained there is irreplaceable. 17

KOLEKCIJA MARJANOVIĆ THE MARJANOVIĆ COLLECTION Anđela Maletić

Kolekciju Marjanović čine dela nastala u rasponu od 1901. do 2014/15. godine. Najstariji datirani rad predstavlja slika “rodonačelnice srpske moderne” Nadežde Petrović, Portret mladića, dok su najmlađeg datuma dve skulpture jednog od najznačajnijih savremenih umetnika Mrđana Bajića Sirija i Generalštab. Ovakav opseg nije neuobičajen kada je reč o privatnim kolekcijama, formiranim na osnovu subjektivnih estetskih načela i sistema vrednosti kolekcionara, odnosno neopterećenim praćenjem muzeoloških principa otkupne politike čija je misija ograničena koncepcijom zbirke. Uprkos odsustvu pojedinih autora odnosno likovnih poetika, zbirka porodice Marjanović predstavlja reprezentativan uvid u domete jugoslovenske i srpske moderne i savremene umetnosti.

The Marjanović Collection consists of works created between 1901 and 2014/15. The oldest dated work is a painting by the “founder of the Serbian modern art” Nadežda Petrović, Portrait of a Young Man, while the latest are two sculptures by one of the most important contemporary artists, Mrđan Bajić, Syria and The General Staff. This span is common when it comes to private collections, formed on the basis of subjective aesthetic principles and the collector’s value system, without any hindrance of the museum principles of acquisition policy, which mission is limited by the concept of the collection. Despite the absence of certain authors, the Marjanović family collection gives a representative insight into the achievements of Yugoslav and Serbian modern and contemporary art.

Prve akvizicije Nikole i Jelene Marjanović govore o socijalnom krugu kome su pripadali, kao i finansijskim ograničenjima, neiskustvom i prevagom strasti nad razumom. Međutim, poznanstva, likovna edukacija, posete manifestacijama likovnog karaktera promenili su raspoloženje i stav kolekcionarskog para. Orijentisanje ka afirmisanim umetnicima, tačnije ka reprezentativnim delima afirmisanih umetnika pratilo je sazrevanje i kultivisanje ukusa, dalje odredivši smer i težnje kolekcije koja je svoje jezgro ostvarila kroz dominantno prisustvo umetničkih dela nastalih u drugoj polovini XX veka, preciznije u pedesetim i šezdesetim godinama.

The first acquisitions of Nikola and Jelena Marjanović show the social circle to which they belonged, as well as about financial limitations, inexperience and the predominance of passion over reason. However, acquaintances, art education, visits to art manifestations changed the mood and attitude of the couple. Orientation towards the acclaimed artists, more precisely towards the representative works of acclaimed artists, followed the maturation and cultivation of tastes, further determining the direction and aspirations of the collection, which set up its core through the dominant presence of artworks created in the second half of the 20th century, more precisely in the 1950s and 1960s.

S ciljem da na najadekvatniji način upozna javnost sa Kolekcijom Marjanović doneta je odluka da selekcija prikazanih radova, vođena afinitetom kolekcionara, bude ograničena na posleratnu umetnost. Premda je

In order to acquaint the public with the Marjanović Collection in the most adequate way, a decision was made to limit the selection of the presented works to 19

umetnost u godinama neposredno nakon rata obeležena epizodom političke instrumentalizacije i žrtvovanja individualnosti radi postizanja aktuelnih ideoloških ciljeva, u zbirci ne postoje dela nastala u duhu socijalističkog realizma, te će se ovaj fenomen spomenuti isključivo iz razloga predočavanja klime i atmosfere koje prethode šestoj deceniji. Rigidan politički sistem novoformirane SFRJ angažovano je pristupio kontrolisanju i upotrebi celokupnog umetničkog i kulturnog života, što je na polju likovnih umetnosti rezultiralo pritiskom da umetnik prihvati ulogu propagatora, motivatora i edukatora. Zamišljeno je da težnja ka izgradnji „novog društva” i jednog „novog sveta”1, najširoj publici vizuelno bude predočena akademsko realističnim likovnim jezikom, dok je repertoar tema bio limitiran na memorijalnu tematiku i partizanski žanr, obnovu i izgradnju, industrijalizaciju, alegorijski heroizam, romantizovanje tradicije NOR-a i glorifikaciju posleratnih dostignuća komunizma i portret (ili kip) vođe2. Uprkos nemogućnosti dalje razrade predratnih avangardnih promišljanja, raskidom s blokom potpisnika Rezolucije Informbiroa 1948. godine slabi pritisak na likovnu scenu i otvara se mogućnost pojave različitih vidova modernizama u domaćoj sredini. U domaćoj istoriografiji 1951. godina, tj. istorijska izložba Petra Lubarde, koja će se posebno istaći zbog formalnih inovacija, posmatra se kao prekretnica. Međutim, promene u kulturnom i umetničkom životu osećaju se već u u septembru 1950. godine kada Mića Popović otvara svoju prvu samostalnu izložbu. Zatim, dalja kulturna liberalizacija postiže se izložbom Sedamdeset slikarskih i vajarskih dela iz vremena 1920−1940, kojom se institucionalizuje kontinuitet sa umetnošću pre rata, a takođe važno mesto zauzima i izložba Milana Konjovića Ljudi. Predistorija ovih istupa leži i u delovanju Zadarske grupe, koja nije prihvatila ni represivnost političko-umetničkog sistema, ni diskontinuitet, već je stvorila uslove za jasno i široko sagle1 Ješa Denegri, Pedesete: Teme srpske umetnosti (1950-1960), Svetovi, Novi Sad, 1993, 20 2 Лидија Мереник, Политички простори уметности 1929– 1950: борбени реализам и социјалистички реализам, Галерија ликовне уметности поклон збирка Рајка Мамузића, Нови Сад, 2013, 4. 20

post-war art, guided by the affinity of the collectors. Although art in the years immediately after the war was marked by an episode of political instrumentalization and sacrifice of individuality in order to achieve current ideological goals, there are no works in the spirit of socialist realism in the collection. This phenomenon will be mentioned solely for reasons of depicting the climate and atmosphere that preceded the sixth decade. The rigid political system of the newly formed Yugoslavia engaged in controlling and using the entire artistic and cultural life, which in the field of fine arts resulted in pressure for the artist to accept the role of propagandist, motivator and educator. The aspiration to build “a new society” and “a new world”2 was visually presented to the widest audience in academically realistic visual language, while the repertoire was limited to memorial themes and partisan genre, renewal and construction, industrialization, allegorical heroism, romanticizing the national liberation war traditions and glorification of the post-war achievements of communism and the portrait (or statue) of the leader3. Despite the impossibility of further elaboration of the pre-war avant-garde reflections, the break with the bloc of signatories of the Informbiro Resolution in 1948 weakened the pressure on the art scene and opened the possibility of various types of modernism in the domestic environment. In domestic historiography, the year of 1951, when Peter Lubarda’s historical exhibition took place, significant because of its formal innovations, is considered as a turning point. However, changes in cultural and artistic life were already felt in September 1950, when Mića Popović opened his first solo exhibition. Further cultural liberalization was achieved with the exhibition Seventy Paintings and Sculptures from the period 1920−1940, which institutionalized continuity with the art before the war, and Milan Konjović’s exhibition People also had an important place. The prehistory of 2 Ješa Denegri, Themes of Serbian Art - Serbian Art 1950 –2000 ‘50’60, Trajković Collection Foundation, Belgrade, 2019, 17. ORIGINAL REFERENCE 3 Lidija Merenik, Political spaces of Art 1929–1950: Belligerent Realism and Socialist Realism, Art Gallery, collection of Rajko Mamuzić, Novi Sad, 2013, 4.

davanje moderne umetnosti i njenog identiteta kroz otpor i emancipaciju od diktature političkog govora umetnosti3. Dubok preobražaj na polju likovnih umetnosti s početka pedesetih godina dvadesetog veka odlikuje izrazita stvaralačka sloboda i individualnost, modernizacija likovnog govora i uključivanje u evropske i svetske tokove. Izbor radova iz Kolekcije Marjanović pruža selektivan prikaz reprezentativnih delova opusa umetnika i pojedinačnih umetničkih pojava koje su obeležile šestu, sedmu i naredne decenije dvadesetog i dvadeset prvog veka.

3 J. Denegri, L. Merenik, Petar Omčikus, monografija, Fondacija Vujičić, Beograd, 2018, 59–63.

these events lies in the activities of the Zadar group, which did not accept the repressiveness of the political-art system, nor discontinuity, but created conditions for a clear and broad view of modern art and its identity through resistance and emancipation from the dictatorship of political art.4 A profound transformation in the field of fine arts from the beginning of the 1950s is characterized by a distinct creative freedom and individuality, modernization of fine arts and inclusion in the European and world trends. The selection of works from the Marjanović Collection provides representative artworks and individual artistic phenomena that marked the sixth, seventh and subsequent decades of the 20th and 21st centuries.

4 J. Denegri, L. Merenik, Petar Omčikus, monography, Vujičić Foundation, Belgrade, 2018, 59–63. 21

Dela Petra Lubarde iz Kolekcije Marjanović mahom se datiraju u šestu deceniju dvadesetog veka, od trenutka kada se 1950. godine (nakon boravka na Cetinju gde je vršio dužnost direktora prve Umjetničke škole u Crnoj Gori) vraća u Beograd, izlaže na XXV Bijenalu u Veneciji, zatim 1951. godine samostalno izlaže u Umetničkoj galeriji ULUS-a u Beogradu, dve godine kasnije završava zidnu kompoziciju Boj na Kosovu, iste 1953. godine dobija Internacionalnu otkupnu nagradu na II Bijenalu u Sao Paulu, potom 1955. dobija prvu nagradu na III Bijenalu u Tokiju i Oktobarsku nagradu u Beogradu, te 1956. godine dobija Nacionalnu nagradu Guggenheim u Njujorku, i deceniju završava izlaganjem na XXX Bijenalu u Veneciji 1960. godine4. Spomenuti podaci svedoče o izuzetno plodnom i uspešnom periodu u opusu ovog umetnika koji na simboličkom nivou u domaćoj istoriografiji predstavlja raskid sa predratnom umetnošću, zaokret i uključivanje u tok savremenih likovnih tendencija. Pored hronološke povezanosti (1950–1960), izbor Lubardinih slika u vlasništvu porodice Marjanović otkriva senzibilitet kolekcionara. Radovima je zajednička poetika dramatičnog i ekspresivnog, ispunjena intenzitetom, nabojem, sukobom, energijom i borbom. Najadekvatniji primer predstavlja Sutjeska, nastala sredinom šeste decenije, izvedena tehnikom ulje na platnu, dimenzija 70x145 cm, gde je na horizontalnoj površini sive boje ovekovečena Bitka na Sutjesci, događaj kada su nemačke trupe 1943. godine opkolile jugoslovenske partizane na teško pristupačnom planinskom terenu. Brojniji neprijatelj nametnuo je velike gubitke, međutim, jugoslovenske trupe uspele su da probiju obruč dokazavši svoju borbenu čvrstinu. Arhetipsko iskustvo sukoba na Sutjesci oličeno je izuzetnim požrtvovanjem, hrabrošću, odlučnošću i moralnom čvrstinom. Lubarda je upravo gajio kompleksan odnos prema velikim istorijiskim temama, mitovima, epovima, i legendama, odnosno univerzalnoj ideji večitog sukoba dobra i zla5. Ova tema godinama je okupirala umetnika i pojavljivala se u više njegovih slikarskih varijacija. U Skupštini Crne Gore nalazi se Lubardina Sutjeska monumentalnih dimenzija (209x504 cm), izvedna cr4 Biografski podaci iz: Olga Perović, Petar Lubarda 1907–1974, Galerija Tiodorović, Podgorica, 2004, 449. 5 Ibid., 45. 22

The artworks of Petar Lubarda from the Marjanović Collection mostly date back to the sixth decade of the 20th century, from the moment he returned to Belgrade in 1950 (after his stay in Cetinje where he was the principal of the first Art School in Montenegro), exhibiting at the XXV Venice Biennale. In 1951 he exhibited independently at the ULUS Art Gallery in Belgrade. Two years later he completed the wall composition Battle of Kosovo. In the same year 1953, he won the International Acquisition Prize at the II Biennale in Sao Paulo. In 1955, he won the first prize at the III Biennale in Tokyo and the October Award in Belgrade, and in 1956 he received the Guggenheim National Award in New York, and ended the decade by exhibiting at the XXX Biennale in Venice in 1960.5 The mentioned data testify about an extremely fruitful and successful period in the oeuvre of this artist, which on a symbolic level in domestic historiography represents a break with pre-war art, a turning point and inclusion in the course of contemporary artistic tendencies. In addition to the chronological connection (1950– 1960), the selection of Lubarda’s paintings owned by the Marjanović family reveals the sensibility of the collectors. The works share a common poetics of the dramatic and the expressive, filled with intensity, charge, conflict, energy and struggle. The most adequate example is Sutjeska, created in the middle of the sixth decade, oil on canvas technique, dimensions 70x145 cm, where the Battle of Sutjeska was immortalized on a horizontal gray surface, an event when German troops surrounded the Yugoslav partisans in 1943 on an inaccessible mountain terrain. Enemy troops larger in number imposed heavy losses. However, the Yugoslav troops managed to break through, proving their fighting strength. The archetypal experience of the conflict at Sutjeska is characterized by exceptional sacrifice, courage, determination and moral fortitude. Lubarda nurtured a complex relationship to the great historical themes, myths, epics, and legends, and the universal idea of the eternal conflict between good and evil.6 This theme occupied the artist for years and appeared in several of his painting variations. 5 Biographical data from: Olga Perović, Petar Lubarda 1907–1974, Tiodorović Gallery, Podgorica, 2004, 449. 6 Ibid., 45.

detalj / detail Petar Lubarda (1907-1974), Sutjeska, oko/around 1956.

tačkom logikom precizno definisanih formi. Prepoznatljivost predmeta: tenkova, plotuna, konja, vertikalnih simetrično postavljenih boraca sa leve i desne strane kompozicije, horizontalnih boraca na umoru, potvrđuju prisustvo istih elemenata, sada izvedenim apstrahovanjem referentnih tačaka. Umesto predmetnog, potenciran je likovni govor izražen kroz širok, slobodan, neopterećen potez. Ovde Lubarda boju koristi kao harmonijski kontrapunkt crnoj konturnoj liniji koja određuje smer i dinamizam kompozicije. Posmatračev pogled isprovociran je da prati pravac isprekidanih krivih, pravih i zaobljenih linija koje oko ni u jednom trenutku ne dovode do mesta za odmor. Ikonološki posmatrano, način izvođenja prati prirodu sukoba, gubitak jasnog pregleda, tenziju, haos, napetost, intenzitet, energiju, kataklizmički karakter rata. Dok formalna analiza potvrđuje bavljenje univerzalnim estetičkim izazovima.

Lubarda’s painting Sutjeska is kept in the Parliament of Montenegro, with its monumental dimensions (209x504 cm), created by drawing logic of precisely defined forms. The recognizability of the objects: tanks, volleys, horses, vertical symmetrically placed fighters on the left and right side of the composition, the dying horizontal fighters, confirm the presence of the same elements, now performed by abstracting the reference points. Instead of concrete expression, the artistic speech is emphasized, expressed through a wide, free, unencumbered stroke. Here, Lubarda uses color as a harmonic counterpoint to the black contour line which determines the direction and dynamism of the composition. The observer is provoked to follow the direction of the discontinuous, curved, straight and rounded lines that never lead an eye to a place of rest. From an iconological point of view, the painting manner follows the nature of the conflict, the loss of a clear overview, tension, chaos, intensity, energy, the cataclysmic character of the war.

Skoro celu deceniju nakon rata opus Ivana Tabakovića proživljava svojevrsan preobražaj. Tada, 1954. godine on učestvuje u osnivanju umetničke grupe Šestorica (Gvozdenović, Šerban, Milosavljević, Aralica i Radović), i stvara dela koja najavljuju značajan konceptualni, jezički i estetički preokret u odnosu na njegovo predratno stvaralaštvo6. Najprecizniju kritiku pomenute promene artikuliše Aleksa Čelebonović povodom izložbe održane u ULUS-ovoj galeriji iste godine: „Istraživanje u čudnom spoju nauke i umetnosti je karakteristika novih slika Ivana Tabakovića. Domen istraživanja je svetlost, ali ne u čulnom impresionističkom, već u njenom funkcionalnom, možda čak i simboličkom smislu. Radi se, dakle, prvenstveno o novom idejnom zahvatu, a manje o formalnoj evoluciji njegovog stvaralaštva.”7 Čelebonovićev prikaz, dve godine kasnije „dopunjuje” sam Tabaković. Istraživanju likovnih predstava nauke i umetnosti, dodaje „(...) i filosofije, kao izvor jedne šire, univerzalnije i savremenije likovne koncepcije.”8 Ideja o nauci (posebno fizici i astronomiji), umetnosti i filozofiji kao katalizatorima novih stvaralačkih impulsa odvode Ivana Tabakovića u istraživanje svetlosti, faznih prelaza, transformacije materije, gravitacije, kretanja i energije. Inovativnost Tabakovićevog novog likovnog govora, iako hermetična i indirektna, nikada ne postaje konfuzna bez mogućnosti razjašnjenja. U novoj fazi Tabakovićevog slikarstva predmet ne iščezava, on se transformiše. Portreti metamorfozom postaju senke, siluete i biste smeštene u nedefinisan likovni prostor. Skrivanjem poteza četkice i smanjivanjem količine nanete paste materijalna struktura slike se uplošnjuje, dok se paleta smiruje na skoro dekolorizovane monohrome. Promena u načinu korišćenja 6 L. Merenik, Ivan Tabaković 1898–1977, Galerija Matice srpske, Novi Sad, 2004, 95–99. 7 Алекса Челебоновић, „Седамнаеста изложба УЛУС-а. Појединци са својим делима“, Борба, Београд, 26. мај 1954, prema: L. Merenik, Ivan Tabaković 1898–1977. 8 „Šestorica o sebi“, Večernje novosti, Beograd, 19. jun 1956, prema: Dragana Vranić, Ivan Tabaković – Legat Ratislave Tabaković, Muzej savremene umetnosti Beograd, BIGZ, Beograd, 1985. 24

Almost a decade after the war, Ivan Tabaković’s artwork underwent a unique transformation. In 1954, he participated in founding of the art group Six Artists (Gvozdenović, Šerban, Milosavljević, Aralica and Radović), and created works that announced a significant conceptual, linguistic and aesthetic turn compared to his pre-war work.7 The most precise critique of the mentioned change is articulated by Aleksa Čelebonović on the occasion of the exhibition held at the ULUS Gallery the same year: “Research in a strange combination of science and art is a characteristic of Ivan Tabaković’s new paintings. The domain of research is light, but not in the sensual impressionistic, but in its functional, perhaps even symbolic sense. It is, therefore, primarily a new ideological project, and less a formal evolution of his work.”8 Čelebonović›s account is «further explained» by Tabaković himself two years later. To the research of artistic interpretations of science and art, he adds: “(...) and philosophy, as a source of a broader, more universal and more modern artistic conception.”9 The idea of science (especially physics and astronomy), art and philosophy as catalysts of new creative impulses led Ivan Tabaković to study light, phase transitions, transformation of matter, gravity, motion and energy. The innovativeness of Tabaković’s new artistic speech, although hermetic and indirect, never becomes confusing without the possibility of clarification. In the new phase of Tabaković’s artwork, the object does not disappear, it is transformed. Through metamorphosis, portraits become shadows, while silhouettes and busts are placed in an undefined art space. By hiding the brush strokes and reducing the amount 7 L. Merenik, Ivan Tabaković 1898–1977, Matica Srpska Gallery, Novi Sad, 2004, 95–99. 8 Aleksa Čelebonović, “Seventeenth Exhibition of ULUS. Individuals with their works ”, Borba, Belgrade, May 26, 1954, according to: L. Merenik, Ivan Tabaković 1898–1977. 9 “Six Artists about themselves”, Večernje novosti, Belgrade, June 19, 1956, according to: Dragana Vranić, Ivan Tabaković - Legacy of Ratislava Tabaković, Museum of Contemporary Art, Belgrade, BIGZ, Belgrade, 1985.

detalj / detail Ivan Tabaković (1898-1977), Svetlo i senke / Light and Shadows, 1967.

formalnih elemenata likovne umetnosti ogledala je (uslovno rečeno) temu, dok je crtež kao materijalizacija ideje uslovio dominaciju linije nad bojom. Na slici Svetlo i senke iz 1967. godine, Tabaković prikazuje pust, neopipljiv prostor sa sugestijom prisustva i dešavanja. Pozadinu čini apsolutno pročišćena ploha sive boje, koja ima neutrališuću ulogu pasivne kulise prvog plana slike. Trapezoidne ravni bele boje, koje se međusobno preklapaju, označavaju graničnu površinu uzročno-posledične veze svetlo-predmet-senka. Svetlosni izvor je nevidljiv, njegova pozicija deli posmatračev (vanslikarski) prostor u kome obitava i figura/ kip čija je senka prelomljena na belim površinama. U delu besprekornog kompozicijkog sklada svaka forma pojedinačno (ravne i zaobljene bele plohe, kružni oblici, senke...) pozicijom i bojom grade harmoničan ritam i proporciju vizuelnih elemenata. Iako čitljivost slike Svetlo i senke ostaje otvorena za interpretaciju može se reći da je na njoj, kroz upotrebu varijabila poput potencijalnog pokreta figure, položaja i izvora svetlosti, vizualizovan koncept efemernosti.

of applied paste, the material structure of the painting is flattened, while the palette calms down to almost decolorized monochromes. The change in the way of using the formal elements of fine art reflected the theme, while the drawing as the materialization of the idea conditioned the dominance of the line over the colour. In the painting Light and Shadows from 1967, Tabaković shows a desolate, intangible space with a suggestion of presence and events. The background consists of an absolutely purified gray surface, which has a neutralizing role of a passive backdrop of the foreground of the painting. Trapezoidal surfaces of white colour, overlapping each other, mark the boundary surface of the cause-and-effect relationship light-object-shadow. The light source is invisible, its position divides the observer’s space, and the space of the painting, which contains a figure/statue, whose shadow is broken on the white surfaces. Within this flawless compositional harmony, each form individually (flat and rounded white surfaces, circular shapes, shadows ...) creates a harmonious rhythm and proportion of visual elements with its position and color. Although the painting Light and Shadows remains open to interpretation, it can be said that through the use of variables such as the potential movement of the figure and position and source of light, the concept of ephemerality is visualized. 25

Jedan deo postavke, prostorno izolovan, čine dela četiri člana nekadašnje Decembarske grupe (1955–1960): Aleksandra Tomaševića, Lazara Vozarevića, Miodraga B. Protića i Zorana Petrovića, zajedno sa delima dve umetnice: Milene Čubraković i Mire Brtke, čiji je opus prvi put doveden u vezu sa Tomaševićem i Vozarevićem u okviru izložbe Dijalog, održane u Nacionalnoj galeriji u Beogradu 2019. godine. U poređenju sa ostalim delima iz Kolekcije Marjanović ovi autori predstavljaju najbliži izraz čiste apstrakcije. U vezi s tim, interesantna je i priroda Brtkinog rada koja se od samih početaka, kada upisuje Akademiju likovnih umetnosti u Rimu, dosledno orijentiše u potpunosti ka apstraktnoj strukturi slike. Zajedničke odlike grupe predstavljenih radova jesu izuzetna promišljenost i stroga preciznost strukture i kompozicije, poštovanje principa harmonije i ravnoteže, nepostojanje automatizma, odsudstvo narativa, skoncentrisanost na način izvođenja uz upotrebu neslikarskih materijala koji su uglavnom u funkciji ostvarivanja fizičke pojavnosti prizora. Nakon post-kubističke faze, obeležene motivima vizantijske ikonografije, Lazar Vozarević početak sedme decenije posvećuje eksperimentu, tehnološkoj analizi, skicama i pripremama, kako bi 1961. godine na izložbi Prvog Trijenala u Beogradu izložio dela izvedena u duhu enformela9. Metodom kojom je Vozarević upotrebljavao neslikarske materijale (razliveni vosak, metal listiće, čađ, žice, eksere, kamenje, pesak, pulije), narušavajući im integritet (grebanjem, spaljivanjem boje, patiniranjem, korišćenjem različitih hemijskih supstanci) uprkos destruktivnosti čina postiže rezultate izrazite likovnosti. Posvećenost materijalnom sloju slike bez bremena akademskih postulata omogućava Vozareviću da autentičnu tehnologiju primeni u narednoj slikarskoj fazi u duhu jednog vida povratka redu. Specifičnost Vozarevićevog izražavanja u ovoj poetici odlikuje korišćenje patinirane strukture, zlatnih metal listića i metalnih poluloptastih aplikacija koje je nazivao pulije. Metalne forme će racionalno organizovati u kompaktne geometrijske šeme (kvadrat, pravougaonik, romb, krug, trougao, elipsa), vodeći računa o utisku opšte harmonije, simetrije/asimetrije i general9 Лазар Трифуновић, „Од импресионизма до енформела“, Сликарство Лазара Возаревића, Нолит, Београд, 1982, iz kataloga: Лазар Возаревић, Изложба слика и цртежа, Галерија Лазар Возаревић, Сремска Митровица, 2017, 9 26

One part of the exhibition, spatially isolated, consists of works by four members of the former December group (1955-1960): Aleksandar Tomašević, Lazar Vozarević, Miodrag B. Protić and Zoran Petrović, together with works by two women artists: Milena Čubraković and Mira Brtka, whose work is for the first time brought into contact with Tomašević and Vozarević within the exhibition Dialogue, held at the National Gallery in Belgrade in 2019. Compared to other works from the Marjanović Collection, these authors represent the closest expression of pure abstraction. The nature of Brtka’s work is also interesting, who from the very beginning, when she enrolled at the Academy of Fine Arts in Rome, was consistently oriented towards the abstract structure of the painting. The common features of the presented works are exceptional thoughtfulness and strict precision of structure and composition, respect for the principles of harmony and balance, lack of automatism, absence of narrative, focus on the use of non-painting materials, which are mainly in function of physical appearance. After the post-cubist phase, marked by the motifs of Byzantine iconography, Lazar Vozarević dedicated the beginning of the seventh decade to experiment, technological analysis, sketches and preparations, in order to exhibit works in the spirit of Informel at the 1961 exhibition of the First Triennial in Belgrade.10 The method by which Vozarević used non-painting materials (spilled wax, metal sheets, soot, wires, nails, stones, sand, “pulije [metal buttons]”), violating their integrity (by scratching, burning paint, patination, the use of various chemical substances), he achieved the results of distinct artistry, despite the destructiveness of the act. Commitment to the material layer of painting without the burden of academic postulates enabled Vozarević to apply the authentic technology in the next painting phase, in a way of a return to order. The peculiarity of Vozarević’s artistic expression is characterized by the use of a patinated structure, gold metal sheets and metal hemispherical applications, which he called “pulije”. Metal forms were later rationally organized into compact geometric schemes (square, rec10 Lazar Trifunović, “From Impressionism to Informel”, Painting by Lazar Vozarević, Nolit, Belgrade, 1982, from the catalog: Lazar Vozarević, Exhibition of paintings and drawings, Gallery Lazar Vozarević, Sremska Mitrovica, 2017, 9

no kompozicione strukture. Variranjem veličina pulija, kao i većim ili manjim stepenom njihovog ispupčenja, Vozarević je postizao svojevrsan dinamizam i optičke kvalitete. Manir primene zlatnih listića govori o nadogradnji paradigme motiv = tema u matricu materija = motiv = tema, zbog čega se upotrebljeni materijal ne tretira kao formalni element već aluzija na srednjovekovni ikonopis iz perspektive modernističkog tretmana forme. Opus Aleksandra Tomaševića, slikara, konzervatora i likovnog pedagoga, od početka šezdesetih apsolutno se oslobađa predmetnog motiva i okreće se bavljenju materijalnom strukturom i teksturom dela, geometrijskim kompozicionim skladovima, odnosom oblika u prostoru slike, itd. Rešavanje problema na čisto likovnom planu (u plohi, rasporedom koji izdvaja oblike) usvojio je još tokom konzervatorskog angažmana, konstantno vođen težnjom ka racionalnoj obradi senzacija i potrebom za harmonijom10. Tri tempere na panelu, iz 1966. godine izvedene su tehnikom gde se na sveže nanetu temperu lepi poseban list hartije ili kartona pomoću kojih se prilikom skidanja površnog sloja dobija posebna faktura11. Krajnji ishod ovog postupka podleže zakonima slučajnosti i nemogućnosti apsolutne kontrole, stvarajući slikarstvo koje se opire „čistoj” geometrijskoj apstrakciji12. Međutim, uprkos motivima nepredvidljivih šara pojedinih geometrijski omeđenih zona, kao i pažljive asimetrične postavke, ovi radovi naslovljeni godinom nastanka ideje (1963) odišu strogošću jednog preciznog likovnog mehanizma. Polazeći od mere (kvadrata ili pravougaonika), koja će se množiti i uvećavati, grade se horizontalni i vertikalni oblici postavljeni u okviru šeme minucioznog linijskog crteža čije je kretanje neretko imalo i dijagonalan smer. Na pozadini neutralnog fona razvija se ritam sledećeg sloja pikturalno negovane materije suženog tonskog kolorita. Istovetan tretman formalnih elemenata pretrajava i kada, inspirisan bije10 Миодраг Б. Протић, „Децембарска група 1955–1960“, предговор каталогу, Културни центар Београда, Београда 1969. 11 В. Војиновић и Г. Томашевић (приређивачи), М. Рајковић, Р. Константиновић, С. Ћелић и П. Угринов (аутори текстова), Александар Томашевић, УЛУС, Београд, 1988, 36. 12 Мила Рајковић, „Сликарство Александра Томашевића“, Уметност 9, Београд, јануар/фебруар 1967, prema: ibid., 39.

tangle, rhombus, circle, triangle, ellipse), taking into account the impression of general harmony, symmetry / asymmetry and general compositional structure. By varying the sizes of the pulije, with the higher or lower degree of their protrusion, Vozarević achieved a kind of dynamism and optical qualities. The manner of applying the gold sheets explains the upgrading of the paradigm motif = theme into the pattern matter = motif = theme, which is the reason why the used material was not treated as a formal element, but as an allusion to medieval iconography from the perspective of modernist treatment of form. The work of Aleksandar Tomašević, a painter, a conservator and an art pedagogue, from the beginning of the sixties, is absolutely free from the subject motif and turns to dealing with the material structure and texture of artwork, geometric compositions, the relation of form within the space of a painting, etc. He adopted problem-solving on a purely artistic level during his conservation engagement, constantly driven by the tendency towards the rational processing of sensations and the need for harmony.11 The artwork Three temperas on a panel, from 1966, is created by a special technique- a sheet of paper or cardboard is glued to the freshly applied tempera, by which a special texture is obtained when the surface layer is removed.12 The final outcome of this procedure is subject to the laws of chance and the impossibility of absolute control, creating a painting that resists the “pure” geometric abstraction.13 However, despite these unpredictable patterns of certain geometrically bounded zones, as well as careful asymmetrical settings, these works entitled as the year of the idea (1963), emit the rigor of a precise artistic mechanism. Starting from the measure (square or rectangle), which will multiply and enlarge, horizontal and vertical shapes are built within the scheme of a meticulous 11 Miodrag B. Protić, “December Group 1955–1960”, preface to the catalogue, Cultural Center of Belgrade, Belgrade 1969. 12 V. Vojinović and G. Tomašević (editors), M. Rajković, R. Konstantinović, S. Ćelić and P. Ugrinov (authors of texts), Aleksandar Tomašević, ULUS, Belgrade, 1988, 36. 13 Mila Rajković, “Painting of Aleksandar Tomašević”, Art 9, Belgrade, January / February 1967, according to: Ibid., 39. 27

detalj / detail Aleksandar Tomašević (1921-1968), Delo 63/21 / Work 63/21, 1966.

lopoljskim vratima obrađenim u tehnici duboreza, na obojene panel ploče lepi kanelirane drvene elemente nepogrešivim umetničkim osećajem.

line drawing, which movement often has diagonal direction. On a neutral background, the rhythm of the next layer of pictorially nurtured matter with a narrowed tonal color is developed. The same treatment of the formal elements permeates when, inspired by the doors from Bijelo Polje done in the woodcarving technique, he glues grooved wooden elements to the painted panels with an unmistakable artistic feeling.

Dela Radomira Damnjanovića Damnjana čine jezgro identiteta Kolekcije Marjanović, kako zbog zastupljenosti radova tako i zbog mogućnosti sagledavanja multidisciplinarnog karaktera umetnika, od traženja 1954. do najaktuelnijih postignuća iz 2018. godine. Okosnicu zbirke čine radovi iz šezdesetih godina, od Asocijacije potonulog grada, potom niza Peščanih obala, Elemenata i Buketa do Slika izvedenih u duhu poetike Minimal Art-a. Sedma decenija podudarno je i period kada Damnjan doživljava uspon koji prevazilazi okvire domaće umetničke scene. Na Bijenalu u Sao Paolu 1963. godine dobija nagradu Vanda Svevo, takođe i poziv za učestvovanje na Documenta IV u Kaselu 1964. godine kada dobija i Oktobarsku nagradu grada Beograda za samostalnu izložbu u Galeriji Kolarčevog univerziteta. Krajem pedesetih, kroz težnju da napusti figuru, Damnjan dolazi do specifičnog tipa apstraktnog pejzaža bez ljudskog prisustva. Rezultat je postigao kroz proces transformacije površine platna u metafizički prostor posredstvom nedeskriptivnog kolorita i repertoarom „tri motivska elementa: deo zemaljske površine, u smislu tla dostupnog ispitivanju, ogromno i prazno prostranstvo mora ili vasione, a između njih, na samom rubu, nalaze se i varijacije „kabina” za svlačenje, sa tendama i nekim drugim čudnim obeležjima. To su sitne građevine kojima ljudi pokušavaju da pobede bezgraničnost materijalnog i imaterijalnog prostora”13. Do promene paradigme dolazi rešavanjem centralnog motiva, koji tradicionalno ima funkciju komuniciranja sadržaja. Damnjan asocijativni elemenat redukuje na znak u obliku formi geometrijskih figura, tela i linija. Posledično, značenje prestaje da bude narativno i orijentiše se ka likovnom. Nastojanje ka promišljanju autonomnih likovnih elemenata (boja, linija, tekstura, smer...) i naklonost prema redu dovode ga do minimalizma i do čiste forme krajem decenije.

The works of Radomir Damnjanović Damnjan form the core of the Marjanović Collection’s identity, both because of their share in the collection and because of the possibility of perceiving the multidisciplinary character of the artist, from his search in 1954 to the most current achievements from 2018. The backbone of the collection consists of works from the 1960s, from the Association of the Sunken City, followed by a series entitled Sandy Shores, Elements and Bouquets to Paintings, done in the spirit of the poetics of Minimal Art. The seventh decade of the 20th century coincided with the period in which Damnjan experienced a rise that went beyond the framework of the domestic art scene. At the Biennale in Sao Paulo in 1963, he received the Wanda Svevo Award, as well as an invitation to participate in Documenta IV in Kassel in 1964, when he received the October Award of the City of Belgrade for a solo exhibition at the Gallery of Kolarac University.

Na Slici iz 1968, koja pripada tradiciji apstrakcije tvrdih ivica (Hard-egde painting), redukovana je ekspresivnost, subjektivnost, biografsko tumačenje biva onemogućeno, nema iluzije, metafore, ni simbola. Eliminacijom predmeta, vidljivog poteza četkice, pre-

In the late 1950s, through his aspiration to abandon the figure, Damnjan came to a specific type of abstract landscape without human presence. He achieved this result through the process of transformation of the canvas surface into a metaphysical space by means of a non-descriptive color palette and repertoire of “three motif elements: part of the earth’s surface, in terms of soil available for examination, huge and empty space of the sea or universe, and between them, on the very edge, variations of “cabins” for undressing, with awnings and some other strange features. These are small buildings with which people try to overcome the infinity of material and immaterial space”14. The paradigm shift occurs by solving the central motive, which traditionally has the function of communicating content. Damnjan reduces the associative element to a sign in the form of geometric figures, bodies and lines. Consequently, the meaning ceases to be narrative and is oriented towards the artistic. His striving to reflection on autonomous artistic elements (color, line, texture, direction...) and the inclination towards order lead him to minimalism and to pure form at the end of the decade.

13 Aleksa Čelebonović, „Damnjanovi simboli“, Umetnost 1, Beograd, januar – mart 1965, 95–97, prema: Ješa Denegri, Radomir Damnjanović Damnjan – izložba 1958–1986, Muzej savremene umetnosti, Beograd, 1986, 9.

14 Aleksa Čelebonović, „Damnjan’s Symbols“, Art 1, Belgrade, January – March 1965, 95–97, according to: Ješa Denegri, Radomir Damnjanović Damnjan – exhibition 1958–1986, Museum of Contemporary Art, Belgrade, 1986, 9. 29

detalj / detail Radomir Damnjanović Damnjan (1935), Peščana obala / Sandy Shore, 1961.

klapanja formi i pastuoznog namaza boje, Damnjan stvara otklon od sadržaja, slikarskog rukopisa, iluzije dubine i modelacije, stvarajući autonomno polje slike visoko zasićene bojene površine determinisane predstavom nje same. Posebno su interesantna i dva ciklusa Mrlje i Dezinformacije, u kojima Damnjan formalno najtradicionalniji oblik slikarstva ulje/akril na platnu suprotstavlja konceptualnom narativu. U prvom slučaju preispituje pitanje slikarskog rukopisa posredstvom motiva mrlje, dok u potonjem na monohromno platno ispisuje odrednicu o drugoj boji (npr. na belo oslikano platno slovima ispisuje crveno) potencirajući oprečnost vizuelnog i tekstualnog, transparentno tvrdeći kako svaki vidljiv sadržaj može biti potencijalno polje dezinformacije.

In Painting from 1968, which belongs to the tradition of hard-edge painting, expressiveness and subjectivity are reduced, biographical interpretation is disabled, and there are no illusions, metaphors nor symbols. By eliminating the object, the visible stroke of the brush, the overlapping of forms and the pasty spread of color, Damnjan moves away from the content, painting signature, illusion of depth and modeling, thus creating an autonomous field of painting of a highly saturated painted surface determined by the representation of itself. Two cycles, Stains and Misinformation, are particularly interesting. In them, Damnjan formally contrasts the most traditional form of oil/acrylic painting on canvas with a conceptual narrative. In the first case, he re-examines the issue of painting signature using a motif of stain, while in the latter he creates a determinant about another color on a monochrome canvas (e.g. he writes a word red on a white canvas), emphasizing the contrast between visual and textual, transparently claiming that any visible content can be a potential field of misinformation.

Početkom šezdesetih godina na beogradskoj umetničkoj sceni dolazi do slikarskog zaokreta u pogledu odnosa prema predmetu. Klima posle (anti)slikarstva enformela i drugih oblika apstraktnog izražavanja orijentiše se ka heterogenim vidovima promišljanja figurativnog i predmetnog predstavljanja, u skladu sa iskustvima američkog pop-arta i evropskog novog realizma. Pomeranje ka predmetu u domaćoj sredini kodifikuje Đorđe Kadijević 1966. godine organizovanjem izložbe Nova figuracija beogradskog kruga u Galeriji Kulturnog centra, na kojoj su učestvovali Radomir Reljić, Dragoš Kalajić, Dušan Otašević, Olja Ivanjicki i Bole Miloradović14. Ove umetnike, uprkos povezanosti sa poetikom nove figuracije, odlikovala je značajna heterogenost likovnog izražavanja uslovljena izrazito subjektivnim odnosom koji je svaki od njih pojedinačno gajio prema slici. Nakon završene Akademije likovnih umetnosti u Beogradu (1961, u klasi prof. Zorana Petrovića) i specijalnog tečaja (1963, u klasi prof. Zore Petrović i Mila Milunovića) Radomir Reljić stvara i unapređuje svoj likovni izraz, baziran na figuraciji imaginativne vizure akcentovane prisustvom humora, oporosti i cinizma15. Prišavši formiranju prizora sa stanovišta lične arheologije, subjektivno i istraživački, šezdesetih i početkom sedamdesetih Reljić dolazi do ciklusa Ratnički, Kako nastaju uspomene i Mitološki rečnik. Na slici Top i čikica iz 1964. godine, predstavljena su dva likovno samostalna prostora izdeljena crno-belim pojasom. Gornju zonu, izraženih ekspresivnih kvaliteta i pastuozno naglašene teksture nastanjuje čovekoliki pejzaž plave boje na braonkastoj pozadini, dok su se u donjoj dva motiva, top i čikica, našla suprotstavljena jedna drugom u apsurdnom i nelogičnom spoju. Top, kao atribut ratničkog, izveden je blagom krivudavom linijom narušavajući mu funkcionalni integritet. Na isti način realizovan je i čikica, ta figura u deminutivu koja vozi bicikl sa velikim prednjim i malim zadnjim točkom. Superponiranjem motiva malog (donja particija) motivu velikog (gornja particija) Reljić ukida svaku pomisao 14 Đorđe Kadijević, Nova figuracija beogradskog kruga, Galerija Kulturnog centra, Beograd, januar – februar 1966. 15 Nikola Šuica, Zora Petrović, Radomir Reljić : slike, akvareli, crteži, bakropisi, Galerija Srpske akademije nauka i umetnosti, Beograd, 1996, 9.

At the beginning of the 1960s, there was a shift on Belgrade art scene in terms of attitude towards the subject. The climate after (anti)painting of Informel and other forms of abstract expression was oriented towards heterogeneous types of deliberating on figurative and objective representation, in accordance with the experiences of American pop art and European new realism. Đorđe Kadijević codified the shift towards the subject in the domestic environment in 1966 by organizing the exhibition titled New Figuration of the Belgrade Circle at the Gallery of the Cultural Center, with the participation of Radomir Reljić, Dragoš Kalajić, Dušan Otašević, Olja Ivanjicki and Bole Miloradović15. These artists, despite their connection with the poetics of the new figuration, were characterized by a significant heterogeneity of artistic expression conditioned by a distinctly subjective relationship that each of them individually nurtured towards the painting. After graduating from the Academy of Fine Arts in Belgrade (1961, in the class of professor Zoran Petrović) and completion of a special course (1963, in the class of professor Zora Petrović and Milo Milunović), Radomir Reljić created and improved his artistic expression, based on the figuration of imaginative vision accentuated by humor, bitterness and cynicism16. Approaching the formation of scenes from the standpoint of personal archeology, subjectively and in a manner of research, in the 1960s and early 1970s, Reljić came up with the cycle Warriors, How Memories Are Created and Mythological Dictionary. In the painting Cannon and a Little Man from 1964, two artistically independent spaces separated by a black and white belt are presented. The upper zone, with pronounced expressive qualities and pasty accentuated texture, is inhabited by a human-like blue landscape of blue on a brownish background, while in the lower zone, two motifs, a cannon and a little man, are opposed to each other in an absurd and illogical combination. The cannon, as an attribute of a warrior, was 15 Đorđe Kadijević, New Figuration of the Belgrade Circle, Gallery of the Cultural Center, Belgrade, January – February, 1966. 16 Nikola Šuica, Zora Petrović, Radomir Reljić: paintings, watercolors, drawings, etchings, Gallery of the Serbian Academy of Sciences and Arts, Belgrade, 1996, 9. 31

detalj / detail Radomir Reljić (1938-2006), Top i čikica / Cannon and the Little Man, 1964.

na referento-realistički model predstavljačkog, zatim u repertoar koji je neprikosnoveno imaginaran uvodi dilemu i tenziju nataloženih metaforičkih poruka.

drawn with a slightly curved line, violating its functional integrity. The little man was drawn in the same way, a diminutive figure that rides a bicycle with a big front and a small rear wheel. By superimposing the motif of the small (lower partition) the motif of the large (upper partition), Reljić abolishes any thought of a referential-realistic model of representation, and then introduces the dilemma and tension of deposited metaphorical messages into the repertoire that is inviolably imaginary.

Slikarstvo koje to nije16 Dušana Otaševića tj. istraživanje konvencionalnog viđenja slike kroz preispitivanje klasičnih medijskih karakteristika, tehnika izvođenja i materijala inicijalno ostavlja posmatrača zbunjenog. Da li je posmatrani predmet slika, asamblaž ili skulptura? Iako ima slikarskih elemenata to nije slika, nije skulptura iako ima trodimenzionalni prostor, uprkos predstavljanju objekata iz svakodnevnice u pitanju nije dišanovski ready-made, jedno kompromisno rešenje može se naći u posmatranju ovih radova kao slika-objekata, ručno izvedenih unikatnih proizvoda, čija je struktura unapred detaljno osmišljena i skicirana, sa predviđenom umetničkom, a ne utilitarnom namenom17. Negujući manuelni pristup radu, obavljanjem akcija poput testerisanja, sklapanja, lepljenja, šmirglanja, poliranja i farbanja, Otašević ambivalentno varira između prostora umetnosti i ne-umetnosti. On stvara otklon od duboko subjektivnog, improvizatorskog pristupa, demistifikuje umetničku kičicu farbanjem, eliminiše vidljiv potez, gest i ekspresiju. Tematski siže preuzima iz svakodnevnice, ali način na koji ih implementira u svoj rad nije dišanovski, on preuzeti predmet ili sagrađen objekat ne proglašava umetničkim delom uz eliminaciju prvobitnog značenja predmeta. On svoj predmet gradi, interveniše na njemu, očekivajući da posmatrač zadrži svest i razmišlja o primarnom značenju prikazanog motiva. Diptihom More! More! iz 1984. godine, na dve drvene ploče skoro kvadratne razmere u sredinu kompozicije aplicira po jednu dasku wc šolje, od kojih je jedna otvorena i u čijoj se unutrašnjosti vidi morski horizont sa oblacima iznad, dok je druga forma zatvorena. Razigrana dualnost između izabranih motiva i indikativnog naslova gradi višeslojnu narativnu asocijativnost. Ukoliko posmatramo mehanizam otvaranja/zatvaranja daske poput prozora, a pogled ka moru kao pejzaž, primetićemo sugestivno koketiranje sa kritikom tehnike iluzionističkog slikarstva. Polaganjem daske na platno on proizvodi taktilan 16 Branislav Dimitrijević, Dušan Otašević : popmodernizam : retrospektivna izložba 1965–2003, Muzej savremene umetnosti, Beograd, 2003, 13. 17 Ješa Denegri, Teme srpske umetnosti – srpska umetnost 1950– 2000 – ‘50 ‘60, Fondacija Kolekcija Trajković, Beograd, 2019, 279– 284.

Painting that is not17 by Dušan Otašević, that is, exploring the conventional view of the painting through re-examining the characteristics of classical media, performance techniques and materials initially leaves the viewer confused. Is the observed object a painting, an assemblage or a sculpture? Although there are some elements of a painting, it is not a painting; it is not a sculpture, although it occupies three-dimensional space. In spite of representation of objects from everyday life it is not a ready-made in the style of Duchamp. A compromise may be found in viewing these works as paintings-objects, handmade unique products, whose structure is designed and sketched in detail in advance, with the intended artistic, and not utilitarian purpose18. By nurturing a manual approach to work, by performing actions such as sawing, assembling, gluing, sanding, polishing and painting, Otašević moves ambivalently between the space of art and non-art. He moves away from a deeply subjective, improvisational approach, demystifies the artistic brush by painting, eliminates visible move, gesture and expression. He takes the thematic summary from everyday life, but the way in which he implements them in his work is not in the style of Duchamp, he does not declare the taken object or the built object a work of art with the elimination of the original meaning of the object. He builds his object, intervenes on it, expecting the observer to retain consciousness and think about the primary meaning of the presented motive. With the diptych titled The Sea! The Sea! from 1984, on two wooden panels of almost square size, he applies one toilet seat in the middle of the composition, one of which is open and inside of which one can see the sea horizon with clouds above, while the other form is closed. The playful duality between the chosen motifs and the indicative title builds a multi-layered narrative associativity. If we observe the mechanism of opening/closing the seat like a window, and the view of the sea as a landscape, we will notice a suggestive coquetry with a critique of the technique of illusionist painting. By laying the seat on the canvas, he produces 17 Branislav Dimitrijević, Dušan Otašević: Popmodernism: A Retrospective Exhibition 1965–2003, Museum of Contemporary Art, Belgrade, 2003, 13. 18 Ješa Denegri, Themes in Serbian Art – Serbian Art 1950–2000 – ‘50 ‘60, Foundation Collection Trajković, Belgrade, 2019, 279–284. 33

detalj / detail Dušan Otašević (1940), More! More! / Sea! Sea!, 1984.

trodimenzionalni prostor, braneći autonomnost slikarstva od stvaranja privida tri dimenzije na dvodimenzionalnoj površini.

a tactile three-dimensional space, defending the autonomy of painting from the creation of the illusion of three dimensions on a two-dimensional surface.

U zbirci Marjanović kapitalnim delima zastupljeni su pripadnici tzv. Pariskog kruga: Petar Omčikus, Dado Đurić, Ljuba Popović i Vladimir Veličković, umetnici koji su nakon rata obnovili kontinuitet srpsko-jugoslovenskog prisustva u likovnom životu Pariza i Francuske. Petar Omčikus, za generaciju stariji od ostalih pomenutih autora, u Pariz stiže 1951. nakon prve samostalne izložbe održane u Beogradu. U evropskoj prestonici njegov opus proživljava presudne transformacije. Započeta istraživanja likovnosti, putem ritma i umnožavanjem motiva, u Parizu privodi kraju apstrahovanjem predmetnog motiva. Postignute rezultate tada izlaže na Majskom salonu 1955. godine, gde ga primećuje ugledni likovni kritičar Mišel Sefor koji će ga potom uvrstiti u svoju knjigu Rečnik apstraktnog slikarstva18. Nedozvoljavajući da ga sigurnost pozitivne kritike i prepoznavanja od strane stručne javnosti ukalupe, iz lirske Omčikus prelazi u gestualnu apstrakciju blisku poetici postenformela. Konstantno preispitivanje i traganje 1963. godine vraćaju ga figuri, na kojoj primenjuje celokupno stečeno iskustvo apstraktne slike (ekspresivan potez, pastuoznu teksturu, modeliranje forme bojom...). Motive, poput Kaluđerica, bira na osnovu vizuelnih kvaliteta, koje zatim bez narativnih asocijacija prevodi u likovno delo. Serija Zagađenja, s početka sedamdesetih godina, pripada ciklusu silovito slikarstvo, kako ga naziva Rene de Solije19. Angažovani bunt nedvosmisleno iskazan specifičnom atmosferom, do koje dolazi plošnim nanosom boje i korišćenjem lividnih20 boja, kritika je i potreba Petra Omčikusa da aktivno učestvuje u društvu i skrene pažnju na štetne posledice ljudskog delovanja. Motivom dimnjaka sa krovova Pariza on koketira sa istorijom umetnosti, aludirajući na impresionističke urbane pejzaže Gistava Kijebota (fr. Gustave Caillebotte) ili intimističke prizore Peđe Milosavljevića, apostrofirajući aktuelnu situaciju za koju je davno prošlo vreme fascinacije industrijskom revolucijom.

18 Pismo je reprodukovano u: A. Maletić, Č. Marinković, Petar Omčikus – stvaralačka spirala, Arte Media, Beograd, 2021, 348. 19 René de Solier, Peinture violente. Pierre Omcikous, Paris, 1972. 20 Lat. lividus: olovne, modre boje nastale kombinovanjem plave i sive.

Members of the so-called Parisian Circle: Petar Omčikus, Dado Đurić, Ljuba Popović and Vladimir Veličković, artists who, after the war, renewed the continuity of the Serbian-Yugoslav presence in the artistic life of Paris and France, are presented in the Marjanović collection with their capital works. Petar Omčikus, a generation older than the other authors mentioned, arrived in Paris in 1951 after his first solo exhibition in Belgrade. In this European capital, his oeuvre underwent some crucial transformations. He began his research into fine arts, through rhythm and the multiplication of motifs, and completed it in Paris by abstracting the subject motif. He then exhibited the achieved results at the May Salon in 1955, where he was noticed by the eminent art critic Michel Seuphor, who would then include him in his book, The Dictionary of Abstract Painting19. Not allowing the certainty of positive criticism and recognition by the professional public to mold him, Omčikus moves from the lyrical to a gestural abstraction close to the poetics of post-Informel. Constant re-examination and searching in 1963 brought him back to the figure, to which he applied the entire acquired experience of abstract painting (expressive stroke, pasty texture, color modeling...). He chose motifs, such as The Nuns, on the basis of visual qualities, which he then translated into a work of art without narrative associations. The Pollution series, from the beginning of the 1970s, belongs to the cycle of violent painting, as René de Solier 20 calls it. The engaged revolt, unequivocally expressed by the specific atmosphere, which occurs through the flat coat of paint and the use of livid21 colors, is the critique and the need of Petar Omčikus to actively participate in a society and draw attention to the harmful consequences of human actions. With the motif of chimneys from the roofs of Paris, he flirts with art history, alluding to the impressionist urban landscapes of Gustave Caillebotte or the intimate scenes of Peđa Milosavljević, emphasizing the current situation for which the time of fascination with the industrial revolution has long passed. 19 The letter was reproduced in: A. Maletić, Č. Marinković, Petar Omčikus – A Creative Spiral, Arte Media, Belgrade, 2021, 348 20 René de Solier, Peinture violente. Pierre Omcikous, Paris, 1972 21 Lat. lividus: Bluish colors, similar to lead, created by combining blue and grey. 35

detalj / detail Petar Omčikus (1926-2019), Zagađenje IV / Pollution IV, 1971.

„Sažimanje svih mojih iskustava je likovni odgovor u pogledu sve veće ugroženosti čovekove sadašnjice. Zagađenost sveg i svačega, neko čudno nebo bez vazduha predstavljaju na mojoj slici krovovi, buba-švabe ostvareni neutralnim tonovima.”21

“Summarizing all my experiences is an artistic response in terms of the growing threat to the present-day humanity. Pollution of various things, some strange sky without air are represented in my painting by roofs, cockroaches, created in neutral tones.”22

21 M. Popović, „Ugrožena okolina čoveka”, Ekspres politika, 23. oktobar 1972.

22 M. Popović, „Endangered Human Environment”, Ekspres politika, October 23, 1972

Miodrag Dado Đurić, nakon završene Akademije likovnih umetnosti u Beogradu, u Pariz odlazi uz pomoć mentora Marka Čelebonovića 1956. godine. Tamo će mu do kraja šeste decenije biti organizovana prva samostalna izložba, u galeriji Danijel Kordije čiji će vlasnik postati prodavac i kolekcionar njegovih dela. Do kraja sledeće decenije radovi su mu bili otkupljeni od strane značajnih institucija u SAD, u Parizu mu je organizovana retrospektivna izložba u Nacionalnom centru savremene umetnosti 1970. godine, iste godine Stedelijk muzej u Amsterdamu kupuje tri Dadove slike, dok sledeće godine Dado ulazi u kolekciju Muzeja Boijmans van Beuningen u Roterdamu. Do kraja osme decenije Dadovi radovi nalaze svoje mesto i u Centru Pompidu i muzeju Solomon R. Gugenhajm u Njujorku22. Predstave koje se pojavljuju na Dadovim slikama sinhronizovane su sa poetikom nadrealizma, koju autor somnabulno crpi iz podsvesti i automatizmom definisanog slikarskog rukopisa prevodi na platno. On posmatraču nudi raznoliki materijal vizuelnih činjenica, sa dovoljno elemenata figurativno-prepoznatljivog, koje mogu biti interpretirane na različite načine, iz potpuno subjektivnih pozicija, mahom bez ikakvih ograničenja. Dado ne usmerava, ne definiše konkretnu informaciju, namenski nudi nazive bez informacija i kao takve integriše ih u deo prizora imaginarnog sveta njegove umetnosti u kome obitavaju bića deformisane, disproporcionalne, mineralno-animalno-vegetativne anatomije otvorenog potkožnog tkiva. Ambijent i atmosferu, uprkos pojavi određenih arhitektonskih formi, gradi koloritom tj. specifičnom pastelnom paletom u kojoj dominiraju ružičasta i plava boja. Sedamdesete godine dvadesetog veka istoriografija prepoznaje kao zenit stvaralaštva Ljube Popovića o čemu posredno svedoči i činjenica da su, u rasponu između 1970. i 1975. (kada su naslikane dve slike iz Kolekcije), bile publikovene čak dve Ljubine monografije (René de Solier, Ljuba, Paris, Le Musée de Poche, 1971; Alain Bosquet, Ljuba, Bruxelles, La Connaissance, 1974). Takođe, njegovo ime se tada spominje i u mnogim stručnim tekstovima koji su se bavili likovnom fantastikom, francuskom savremenom umet22 Dado, Anne Tronche, Amarante Szidon, Dado, Peindre debout : entretiens, 1969–2009, L’Atelier contemporain, Strasbourg, 2016.

Miodrag Dado Đurić, after graduating from the Academy of Fine Arts in Belgrade, went to Paris with the help of his mentor Marko Čelebonović in 1956. His first solo exhibition would be organized there by the end of the sixth decade of the 20th century, at the Daniel Cordier Gallery, whose owner would become the seller and collector of his works. By the end of the next decade, his works had been purchased by important institutions in the United States, a retrospective exhibition had been organized in Paris at the National Center for Contemporary Art in 1970, the same year when the Stedelijk Museum in Amsterdam bought three of Dado’s paintings. The following year, Dado’s works were included in the Boijmans van Beuningen Museum collection in Rotterdam. By the end of the eighth decade, Dado’s works had found their place in both the Pompidou Center and the Solomon R. Guggenheim Museum in New York City23. The representations that appear in Dado’s paintings are synchronized with the poetics of surrealism, which the author somnanbulistically draws from the subconscious and automatically translates the painter’s signature into canvas. It offers the observer a variety of material of visual facts, with enough elements of the figurative-recognizable, which can be interpreted in different ways, from completely subjective positions, mostly without any restrictions. Dado does not direct, he does not define specific information, he purposefully offers names without information and as such integrates them into a part of the scene of the imaginary world of his art, inhabited by beings of deformed, disproportionate, mineral-animal-vegetative anatomy, with open subcutaneous tissue. The ambience and atmosphere, despite the appearance of certain architectural forms, are built with color, i.e. by means of a specific pastel palette dominated by pink and blue. Historiography recognizes the 1970s as the zenith of Ljuba Popović’s work, which is indirectly evidenced by the fact that, between 1970 and 1975 (when two paintings from the Collection were painted), as many as two of Ljubo’s monographs were published (René de Solier, Ljuba, Paris, Le Musée de Poche, 1971; Alain 23 Dado, Anne Tronche, Amarante Szidon, Dado, Peindre debout : entretiens, 1969–2009, L’Atelier contemporain, Strasbourg, 2016. 37

detalj / detail Miodrag Đurić Dado (1933-2010), Bez naziva / Untitled, 1972.

nošću, pitanjima erotike u slikarstvu, vizionarstvu.... Između ostalog o Ljubi se piše i u Enciklopediji nadrealizma Renea Pasrona (René Passeron, Encyclopédie du surréalisme, Paris, Somogy, 1975). Poigravanjem sa nazivima (Kosmička svest, Soba u Firenci), uvodeći repertoar prepoznatljivih motiva (figure, arhitektonske forme), Ljuba nudi posmatraču dovoljno elemenata da ga intrigira i uvede u aktivan odnos traganja i analiziranja slike. Proučavajući metamorfoze bića, mnoštvo minuciozno obrađenih usitnjenih formi, kolorističke harmonije, jednoglasno se samo može doneti sud o uplivu nesvesnih procesa i duboko subjektivnog odnosa umetnika prema svom delu, kome cilj nije bio da posmatrač prepozna, da mora da bude učen da bi razumeo, već da doživi beskrajne mogućnosti subjektivnog pogleda.

Bosquet, Ljuba, Brussels, La Connaissance, 1974). Also, his name is then mentioned in many professional texts dealing with fantasy in art, French contemporary art, issues of eroticism in painting, visionary ideas... Ljuba was also mentioned in the Encyclopedia of Surrealism by René Passeron (René Passeron, Encyclopédie du surréalisme, Paris, Somogy, 1975). By playing with names (Cosmic Consciousness, A Room in Florence) and introducing a repertoire of recognizable motifs (figures, architectural forms), Ljuba offers the viewer enough elements to intrigue him and introduce him to an active relationship of searching and analyzing the painting. By studying the metamorphoses of beings, the multitude of meticulously processed fragmented forms, coloristic harmony, one can only unanimously judge the influence of unconscious processes and the artist’s deeply subjective attitude towards his work, whose goal was not for the observer to recognize, to have to be learned to understand, but to experience the endless possibilities of the subjective view.

detalj / detail Vladimir Veličković (1935-2019), Stub / Column, 1963.

Vladimir Veličković će, nakon završenih studija na Arhitektonskom fakultetu u Beogradu i boravka u Zagrebu gde je bio saradnik Majstorske radionice Krste Hegedušića, otići u Pariz 1966. godine kao laureat pariskog Bijenala mladih. Nakon nepune dve decenije aktivnog delovanja u francuskoj sredini, 1983. godine, Veličković je postao profesor na École Nationale Supérieure des Beaux-Arts, a kasnije 2007. će biti i odlikovan najvišim francuskim priznanjem iz oblasti kulture i umetnosti Commandeur dans l’ordre des Arts et des Lettres23.

After graduating from the Faculty of Architecture in Belgrade and his stay in Zagreb, where he was an associate at Krsto Hegedušić’s Master Workshop, Vladimir Veličković went to Paris in 1966 as a laureate of the Paris Youth Biennale. After less than two decades of active work in the French environment, in 1983, Veličković became a professor at the École Nationale Supérieure des Beaux-Arts, and later in 2007 he was awarded the highest French recognition in the field of culture and art, Commandeur dans l’ordre des Arts et des Lettres24.

Delo Stub iz 1963. godine prethodi odlasku u Pariz, stilski gravitirajući između tamnih i skučenih podruma s kraja pedesetih i velikih formata na kojima se odvija eksplozija figure i boja iz druge polovine šezdesetih. Ostajući dosledan uznemiravajućoj atmosferi ranijih radova, u distopijski pejzaž vertikalne kompozicije rešene oko centralnog motiva smešta epilog tragičnog slikarskog impulsa. Disproporcionalno velika figura

His work from 1963, “Column”, precedes his departure for Paris, stylistically gravitating between dark and cramped basements from the late 1950s and large formats with the explosion of figures and colors from the second half of the 1960s. Remaining consistent with the disturbing atmosphere of his earlier works, he places the epilogue of a tragic painting impulse in the dystopian landscape with a vertical composition

23 Grupa autora, Veličković / Omaž Vladimiru Veličkoviću, ARTE galerija, Beograd, 2020, 165.

24 A group of authors, Veličković/ A Hommage to Vladimir Veličković, ARTE Gallery, Belgrade, 2020, 165. 39

ljudskog naličja koja leži na vrhu stuba ima kapacitet da šokira posmatrača i danas, više od pola veka od svog nastanka. Ona je na umoru, telesno tkivo joj se raspada, uprkos zapečaćenoj sudbini nju i dalje napadaju minijaturne ptičice od kojih je pusto prirodno stanište napravilo lešinare. Crtačka preciznost i sklonost ka detalju ne dozvoljavaju da se celokupan sadržaj iscrpi jednim pogledom, međutim i nakon predanog posmatranja nije jednostavno spoznati izvor poetske metaforičnosti Veličkovićevog umetničkog identiteta. „(...) u njegovom slučaju (se) radi o jednoj prinudnoj inspiraciji (...) on vidi ono što mora da vidi”24.

24 Раде Константиновић, Kаталог изложбе 8 сликара, Дубровник, Умјетничка галерија 20. 7 – 15. 9. 1963. 40

around the central motif. The disproportionately large human figure lying at the top of the pillar has the capacity to shock the observer even today, more than half a century after its creation. She is dying, her body tissue is falling apart, and despite the fact that her destiny is sealed, she is still being attacked by miniature birds, which the desolate natural habitat turned into vultures. Drawing precision and propensity for detail do not allow the entire content to be exhausted at a glance, however, even after dedicated observation, it is not easy to grasp the source of the poetic metaphors of Veličković’s artistic identity. “(...) in his case (it is) a matter of forced inspiration (...) he sees what he must see”25

25 Rade Konstantinović, Exhibition Catalogue 8 Painters, Dubrovnik, Art Gallery, July 7 – September 15, 1963.

detalj / detail Dušan Džamonja (1928-2009), Metal Sculpture-24, 1960.

Zbirka skulptura porodice Marjanović broji pedesetak dela, nastalih u rasponu od 1913. do 2015. godine. Vajarska riznica radova nastalih u prvoj polovini XX veka čoveka u obliku figuralne predstave stavlja u centar svog interesovanja. Među ženskim i muškim portretima, aktovima i vojskovođama, posebno se ističe bista suzdržanog i monumentalnog izraza Portret prijatelja Sretena Stojanovića. Potom dolaze radovi Ane Bešlić, Olge Jevrić, Aleksandra Srneca, Dušana Džamonje, Miodraga Živkovića i Ota Loga na najreprezentativniji način mapiraju vizionarski karakter jugoslovenske vajarske scene nakon Drugog svetskog rata. U pitanju su autori koji su kao početni impuls svog stvaralačkog procesa podrazumevali preispitivanje tradicionalnog poimanja skulpture. Oni su kroz apstrahovanje i apstrakciju, uvođenje netradicionalnih materijala i iznalaženje novih načina njihove obrade postigli nova likovna rešenja.

The collection of sculptures of the Marjanović family includes about fifty artworks, created between1913 and 2015. This sculptural treasury created in the first half of the 20th century puts a human in the center of his interest in a form of a figural representation. Among female and male portraits, nudes and military leaders, the one which stands out is a bust of a restrained and monumental expression Portrait of a Friend by Sreten Stojanović. There are also works of Ana Bešlić, Olga Jevrić, Aleksandar Srnec, Dušan Džamonja, Miodrag Živković and Oto Logo, which in the most representative way map the visionary character of the Yugoslav sculpture scene after the Second World War. These are the authors whose initial impulse of the creative process was re-examining the traditional notion of a sculpture. They achieved new artistic solutions through abstraction, introduction of non-traditional materials and finding new ways of their processing.

Dve skulpture Dušana Džamonje iz 1958. i 1960. godine, izvedene osobenom tehnologijom spajanja tradicionalnog i netradicionalnog skulptorskog materijala (drveta i metala-eksera), predstavljaju radikalno novu mogućnost građenja skulpture postupkom spaljivanja.

Two sculptures by Dušan Džamonja from 1958 and 1960, made with a special technology of joining traditional and non-traditional sculptural material (wood and metal-nails), represent a radically new possibility of building a sculpture by burning. Through the process of riveting 41

Procesom sačinjenim iz zakivanja eksera u drvo, spaljivanja drvenog jezgra i razmekšavanja glave eksera vatrom, potom patiniranja eksera i obrađivanja površine drveta (1958), a kasnije i potpunim uništavanjem drvenog jezgra (1960) Džamonja dolazi do izrazito taktilnih, vizuelnih, intelektualnih i emocionalnih vrednosti skulptura25 u kojima materijal postaje nosilac sadržaja.

nails to wood, burning the wooden core and softening the nail by fire, then patinating the nails and treating the surface of the wood (1958), and later with the complete destruction of the wooden core (1960), Džamonja comes to the extremely tactile, visual, intellectual and emotional values of the sculptures26 in which the material becomes the carrier of the content.

Skulpture izvedene ovom tehnikom Džamonja će izlagati na XXX Bijenalu u Veneciji 1960. godine, kada pored interesovanja stručne javnosti (o njegovim radovima su pisali istaknuti likovni kritičari26), dobija priliku da izlaže u značajnim evropskim centrima umetnosti poput Milana, Ciriha i Pariza, njegovi radovi takođe bivaju otkupljeni od strane predstavnika Muzeja moderne umetnosti u Njujorku (MOMA), TATE galerije u Londonu, Peggy Guggenheim kolekcije u Veneciji, što označava afirmaciju umetnika na evropskoj i svetskoj umetničkoj sceni.

Sculptures made with this technique were exhibited by Džamonja at the XXX Biennale in Venice in 1960, when, in addition to the interest of the professional public (prominent art critics wrote about his works27), he got the opportunity to exhibit in the important European art centers, such as Milan, Zurich and Paris. His works were purchased by the representatives of the Museum of Modern Art in New York (MOMA), the TATE Gallery in London, the Peggy Guggenheim collection in Venice, which marked the affirmation of the artist on the European and world art scene.

Kinetička skulptura Aleksandra Srneca iz 1974. godine, izvedena u visokopoliranom nerđajućem čeliku u formi upisanih petouglova, modulira otvoren prostor naizgled statičnim površinama kojima Srnecov analitički duh daje mogućnost rotacije. Njegovo delo se ne oslanja na principe ravnoteže, čijim se narušavanjem postiže mobilnost, već se pokreće posredstvom ugrađenog elektromotora. Fuzijom umetnosti čiste forme i tehnologije, doživljaj posmatrača obogaćen je novom logikom pogleda na koncepte vremena i prostora.

Alexander Srnec’s Kinetic sculpture from 1974, made of highly polished stainless steel in the form of inscribed pentagons, modulates the open space with seemingly static surfaces to which Srnec’s analytical spirit gives the possibility of rotation. His work does not rely on the principles of balance, by which violation mobility is achieved, but is driven by a built-in electric motor. With the fusion of art of pure form and technology, the experience of the observer is enriched with a new logic of looking at the concepts of time and space.

Napustivši tradiciju figuracije Oto Logo postepenom stilizacijom forme tokom šezdesetih godina sve više radi na pročišćavanju svog dela od nelikovnih elemenata. Dva, uslovno rečeno, portreta (Portret mašine 8, 1975. i Portret ptice 4, 1989) iz Kolekcije Marjanović, problematizuju koncept podražavanja apstraktnom izvedbom anatomije forme. Iako izvedena klasičnim postupkom odlivanja u bronzi, sa nominalno tradicionalnom temom, Logova dela glatkih crno-zlatnih fizionomija odstupaju od očekivanog prizora, rušeći klasično shvaćenu temu.

Leaving the tradition of figuration, Oto Logo gradually stylized his form during the 1960s, increasingly working on purifying his work from non-artistic elements. Two portraits (Portrait of a Machine 8, 1975 and Portrait of a Bird 4, 1989) from the Marjanović Collection, problematize the concept of imitation with an abstract performance of the anatomy of form. Although performed by the classical process of casting in bronze, with a nominally traditional theme, Logo’s works of smooth black and gold physiognomy deviate from the expected sight, destroying the classically understood theme.

25 Miodrag B. Protić, Katalog izložbe Džamonja, Moderna galerija Beograd, 16 decembar – 5. januar 1962. 26 Ана Ереш, Југославија на Венецијанском бијеналу (1938– 1990). Културне политике и политике изложбе, Галерија Матице српске, Нови Сад, 2020, 165.

26 Miodrag B. Protić, Catalogue of the exhibition Džamonja, Modern Gallery Belgrade, December 16 - January 5, 1962. 27 Ana Ereš, Yugoslavia at the Venice Biennale (1938–1990). Cultural Policies and Exhibition Policies, Matica Srpska Gallery, Novi Sad, 2020, 165.

Dela Mrđana Bajića, Generalštab i Sirija, nose sve elemente karakteristične za skulpture pomenutog autora. Reč je o radovima koji su detaljno i dobro promišljeni, koji imaju jasno definisanu prostornost, moguće ih je obići u potpunosti i iz svakog ugla one imaju svoju pojavnost. Izvedena su od kombinacije savremenih industrijskih materijala poput metala, čelika, aluminijuma, pleksiglasa i sl. koji se koriste u vremenu kada radovi nastaju. Sadržaj radova komunicira teme koji nas okružuju i upućuje posmatrača na bavljenje pitanjima koja manje ili više utiču na naš život, potvrđujući Bajića kao aktivnog učesnika vremena u kome živi. Prikaz destrukcije i stradanja bez eksplicitnosti karakteristične za direktno i necenzurisano informisanje, uz fikcionalnog lika naslonjenog na (i dalje čitavu) građevinu i uplakanu figuru, primeri su slike rata (a u nekim slučajevima i „samo” vojne intervencije) dvadeset prvog veka. Daleko od herojskog i patriotskog, antiratni aktivizam ovde prati poetiku suptilnog i intimnog protesta.

The works of Mrđan Bajić, General Staff and Syria, carry all the elements characteristic of the sculptures of the mentioned author. These artworks are well thought out paying attention to details, they have clearly defined space, it is possible to observe them completely and from every angle they have specific appearance. They are made of a combination of modern industrial materials, such as metal, steel, aluminum, plexiglass, etc. which were used at the time the works were created. The content communicates the themes that surround us and directs the observer to deal with issues that more or less affect our lives, confirming Bajić as an active participant in the time in which he lives. Depiction of destruction and suffering, without the explicitness characteristic of direct and uncensored informing, with a fictional character leaning on a building and a weeping figure, are examples of the war (and in some cases “only” military intervention) of the 21st century. Far from heroic and patriotic, anti-war activism follows the poetics of a subtle and intimate protest. detalj / detail Mrđan Bajić (1957), Sirija / Syria, 2014/15.

Jedna od najvažnijih srpskih privatnih kolekcija Kolekcija Marjanović formirana je decenijama i danas sadrži neke od najznačajnijih primera jugoslovenske i srpske umetnosti. Jedinstvena po karakteru, ona oslikava selektivan i eklektičan duh kolekcionara oštrog i osetljivog pogleda, koji su svoju pažnju usmerili pretežno na posleratnu umetnost, sa posebnom naklonošću prema delima (predratnog) Milana Konjovića, (predratnog i posleratnog) Ivana Tabakovića, Petra Lubarde, Radomira Damnjanovića Damnjana i Mrđana Bajića. Zajedno sa delima drugih autora, zbirka odražava mnoštvo dešavanja koja su se odvijala tokom dvadesetog veka i svedoči o eruditskoj viziji njenog tvorca. Sposobnost predmeta da akumulira i komunicira prošlost, određeni istorijski i kulturni identitet, kao i da vremenom konstantno nadograđuje svoje značenje, predstavlja jednu od mogućih perspektiva koja objašnjava fascinaciju gajenu prema posedovanju umetničkih dela. Nezavisno od konteksta posmatranja ova sredstva vizuelne komunikacije, bilo da su deo privatne ili javne svojine, potvrđuju sistem vrednosti, ideje i dostignuća sa kojma pojedinac ili grupa žele da se identifikuju. Formirajući kolekciju, individua u postojeće poruke učitava svoj senzibilitet stvarajući mikrokosmos kojim nadživljuje svoju smrt (kolekcija postaje deo kolekcionara i obrnuto). Izlaganjem radova jedne privatne kolekcije materijalizuje se neraskidiva veza vlasnika i dela, čija želja za posedovanjem ne isključuje potrebu za deljenjem. Prikazivanjem zbirke želimo da približimo uzbudljivost života sa umetnošću, ali i da ukažemo duboko poštovanje aktivnostima posvećenika koji su uložili nezanemarljive napore i angažovanje preuzevši inicijativu akviziranja, negovanja i afirmisanja likovnog nasleđa.

One of the most important Serbian private collections, the Marjanović Collection, was formed decades ago and today contains some of the most significant examples of Yugoslav and Serbian art. Unique in character, it depicts the selective and eclectic spirit of the collectors with a sharp and sensitive eye, who focused their attention mainly on post-war art, with a special fondness for the works of (pre-war) Milan Konjović, (pre-war and post-war) Ivan Tabaković, Petar Lubarda, Radomir Damnjanović Damnjan and Mrđan Bajić. Together with the works of other authors, the collection reflects a multitude of events which took place during the twentieth century and testifies to the erudite vision of its creator. The ability of an object to accumulate and communicate the past, a certain historical and cultural identity, as well as to constantly upgrade its meaning over time, is one of the possible perspectives, explaining the fascination nurtured towards owning works of art. Regardless of the context of observation, these means of visual communication, whether part of a private or public property, confirm the system of values, ideas and achievements with which an individual or group wants to identify. By forming a collection, an individual introduces his sensibility into existing messages, creating a microcosm by which he survives his own death (the collection becomes part of the collector and vice versa). By exhibiting the works of a private collection, an unbreakable bond between the owner and the work is materialized, whose desire for possession does not exclude the need for sharing. By presenting the collection, we want to bring closer the excitement of life with art, but also to show deep respect for the activities of devotees who have invested considerable efforts and engagement by taking the initiative to acquire, nurture and affirm artistic heritage.

KATALOG RADOVA CATALOGUE OF WORKS

1. Nadežda Petrović (1873-1915), Portret mladića / Portrait of A Young Man, 1901, tempera na kartonu / tempera on cardboard, 43 x 31 cm

2. Jovan Bijelić (1884-1964), Prometej / Prometheus, 1919, ulje na platnu / oil on canvas, 95 x 63 cm

3. Jovan Bijelić (1884-1964), Kula u Jajcu / Tower in Jajce, 1925-6, ulje na platnu / oil on canvas, 71 x 90 cm

4. Ivan Radović (1894-1973), Spomenik ljubavi / A Monument to Love, 1920, tuš, akvarel, tempera na kartonu / ink, water colours, tempera on cardboard, 34 x 44 cm

5. Ivan Radović (1894-1973), Jahači / Riders, oko / around 1920, tuš, akvarel, tempera na kartonu / ink, water colours, tempera on cardboard, 25 x 32 cm

6. Ivan Radović (1894-1973), Autoportret / Self Portrait, oko/around 1935, ulje na platnu / oil on canvas, 30 x 28 cm

7. Marino Tartalja (1894-1984), Mali akt / Little Nude, 1960, ulje na kartonu / oil on cardboard, 40 x 34 cm

8. Mihailo Petrov (1902-1983), Sedam linoreza / Seven Linocuts, 35 x 50 cm 1 Autoportret / Self portrait, 1921. 2 Posveta zenitizmu / Homage to Zenitism, 1921. 3 Ritam / Rhytm, 1921. 4 Predeo / Landscape, 1921. 5 Začarani krug / Enchanted Circle, 1922. 6 Kompozicija II / Composition II, 1922. 7 Mostovi i drumovi / Bridges and Roads, 1922.

9. Milan Konjović (1898-1993), Jorgovan / Lilacs, 1930, ulje na platnu / oil on canvas, 73 x 60 cm

10. Milan Konjović (1898-1993), Riba / Fish, 1931, ulje na platnu / oil on canvas, 54 x 65 cm

11. Milan Konjović (1898-1993), Breskve / Peaches, 1932, ulje na platnu / oil on canvas, 50 x 73 cm

12. Milan Konjović (1898-1993), Autoportret / Self Portrait, 1935, ulje na platnu / oil on canvas, 65 x 50 cm

13. Milan Konjović (1898-1993), Ema u bašti / Ema in the Garden, 1935, ulje na platnu / oil on canvas, 73 x 92 cm 60

14. Milan Konjović (1898-1993), Tončika na pivu / Tončika Having Beer, 1938, ulje na platnu / oil on canvas, 38 x 46 cm

15. Milan Konjović (1898-1993), Soba u Cavtatu / Room in Cavtat, 1938, ulje na platnu / oil on canvas, 51 x 44 cm

16. Milan Konjović (1898-1993), Kosta Strajnić, 1938, ulje na platnu / oil on canvas, 55 x 46 cm

17. Milan Konjović (1898-1993), Konavljanka / Woman from Konavle, 1938, ulje na platnu / oil on canvas, 55 x 46 cm

18. Milan Konjović (1898-1993), Sahrana / Funeral, 1942, ulje na kartonu / oil on cardboard, 38 x 46 cm

19. Milan Konjović (1898-1993), Studija prosjaka I / Study of Baggers I, 1942, tempera na kartonu / tempera on cardboard, 80 x 62 cm

20. Ivan Tabaković (1898-1977), Školjka / Shell, 1930, ulje na kartonu / oil on cardboard, 35 x 45 cm

21. Ivan Tabaković (1898-1977), Seoski vašar / Country Fair, 1932, ulje na kartonu / oil on cardboard, 35 x 45 cm

22. Ivan Tabaković (1898-1977), Autoportret / Self Portrait, oko/around 1940, ulje na platnu / oil on canvas, 36 x 27 cm

23. Ivan Tabaković (1898-1977), Glava mladića / Head of A Young Man, oko/around 1960, ulje na kartonu / oil on cardboard, 21 x 17 cm

24. Ivan Tabaković (1898-1977), Fragment glave / Fragment of a Head, 1950, ulje na platnu / oil on canvas, 22 x 29 cm

25. Ivan Tabaković (1898-1977), Putokaz / Road Sign, 1957, ulje na platnu / oil on canvas, 70 x 68 cm

26. Ivan Tabaković (1898-1977), Kosmonaut I / Astronaut I, oko / around 1959, olovka na papiru / pencil on paper, 90 x 60 cm

27. Ivan Tabaković (1898-1977), Igra svetla / Play of Light, oko/around 1960, ulje na kartonu / oil on cardboard, 42 x 34 cm

28. Ivan Tabaković (1898-1977), Self Exilers, 1965, kolaž / collage, 50 x 40 cm

29. Ivan Tabaković (1898-1977), Filozof / Philosopher, 1965, kolaž / collage, 50 x 40 cm

30. Ivan Tabaković (1898-1977), Svetlo i senke / Light and Shadows, 1967, ulje na platnu / oil on canvas, 90 x 137 cm

31. Ivan Tabaković (1898-1977), Svitanje / Dawn, oko / around 1967, olovka na papiru / pencil on paper, 65 x 145 cm

32. Ivan Tabaković (1898-1977), Bez naziva / Untitled, šezdesete / sixties, keramika na dasci / ceramics on wood, 36 x 34 cm

33. Petar Lubarda (1907-1974), Narovi / Pomegranates, 1949, kombinovana tehnika na papiru / mixed technique on paper, 15 x 12 cm

34. Petar Lubarda (1907-1974), Sutjeska, oko/around 1956, ulje na platnu / oil on canvas, 70 x 145 cm

35. Petar Lubarda (1907-1974), Sutjeska, 1950, ulje na platnu / oil on canvas, 46 x 55 cm

36. Petar Lubarda (1907-1974), Korida VI / Bullfight VI, 1958, ulje i tempera na platnu / oil and tempera on canvas, 52 x 59 cm

37. Petar Lubarda (1907-1974), Vent brullant, 1956, ulje na platnu / oil on canvas, 81 x 100 cm

38. Petar Lubarda (1907-1974), Sive stene / Gray Rocks, 1960, ulje na lesonitu / oil on masonite, 60 x 73 cm

39. Milo Milunović (1897-1967), Sardele u mreži / Sardines in the Net, 1958, ulje i tempera na platnu / oil and tempera on canvas, 92 x 65 cm

40. Milo Milunović (1897-1967), Tikve / Pumpkins, 1963, tempera na papiru / tempera on paper, 17 x 12 cm

41. Predrag Milosavljević (1908-1989), Ženski akt / Female Nude, 1947, olovka i akvarel / pencil and watercolours, 29 x 45 cm

42. Nedeljko Gvozdenović (1902-1988), Predmeti na crvenoj osnovi / Objects on the Red Base, 1971, ulje na platnu / oil on canvas, 49 x 72 cm

43. Nedeljko Gvozdenović (1902-1988), Predmeti u prostoru / Objects in Space, oko/around 1980, ulje na platnu / oil on canvas, 32 x 40 cm

44. Ljubica Sokić (1914-2009), Kompozicija u belo-plavom / A Composition in White and Blue, 1971, ulje na platnu / oil on canvas, 63 x 64 cm

45. Ljubica Sokić (1914-2009), Uprošćene forme sa crvenom pozadinom / Simplified Forms on the Red Background, 1971, ulje na platnu / oil on canvas, 65 x 81 cm

46. Ljubica Sokić (1914-2009), Sto sa dve boce / A Table with Two Bottles, 1980, ulje na platnu / oil on canvas, 70 x 83 cm

47. Gabrijel Stupica (1913-1990), Nevesta / Bride, oko/around 1957, ulje na lesonitu / oil on masonite, 25 x 20 cm

48. Gabrijel Stupica (1913-1990), Deklica pri mizi z igračkami / A Girl Next to the Table with Toys, 1955, tempera na papiru / tempera on paper, 21 x 30 cm

49. Zoran Petrović (1921-1996), Otvori i detalji / Openings and Details, 1958, ulje na platnu / oil on canvas, 82 x 137 cm

50. Zoran Petrović (1921-1996), Spoljni stubovi / The External Pillars, 1984, akril na platnu / acrylic on canvas, 130 x 166 cm

51. Zoran Petrović (1921-1996), Bela elastična fasada / White Elastic Fasade, 1977, ulje na platnu / oil on canvas, 166 x 150 cm

100

52. Aleksandar Tomašević (1921-1968), Pećka patrijaršija / The Peć Patriarchate, 1961, ulje i tempera na platnu / oil and tempera on canvas, 50 x 70 cm

101

53. Aleksandar Tomašević (1921-1968), Delo 63/21 / Work 63/21, 1966, tempera na panelu / tempera on panel, 70 x 50 cm

102

54. Aleksandar Tomašević (1921-1968), Delo 63/51 / Work 63/51, 1966, tempera na panelu / tempera on panel, 62 x 105 cm

103

55. Aleksandar Tomašević (1921-1968), Delo 63/53 / Work 63/53, 1966, tempera na panelu / tempera on panel, 62 x 105 cm

104

56. Aleksandar Tomašević (1921-1968), Delo 65/39 / Work 65/39, 1968, bojeno drvo / painted wood, 100 x 70 cm

105

57. Miodrag Protić (1922-2014), Sazvežđa / Constellations, 1976, ulje na platnu / oil on canvas, 100 x 81 cm

106

58. Miodrag Protić (1922-2014), Yadoo, 1981, akvarel / watercolours, 63 x 47 cm

107

59. Lazar Vozarević (1925-1968), Isus / Jesus, 1953, olovka na papiru / pencil on paper, 63 x 49 cm

108

60. Lazar Vozarević (1925-1968), Bez naziva / Untitled, 1961, ulje i metal na platnu / oil and metal on canvas, 53 x 64 cm

109

61. Lazar Vozarević (1925-1968), Paralelno pakovanje / Paralel Packaging, 1966, ulje i metal na platnu / oil and metal on canvas, 50 x 42 cm

110

62. Lazar Vozarević (1925-1968), Kompozicija V / Composition V, oko/around 1965, ulje i metal na platnu / oil and metal on canvas, 43 x 36 cm

63. Lazar Vozarević (1925-1968), Predstava / Performance, oko/around 1968, ulje i metal na platnu / oil and metal on canvas, 162 x 130 cm 111

64. Milena Čubraković (1924-2004), Konstrukcija A-67 / Construction A-67, 1967, akrilik, kolaž na panelu / acrylic, colage on panel, 85 x 90 cm

112

65. Mira Brtka (1930-2014), Situacija 4 / Situation 4, 1971, ulje na platnu / oil on canvas, 90 x 90 cm

113

66. Slavoljub Bogojević (1922-1978), Student / Scholar, 1977/78, ulje na platnu/ oil on canvas, 120 x 80 cm

114

67. Miljenko Stančić (1926-1977), Vagon treće klase / Third Class Car, oko/around 1967, ulje na platnu / oil on canvas, 98 x 116 cm

115

68. Petar Omčikus (1926-2019), Plavo-žuto / Blue-Yellow, 1953, ulje na platnu / oil on canvas, 132 x 57 cm

116

69. Petar Omčikus (1926-2019), Boninovo, 1979, ulje na platnu / oil on canvas, 228 x 198 cm

117

70. Petar Omčikus (1926-2019), Kaluđerice / Nuns, 1963, ulje na platnu / oil on canvas, 150 x 160 cm

118

71. Petar Omčikus (1926-2019), U salonu / At the Hair Salon, 1964, ulje na platnu / oil on canvas, 265 x 250 cm

119

120

72. Petar Omčikus (1926-2019), Zagađenje IV / Pollution IV, 1971, ulje na platnu / oil on canvas, 210 x 265 cm

121

73. Miodrag Đurić Dado (1933-2010), Četiri apostola / The Four Apostles, 1970, ulje na platnu / oil on canvas, 146 x 229 cm 122

123

74. Miodrag Đurić Dado (1933-2010), Bez naziva / Untitled, 1972, ulje na platnu / oil on canvas, 115 x 81 cm

124

75. Miodrag Đurić Dado (1933-2010), Zaljubljeni đavo / Devil in Love, 1982, ulje na platnu / oil on canvas, 195 x 223 cm

125

76. Vladimir Veličković (1935-2019), Stub / Column, 1963, ulje na platnu / oil on canvas, 235 x 137 cm 126

77. Vladimir Veličković (1935-2019), Pad / Fall, 1978, tuš na papiru / ink on paper, 105 x 75 cm

127

78. Ljubomir Popović (1934-2016), Soba u Firenci / A Room in Florence, 1970, ulje na platnu / oil on canvas, 162 x 162 cm

128

79. Ljubomir Popović (1934-2016), Kosmička svest / Cosmic Consciousness, 1975, ulje na platnu / oil on canvas, 250 x 200 cm 129

80. Radomir Damnjanović Damnjan (1935), Peščana obala / Sandy Shore, 1960, ulje na platnu / oil on canvas, 70 x 200 cm

130

81. Radomir Damnjanović Damnjan (1935), Peščana obala / Sandy Shore, 1962, olovka na papiru / pencil on paper, 65 x 180 cm

131

82. Radomir Damnjanović Damnjan (1935), Peščana obala / Sandy Shore, 1961, ulje na platnu / oil on canvas, 45 x 50 cm

83. Radomir Damnjanović Damnjan (1935), Peščana obala / Sandy Shore, 1961, ulje na platnu / oil on canvas, 100 x 140 cm

132

84. Radomir Damnjanović Damnjan (1935), Peščana obala / Sandy Shore, 1963, ulje na platnu / oil on canvas, 80 x 90 cm

133

85. Radomir Damnjanović Damnjan (1935), Asocijacija potonulog grada / Reminicsence of the Sunken City, 1962, ulje na platnu / oil on canvas, 125 x 105 cm

134

86. Radomir Damnjanović Damnjan (1935), Element u prostoru / Element in Space, 1965, ulje na platnu / oil on canvas, 145 x 145 cm

87. Radomir Damnjanović Damnjan (1935), Buket s viskom / Bouquet with A Plumb Line, 1962, ulje na platnu / oil on canvas, 105 x 75 cm

135

88. Radomir Damnjanović Damnjan (1935), Vertikalna slika / Vertical Painting, 1963, ulje na platnu / oil on canvas, 81 x 35 cm

136

89. Radomir Damnjanović Damnjan (1935), Rondo, 1964, ulje na platnu / oil on canvas, R 40 cm

137

90. Radomir Damnjanović Damnjan (1935), Horizontalni elementi / Horizontal Elements, 1963, ulje na platnu / oil on canvas, 80 x 61 cm

138

91. Radomir Damnjanović Damnjan (1935), Slika sa plavim krugom / Painting with a Blue Circle, 1965, akrilik na platnu / acryl on canvas, 200 x 140 cm 139

92. Radomir Damnjanović Damnjan (1935), Slika / Painting, 1971, ulje na platnu na drvenom sanduku / oil on canvas on wooden box, 93 x 69 x 15 cm

140

93. Radomir Damnjanović Damnjan (1935), Mala slika / Small Painting, 1968, akrilik na platnu / acryl on canvas, 80 x 60 cm

94. Radomir Damnjanović Damnjan (1935), Slika / Painting, 1968, ulje na platnu / oil on canvas, 50 x 42 cm

141

95. Radomir Damnjanović Damnjan (1935), Mrtva priroda sa flašama / Still Life with Bottles, oko/around 1980, bojene flaše, bojeno drvo / painted bottles, painted wood, 66 х 79 x 19 cm

142

96. Radomir Damnjanović Damnjan (1935), Autoportret / Self Portrait, 1979, fotografija u boji / colour photograph, 54.5 x 50 cm

143

97. Radomir Damnjanović Damnjan (1935), Crveni brojevi-254 / Red Numbers-254, 1976, akrilik na platnu / acryl on canvas, 80 x 60 cm

144

98. Radomir Damnjanović Damnjan (1935), Dezinformacija-Plavo / Misinformation-Blue, 1973, ulje na platnu / oil on canvas, 50 x 65 cm

145

99. Radomir Damnjanović Damnjan (1935), Macule (Mrlje) / Macule (Stains), 1983, ulje na platnu / oil on canvas, 140 x 200 cm 146

147

100. Radomir Damnjanović Damnjan (1935), Macule (Mrlje) / Macule (Stains), 1991, ulje na platnu / oil on canvas, 130 x 130 cm

148

101. Radomir Damnjanović Damnjan (1935), Quadro, 2018, ulje na platnu / oil on canvas, 80 x 80 cm

149

102. Radomir Reljić (1938-2006), Top i čikica / Cannon and the Little Man, 1964, ulje na platnu / oil on canvas, 135 x 200 cm 150

151

103. Radomir Reljić (1938-2006), Mašina za pranje leša / The Corps Washing Mashine, 1966, ulje na platnu / oil on canvas, 50 x 58 cm

152

104. Dušan Otašević (1940), Jesti / To Eat, 1967, tuševi u boji na papiru / coloured ink on paper, 61 x 55 cm

105. Dušan Otašević (1940), Piti / To Drink, 1967, tuševi u boji na papiru / coloured ink on paper, 55 x 55 cm

153

106. Dušan Otašević (1940), Izliv II / Outflow II, 1967, bojeno drvo / painted wood, 50 x 50 cm

154

107. Dušan Otašević (1940), More! More! / Sea! Sea!, 1984, bojeno drvo / painted wood, 73 x 77 cm

155

108. Dušan Otašević (1940), Pet godišnjih doba / Five Seasons, 1970, bojeno drvo / painted wood, poliptih (16 komada) / polyptych (16 pieces) 95 x 95 x 10 cm 156

157

109. Bora Iljovski (1942-2013), Uznemireno i očajno / Anxious and Desperate, 1989, ulje na platnu / oil on canvas, 140 x 200 cm

158

110. Bora Iljovski (1942-2013), Bez naziva / Untitled, 1991, akrilik na platnu / acryl on canvas, 52 x 48 cm

111. Dragoš Kalajić (1943-2005), Robert Musil, 1967, ulje na platnu / oil on canvas, 85 x 85 cm

159

112. Aleksandar Cvetković (1947), Stvaranje oblaka / The Formation of the Cloud, 1973, ulje na platnu / oil on canvas, 125 x 125 cm

160

113. Milan Stašević (1946), Lik-predmet-znak / Image-Object-Sign, 2001, ulje na platnu / oil on canvas, 145 x 200 cm

161

114. Čedomir Vasić (1948), Atina / Athens, 1981, akrilik na platnu / acryl on canvas, 170 x 200 cm

162

115. Čedomir Vasić (1948), Sveti Stefan / Saint Stephen, 1981, akrilik na platnu / acryl on canvas, 135 x 170 cm

163

116. Vladimir Pajević (1948), Žena u crnom / Woman in Black, 1977, ulje na platnu / oil on canvas, 36 x 48 cm

164

117. Veselin Drašković (1949-2007), Prozor gospođice Kim / Miss Kim’s Window, 1978, ulje na platnu / oil on canvas, 100 x 100 cm

118. Radivoje Đurović (1950-2008), Zeleni semafor / Green Light, 1990, ulje na platnu / oil on canvas, 100 x 80 cm

165

166

119. Marija Dragojlović (1950), Crna pudrijera s ružom / Black Powder Box with a Rose, 2009, ulje na platnu / oil on canvas, 180 x 180 cm

167

120. Marija Dragojlović (1950), Plava boca / Blue Bottle, 1989, ulje na platnu / oil on canvas, 200 x 150 cm 168

121. Biljana Vilimon (1951), Niti / Threads, 2012, olovka na papiru / pencil on paper, 4x 70 x 70 cm 169

122. Dušan Junačkov (1952-2013), Bez naziva 3 / Untitled 3, 1998, kombinovana tehnika na dasci / mixed technique on wood, 115 x 85 cm

170

123. Perica Donkov (1956), 28. jun 2006 II / June 28, 2006 II, 2006, pigment na pausu, kaširano na platnu / pigment on tracing paper, mounted on canvas, 150 x 300 cm

171

124. Mileta Prodanović (1959), Ekfraza K-II / Ekphrasis K-II, 2016, akrilik i pozlata na platnu i papiru / acryl and gold leaves on canvas and paper, 280 x 210 cm 172

125. Ivan Grubanov (1976), Studija za spomen-obeležje / Study for a Memorial, 2010, dim i olovka na papiru, akrilik na platnu / smoke and pencil on paper, acryl on canvas, poliptih / polyptych, 140 x 230 cm

173

126. Biljana Đurđević (1973), Apes, 2007, ulje na platnu / oil on canvas, 55 x 100 cm

174

127. Ivan Šuletić (1982), Velike naočare / Big Sunglasses, 2009, ulje na platnu / oil on canvas, 120 x 180 cm

175

128. Veljko Vujačić (1969), Bez naziva / Untitled, 1995, akrilik na platnu / acrylic on canvas, 180 x 215 cm

176

129. Maja Obradović (1983), Postmoderna ljubav / Postmodern Love, 2008, ulje na platnu / oil on canvas, 180 x 180 cm

177

130. Dušan Jovanović Đukin (1891-1945), Bista devojke / Bust of a Young Girl, oko / around 1925, gips / gesso, 44 x 35 x 13 cm

178

131. Sreten Stojanović (1898-1960), Portret prijatelja / Portrait of a Friend, 1920, gips / gesso, H = 44 cm

179

132. Ana Bešlić (1912-2008), Krleža II, 1978, bronza / bronze, H = 35 cm

180

133. Olga Jevrić (1922-2014), Predlog za spomenik III / Proposal for a Memorial III, 1957, feri-oksid, gvožđe / ferric oxyde, iron, 17 x 15 x 12 cm (sa postoljem / with base)

134. Olga Jevrić (1922-2014), Komplementarne forme III / Complementary Forms III, 1959, prskano gvožđe / sprayed iron, 29 x 12 x 16 cm (sa postoljem / with base) 181

135. Aleksandar Srnec (1924-2010), Kinetička skulptura / Kinetic Sculpture, 1974, nerđajući čelik / stainless still, 55 х 50 x 50 cm

182

136. Miodrag Živković (1928-2020), Spomenik pilotima / Monument to Pilots, 1992, bronza / bronze, 43 x 23 x 9 cm

183

137. Dušan Džamonja (1928-2009), Sculpture - I, 1958, drvo, gvožđe / wood, iron, H = 67 cm

184

138. Dušan Džamonja (1928-2009), Metal Sculpture-24, 1960, gvožđe / iron, 70 x 32 x 22 cm

185

139. Oto Logo (1931-2016), Portret mašine 8 / Portrait of a Mashine 8, 1975, bronza / bronze, 48 x 36 x 34 cm (sa postoljem / with base)

186

140. Oto Logo (1931-2016), Portret ptice 4 / Portrait of a Bird 4, 1989, bronza / bronze, 34 x 42 x 36 cm (sa postoljem / with base)

187

141. Mrđan Bajić (1957), Tvrđava / The Fortress, 1986, cink, poliester, terakota / zinc, polyester, terracotta, 215 x 90 x 85 cm 188

142. Mrđan Bajić (1957), Transformator / Transformer, 1988, gvožđe, bakar, poliester, terakota / iron, glass, polyester, terracotta, 310 x 80 x 70 cm 189

143. Mrđan Bajić (1957), Zeleni zrak / The Green Ray, 2006/07, metal, staklo, kristali / metal, glass, crystals, 450 x 250 x 200 cm 190

144. Mrđan Bajić (1957) i/and Richard Deacon (1949), Most na Kalemegdanu 1 / Kalemegdan Bridge 1, 2008/09, čelik, gvožđe, aluminijum / steel, iron, aluminum, H = 76 cm

191

145. Mrđan Bajić (1957), Eritrociti / Erythrocytes, 1996, aluminijum, terakota / aluminum, terracota, 25 x 42 x 42 cm

192

146. Mrđan Bajić (1957), Riziko / Risk, 1996, gvožđe, aluminijum, terakota, pesak / iron, aluminum, terracota, sand, 21 x 52 x 40 cm

193

147. Mrđan Bajić (1957), Generalštab / General Staff Headquarters, 2014/15, drvo, aluminijum, poliuretanske boje, terakota, keramičke glazure / wood, alluminum, polyurethane colours, terracotta, ceramic glaze, 57 (147) x 47 x 36 cm

194

148. Mrđan Bajić (1957), Sirija / Syria, 2014/15, aluminijum, mermer, gurtne, epoksi smola, staklo u boji iz Damaska / aluminum, marble, sash, epoxy resins, coloured glass from Damascus, 59 (159) x 32 x 53 cm

195

149. Zdravko Joksimović (1960), Odrastao si čovek / You Are a Grown Man, 2003, bronza / bronze, 55 x 47 x 9 cm

196

150. Lana Vasiljević (1973), Absence, 2005, pleksiglas, durst štampa, ogledalo, refleks folija, neonsko svetlo / plexiglass, photography durst rho, mirror, reflex foil, light boxes, 50 x 50 x 15 cm

197

198

BIOGRAFIJE BIOGRAPHIES

Mrđan Bajić (Beogrаd, 1957)

Mrdjan Bajic (Belgrаde, 1957)

Godine 1976. zаvršio je osnovne, a 1983. postdiplomske studije nа Fakultetu likovnih umetnosti u Beogrаdu, u klаsi profesorа Jovаnа Krаtohvila. U periodu od 1990. do 1996. borаvi u Pаrizu. Od 1985. do 1990. radi kao asistent, a od 1997. kаo vanredni profesor nа Fakultetu likovnih umetnosti u Beogrаdu, na vajarskom odseku. U zvanju je redovnog profesora od 2007. godine. Godine 1995. dobio je stipendiju fondacije „Polok-Krasner” iz Pariza. Učestvovao je 2002. godine na Bijenalu u Sao Paolu sa projektom „Jugomuzej”. Na Bijenalu u Veneciji 2007. godine predstavio je projekat „Reset”. Sarađivao je sa britanskim skulptorom Ričardom Dikonom tokom 2008. i 2009. na projektu „Most na Kalemegdanu“. Dobitnik je brojnih nagrada među kojima su: nagrada iz Fonda „Ivan Tabaković” 1991. godine, nagrada „Sava Šumanović” 2000. godine i Politikina nagrada iz Fonda „Vladislav Ribnikar” 2001. godine.

In 1976 he completed his graduate studies, and in 1983 his postgraduate at the Faculty of Fine Arts in Belgrade, in the class of Professor Jovan Krаthovil. In the period between 1990 and 1996, he lived in Paris. From 1985 until 1990 je works as an assistant and from 1997 as an associate professor at the Faculty of Fine Arts in Belgrade, in the sculpture department. He was a professor there since 2007. In 1995 he won the scholarship from the Pollock-Krasner Foundation in Paris. In 200, he participated in the Sao Paolo Biennale with the Jugomuzej project. At the Biennale in Venice in 2007 he presented his project Reset. He cooperated with the British sculptor Richard Deacon in 2008 and 2009 on the Bridge on Kalemegdan project. He won numerous awards, including: the award from the Ivan Tabakovic Foundation in 1991, the Sava Sumanovic Award in 2000 and in 2001 the Politika’s award Vladislav Ribnikar.

Ana Bešlić (Bajmok kod Subotice, 1912 – Beograd, 2008) Školovala se u Zagrebu, Gracu, Beču i Beogradu, gde je završila Akademiju likovnih umetnosti 1947. godine. U Beogradu je završila i postdiplomske studije u majstorskoj radionici Tome Rosandića, a zatim je tu ostala da radi kao njegova saradnica u periodu između 1950. i 1955. godine. Bila je član grupe „Prostor 8“. Učestvovala je na brojnim izložbama u zemlji i inostranstvu. Njen legat se nalazi u subotičkom Gradskom muzeju.

Ana Beslic (Bajmok near Subotica, 1912 – Belgrade, 2008) She was schooled in Zagreb, Graz, Vienna and Belgrade, where she graduated from the Academy of Fine Arts in 1947. In Belgrade, she also finished her postgraduate studies in Toma Rosandic’s class. She worked in his master workshop as an associate in the period between 1950 and 1955. She was a member of the Space group . She participated in many exhibitions at home and abroad. Her legacy is in the City museum of Subotica. Jovan Bijelić (Bosanski Petrovac, 1884 - Belgrade, 1964) 199

Jovan Bijelić (Bosanski Petrovac, 1884 - Beograd, 1964)

200

Gimnaziju je završio u Sarajevu. Crtanjem i slikarstvom podučavali su ga Baltazar Baumgartl i Jan Karlo Janovski. Odlazi u Prag 1914. godine i upisuje Akademiju u klasi Vlaha Bukovca. Tokom treće decenije 20. veka, istakao se kao najaktivniji predstavnik srpske avangarde. Učestvovao je u osnivanju umetničkih grupa “Oblik”, “Samostalni” i “Nezavisni”. Od 1963. godine bio je redovni član SANU. Učestvovao je na mnogim kolektivnim izložbama. Samostalne izložbe imao je u Beogradu, Ljubljani i Bihaću. Dobitnik je značajnih priznanja, među kojima su najznačajnija “Oktobarska nagrada”, “Sedmojulska nagrada” i “Orden rada prvog reda”.

He graduated high school in Sarajevo. Baltazar Baumgärtel and Jan Karlo Janovski gave him drawing and painting lessons. He went to Prague in 1914 and enrolled in the Academy of Fine Arts in the class of Vlaho Bukovac. During the third decade of the 20th century, he stood out as the most active representative of the Serbian avant-garde. He participated in the founding of art groups Shape, Independents and Autonomous. From 1963, he was a regular member of SANU (Serbian Academy of Scienes and Arts). He has participated in many group exhibitions. He had solo exhibitions in Belgrade, Ljubljana and Bihać. He is the winner of significant awards, among which the most important are the “October Prize”, “the Seventh of July Award” and the “ the Decoration for artistic work of the First Order”.

Slavoljub Slava Bogojević (Niš, 1922 - Beograd, 1978)

Slavoljub Slava Bogojevic (Nis, 1922 - Belgrade, 1978)

Završio je Akademiju likovnih umetnosti u Beogradu 1951. godine u klasi profesora Nedeljka Gvozdenovića, a specijalizaciju kod profesorke Zore Petrović. Radio je u slikarskoj radionici Narodnog pozorišta u Beogradu kod slikara Jovana Bijelića. Izlagao je sa grupom “Jedanaestorica”, i novosadskom grupom “Šestorica”, takođe je bio član umetničke grupe “Lada”. Samostalno je izlagao širom Jugoslavije, u Veneciji, Amsterdamu, Rimu i Atini. Dobitnik je mnogih nagrada, među kojima se ističe nagrada “Zlatna plaketa ULUS-a” 1960. godine.

He graduated from the Academy of Fine Arts in Belgrade in 1951 in the class of Professor Nedeljko Gvozdenović, and specialized under Professor Zora Petrović. He worked in the painting workshop of the National Theater in Belgrade with the painter Jovan Bijelić. He exhibited with the group Eleven, and the Novi Sad group the Six, he was also a member of the art group Lada. He has exhibited independently throughout Yugoslavia, in Venice, Amsterdam, Rome and Athens. He is the winner of many awards, among which the “Golden Plaque of ULUS” in 1960 stands out most.

Mira Brtka (Stara Pazova, 1930 - Beograd, 2014)

Mira Brtka (Stara Pazova, 1930 - Belgrade, 2014)

Završila je gimnaziju u Beogradu, a zatim režiju na Akademiji za pozorišnu i filmsku umetnost u Beogradu. Tokom pedesetih bavila se pozorišnom i filmskom režijom. U Rimu završava slikarstvo na Akademiji lepih umetnosti. Prvu samostalnu izložbu imala je u 1964. godine u Rimu. Do kraja šezdesetih dela u oviru međunarodne umetničke grupe “Illumination” koju predvodi japanski umetnik Nobuja Abe. Bavila se i modnim dizajnom, a njene kreacije bile su inspirisane slovačkom narodnom nošnjom. Skulpturi se posvećuje od 1990. godine, a njene skulpture izložene su na više javnih prostora u Srbiji. O njenom životu i radu snimljeno je nekoliko filmova, poput film Nikole Majdaka “Lice u prolazu”.

She graduated high school in Belgrade, and then film directing at the Academy of Theater and Film Arts in Belgrade. During the fifties, she was engaged in theater and film directing. She graduated painting at the Academy of Fine Arts in Rome. She had her first solo exhibition in 1964 in Rome. Until the end of the sixties, she worked as a part of the international art group “Illumination” led by the Japanese artist Nobuya Abe. She was also involved in fashion design, and her creations were inspired by Slovak folk costumes. She has been dedicated to sculpture from 1990, and her sculptures have been exhibited in a few public spaces in Serbia. Several films have been made about her life and work, such as Nikola Majdak’s film “Person passing by”.

Aleksandar Cvetković (Aleksinac, 1947)

Aleksandar Cvetkovic (Aleksinac, 1947)

Akademiju likovnih umetnosti završio je 1973. godine, u klasi profesora Nedeljka Gvozdenovića, a postdiplomske studije 1975. godine, u klasi profesora Radenka Miševića. Priredio je više od 60 samostalnih izložbi. Dobitnik je brojnih nagrada među kojima su: Nagrada za slikarstvo na 18. Oktobarskom salonu u Beogradu 1977. godine, nagrada „Zlatna paleta“ ULUS-a 1985. godine, Nagrada za slikarstvo na 20. Oktobarskom salonu 1988. godine, Politikina nagrada iz Fonda „Vladislav Ribnikar“ 1990. godine.

He graduated from the Academy of fine Arts in 1973. in professor Nedeljko Gvozdenovic’s class, and did his postgraduate studies in 1975 in professor Radenko Misevic’s class. He has held over 60 individual exhibitions. He received many awards, some of which are: the award for painting on the 18th October salon in Belgrade in 1977, the Golden pallet award in 1985 from the Artists’ Association of Serbia, the award for painting on the 20th October salon in 1988, Politika’s award from the Vladislav Ribnikar Foundation in 1990.

Milena Čubraković (Bresnica, 1924 - Rim, 2004)

Milena Cubrakovic (Bresnica, 1924 - Rome, 2004)

Završila je Akademiju likovnih umetnosti u klasi profesora Nedeljka Gvozdenovića i Specijalni tečaj u Beogradu 1953. godine. Izlagala je na grupnim izložbama Udruženja likovnih umetnika Srbije. Samostalno izlaže u Beogradu, Rimu, Sarajevu, a u Čačku je učestvovala na VIII Memorijalu Nadežde Petrović. Otišla je u Rim 1959. godine gde je formirala svoju umetničku fizionomiju i postala član grupe “Illumination” čiji je vođa i duhovni mentor bio japanski umetnik Nobuja Abe. Ova grupa odredila je tok njene dalje umetničke misli. O Mileni je snimljen dokumentarni film pod nazivom “Prosvetljenje”, koji je režirao i za koji je scenario napisao Mihajlo Sekulić.

She graduated from the Academy of Fine Arts in the class of Professor Nedeljko Gvozdenović and the Special Course in Belgrade in 1953. She has exhibited at group exhibitions of the Association of Fine Artists of Serbia. She has exhibited independently in Belgrade, Rome, Sarajevo, and in Čačak, she also participated in the VIII Memorial of Nadežda Petrović. She went to Rome in 1959, where she formed her artistic physiognomy and became a member of the group “Illumination”, whose leader and spiritual mentor was the Japanese artist Nobuya Abe. This group determined the course of her further artistic thought. A documentary film, directed and written by Mihajlo Sekulić, called “Enlightenment” was made about Milena.

Richard Deacon (Bangor, 1949) Obrazovao se na Somerset umetničkom koledžu u Tauntonu, Centralnoj umetničkoj školi Sveti Martin u Londonu i Kraljevskom koledžu, takođe u Londonu. Prvu samostalnu izložbu imao je u Brikstonu 1978. godine. Njegove skulpture su apstraktne, ali često aludiraju na anatomske funkcije. Dobitnike je prestižne nagrade “Tarner” 1987. godine, za koju je prethodno već bio nominovan nekoliko godina ranije. Godine 2007. predstavljao je Vels na Venecijanskom bijenalu.

Richard Deacon (Bangor, 1949) He was educated at Somerset College of Art in Taunton, St. Martin’s Central School of Art in London and King’s College, also in London. He had his first solo exhibition in Brixton in 1978. His sculptures are abstract, but often allude to anatomical functions. He won the prestigious “Turner” award in 1987, for which he had previously been nominated several years earlier. In 2007, he represented Wales at the Venice Biennale.

Perica Donkov (Mazgoš, 1956)

Perica Donkov (Mazgos, 1956)

Fakultet likovnih umetnosti završio u Beogradu 1981. godine, gde je i magistrirao slikarstvo u klasi profesora Radenka Miševića. Član je ULUS-a od 1983. godine.

He graduated from the Faculty of Fine Arts in Belgrade in 1981, where he also graduated a master’s programme in painting in the class of Professor Radenko Mišević. He 201

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Kao jedan od najznačajnijih predstavnika neo-enformela izlagao je na svim značajnijim likovnim manifestacijama tokom osamdesetih i devedesetih godina. Učestvovao na više od sto pedeset kolektivnih izložbi, a dvadeset i dva puta je samostalno izlagao u Beogradu, Nišu, Vranju, Gelsenkirhenu, Novom Sadu, Vršcu, Oslu itd. Dobitnik je trinaest nagrada od kojih su prestižne: “Zlatna paleta ULUS-a”, Nagrada “Milan Konjović”, nagrada “Đorđe Krstić”. Redovni je profesor Fakulteta umetnosti, Univerziteta u Nišu.

has been a member of ULUS since 1983. As one of the most important representatives of neo-enformel, he exhibited at all major art events during the eighties and nineties. He participated in more than one hundred and fifty group exhibitions, and he had twenty-two solo exhibitions in Belgrade, Nis, Vranje, Gelsenkirchen, Novi Sad, Vršac, Oslo, etc. He has won thirteen awards, of which the most prestigious are: “Golden Palette of ULUS”, “Milan Konjović” Award, “Đorđe Krstić” Award. He is a regular professor at the Faculty of Arts, University of Nis.

Radomir Damnjanović Damnjan (Mostar, 1935)

Radomir Damnjanovic Damnjan (Mostar, 1935)

Diplomirao je 1957. godine na Akademiji likovnih umetnosti u Beogradu, na kojoj je završio i postdiplomske studije 1959. godine. Izlaže u Kaselu 1964. na izložbi „Documenta“ III i na Sedmom bijenalu u Sao Paolu, gde mu je dodeljena nagrada „Vanda Svevo“. Za samostalnu izložbu u beogradskoj Galeriji Kolarčevog narodnog univerziteta 1964. nagrađen je Oktobarskom nagradom grada Beograda. Dva puta je izlagao na Bijenalu u Veneciji 1966. i 1976. godine, a učestvovao je i na Bijenalu u Tokiju 1967. godine. Tokom 1971. i 1972. godine boravio je u Americi kao Fulbrajtov stipendista. Od 1974. godine živi u Milanu. Od tada je prisutan i na italijanskoj kulturnoj sceni. U Italiji je realizovao mnoge samostalne izložbe. Godine 1979. u Umetničkom paviljonu u Tibingenu imao je samostalnu izložbu, a tom prilikom je objavljena njegova knjiga „Ništa suvišnog u ljudskom duhu“. Bavi se slikarstrvom, performansom, videom, filmom i fotografijom. Dobitnik je brojnih priznanja i nagrada među kojima je i nagrada „Sava Šumanović“ iz 2011. za retrospektivnu izložbu, u beogradskoj „Galeriji 73”, kada je objavljena i monografija o njegovom opusu autora Jerka Denegrija i Tomaza Trinija. Njegovi radovi se nalaze u mnogim muzejima, javnim

He graduated in 1957 at the Academy of Fine Arts in Belgrade, where he also completed his postgraduate studies in 1959. He exhibits in Kassel in 1964 at the Documenta III exhibition and the seventh Sao Paolo Biennale, where he received the Vanda Svevo award. He was awarded the October award of the city of Belgrade for his individual exhibition at the gallery of the Kolarac People’s University in 1964. He exhibited twice at the Venice Biennale in 1966 and 1976, and he participated at the Tokyo Biennale in 1967. During 1971 and 1972 he stayed in America as a Fulbright Scholar. From 1974 he lives in Milan. Since then he has been present even on the Italian cultural scene. He realized many individual exhibitions in Italy. In 1979 he had a individual exhibition in the Artists’ pavilion in Tubingen, and just for that occasion his book Nothing surplus in the human spirit was published. He paints, performs, and does video, film and photography. He is the winner of numerous accolades and awards, including the Sava Sumanovic award from 2011 for a retrospective exhibition held in Belgrade’s Gallery 37, when a monograph of his work was also published with Jerko Denegri and Tomazo Trini as the authors. His works are found in many museums and public and private collections at home and abroad.

Marija Dragojlović (Šabac, 1950.)

Marija Dragojlovic (Sabac, 1950)

Diplomirala je i magistrirala na Akademiji likovnih umetnosti u Beogradu, u klasi profesora Radenka Miševića. Od 1975.izlagala je na brojnim samostalnim i grupnim izložbama u zemlji i inostranstvu. Član je ULUS-a od 1976. godine. Bila je profesor na slikarskom odseku na Akademiji likovnih umetnosti, na kojoj je bila zaposlena od 1985. godine. Dobitnica je brojnih nagrada među kojima se ističu: nagrada na memorijalu

She got her graduate and postgraduate degrees at the Academy of Fine Arts in Belgrade, in the class of Professor Radenko Misevic. Since 1975 she has exhibited at numerous individual and group exhibitions at home and abroad. She has been a member of the Artists’ Association of Serbia since 1976. She was a professor at the painting department at the Academy of Fine Arts in Belgrade, where she’s been employed since 1985. She is

Nadežda Petrović 1986. godine, Nagrada Oktobarskog salona 1986. godine, nagrada iz Fonda „Ivan Tabaković”, za izložbu „Nostalgija” u Likovnoj galeriji KCB-a 2005.godine i Politikina nagrada za najbolju izložbu u 2009. za izložbu „Rouge Noir” koja je priređena u Umetničkoj galeriji Nadežda Petrović u Čačku i Narodnom muzeju u Kruševcu. Veselin Drašković (Beograd, 1949 - Beograd, 2008) Nakon gimnazije, upisao se na Likovnu akademiju u Beogradu. Završio je odsek za slikarstvo u klasi profesora Stojana Ćelića, a kasnije magistrirao na istoj Akademiji, kod istog profesora. U dva navrata je duže boravio u Parizu. Bio je član ULUS-a od 1981. godine. Imao je veliki broj samostalnih izložbi, u Beogradu, Lazarevcu, Šapcu, Rumi, Prijepolju, Smederevu. Dobitnik je mnogih priznanja, od kojih se izdvajaju “Nagrada za crtež” na izložbi “Crtež i mala plastika”, “Nagrada Otvorenog grada umetnosti - Srebrenik” i nagrada na šestoj izložbi jugoslovenskog portreta u Tuzli. Dušan Džamonja (Strumica u Makedoniji, 1928 – Zagreb, 2009) Osnovne i magistarske studije završio je na Akademiji likovnih umetnosti u Zagrebu kod profesora Antona Augustinčića. Od 1951. do 1953. godine je bio saradnik Majstorske radionice Frana Kršinića. Učestvovao je na Venecijanskom bijenalu 1960. godine, kada je nominovan za „Grand Prix“ Bijenala. Bio je član Srpske akademije nauka i umetnosti od 1988. i član Hrvatske akademije znanosti i umjetnosti od 2004. godine. Autor je brojih spomenika u javnom prostoru. Učesnik je i mnogih međunarodnih smotri savremene umetnosti. Dobitnik je brojnih međunarodnih nagrada i priznanja. Dado Đurić (Cetinje, 1933 – Pariz, 2010) Diplomirao je 1956. godine na Akademiji likovnih umetnosti u Beogradu, u klasi profesora Marka Čelebonovića. Bio je član grupe Mediala. Tokom 1956. godine odlazi u Francusku. Od 1958. sarađivao je sa galerijom Danijela Kordijea a potom sa Andre Fransoa Petijem. Od 1960. godine nastanio se u Eruvalu u Francuskoj, blizu Pariza. Prva Dadova retrospektivna izložba održana je 1970. godine u Nacionalnom centru savremene umetnosti u Parizu, nakon toga usledila je retrospek-

a winner of numerous awards, some of which stand out: the award at the Nadezda Petrovic Memorial in 1986, the award of the October salon in 1986, the award from the Ivan Tabakovic Foundation, for the Nostalgia exhibition at the Art gallery of the Belgrade Cultural Center in 2005 and the Politika award for best exhibitions in 2009 for the Rouge Noir exhibition that she held at the Nadezda Petrovic Art gallery in Cacak and the Citizens’ Museum in Krusevac. Veselin Draskovic (Belgrade, 1949 - Belgrade, 2008) After high school, he enrolled at the Academy of Fine Arts in Belgrade. He graduated from the painting department in the class of Professor Stojan Ćelić, and later received his master’s degree from the same Academy, from the same professor. On two occasions he stayed for a longer period of time in Paris. He has been a member of ULUS since 1981. He had a large number of solo exhibitions in Belgrade, Lazarevac, Šabac, Ruma, Prijepolje, Smederevo. He has won many awards, including the “Drawing Award” at the exhibition “Drawing and Small Sculpture”, the “Open City of Art Award - Srebrenik” and the award at the sixth exhibition of Yugoslav portraits in Tuzla. Dusan Dzamonja (Strumica, 1928 – Zagreb, 2009) He completed his graduate and postgraduate studies at the Academy o Fine Arts in Zagreb under the tutorage of Professor Anton Augustincic. From 1951 until 1953 he was an associate of the Master workshop of Frano Krsinic. He participated at the Venice Biennale in 19060, when he was nominated for the Grand Prix of the Biennale. He was a member of the Serbian Academy of Sciences and Arts since 1988 and a member of the Croatian academy of Sciences and Arts since 2004. He is the author of many monuments in public space. He was the participant of numerous international contemporary art reviews. He has won many domestic and international awards and accolades. Dado Djuric (Cetinje, 1933 – Paris, 2010) He graduated in 1956 at the Academy of Fine Arts in Belgrade in the class of Professor Marko Celebonovic. He was a member of the Mediala group. In 1956 he 203

tiva u Roterdamu u muzeju “Bojmans van Beningen“. Galerija “Bobur“ u Parizu je 1984. godine organizovala Dadovu retrospektivu. Godine 2001. Dado je objavio svoju prvu knjigu „Situacija je ozbiljnija nego što se misli ili nego što izgleda“. Izlagao je na Venecijanskom bijenalu 2009. godine. Istoričar umetnosti Alan Boske objavio je njegovu biografiju „Dado, univerzum bez odmora“. Njegova dela se nalaze u mnogim muzejima, galerijama i privatnim kolekcijama širom sveta. Biljana Đurđević (Beograd, 1973) Na Fakultetu likovnih umetnosti u Beogradu završila je odsek za slikarstvo, u klasi Čedomira Vasića. Magistarske studije završila je kod istog profesora. Samostalno izlaže svoja dela od 1998. godine. Izlagala je u Stokholmu, Haifi, Berlinu, Sofiji, Beogradu. Učestvovala je na mnogim grupnim izložbama širom sveta. Od 2009. godine je docent na Fakultetu likovnih umetnosti u Beogradu. U ovom veku je najmlađa je dobitnica nagrade “Vladislav Ribnikar”. Radivoje Đurović (Beograd, 1950 - Beograd, 2008) Diplomirao je slikarstvo na Fakultetu likovnih umetnosti, gde je takođe završio postdiplomske studije u klasi profesora Stojana Ćelića. Bavio se slikarstvom, crtanjem, dizajnom, mozaikom i kolažima. Jedan deo života proveo je radeći u Njujorku i Londonu. Nema mnogo samostalnih izložbi, svega sedam od kojih je većina bila u Beogradu. Učestvovao je na velikom broju kolektivnih izložbi, na prostoru Jugoslavije, u Francuskoj, Holandiji i Velikoj Britaniji. Dobitnik je značajnih priznanja, od kojih se izdvajaju “Nagrada Oktobarskog salona za slikarstvo” i “Nagradu SIZ-a kulture Beograda”. Nedeljko Gvozdenović (Mostar, 1902 – Beograd, 1988) Godine 1922. odlazi u Minhen gde upisuje privatnu internacionalnu školu kod profesora Hansa Hofmana na kojoj ostaje do 1924. Nakon završenih studija 1926. godine se vraća u Beograd. Prvi put izlaže 1929. godine, a prvu samostalnu izložbu priređuje 1934. godine. Bio je čan grupe „Dvanaestorica“ od 1937. godine. Od 1954. je član grupe „Šestorica“,sa kojom redovo izlaže. Bio je profesor na Akademiji likovnih umetnosti u Beogradu od 1940. godine. Za dopisnog člana SANU 204

leaves for France. From 1958 he cooperates with Daniel Cordieu’s gallery and then with Andre Francois Petit. He moved to Herouval in France, near Paris, in 1960. Dado’s first retrospective exhibition was held in 1970 at the National Center of Contemporary Art in Paris, and after that the retrospective at the Museum Boijmans Van Beuningen in Rotterdam. The Bobur gallery in Paris organized Dado retrospective in 1984. In 2001 Dado published his first book The situation is more serious than you think or it seems. He exhibited at the Venice Biennale in 2009. Art historian Alan Boskue published his biography Dado, a restless universe. His works are found in many museums, galleries and private collections worldwide. Biljana Djurdjevic (Belgrade, 1973) She graduated from the department of painting at the Faculty of Fine Arts in Belgrade, in the class of Čedomir Vasić. She completed her master’s studies with the same professor. She has been exhibiting her works independently since 1998. She has exhibited in Stockholm, Haifa, Berlin, Sofia and Belgrade. She has participated in many group exhibitions around the world. Since 2009, she has been an assistant professor at the Faculty of Fine Arts in Belgrade. In this century, she is the youngest winner of the “Vladislav Ribnikar” award. Radivoje Djurovic (Belgrade, 1950 - Belgrade, 2008) He graduated from the painting department at the Faculty of Fine Arts, where he also completed postgraduate studies in the class of Professor Stojan Ćelić. He was engaged in painting, drawing, design, mosaic and collages. He spent part of his life working in New York and London. He didn’t have many solo exhibitions, only seven, most of which were in Belgrade. He participated in a large number of collective exhibitions in Yugoslavia, France, Netherlands and Great Britain. He is the winner of significant awards, of which the October Award for painting and the “SIZ of Belgrade Culture Award” stand out. Nedeljko Gvozdenovic (Mostar, 1902 – Beograd, 1988) In 1922 he leaves for Munich where he enrolls into a private international school under the tutorage of Professor Hans Hoffman, and he stays there until 1924. Af-

izabran je 1963, a za redovnog 1970. godine. Samostalno je izlagao u mnogim zemljama širom Evrope i sveta. Dela mu se nalaze u mnogim muzejima, galerijama i privatnim zbirkama. Nedeljko Gvozdenović je bio jedan od inicijatora osnivanja Kuće legata. Poklonio je 1980. godine gradu Beogradu svoj legat koji čine 562 dela. Dobitnik je brojnih nagrada među kojima su: Politikina nagrada 1959. godine, Nagrada za slikarstvo na II memorijalu Nadežde Petrović u Čačku i „Sedmojulska nagrada“ 1968. godine. Ivan Grubanov (Beograd, 1976) Diplomirao je slikarstvo na Fakultetu likovnih umetnosti u Beogradu. Nakon diplomiranja boravi i radi dve godine u Rijksakademie van beeldende kunsten u Amsterdamu i godinu dana u Delfina Studios u Londonu. Dobitnik je stipendije i studijskog boravka u Casa de Velazquez u Madridu za 2008. godinu. Samostalno je izlagao u Berlinu, Leonu, St Nazaire-u, Atini, Beogradu, Barseloni, Hagu i Roterdamu. Izlagao je na mnogim grupnim izložbama širom sveta. Radovi mu se nalaze u kolekciji Nacionalnog muzeja savremene umetnosti u Atini, Muzeja savremene umetnosti u Beogradu, Muzeja umetnosti u Bernu, Deutsche Bank kolekciji u Frankfurtu i mnogim drugim. Bora Iljovski (Drenova, 1942 - Beograd, 2013) Diplomirao je 1966. godine na Akademiji likovnih umetnosti u Beogradu, na kojoj je 1968. godine završio i postdiplomske studije kod Đorđa Bošana. Član je ULUS-a. Izlagao je na brojnim samostalnim i grupnim izložbama u zemlji i inostranstvu. Na Venecijanskom bijenalu izlagao je 1982. godine. U Muzeju Savremene umetnosti u Beogradu 2006. godine priredio je retrospektivnu izložbu, povodom koje dobija Politikinu nagradu iz Fonda „Vladislav Ribnikar” za likovnu umetnost. Olga Jevrić (Beograd, 1922 - Beograd, 2014) Diplomirala je na vajarskom odseku Akademije likovnih umetnosti 1948. godine u klasi profesora Sretena Stojanovića. Magistrirala je 1949. kod istog profesora. Paralelno sa studijama na Akademiji likovnih umet-

ter completing his studies he comes back to Belgrade in 1926. He first exhibits in 1929, and has his first individual exhibition in 1934. He was a member of the Twelve group since 1937. He was a member of the Six group since 1954, and he regularly exhibited with them. He was a professor at the Academy of Fine Arts in Belgrade since 1940. He was elected as an associate member of the Serbian Academy of Sciences and Arts in 1963 and became a regular member in 1970. He had individual exhibitions in many countries around Europe and the world. His works are found in many museums, galleries and private collections. Nedeljko Gvozdenovic was one of the initiators to start the Heritage House. He gifted the city of Belgrade his legacy consisting of 562 pieces in 1980. He is the winner of numerous awards, including: Politika’s award in 1959, the painting award at the II Nadezda Petrovic award in Cacak and the Seventh of July award in 1968. Ivan Grubanov (Belgrade, 1976) He graduated from the painting department at the Faculty of Fine Arts in Belgrade. After graduation, he stayed and worked for two years at the Rijksakademie van beeldende kunsten in Amsterdam and for a year at Delfina Studios in London. He won a scholarship and a residency stay at the Casa de Velazquez in Madrid for 2008. He has exhibited independently in Berlin, Leon, St Nazaire, Athens, Belgrade, Barcelona, The Hague and Rotterdam. He has exhibited in many group exhibitions around the world. His works are in the collection of the National Museum of Contemporary Art in Athens, the Museum of Contemporary Art in Belgrade, the Museum of Art in Bern, the Deutsche Bank collection in Frankfurt and many others. Bora Iljovski (Drenova, 1942 - Belgrade, 2013) He graduated from the Academy of Fine Arts in Belgrade in 1966, where he also completed his postgraduate studies in 1968 under the tutorage of Djordje Bosan. He is a member of the Artists’ Association of Serbia. He has exhibited on numerous individual and group exhibitions at home and abroad. He exhibited at the Venetian Biennale in 1982. He hosted a retrospective exhibition in the Museum of Contemporary Art in Belgrade in 2006 when which he received the Politika prize for visual arts from the Vladislav Ribnikar Foundation. 205

nosti studirala je i na Muzičkoj akademiji, na kojoj je diplomirala 1946. godine, u klasi profesora Ćirila Ličara. Izlagala je sa grupom „Samostalni“. Njena izložba „Prostorne kompozicije” iz 1957. bila je prva izložba u Jugoslaviji posvećena isključivo apstrakciji. Izlagala je u jugoslovenskom paviljonu na Bijenalu u Veneciji 1958. godine. Za dopisnog člana SANU izabrana je 1974. godine. Svoje 44 skulpture izvedene u feri-oksidu, gvožđu, cementu, terakoti i patiniranom gipsu 2006. godine darovala je Kući legata. Retrospektivna izložba njenih radova održana je u Galeriji SANU 2001. godine. Dobitnica je brojnih nagrada za skulpturu među kojima su: Politikina nagrada iz 1961. godine, Nagrada za skulpturu na 10. Oktobarskom salonu u Beogradu 1969. godine, Nagrada Vukove zadužbine 2001. godine. Zdravko Joksimović (Buče, 1960) Diplomirao je 1986. godine na Fakultetu likovnih umetnosti u Beogradu, na Odseku za vajarstvo, u klasi profesora Nikole Jankovića. Kod istog profesora završio je i postdiplomske studije 1989. godine. Član je ULUS-a od 1987. godine. Izlaže na grupnim izložbama od 1982. godine, a samostalno od 1987. godine. Od 1992. godine radi kao profesor na Odseku za vajarstvo Fakulteta likovnih umetnosti u Beogradu. Njegovi radovi se nalaze u zbirkama muzeja i u mnogim privatnim kolekcijama. Realizovao je skulpture u javnom prostoru u zemlji i inostranstvu. Dušan Jovanović Đukin (Beograd, 1891 - Beograd, 1945) Srpski vajar, studirao je arhitekturu u Drezdenu, a vajarstvo na Akademiji lepih umetnosti u Firenci, zatim Ecole des Beaux Arts u Parizu. Njegov rad oslanjao se na neokubizam i futurizam. Sa Mladenom Josićem pokrenuo je tečaj Večernjeg akta na Kolarčevom narodnom univerzitetu 1927. godine. Bio je nastavnik u Školi primenjenih umetnosti u Beogradu. Član umetničke grupe “Lada”. Izlagao je na više grupnih izložbi u zemlji i inostranstvu: Beograd, Firenca, Pariz. Dušan Junačkov (Subotica, 1952 – Beograd, 2013) Srednju školu za primenjenu umetnost pohađao je u Novom Sadu i Nišu. Završio je Akademiju likovnih umetnosti u Beogradu 1979. godine na odseku za sli206

Olga Jevric (Belgrade, 1922 - Belgrade, 2014) She graduated at the sculpture department at the Academy of Fine Arts in 1948 in the class of professor Sreten Stojanovic. She got her MA under the tutorage of the same professor in 1949. Parallel to her studies at the Academy of Fine Arts, she also studied at the Music Academy, where she graduated in 1946 in the class of professor Cirilo Licar. She exhibited with the Independents group. From 1954 she devoted herself exclusively to abstract sculpture. Her exhibition Space compositions from 1957 was dedicated only to abstraction. She exhibited at the Venice Biennale in 1958. She was elected as an associate member of the Serbian Academy of Sciences and Arts in 1974, and as a regular member in 1983. She gifted the city of Belgrade a legacy consisting of 44 sculptures created out of ferric-oxide, iron, cement, terracotta and gypsum. In 1981 she worked on the scientific project Dictionary of concepts in the visual arts” of the Serbian Academy of Sciences and Arts. She held a retrospective exhibition at the Museum of Contemporary Art in Belgrade in 1982 and at the Serbian Academy of Sciences and Arts gallery in 2001. She is the winner of numerous sculpture awards including: Politika’s award in 1961, the sculpture award at the 10th October salon in Belgrade in 1969, the sculpture award at the I Triennial of Yugoslavian art in 1961, the Seventh of July award in 1979, Vuk’s foundation award in 2001. Zdravko Joksimovic (Buce, 1960) He graduated in 1986 at the Faculty of Fine Arts in Belgrade, at the sculpture department, in the class of professor Nikola Jankovic. He completed his postgraduate studies under the tutorage of the same professor in 1989. He has been a member of the Artists’ Association of Serbia since 1987. Since 1982 he displays at group exhibitions, and at individual ones from 1987. He has worked as a professor at the sculpture department od the Faculty of Fine Arts in Belgrade since 1992. His works are found in museum collections and many private collections. He created sculptures in public space as well, at home and abroad. Dusan Jovanović Djukin (Belgrade, 1891 - Belgrade, 1945) A Serbian sculptor, he studied architecture in Dresden, and sculpture at the Academy of Fine Arts in Florence,

karstvo, u klasi profesora Mladena Srbinovića. Postdiplomske studije završio je na istom fakultetu. Bio je član ULUS-a od 1982. godine. Učestvovao je na mnogim umetničkim kolonijama u zemlji i inostranstvu. Imao je brojne kolektivne i samostalne izložbe u Beogradu, Nišu, Vršcu i Novom Sadu. Dragoš Kalajić (Beograd, 1943 – Beograd, 2005) Diplomirao je na Akademiji lepih umetnosti u Rimu. Počeo je da izlaže u vreme studija, u Italiji, Beogradu i drugim evropskim gradovima. Jedna od njegovih značajnih izložbi održana je u Galeriji Kulturnog Centra pod nazivom „Obnova slike“. U paviljonu „Cvijeta Zuzorić“ izlagao je na izložbi „Nova figuracija“. Bavio se, pored slikanja, pisanjem i objavljivanjem novinskih članaka. Milan Konjović (Sombor, 1898 – Sombor, 1993) Studirao je u Pragu, kod Vlaha Bukovca, Beču i Parizu gde je od 1924. kratko učio u ateljeu Andre Lota. U Parizu ostaje do 1932. godine, do svog konačnog povratka u Sombor. Bio je član umetničkih grupa „Oblik” i „Dvanaestorica”. Opus Milana Konjovića čini preko 6.000 radova: ulja, pastela, akvarela, tempera, crteža, tapiserija, pozorišnih scenografija, skica za kostime, vitraža, mozaika i grafika. U Somboru je 1966. godine otvorena Galerija „Milan Konjović“ u kojoj se nalazi preko 1.000 njegovih dela. Bio je redovan član Srpske akademije nauka i umetnosti od 1992. godine, Vojvođanske akademije nauka i umetnosti od 1979. godine, i član Jugoslavenske akademije znanosti i umjetnosti od 1986. godine. Dobitnik je brojnih značajnih nagrada i priznanja među kojima je i „Sedmojulska nagrada” za životno delo iz 1959. godine. Oto Logo (Beograd, 1931 - Beograd, 2016) Akademiju primenjenih umetnosti u Beogradu završio je 1954. godine. Od tad je učestvovao na brojnim grupnim izložbama u zemlji i svetu. Prvi put samostalno je izlagao u Beogradu 1957. godine. Izlagao je na Venecijanskom bijenalu 1968. godine. Autor je brojnih spomenika u javnom prostoru, posvećenih istorijskim ličnostima. Dobio je veliki broj nagrada i priznanja među kojima su: „Zlatna igla“ ULUS-a 1961. godine,

then the Ecole des Beaux Arts in Paris. His work relied on neocubism and futurism. With Mladen Josić, he started the course of the Evening Nude at Kolarac People’s University in 1927. He was a teacher at the School of Applied Arts in Belgrade. Member of the art group Lada. He has exhibited at several group exhibitions in the country and abroad: Belgrade, Florence, Paris. Dušan Junackov (Subotica, 1952 - Belgrade, 2013) He attended high school for applied arts in Novi Sad and Niš. He graduated from the Academy of Fine Arts in Belgrade in 1979 at the Department of Painting, in the class of Professor Mladen Srbinović. He completed his postgraduate studies at the same faculty. He has been a member of ULUS since 1982. He participated in many art colonies in the country and abroad. He had numerous collective and solo exhibitions in Belgrade, Niš, Vrsac and Novi Sad. Dragos Kalajic (Belgrade, 1943 – Belgrade, 2005) He graduated at the Academy of Fine Arts in Rome. He started exhibiting while still studying in Italy, Belgrade and other European cities. One of his noted exhibitions was held at the Culture Center gallery called Restoration of the painting. He exhibited at the Cvijeta Zuzoric Art Pavilion on the New figuration exhibition. Apart from painting, he wrote and published newspaper articles. Milan Konjovic (Sombor, 1898 - Sombor, 1993) He studied in the Prague under the tutorage of Vlaho Bukovac, and in Vienna and Paris where, since 1924, he studied for a short period in the atelier of Andre Lott. He stays in Paris until 1932, until he finally returns to Sombor for good. He was a member of the artistic groups Space and the Twelve. The opus of Milan Konjovic consists of over 6000 works; oils, pastels, aquarelles, tempera, drawings, tapestry, theater scene designs, costume sketches, stained glass, mosaics and graphics. The Milan Konjovic Galley was opened in Sombor in 1966 and it holds over 1000 of his works. He was a member of the Serbian Academy of Arts and Sciences since 1992, the Academy of Arts of Vojvodina since 1979, and a member of the Yugoslavian Academy of Science and Art in 1986. He is the winner of multiple noted awards 207

Nagrada za skulpturu na 6. Oktobarskom salonu 1965. godine, Oktobarska nagrada grada Beograda 1967. godine, „Zlatno dleto“ ULUS-a 1974. godine. Petar Lubarda (Ljubotinj, 1907 – Beograd, 1974) Upisuje se u Umetničku školu u Beogradu 1925. godine, gde su mu profesori bili Ilija Šobajić, Ljuba Ivanović i Beta Vukanović. Ubrzo prekida školovanje i 1926. odlazi u Pariz, gde ostaje do 1932. godine. U Parizu se upisuje na “Académie des Beaux Arts”, ali odustaje. U periodu od 1932. do 1938. živeo je u Beogradu. Član je umetničkog društva „Lada” od 1938. godine. Radio je kao profesor na Likovnoj akademiji u Beogradu do 1946. godine kada, zajedno sa Milom Milunovićem, učestvuje u formiranju prve umetničke škole u Crnoj Gori na Cetinju. Vraća se u Beograd 1950. godine. Njegova samostalna izložba održana u Beogradu 1951. predstavljala je prekretnicu u savremenoj jugoslovenskoj umetnosti. Bio je član ULUS-a. Izlagao je sa grupom „Samostalni“ od 1951. godine. Bio je član SANU od 1959. godine. Svoj legat poklonio je Beogradu 1973. godine. Izlagao je na II bijenalu u Sao Paolu 1953. godine, na III bijenalu u Tokiju 1955. godine i na Bijenalu u Veneciji 1960. godine. Dobitnik je brojnih nagrada: “Grand Prix” na Svetskoj izložbi u Parizu 1937. godine, Otkupne nagrade na Bijenalu u Sao Paolu 1953. godine, nagrade Bijenala u Tokiju 1955. godine, Oktobarske nagrade grada Beograda 1955. godine, Nacionalne nagrade “Gugenhajm” u Njujorku 1956. godine, „Sedmojulske nagrade” 1964. godine, Prve nagrade Cetinjskog salona jugoslovenske likovne umetnosti „13. novembar”, 1967. godine. Predrag Peđa Milosavljević (Lužnice, 1908 – Beograd, 1987) Po obrazovanju je bio pravnik, zaposlen u jugoslovenskom Ministarstvu spoljnih poslova. Kao član konzularnih predstavništava živeo je u Parizu, Madridu i Londonu. Tokom boravka u tim gradovima šalje prikaze izložbi, eseje o umetnicima, putopise. Bio je član grupe „Dvanaestorica” od 1938. godine. Učestvovao je na Bijenalu u Veneciji 1940. godine, a zatim i 1952. Prvu samostalnu izložbu imao je u Londonu 1940. godine, a u Beogradu samostalno izlaže tek 1951. godine. Bio je član grupe „Šestorica”od 1954. do 1964. godine. Izabran je za predsednika ULUS-a 1957. godine. Za člana SANU izabran je 1972. godina, a od 1976. postaje re208

and accolades, including the Seventh of July lifetime achievement award in 1959. Oto Logo (Belgrade, 1931 - Belgrade, 2016) He graduated from the Academy of Applied Arts in Belgrade in 1954. Since then he has participated in numerous group exhibitions at home and abroad, he had his first individual exhibition in Belgrade in 1957. He participated at the Venice Biennale in 1968. He is the author of numerous monuments in public space, dedicated to historic figures. He won large number of awards andaccolades, including: the Golden Needle from the Artists’ Association of Serbia in 1961, the sculpture award at the 6th October salon in 1965, the October award of the city of Belgrade in 1967, the Golden Chisel from the Artists’ Association of Serbia. Petar Lubarda (Ljubotinj, 1907 – Belgrade, 1974) He enrolled the Art School in Blegrade in 1925, where his professors Ilija Sobajic, Ljuba Ivanovic and Beta Vukanovic. He soon left school and in 1926 toheaded for Paris, where he stayed until 1932. In Paris he enrolled the Académie des Beaux Arts, but he quit it. In the period between 1932 and 1938, he lived in Belgrade. He was a member of the Lada Artists Association since 1938. He worked as a professor at the Art Academy in Belgrade from 1946 when, together with Milo Milunovic, he participates in the forming of the fist school of art in Montenegro, in Cetinje. He returns to Belgrade in 1950. His individual exhibition in Belgrade in 1951 represented a turning point in the Yugoslavian art of the time. He was a member of the Artists’ Association of Serbia. He exhibited with the Independents group since 1951. He was a member of the Serbian Academy of Sciences and Arts since 1959. He gifted his legacy to the city of Belgrade in 1973. He exhibited at the Second Biennale in Sao Paolo in 1953, at the Third Biennale in Tokyo in 1955 and at the Venice Biennale in 1960. He won numerous awards: the Grand Prix at the World Fair in Paris in 1937, the Purchase award at the Biennale in Sao Paolo in 1953, the October award of the city of Belgrade in 1955, the national Guggenheim award in New York in 1956, the Seventh of July award in 1964, first prize at the Cetinje salon of Yugoslavian visual art 13th November in 1967.

dovan član SANU. Dobitnik je brojnih nagrada među kojima su: Oktobarska nagrada grada Beograda 1966. godine, „Sedmojulska nagrada“ 1970. godine, „Zlatna paleta” ULUS-a 1978. godine. Pored bavljenja slikarstvom, objavljivao je članke o umetnosti u „Umetničkom pregledu”, a pisao je i eseje i drame. Milo Milunović (Cetinje, 1897 – Beograd, 1967) Školovao se u okolini Firence i u Parizu. Zajedno sa Petrom Dobrovićem i Tomom Rosandićem bio je jedan od osnivača beogradske Akademije likovnih umetnosti 1937. godine. Izlagao je na Venecijanskom bijenalu 1938. godine. Nakon Drugog svetskog rata sa Petrom Lubardom osniva Umetničku školu na Cetinju, gde radi kao profesor do 1948. godine, kada se doseljava u Beograd. Od te godine upravlja državnom majstorskom radionicom likovnih umetnosti. Od 1952. godine bio je redovni profesor Akademije likovnih umetnosti u Beogradu. Dopisni član SANU bio je od 1950. godine, redovni od 1958, a od 1966. bio je i dopisni član JAZU. Bio je član grupa „Dvanaestorica” i „Samostalni”. Crtao je, radio grafike, freske, mozaike i plakate, ilustracije, nacrte za poštanske marke, scenografije i pozorišne kostime, pisao je kritiku i rasprave o umetnosti. Dobitnik je brojnih nagrada među kojima su: „Grand Prix“ na Međunarodnoj izložbi u Parizu 1937. godine, Oktobarska nagrada grada Beograda 1958. godine, Nagrada za slikarstvo na I Oktobarskom salonu 1960. godine, „Sedmojulska nagrada” za životno delo, 1961. u Beogradu, I nagrada na „Plavom salonu“ u Zadru 1964. godine, a odlikovan je i ordenom Legije časti u Parizu 1939.godine. Maja Obradović (Beograd, 1983) Maja Obradović je rođena 1983. godine u Beogradu. Diplomirala je na Fakultetu likovnih umetnosti u Beogradu, odsek slikarstva, u klasi profesora Jovana Sivačkog 2007. godine. Trenutno je na doktorskim studijama na istom Fakultetu i u klasi istog profesora. Član je ULUS-a od 2008. godine. Samostalne izložbe imala je u Beogradu i Bad Ems-u u Nemačkoj, a učestvovala je i na mnogobrojnim grupnim izložbama. Dobitnica je nagrade za slikarstvo “Ljubica Cuca Sokić”, Velike nagrade “Rista i Beta Vukanovic, slikari”, Nagrade XIV Bijenala studentskog crteža Srbije.

Predrag Pedja Milosavljevic (Luznice, 1908 – Belgrade, 1987) A lawyer, he was employed at the Yugoslavian Ministry of Foreign Affairs. As a member of the consular representatives, he lived in Madrid, Paris and London. During his stay in those cities, he sent reviews on exhibitions, essays on artists, travel books. He was a member of the Twelve group since 1938. He participated at the Venice Biennale in 1940 and 1952. He had his first individual exhibition in London in 1940, and he started having individual exhibitions in Belgrade only after 1951. He was a member of the Six group from 1954 until 1964. He was elected president of the Artists’ Association of Serbia in 1957. He was elected an associate member of the Serbian Academy of Sciences and Arts in 1972, and became a regular member in 1976 of the Serbian Academy of Sciences and Arts. He is the winner of numerous awards including: the October award of the city of Belgrade in 1966, the Seventh of July award in 1970, the Golden palette from the Serbian Academy of Sciences and Arts in 9178. Apart from painting, he published articles on art in the Artistic Review, and he also wrote essays and dramas. Milo Milunovic (Cetinje, 1897 – Belgrade, 1967) He was schooled in Florence and Paris. Together with Petar Dobrovic and Toma Rosandic, he was one of the founders of Belgrade’s Academy of Fine Arts in 1937, where he worked as one of the first professors. He exhibited at the Yugoslavian pavilion at the Biennale in Venice in 1938. After World War II, he founded the Cetinje Art School with Petar Lubarda, where he starts to work as a professor in 1946. He moves to Belgrade in 1948. From that year on, he runs the State master workshop of visual arts. From 1952 he was a professor at the Academy of Fine Arts in Belgrade. He was a member of the Serbian Academy of Sciences and Arts and an associate member of the Yugoslavian Academy of Sciences and Arts. He was a member of the Twelve and Independents groups. He drew, did graphics, frescoes, mosaics, posters, illustrations, stamp designs, set designs and theater costumes, he also wrote critiques and discussions on art. He is the winner of numerous awards and accolades, including: the Grand Prix for mosaic and painting at the International exhibitions in Paris in 1937, the October awards of the city of Belgrade in 1958, The painting award at the I October salon in 1960, 209

Petar Omčikus (Sušak, 1926 - Beograd, 2019) Studirao je na Akademiji likovnih umetnosti u Beogradu, u klasi profesora Ivana Tabakovića. Bio je član „Zadarske grupe“ i jedan od osnivača grupe „Jedanaestorica“. Priređuje prvu samostalnu izložbu u galeriji ULUS-a 1951. godine, a naredne godine odlazi da živi u Pariz. Od 1994. član je SANU van radnog sastava, a za redovnog člana izabran je 1999. godine. Učestvovao je na brojnim grupnim izložbama u zemlji i inostranstvu, posebno u Parizu, gde je izlagao i u „Gran Paleu“ 1972. godine. Među mnogobrojnim izložbama koje je priredio ističu se retrospektive u Muzeju savremene umetnosti u Beogradu 1989. godine, u Galeriji SANU 1998. godine i u Galeriji likovne umetnosti poklon-zbirci Rajka Mamuzića u Novom Sadu 2007. godine. U Galeriji SANU priredio je 2012. godine izložbu portreta nastalih od prvih godina njegovog stvaralaštva. Dobitnik je značajnih nagrada među kojima su: Nagrada za slikarstvo na Oktobarskom salonu u Beogradu 1972. godine i Nagrada Politike iz Fonda „Vladislav Ribnikar“ 1990. godine. Osnivač je fondacije Kosara BokšanPetar Omčikus. Dušan Otašević (Beograd, 1940) Diplomirao je na Akademiji likovnih umetnosti u Beogradu 1966. u klasi profesorke Ljubice Sokić. Član je ULUS-a od 1967. godine. Učestvovao je na Venecijanskom bijenalu 1972. godine. Dopisni je član SANU od 2003. godine, a redovni od 2009. godine. Bio je upravnik Galerije SANU. Predavao je na Akademiji lepih umetnosti. Priredio je oko 30 samostalnih izložbi i učestvovao na mnogim grupnim izložbama u zemlji i inostranstvu. Dobitnik je brojnih značajnih nagrada i priznanja, među kojima se ističu: Politikina nagrada iz Fonda „Vladislav Ribnikar”za izložbu u Galeriji Sebastijan 1985. godine, nagrada iz Fonda „Ivan Tabaković” 1992. godine, Nagrada za slikarstvo na Oktobarskom salonu 1993. godine, Nagrada grada Čačka na 17. memorijalu Nadežde Petrović 1994. godine, nagrada „Mića Popović”, nagrada „Sava Šumanović” 2002. godine, nagrada „Milan Konjović” 2010, Nagrada grada Beograda 2004. godine.

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the Seventh of July lifetime achievement award in 1961 in Belgrade, the first prize at the Blue salon in Zadar in 1964, and he was decorated with the Legion of Honor medal in Paris. Maja Obradovic (Belgrade, 1983) Maja Obradović was born in 1983 in Belgrade. She graduated from the Faculty of Fine Arts in Belgrade, Department of Painting, in the class of Professor Jovan Sivački in 2007. She is currently pursuing PhD studies at the same Faculty in the class of the same professor. She has been a member of ULUS since 2008. She has had solo exhibitions in Belgrade and Bad Ems in Germany, and has participated in numerous group exhibitions. She is the winner of the “Ljubica Cuca Sokić” painting award, the “Rista and Beta Vukanovic, painters” Grand Prize, and the XIV Biennial of Student Drawing of Serbia Award. Petar Omcikus (Susak, 1926 - Belgrade, 2019) He studied at the Academy of Fine Arts in Belgrade in the class of professor Ivan Tabakovic. He was a member and one of the founders of the Zadar based the Eleven group. He hosted his first individual exhibition in the Artists’ Association of Serbia gallery in 1951, and the very next year he moved to Paris. Since 1994, he has been a member of the Serbian Academy of Sciences and Arts in an associate persuasion, and he was elected as a regular member in 1999. He participated in numerous group exhibitions at home and abroad, especially in Paris, where he exhibited at the Grand Pale in 1972. One of his many exhibitions includes a retrospective at the Museum of Contemporary Art in Belgrade in 1989, the Serbian Academy of Sciences and Arts gallery in 1998, and at the Gallery of visual art’s Rajko Mamuzic gift-collection in Novi Sad in 2007, when along with his retrospective his wife Kosa Boksan also held one. He exhibited at the Serbian Academy of Sciences and Arts gallery in 2012 where he displayed portraits that originated in a span of over 60 years. He won numerous awards, including: the painting award at the October salon in Belgrade in 1972 and the Politika award from the Vladislav Ribnikar Foundation in 1990. He was the founder of the Kosara Boksan-Petar Omcikus foundation.

Vladimir Pajević (Beograd, 1948)

Dusan Otasevic (Belgrade, 1940)

Diplomirao je slikarstvo na Akademiji lepih umetnosti u Beogradu, gde je završio i master studije. Na početku svoje karijere sarađivao je sa mnogim švajcarskim i italijanskim galerijama. Na početku svoje karijere bio je deo metafizičkog pokreta, tada aktivnog na beogradskoj Akademiji. Od 1978. godine živi i radi u Rimu. Izlagao je na mnogim kolektivnim izložbama, a samostalne je imao u Rimu, Bolonji, Torinu, Njujorku, Beogradu, Cirihu, Bernu i mnogim drugim.

Slikarstvo je pohađao na Umetničkoj školi u Beogradu. Usavršavao se u Beču, Krakovu i Parizu. Aktivno je sarađivao sa časopisom “Zenit” i bio član umetničke grupe “Oblik”. Osnivač Grafičkog odseka Akademije likovnih umetnosti i Akademije primenjenih umetnosti u Beogradu. Pored slikarstva, bavio se i grafikom, ilustracijom, poezijom i likovnom kritikom.

He graduated at the Academy of Fine Arts in Belgrade in 1966 in the class of professor Ljubica Sokic. He has been a member of the Artists’ Association of Serbia since 1967. He participated in the Venice Biennale in 1972. He has been an associate member of the Serbian Academy of Sciences and Arts from 2003 and has been a regular member since 2009. He is the director of the Serbian Academy of Sciences and Arts gallery. He was a lecturer at the Academy of Fine Arts. He edited around 30 individual exhibitions and participated in many group exhibitions at home and abroad. He is the winner of many noted awards and accolades, with some outstanding ones: Politika’s award from the Vladislav Ribnikar Foundation from the exhibition at the Gallery Sebastian in 1985, the award from the Ivan Tabakovic Foundation in 1992, the painting award at the October salon in 1993, the city of Cacak award at the 17th Nadezda Petrovic Memorial in 1994, the Mica Popovic award, the Sava Sumanovic in 2002, the Milan Konjovic award in 2010, the City of Belgrade’s award in 2004.

Nadežda Petrović (Čačak, 1873 - Valjevo, 1915)

Vladimir Pajevic (Belgrade, 1948)

Nakon dolaska u Beograd 1884. godine, završila je Višu žensku školu. Nakon toga postala je učenica u ateljeu Đorđa Krstića. Učila je i kod Kirila Kutlika, da bi potom otišla u Minhen u atelje Antona Ažbea, a kasnije i u atelje Julijusa Ekstera. Učestvovala je u osnivanju umetničkog udruženja “Lada”, bila je pokretač Prve jugoslovenske umetničke kolonije u Sićevu i Pirotu i jedan od osnivača Kola srpskih sestara. Imala je samostalne izložbe u Beogradu i Ljubljani. Takođe se bavila i fotografijom.

He graduated painting at the Academy of Fine Arts in Belgrade, where he also completed his master’s studies. At the beginning of his career, he collaborated with many Swiss and Italian galleries. At the beginning of his career, he was part of the metaphysical movement, then active at the Belgrade Academy. He has lived and worked in Rome since 1978. He has exhibited at many collective exhibitions, and has had solo exhibitions in Rome, Bologna, Turin, New York, Belgrade, Zurich, Bern and many others.

Zoran Petrović (Sakule, 1921 – Beograd 1996)

Mihailo Petrov (Belgrade, 1902 - Belgrade, 1983)

Diplomirao je na Akademiji likovnih umetnosti u Beogradu 1948. godine. Specijalni tečaj završio je u klasi profesora Đorđa Andrejevića Kuna 1949. godine, nakon čega je izabran za asistenta na Akademiji, a zatim i za redovnog profesora. Bio je član grupe „Samostalni“ i jedan od osnivača „Decembarske grupe“. Jedan je od osnivača umetničke kolonije u Bačkoj Topoli i kolonije „Ečka” u Zrenjaninu i aktivni učesnik drugih umetničkih kolonija. Izlagao je na 30 samostalnih i 90 kolek-

He attended painting at the Art School in Belgrade. He studied in Vienna, Krakow and Paris. He actively collaborated with the magazine “Zenit” and was a member of the art group Shape. He was the founder of the Print Department at the Academy of Fine Arts and the Academy of Applied Arts in Belgrade. In addition to painting, he was also involved in printmaking, illustration, poetry and art criticism.

Mihailo Petrov (Beograd, 1902 - Beograd, 1983)

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tivnih izložbi, u zemlji i u inostranstvu. Pored slikarstva i vajarstva bavio se i pisanjem. Dobitnik je brojnih nagrada među kojima su: Nagrada “Leirner” za crtež na Bijenalu u Sao Paolu 1961. godine, „Sedmojulska nagrada” 1962. godine, Nagrada ULUS-a 1966. godine, Nagrada za slikarstvo Umetničke kolonije „Ečka” 1966. godine, Nagrada na Prvom bijenalu crteža u Zagrebu 1968. godine. Ljuba Popović (Tuzla 1934 - Beograd, 2016) Diplomirao je slikarstvo na Akademiji likovnih umetnosti u Beogradu 1959. godine. Završio je specijalni tečaj slikarstva kod profesora Mila Milunovića 1962. godine. Jedan je od članova „Mediale“. Prvi put izlaže na Oktobarskom salonu 1960. godine. Od 1963. godine živi i radi u Parizu. Član je Srpske akademije nauka i umetnosti od 1991. godine. Njegova dela se nalaze u brojnim muzejima, galerijama i privatnim kolekcijama širom sveta. Godine 1989. proglašen je počasnim građaninom Valjeva, u kome dugi niz godina vodi „Modernu galeriju Valjevo”. Njegov rad predstavljen je u knjizi Bredlija Smita „Majstori evropske umetnosti XX veka“. Mileta Prodanović (Beograd, 1959) Studirao je arhitekturu i slikarstvo. Završio je Fakultet likovnih umetnosti u Beogradu 1983. godine i na istom fakultetu je magistrirao 1985. godine. Specijalizaciju je završio u Londonu, na Royal College of Arts 1989-90. godine. Od 1990. godine radi kao asistent, docent i potom vanredni profesor na Fakultetu likovnih umetnosti u Beogradu. Samostalno i grupno je izlagao u gradovim bivše Jugoslavije i u više evropskih gradova: Rim, Tibingen, Tuluz, Karkason, Venecija, Beč, Grac, Prag, Regensburg. Od 1983. godine objavljuje prozu, esejističke tekstove iz oblasti vizuelnih umetnosti i publicistiku. Miodrag B. Protić (Vrnjačka Banja, 1922 - Beograd, 2014) Od 1943. pohađao je slikarsku školu Mladena Josića. U novembru 1946. prvi put izlaže na III izložbi ULUS-a u Beogradu, a član ULUS-a postaje 1948. godine. Bio je jedan od članova grupe „Samostalni“ od 1951. godine. Pisao je likovnu kritiku za „NIN“ između 1952. 212

Nadezda Petrovic (Čačak, 1873 - Valjevo, 1915) After coming to Belgrade in 1884, she graduated from the Women’s High School. After that, she became a student in the studio of Đorđe Krstić. She also studied with Kiril Kutlik, and then went to Munich to the studio of Anton Ažbe, and later to the studio of Julius Exter. She participated in the founding of the art association Lada, she was the initiator of the First Yugoslav Art Colony in Sićevo and Pirot, and one of the founders of the Circle of Serbian Sisters. She had solo exhibitions in Belgrade and Ljubljana. She was also engaged in photography. Zoran Petrovic (Sakule, 1921 – Belgrade, 1996) He graduated at the Academy of Fine Arts in Belgrade in 1948. He completed a special course in the class of professor Djordje Andrejevic Kun in 1949 and after that he was chosen to be an assistant at the Academy, and later on he became a professor. He was a member of the Independents group and was one of the founder of the December group. He was one of the founders of the art colony in Backa Topola and the Ecka colony in Zrenjanin, as well as an active participant in other artistic colonies. He had 30 individual and 90 collective exhibitions, at home and aboard. Apart from painting and sculpting, he also wrote. He is the winner of numerous awards including: the Leirner award for drawing in Sao Paolo in 1961, the Seventh of July award in 1962, the Artists’ Association of Serbia’s award in 1966, the Ecka art colony’s award for painting in 1966, and the award at the First Biennale in Zagreb in 1968. Ljuba Popovic (Tuzla 1934 - Belgrade, 2016) He graduated painting at the Academy of Fine Arts in Belgrade in 1959. He completed a special painting course under the tutorage of professor Milo Milunovic in 1962. He was a member of the Mediala. He first exhibits at the October salon in 1960. He has been living and working in Paris since 1963. He has been a member of the Serbian Academy of Sciences and Arts since 1991. His works are found in numerous museums, galleries and private collections worldwide. In 1989 he was proclaimed an honored citizen of Valjevo, where he’s been running the Modern gallery of Valjevo for many years. His work is represented in the book by Bradley Smith, Masters of European Art of the XX century.

i 1958. godine. Bio je jedan od osnivača „Decembarske grupe“. Godine 1955. objavljuje prvu knjigu kritika „Savremenici”. Pisao je veliki broj studija, eseja i kritika o srpskoj i jugoslovenskoj likovnoj umetnosti. Za upravnika Moderne galerije u Beogradu postavljen je odmah po njenom osniivanju 1959. godine. Galerija je ubrzo prerasla u Muzej savremene umetnosti, na čijem čelu je bio do 1980. godine. Izlagao je na Bijenalu u Sao Paolu 1965. godine. Bio je dopisni član JAZU od 1966. Dobitnik je brojnih nagrada među kojima su: Međunarodna nagrada UNESCO-a na Bijenalu u Veneciji 1956. godine, Oktobarska nagrada grada Beograda iste godine, Prva nagrada na „Plavom salonu“ u Zadru 1974. godine, a za knjigu „Oblik i vreme“ dobija nagradu NIN-a „Dimitrije Tucović“. Ivan Radović (Vršac, 1894 – Beograd, 1973) Studirao je slikarstvo na Umetničkoj akademiji u Budimpešti i, radi usavršavanja, putovao u Pariz, Beč, Minhen i Prag. Od 1922. do 1928. živeo je u Somboru a zatim se preselio u Beograd. Bio je član grupa „Oblik” i „Šestorica” od osnivanja, kao i član posleratne grupe „Samostalni”. Bavio se pedagoškim radom i do Drugog svetskog rata predavao u Umetničkoj školi u Beogradu. Prvi put je samostalno izlagao 1925. godine, 1927. izlagao je u Njujorku, Filadelfiji i Bufalu, a 1930. u Londonu. Kasnije je imao brojne izložbe u zemlji i inostranstvu. Retrospektivne izložbe održao je 1966. u Beogradu i Novom Sadu. Dopisni član SANU postao je 1970. godine. Dobitnik je brojnih nagrada i priznanja među kojima su: Srebrna medalja na Međunarodnoj izložbi u Parizu 1937. godine, „Zlatna paleta“ ULUS-a 1962. godine, Politikina nagrada 1967. godine i „Sedmojulska nagrada“ 1967 godine. Godine 1929. bio je prvak Jugoslavije u tenisu. Radomir Reljić (Skoplje, 1938 – Beograd, 2006) Diplomirao je na Akademiji likovnih umetnosti u Beogradu 1961. godine, u klasi profesora Zorana Petrovića. Specijalni tečaj završio je u klasi profesora Mila Milunovića 1963. godine. Od 1972. bio je asistent, a od 1988. redovni profesorna Fakultetu likovnih umetnosti u Beogradu, na slikarskom odseku. Za dopisnog člana SANU izabran je 1988, a za redovnog 1997. godine. Retrospektivna izložba njegovog rada priređena je 1996. godine, u Galeriji SANU. Za umetnički rad dobio

Mileta Prodanovic (Belgrade, 1959) He studied architecture and painting. He graduated from the Faculty of Fine Arts in Belgrade in 1983 and received his master’s degree from the same faculty in 1985. He completed his specialization in London, at the Royal College of Arts in 1989-90. Since 1990, he has been working as an assistant, assistant professor and then associate professor at the Faculty of Fine Arts in Belgrade. He has exhibited independently and in group shows in the cities of the former Yugoslavia and in several European cities: Rome, Tübingen, Toulouse, Carcassonne, Venice, Vienna, Graz, Prague, Regensburg. Since 1983, he has been publishing prose, essay texts in the field of visual arts and he worked as a journalist. Miodrag B. Protic (Vrnjacka Banja, 1922 - Belgrade, 2014) He attends the Mladen Josic school of painting since 1943. In November 1946, he exhibited for the first time at the 3rd Artists’ Association of Serbia’s exhibition in Belgrade, and he has been a member of the Serbian Academy of Sciences and Arts from 1951. He wrote the art critique for NIN between 1952 and 1958. He was one of the founders of the December group. In 1955, he published his first book of critiques, Contemporaries. He wrote a large number of studies, essays and critiques on Serbian and Yugoslavian visual art. Upon the formation of the Modern Gallery in 1959, he was set as director. It later grew into the Museum of Contemporary Art, and he was at the helm of it until 1980. He exhibited at the Biennale in Sao Paolo in 1965. He was an associate member of the Yugoslavian Academy of Sciences and Arts from 1966. He is the winner of numerous awards including” the international UNESCO award at the Biennale in Venice in 1956, the October award of the city of Belgrade that same year, First place at the Blue salon in Zadar in 9174 and NIN’s Dimitrije Tucovic prize for his book Shape and time book. Ivan Radovic (Vrsac, 1894 – Belgrade, 1973) He learned to paint at the Art Academies in Budapest and Prague. He even lived in Paris for his studies. He belonged Free Ones, Shape groups and Six. He was a member of the Artists’ Association of Serbia. He did the work of a pedagogue, lecturing in several schools, and 213

je više priznanja: nagradu „Politike” 1965. godine, Prvu nagradu na trećem Trijenalu jugoslovenske umetnosti 1967. godine, Treću nagradu na izložbi u Lajbnicu iste godine, Veliku plaketu Univerziteta umetnosti 1988. godine i Nagradu 18. memorijala Nadežde Petrović 1994. godine. Ljubica Cuca Sokić (Bitolj, 1914 – Beograd, 2009) Upisala je Umetničku školu u Beogradu 1930. godine, na kojoj je studirala najpre na nastavničkom odseku do 1934. kod Bete Vukanović i Ljube Ivanovića, a zatim i na akademskom tečaju kod Ivana Radovića do 1936. Od 1936. do 1939. godine živela je i studirala u Parizu. Prvi put je samostalno izlagala svoje radove u Beogradu po povratku iz Pariza 1939. godine. Bila je jedan od osnivača grupe „Desetorica” 1940. godine. U periodu između 1948. i 1972. godine radila je kao redovan profesor na Akademiji likovnih umetosti u Beogradu. Za dopisnog člana SANU izabrana je 1968, a za redovnog 1978. godine. Bila je jedan od tvoraca Kuće legata, a ovoj ustanovi i gradu Beogradu ostavila je svoj legat koji se sastoji od 27 reprezentativnih dela nastalih između 1965. i 1985. godine. Izlagala je na mnogobrojnim samostalnim i grupnim izložbama u zemlji i inostranstvu. Dobila je veliki broj nagrada, među kojima su: Nagrada za slikarstvo na prvom Oktobarskom salonu 1960. godine, „Zlatna paleta“ ULUS-a 1962. godine, „Sedmojulska nagrada” 1972. godine, Oktobarska nagrada grada Beograda 1978. godine, „Vukova nagrada” 1993. godine, nagrađena je Politikinom nagradom iz Fonda „Vladislav Ribnikar“ za retrospektivnu izložbu u Galeriji SANU 1996. godine. Aleksandar Srnec (Zagreb, 1924 – Zagreb, 2010) Studirao je arhitekturu i Akademiju likovnih umetnosti u Zagrebu, koju napušta 1949. godine. Na prvoj godini studija, s kolegama Ivom Kalinom i Ivanom Piceljem osniva umetničku grupu „Ipikas”. Bio je jedan od osnivača avangardne umetničke grupe EXAT 51, koja je delovala u periodu od 1950. do 1956. godine. Aktivno je učestvovao u širenju međunarodnog pokreta Nove tendencije. Bio je redovni učesnik izložbi ovog pokreta koje su između 1961. i 1973. godine održane u Galeriji Suvremene umjetnosti u Zagrebu. Izlagao je na Bijenalu u Veneciji 1970. godine i tada je izložio kinetičke multiple, izvedene u pleksiglasu i pokrenute elektro214

for a while even at the Art School in Belgrade. He became an associate member of the Serbian Academy of Sciences and Arts in 1970. He won many awards and accolades, including: the Silver medal at the International exhibition in Paris in 1937, the Golden Petal from the Serbian Academy of Sciences and Arts in 1962, Politika’s award in 1967 and the Seventh of July award” in 1967. He edited several retrospective exhibitions of his work. Radomir Reljic (Skopje, 1938 – Belgrade, 2006) He studied at the Academy of Fine Arts in Belgrade in 1961 in the class of professor Zoran Petrovic. He completed a special course in the class of professor Milo Milunovic in 1963. He was an assistant from 1972, and became a professor at the Faculty of Fine Arts in Belgrade since 1988, in the painting department. He was elected as an associate member of the Serbian Academy of Sciences and Arts in 1988, and he became a regular member in 1997. A retrospective exhibition of his work was held in 1996, at the Serbian Academy of Sciences and Arts Gallery. For his artistic work, he received the Politika award in 1965, the first prize on the third Triennial of Yugoslavian art in 1967, third prize at the exhibition in Leibnitz that same year, the Great poster of the Art University in 1988 and the 18th Nadezda Petrovic memorial award in 1994. Ljubica Cuca Sokic (Bitolj, 1914 – Belgrade, 2009) She enrolled the Art School of Belgrade in 1930, where she first studied at the teacher department under the tutorage of Beta Vukanovic i Ljuba Ivanovic, and then she also attended the academic course under Ivan Radovic from 1936. She lives and studies in Paris from 1936 until 1939. The first individual exhibition of her works was in Belgrade upon returning from Paris in 1939. She was one of the founders of the Ten group in 1940. In the period between 1948 and 1972, she worked as a professor at the Academy of Fine Arts in Belgrade. She was chosen as an associate member of the Serbian Academy of Sciences and Arts in 1968 and became a regular member in 1978. She was one of the creators of the Heritage House, and within this institution in Belgrade she left her own legacy consisting of 27 representational pieces that came to be between 1965 and 1985. She has exhibited at home and abroad in many individual and group exhibitions. She won many

motorom. Retrospektivna izložba Srnecovih radova „Prisutna odsutnost“, održana je u Muzeju Suvremene umjetnosti u Zagrebu 2010. godine. Miljenko Stančić (Varaždin, 1926 – Zagreb, 1977) Diplomirao je slikarstvo na Akademiji likovnih umetnosti u Zagrebu 1949. godine. Postdiplomske studije grafike, završio je kod Tomislava Krizmana 1952. godine. Bio je član grupe „Petorica”. Od 1953. godine izlaže na brojnim međunarodnim izložbama. Sa grupom „Fantasmagie“ udruženjem fantastične i magijske umetnosti sa sedištem u Briselu izlagao je od 1960. godine. Bio je profesor na Akademiji likovnih umetnosti u Zagrebu od 1961. godine. U Varaždinu je 2006. otvorena njegova retrospektivna izložba i galerija. Milan Stašević (Vojvoda Stepa, 1946) Diplomirao je na Fakultetu likovnih umetnosti u Beogradu na odseku za slikarstvo 1975. godine u klasi profesora Zorana Petrovića, da bi dve godine kasnije i magistrirao na istom fakultetu kod profesora Mladena Srbinovića. Član je ULUS-a od 1977. godine. Do sada je imao preko 50 samostalnih i učestvovao na preko 300 grupnih izložbi u zemlji i inostranstvu. Dobitnik je mnogih priznanja među kojima su “Zlatna igla”, “Zlatna paleta” i “Veliki pečat”. Bio je zaposlen kao redovni profesor predmeta Crtanja i predmeta Slikanja na Akademiji umetnosti Univerziteta Novi Sad. Sreten Stojanović (Prijedor, 1898 - Beograd, 1960) Bio je srpski vajar, crtač, akvarelista, teoretičar, likovni kritičar, pedagog, javni radnik i dekan Likovne akademije u Beogradu. Studirao je slikanje i vajanje u Beču i Parizu. Sreten je jedan od prvih profesora na Akademiji likovnih umetnosti u Beogradu. Bio je član Srpske akademije nauka i umetnosti, izabran 1950. godine za dopisnog, a od 1959. godine za redovnog člana. Izlagao je još na izložbama nezavisnih umetnika u Parizu 1921. godine. Njegova dela izložena su u više galerija, pored ostalih i u Spomen-zbirci Pavla Beljanskog.

prizes, including the painting prize at the first October salon in 1960, the Artists’ association of Serbia’s Golden pallet in 1962, the Seventh of July award in 1972, the city of Belgrade’s October award in 1978, Vuk’s award in 1993, she was awarded the Politika award from the Vladislav Ribnikar Foundation for the retrospective exhibition at the gallery of the Serbian Academy of Sciences and Arts in 1996. Aleksandar Srnec (Zagreb, 1924 – Zagreb, 2010) He studied architecture and at the Academy of Fine Arts in Zagreb, which he leaves in 1949. In the first year of studies, he starts an art group called Ipikas with colleagues Ivo Kalina and Ivan Picelj. He was one of the founders of the avant-garde art group EXAT 5, which operated in the period between 1950 and 1956. He actively participated in the spreading of the international movement New Tendencies. He was a regular participant in the exhibitions of this movement that were held at the Gallery of Contemporary Art in Zagreb between 1961 and 1973. He exhibited at the Biennale in Venice in 1970 at which time he shared his kinetic multiples, made in plexi glass and moved by an electromotor. A retrospective exhibition of Srnec’s work called Present absencewas held at the Museum of Contemporary Art in Zagreb in 2010. Miljenko Stancic (Varazdin, 1926 – Zagreb, 1977) He graduated painting at the Academy of Fine Arts in Zagreb in 1949. His postgraduate studies were in graphics and he completed them under the tutorage of Tomislav Krizman in 1952. He was a member of the Five group. Since 1953, he has exhibited at numerous international exhibitions. He exhibited with the group the Fantasmagie, the association of fantastic and magical art based in Brussels since 1960. He was a professor at the Academy of Fine Arts in Zagreb since 1961. In 2006 a retrospective exhibition and gallery was opened in Varazdin. Milan Stasevic (Vojvoda Stepa, 1946) He graduated from the Faculty of Fine Arts in Belgrade at the Department of Painting in 1975 in the class of Professor Zoran Petrović, and two years later he re215

Gabrijel Stupica (Dražgoše, 1913 – Ljubljna, 1990) Diplomirao je na Akademiji likovnih umetnosti u Zagrebu. Preselio se 1946. u Ljubljanu, gde je postao profesor na novoosnovanoj Akademiji likovnih umetnosti. Do odlaska u penziju 1977. godine bio je dva puta rektor. Bio je član van radnog sastava Srpske akademije nauka i umetnosti i Slovenačke akademije nauka i umetnosti. Pored slika povremeno je radio grafike, a bavio se i scenografijom. Izlagao je na mnogim samostalnim i grupnim izložbama u zemlji i inostranstvu. Dobitnik je brojnih nagrada u zemlji i inostranstvu. Ivan Šuletić (Beograd, 1982) Slikarstvo je studirao na Fakultetu likovnih umetnosti u Beogradu, gde je završio i doktorske studije. Jedan je od osnivača i kourednika „Supervizuelna”, internet magazina za savremenu umetnost. Šuletić je dobitnik nagrade za savremeni crtež Fondacije Vladimir Veličković, nagrade “Likovna jesen” i druge nagrade za slikarstvo “Niš Art Fondacije” za 2015. godinu. Izlagao je na samostalnim i grupnim izložbama u Cirihu, Hamburgu, Lisabonu, Beogradu, Aranđelovcu, Sofiji, Novom Sadu i drugim gradovima. Radi kao docent na Arhitektonskom fakultetu u Beogradu. Ivan Tabaković (Arad, 1898 – Beograd, 1977) Slikarstvo je studirao na akademijama u Budimpešti, Zagrebu i Minhenu. Posle Prvog svetskog rata živeo je u Zagrebu do 1930, u Novom Sadu do 1938. i u Beogradu od 1938. do smrti. Jedan je od osnivača umetničke grupe „Zemlja” koju napušta već početkom 1931. Jedan je od osnivača i profesora Škole za primenjenu umetnost u Beogradu (1938-1941). Bio je član grupe „Dvanaestorica“ (1937) i „Šestorica” (1954). Postavljen je za vanrednog profesora na Akademiji likovnih umetnosti u Beogradu 1945. godine. Nakon osnivanja Akademije primenjenih umetnosti 1948. godine, prelazi da radi kao profesor na Odeljenju za keramiku. Bio je redovan član Srpske akademije nauka i umetnosti. Sa Nedeljkom Gvozdenovićem inicirao je osnivanje Galerije Srpske akademije nauka i umetnosti 1968. godine. Učestvovao je na Venecijanskom bijenalu 1968. godine. Dobitnik je “Grand Prix“ za slikarstvo i keramiku na Svetskoj izlozbi u Parizu 1937. i Politikine 216

ceived his master’s degree from the same faculty under Professor Mladen Srbinović. He has been a member of ULUS since 1977. So far, he has had over 50 solo and participated in over 300 group exhibitions in the country and abroad. He has won many awards, including the “Golden Needle”, the “Golden Palette” and the “Big Seal”. He was employed as a full professor of Drawing and Painting at the Academy of Arts of the University of Novi Sad. Sreten Stojanovic (Prijedor, 1898 - Belgrade, 1960) He was a Serbian sculptor, draftsman, water-colorist, theorist, art critic, pedagogue, public worker and dean of the Academy of Fine Arts in Belgrade. He studied painting and sculpture in Vienna and Paris. Sreten was one of the first professors at the Academy of Fine Arts in Belgrade. He was a member of the Serbian Academy of Sciences and Arts, elected in 1950 as a corresponding member, and since 1959 as a regular member. He also exhibited at exhibitions of independent artists in Paris in 1921. His works are exhibited in several galleries, among others in the Memorial Collection of Pavle Beljanski. Gabrijel Stupica (Drazgose, 1913 – Ljubljna, 1990) He graduated at the Academy of Fine Arts in Zagreb. He moved to Ljubljana in 1946, where he became a professor at the newly founded Academy of Fine Arts. Before he retired in 1977 he was Rector twice. He was a member of the Serbian Academy of Sciences and Arts and the Slovenian Academy of Sciences and Arts. Apart from paintings, he occasionally did graphics and also set design. He exhibited on many individual and group exhibitions at home and abroad. He won numerous awards at home and abroad. Ivan Suletic (Belgrade, 1982) He studied painting at the Faculty of Fine Arts in Belgrade, where he also completed his PhD studies. He is one of the founders and co-editors of “Supervizuelna”, an online magazine for contemporary art. Ivan Šuletić has won the award for contemporary drawing of the Vladimir Veličković Foundation, the award “Art Autumn” and the second award for painting “Niš Art

nagrade 1963. godine. Fond „Ivan Tabaković” osnovala je Srpska akademija nauka i umetnosti 1982. godine, na inicijativu njegove supruge Rastislave Slave Tabaković. Od tada se dodeljuje bijenalna nagrada za stvaralaštvo u vizuelnim umetnostima. Legat Ivana Tabakovića, koga čini 413 njegovih radova se nalazi u Muzeju savremene umetnosti u Beogradu. Marino Tartalja (Zagreb, 1894 – Zagreb, 1984) Školovao se u Zagrebu na Graditeljskoj stručnoj školi, a kasnije u Rimu upisuje Viši institut lepih umetnosti. U Rimu radi kao asistent Ivana Meštrovića, a potom odlazi u Firencu gde sarađuje sa futuristima. Bio je redovni profesor na Akademiji likovnih umetnosti u Zagrebu od 1947. godine. Bio je član Jugoslovenske akademije nauka i umetnosti. Tokom duge karijere imao je oko trideset samostalnih i učestvovao je na preko dvesta sedamdeset grupnih izložbi. Dobitnik je nagrade “Vladimir Nazor” za životno delo. Aleksandar Tomašević (Soko Banja, 1921 – Beograd, 1968) Likovnu akademiju u Beogradu završio je 1952. godine. Iste godine zaposlio se kao slikar konzervator u Saveznom institutu za zaštitu spomenika kulture u Beogradu. Konzervaciju slika specijalizirao je u Parizu, u Luvru i na Kraljevskom institutu za zaštitu kulturnog nasleđa u Briselu. Bio je vanredni profesor Akademije primenjenih umetnosti u Beogradu za predmet Monumentalno slikarstvo. Bio je član „Decembarske grupe“ i grupe „Samostalni“. Dobitnik je brojnih nagrada među kojima je i Oktobarska nagrada grada Beograda za likovnu umetnost 1968. godine. Fakultet primenjenih umetnosti ustanovio je 1969. godine Fond „Aleksandar Tomašević“. Lana Vasiljević (Beograd, 1973) Završila je Fakultet likovnih umetnosti, odsek valjarstvo, a potom je i magistrirala na istom fakultetu u klasi profesora Mrđana Bajića. Imala je devet samostalnih izložbi u Beogradu, Hagu, Parizu i Njujorku, a učestvovala je i na mnogim grupnim izlaganjima. Dobitnica je godišnje nagrade 38. Oktobarskog Salona za skulpturu i “Nagrade za najbolji projekat” koju dodeljuje Fakultet likovnih umetnosti u Beogradu. Bavi se grafičkim dizajnom od 2002. godine.

Foundation” for 2015. He has exhibited solo and in group exhibitions in Zurich, Hamburg, Lisbon, Belgrade, Aranđelovac, Sofia, Novi Sad and other cities. He works as an teaching docent at the Faculty of Architecture in Belgrade. Ivan Tabakovic (Arad, 1898 – Beograde, 1977) He studied painting at the academies in Budapest, Zagreb and Munich. After the First World War he lived in Zagreb until 1930, in Novi Sad until 1938 and in Belgrade from 1038 until his passing. He was one of the founders of the art group Earth that he abandons already by the start of 1931. He was one of the founders and professors of the School of Applied Art in Belgrade (1938-1941). He was a member of the Twelve (1937) and Six (1954) groups. He was appointed Associate Professor at the Academy of Fine Arts in Belgrade in 1945. After founding the Academy of Applied Arts in 1948, he leaves the Acedemy of Fine Arts and finds employment at the ceramics department of the newly opened academy. He was a member of the Serbian Academy of Sciences and Arts. He initiated the opening of the Gallery of the Serbian Academy of Sciences and Arts in 1968 with Nedeljko Gvozdenovic. He participated in the Venetian Biennale in 1968. He received the Grand Prix award for paintings and ceramics at the World Fair in Paris in 1937 and Politika’s award in 1963. Under the initiative of his wife Rastislava Slava Tabakovic, the Serbian Academy of Sciences and Arts founded the Ivan Tabakovic Foundation in 1982. Since then a Biennale award is given for works in the visual arts. The legacy of Ivan Tabakovic, consisting of 413 of his works, is in the Museum of Contemporary Arts in Belgrade. Marino Tartalja (Zagreb, 1894 - Zagreb, 1984) He studied in Zagreb at the School of Architecture, and later enrolled in the Higher Institute of Fine Arts in Rome. He worked in Rome as an assistant to Ivan Meštrović, and then went to Florence where he had collaborated with the Futurists. He has been a full professor at the Academy of Fine Arts in Zagreb since 1947. He was a member of the Yugoslav Academy of Sciences and Arts. During his long career, he had about thirty solo and participated in over two hundred and seventy group exhibitions. He is the winner of the “Vladimir Nazor” award for his life’s work. 217

Čedomir Vasić (Beograd, 1948)

Aleksandar Tomasevic (Soko Banja, 1921 – Belgrade, 1968)

Diplomirao je, a potom i magistrirao na slikarskom odseku Akademije likovnih umetnosti u Beogradu kod profesora Đorđa Bošana. Između 1975. i 1976. godine je bio stipendista Fulbrajtovog programa na Kalifornijskom univerzitetu u Santa Barbari i Los Anđelesu, gde je studirao video kod prof. Micurua Kataoke i kompjutersku umetnost kod prof. Džona Vitnija. Od 1973. godine objavljuje stručne i teorijske radove iz oblasti likovnih umetnosti. Samostalno je izlagao u Beogradu, Novom Sadu, Smederevu, Edinburgu, Napulju, Skoplju, Užicu, Pančevu, Čačku i Kruševcu. Zaposlen je na Fakultetu likovnih umetnosti u Beogradu u nastavi slikanja i crtanja.

He graduated from the Belgrade Academy of Fine Art in 1952. The same year he was employed as a conservator painter at the Federal Institute for the Protection of Cultural Monuments in Belgrade. He specialized in conservation painting in Paris, at the Louvre and at the Royal Institute for the protection of cultural heritage in Brussels. He was an associate professor at the Academy of Applied Arts in Belgrade for the subject Monumental painting. He was a member of the December group and the Independents group. He has won many awards, including the October award of the city of Belgrade for fine arts in 1968. The Faculty of Fine Arts established the Aleksandar Tomasevic Foundation in 1969.

Vladimir Veličković (Beograd, 1935 - Split,2019)

Lana Vasiljevic (Belgrade, 1973)

Završio je Arhitektonski fakultet u Beogradu. Izlaže od 1951. godine. Tokom 1962. i 1963. bio je saradnik Majstorske radionice Krste Hegedušića u Zagrebu. Od 1966. godine živi i radi u Parizu. Od 1983. do 2000. godine bio je profesor na “École Nationale Supérieure des Beaux Arts“ u Parizu. Član je SANU od 1984. godine, a 2005. izabran je za člana Francuske Akademije lepih umetnosti. Odlikovan je najvišim francuskim priznanjem u oblasti kulture i umetnosti “Commandeur dans l’ordre des Arts et des Lettres“ 2007. godine i Ordenom umetničkog rada 1984. godine, takođe jednim od najviših francuskih priznanja. Dela mu se nalaze u mnogim muzejima i privatnim kolekcijama širom sveta. Dobitnik je brojnih nagrada među kojima su: Nagrada za slikarstvo Oktobarskog salona 1963. godine, Nagrada za slikarstvo na Memorijalu Nadežde Petrović 1968. i 1978. godine, Nagrada za slikarstvo na Bijenalu u Sao Paolu 1977. godine i „Zlatno pero Beograda 1979. godine. U saradnji sa Galerijom Haos inicijator je nagrade za crtež „Vladimir Veličković“.

She graduated from the Faculty of Fine Arts, Department of Sculpture, and then she pursued her master’s degree from the same faculty in the class of Professor Mrđan Bajić. She has had nine solo exhibitions in Belgrade, The Hague, Paris and New York, and has participated in many group exhibitions. She is the winner of the annual award of the 38th October Salon for Sculpture and the “Award for the best project” awarded by the Faculty of Fine Arts in Belgrade. She has been dealing with graphic design since 2002.

Biljana Vilimon (Novi Pazar, 1951) Na Akademiji Primenjenih umetnosti u Beogradu prvo je diplomirala slikarstvo, a potom magistrirala na odseku vajarstva. Član je ULUS-a od 1977. godine. Likovnu umetnost je promovisala i na televiziji, kao autor stotinu spotova na temu likovne umetnosti i slikarstva i kao autor emisije “Galerija tajni”. Autor je knjiga za decu 218

Cedomir Vasic (Belgrade, 1948) He graduated, and then pursued his master’s degree at the painting department of the Academy of Fine Arts in Belgrade with Professor Đorđe Bošan. Between 1975 and 1976, he he stayed in America as a Fulbright Scholar at the University of California, Santa Barbara and Los Angeles, where he studied video with Professor Micuru Kataoka and computer art with Professor John Whitney. Since 1973, he has been publishing professional and theoretical texts in the field of fine arts. He has exhibited independently in Belgrade, Novi Sad, Smederevo, Edinburgh, Naples, Skopje, Užice, Pančevo, Čačak and Kruševac. He is currently working at the Faculty of Fine Arts in Belgrade as a professor of painting and drawing.

iz oblasti umetnosti. Radila je i kao kolumnista. Samostalno je izlagala u Beogradu, Rimu i Čikagu. Dobitnica je nagrade Dubrovačkog salona za crtež, nagrade Društva likovnih umetnika Beograda takođe za crtež i nagrade “Memorijal Nadežde Petrović - Grand Prix” za slikarstvo, i mnogih drugih. Živi i radi u Beogradu. Lazar Vozarević (Sremska Mitrovica, 1925 – Beograd, 1968) Završio je Akademiju likovnih umetnosti u Beogradu 1948. godine kod profesora Mila Milunovića. Pored slikarstva bavio se mozaikom, ilustracijom i izradom scenografija. Bio je član grupe „Jedanaestorica“ i „Decembarske grupe“. Bio je zaposlen na Akademiji likovnih umetnosti u Beogradu od 1960. godine u zvanju docenta. Bio je jedan od učesnika antologijske izložbe Lazara Trifunovića „Beogradski enformel – mladi slikari“, koja je održana u Galeriji Kulturnog centra Beograda 1962. godine. Njegova dela se nalaze u brojnim muzejima, galerijama i privatnim kolekcijama u zemlji i inostranstvu. Priredio je 16 samostalnih izložbi. Dobitnik je značajnih nagrada u oblasti slikarstva: 1959. dobija Oktobarsku nagradu grada Beograda, 1961. dobija Nagradu za slikarstvo na Prvom trijenalu likovnih umetnosti u Beogradu. U Sremskoj Mitrovici osnovana je Galerija „Lazara Vozarevića” sa stalnom postavkom dela iz njegovog opusa. Veljko Vujačić (Beograd, 1969) Diplomirao je na Fakultetu likovnih umetnosti u Beogradu 1994. godine. Iste godine učestvuje na Prvom Bijenalu mladih u Centru za savremenu kulturu „Konkordija“ u Vršcu i na izložbi Perspektive XXII u Galeriji Studentskog kulturog centra u Beogradu. Samostalne izložbe priredio je u Beogradu i Beču. Učestvovao je na izložbama u Beogradu, Vršcu, Novom Sadu, Čačku, Vrbasu, Kamniku, Herceg Novom, Pančevu, Beču, Budimpešti i Veneciji. Dobitnik je nagrade “Memorijal Nadežde Petrović” i prve nagrade koju mladim umetnicima dodeljuje Gradska galerija u Vrbasu. Miodrag Živković (Leskovac, 1928 - Beograd, 2020) Završio je gimnaziju u Beogradu, nakon koje je diplomirao na Školi za primenjene umetnosti na vajarskom odseku. U dva navrata je bio dekan Fakulteta prime-

Vladimir Velickovic (Belgrade, 1935 - Split, 2019) He graduated from the University of Architecture in Belgrade. During 1962 and 1963 he was an associate of the Master workshop of Krsta Hegedusic in Zagreb. He exhibited since 1951. Since 1966, he lived and worked in Paris. From 1983 until 2000, he was a professor at the École Nationale Supérieure des Beaux Arts in Paris. He has been a member of the Serbian Academy of Sciences and Arts since 1984, and in 2005 he was elected to be a member of the French Academy of Fine Arts. He was awarded with the highest French accolade in culture and art, the Commandeur dans l’ordre des Arts et des Lettres in 2007 and the Decoration for artistic work in 1984, also one of the highest French accolades. He initiated the Vladimir Velickovic drawing awards in cooperation with the Haos gallery. His works are found in many museums and private collections worldwide. He won numerous awards including the Award for painting at the October salon in 1963, the Award for painting at the Nadezda Petrovic memorial awards in 1968 and 1978, the Award for painting at the Sao Paolo Biennale in 1977 and the Golden quill in Belgrade in 1979. Biljana Vilimon (Novi Pazar, 1951) She graduated in painting from the Academy of Applied Arts in Belgrade, and then pursued her master’s degree in sculpture. She has been a member of ULUS since 1977. She also promoted fine arts on television, as the author of a hundred videos on the topic of fine arts and painting and as the author of the show “Gallery of Secrets”. She is the author of a children’s book in the field of art. She also worked as a columnist. She exhibited independently in Belgrade, Rome and Chicago. She has won the award of the Dubrovnik Salon for drawing, the award of the Society of Fine Artists of Belgrade also for drawing and the award “Memorial of Nadežda Petrović - Grand Prix” for painting, and many others. She lives and works in Belgrade. Lazar Vozarevic (Sremska Mitrovica, 1925 – Belgrade, 1968) He graduated from the Academy of Fine arts in Belgrade in 1948 under the tutorage of professor Milo Milunovic. Apart from painting he did mosaic, illustration and set design. He was a member of the Eleven 219

njenih umetnosti u Beogradu. Samostalne izložbe održavao je u zemlji, Veneciji, Santijago de Čileu i Punta Arenasu. Izlagao je na mnogim grupnim i kolektivnim izložbama u zemlji i inostranstvu. Bio je član ULUS-a i ULUPUDS-a. Osvojio je prvu nagradu za skulpturu na izložbi “Festival omladine Jugoslavije” u Beogradu, nagradu “4 jul”, “Zlatni beočug”, a odlikovan je i Ordenom Republike sa zlatnim vencem.

group and the December group. He was employed at the Academy of Fine Arts in Belgrade from 1960 as a Docent. His works are found in numerous museums, galleries and private collections at home and abroad. He edited 16 individual exhibitions. He won numerous awards in painting. In 1959, he won the October award of the city of Belgrade, in 1961 the Award for painting at the First Fine Arts Triennial in Belgrade. The Gallery of Lazar Vozarevic was founded in Sremska Mitrovica, with a permanent display of works from his opus. Veljko Vujacic (Belgrade, 1969) He graduated from the Faculty of Fine Arts in Belgrade in 1994. In the same year, he participated in the First Yugoslav Biennial of Young Artists at the Center for Contemporary Culture “Concordia” in Vršac and in the exhibition Perspective XXII in the Gallery of the Student Cultural Center in Belgrade. He organized solo exhibitions in Belgrade and Vienna. He participated in group exhibitions in Belgrade, Vršac, Novi Sad, Čačak, Vrbas, Kamnik, Herceg Novi, Pančevo, Vienna, Budapest and Venice. He is the winner of the “Memorial of Nadežda Petrović” award and the first award given to young artists by the City Gallery in Vrbas. Miodrag Zivkovic (Leskovac, 1928 - Belgrade, 2020) He graduated from high school in Belgrade, after which he graduated from the School of Applied Arts in the sculpture department. He was the dean of the Faculty of Applied Arts in Belgrade in two terms. He has held solo exhibitions in the country, Venice, Santiago de Chile and Punta Arenas. He has exhibited at many group and collective exhibitions in the country and abroad. He was a member of ULUS and ULUPUDS. He won the first prize for sculpture at the exhibition “Festival of the Youth of Yugoslavia” in Belgrade, the prize “Forth of July”, “Golden Beočug”, and he was decorated with the medal of the Republic with a golden wreath.

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SPISAK RADOVA LIST OF WORKS 141. Mrđan Bajić (1957), Tvrđava, 1986, cink, poliester, terakota, 215 x 90 x 85 cm (str. 188)

141. Mrdjan Bajic (1957), The Fortress, 1986, zinc, polyester, terracotta, 215 x 90 x 85 cm (page 188)

142. Mrđan Bajić (1957), Transformator, 1988, gvožđe, bakar, poliester, terakota, 310 x 80 x 70 cm (str. 189)

142. Mrdjan Bajic (1957), Transformer, 1988, iron, glass, polyester, terracotta, 310 x 80 x 70 cm (page 189)

143. Mrđan Bajić (1957), Zeleni zrak, 2006/07, metal, staklo, kristali, 450 x 250 x 200 cm (str. 190)

143. Mrdjan Bajic (1957), The Green Ray, 2006/07, metal, glass, crystals, 450 x 250 x 200 cm (page 190)

144. Mrđan Bajić (1957) i Richard Deacon (1949), Most na Kalemegdanu 1, 2008/09, čelik, gvožđe, aluminijum, H = 76 cm (str. 191)

144. Mrdjan Bajic (1957) and Richard Deacon (1949), Kalemegdan Bridge 1, 2008/09, steel, iron, aluminum, H = 76 cm (page 191)

145. Mrđan Bajić (1957), Eritrociti, 1996, aluminijum, terakota, 25 x 42 x 42 cm (str. 192) 146. Mrđan Bajić (1957), Riziko, 1996, gvožđe, aluminijum, terakota, pesak, 21 x 52 x 40 cm (str. 193) 147. Mrđan Bajić (1957), Generalštab, 2014/15, drvo, aluminijum, poliuretanske boje, terakota, keramičke glazure, 57 (147) x 47 x 36 cm (str. 194) 148. Mrđan Bajić (1957), Sirija, 2014/15, aluminijum, mermer, gurtne, epoksi smola, staklo u boji iz Damaska, 59 (159) x 32 x 53 cm (str. 195)

145. Mrdjan Bajic (1957), Erythrocytes, 1996, aluminum, terracota, 25 x 42 x 42 cm (page 192) 146. Mrdjan Bajic (1957), Risk, 1996, iron, aluminum, terracota, sand, 21 x 52 x 40 cm (page 193) 147. Mrdjan Bajic (1957), General Staff Headquarters, 2014/15, wood, alluminum, polyurethane colours, terracotta, ceramic glaze, 57 (147) x 47 x 36 cm (page 194) 148. Mrdjan Bajic (1957), Syria, 2014/15, aluminum, marble, sash, epoxy resins, coloured glass from Damascus, 59 (159) x 32 x 53 cm (page 195)

132. Ana Bešlić (1912-2008), Krleža II, 1978, bronza, H = 35 cm (str. 180)

132. Ana Beslic (1912-2008), Krleža II, 1978, bronze, H = 35 cm (page 180)

2. Jovan Bijelić (1884-1964), Prometej, 1919, ulje na platnu, 95 x 63 cm (str. 48)

2. Jovan Bijelic (1884-1964), Prometheus, 1919, oil on canvas, 95 x 63 cm (page 48)

3. Jovan Bijelić (1884-1964), Kula u Jajcu, 1925-6, ulje na platnu, 71 x 90 cm (str. 49)

3. Jovan Bijelic (1884-1964), Tower in Jajce, 1925-6, oil on canvas, 71 x 90 cm (page 49)

66. Slavoljub Bogojević (1922-1978), Student, 1977/78, ulje na platnu, 120 x 80 cm (str. 114)

66. Slavoljub Bogojevic (1922-1978), Scholar, 1977/78, oil on canvas, 120 x 80 cm (page 114)

65. Mira Brtka (1930-2014), Situacija 4, 1971, ulje na platnu, 90 x 90 cm (str. 113)

65. Mira Brtka (1930-2014), Situation 4, 1971, oil on canvas, 90 x 90 cm (page 113)

112. Aleksandar Cvetković (1947), Stvaranje oblaka, 1973, ulje na platnu, 125 x 125 cm (str. 160)

112. Aleksandar Cvetkovic (1947), The Formation of the Cloud, 1973, oil on canvas, 125 x 125 cm (page 160)

64. Milena Čubraković (1924-2004), Konstrukcija A-67, 1967, akrilik, kolaž na panelu, 85 x 90 cm (str. 112)

64. Milena Cubrakovic (1924-2004), Construction A-67, 1967, acrylic, colage on panel, 85 x 90 cm (page 112)

80. Radomir Damnjanović Damnjan (1935), Peščana obala, 1960, ulje na platnu, 70 x 200 cm (str. 130)

80. Radomir Damnjanovic Damnjan (1935), Sandy Shore, 1960, oil on canvas, 70 x 200 cm (page 130)

81. Radomir Damnjanović Damnjan (1935), Peščana obala, 1962, olovka na papiru, 65 x 180 cm (str. 131)

81. Radomir Damnjanovic Damnjan (1935), Sandy Shore, 1962, pencil on paper, 65 x 180 cm (page 131) 223

82. Radomir Damnjanović Damnjan (1935), Peščana obala, 1961, ulje na platnu, 45 x 50 cm (str. 132)

82. Radomir Damnjanovic Damnjan (1935), Sandy Shore, 1961, oil on canvas, 45 x 50 cm (page 132)

83. Radomir Damnjanović Damnjan (1935), Peščana obala, 1961, ulje na platnu, 100 x 140 cm (str. 132)

83. Radomir Damnjanovic Damnjan (1935), Sandy Shore, 1961, oil on canvas, 100 x 140 cm (page 132)

84. Radomir Damnjanović Damnjan (1935), Peščana obala, 1963, ulje na platnu, 80 x 90 cm (str. 133)

84. Radomir Damnjanovic Damnjan (1935), Sandy Shore, 1963, oil on canvas, 80 x 90 cm (page 133)

85. Radomir Damnjanović Damnjan (1935), Asocijacija potonulog grada, 1962, ulje na platnu, 125 x 105 cm (str. 134)

85. Radomir Damnjanovic Damnjan (1935), Reminicsence of the Sunken City, 1962, oil on canvas, 125 x 105 cm (page 134)

86. Radomir Damnjanović Damnjan (1935), Element u prostoru, 1965, ulje na platnu, 145 x 145 cm (str. 135)

86. Radomir Damnjanovic Damnjan (1935), Element in Space, 1965, oil on canvas, 145 x 145 cm (page 135)

87. Radomir Damnjanović Damnjan (1935), Buket s viskom, 1962, ulje na platnu, 105 x 75 cm (str. 135)

87. Radomir Damnjanovic Damnjan (1935), Bouquet with A Plumb Line, 1962, oil on canvas, 105 x 75 cm (page 135)

88. Radomir Damnjanović Damnjan (1935), Vertikalna slika, 1963, ulje na platnu , 81 x 35 cm (str. 136)

88. Radomir Damnjanovic Damnjan (1935), Vertical Painting, 1963, oil on canvas, 81 x 35 cm (page 136)

89. Radomir Damnjanović Damnjan (1935), Rondo, 1964, ulje na platnu, R 40 cm (str. 137)

89. Radomir Damnjanovic Damnjan (1935), Rondo, 1964, oil on canvas, R 40 cm (page 137)

90. Radomir Damnjanović Damnjan (1935), Horizontalni elementi, 1963, ulje na platnu, 80 x 61 cm (str. 138)

90. Radomir Damnjanovic Damnjan (1935), Horizontal Elements, 1963, oil on canvas, 80 x 61 cm (page 138)

91. Radomir Damnjanović Damnjan (1935), Slika sa plavim krugom, 1965, akrilik na platnu, 200 x 140 cm (str.139)

91. Radomir Damnjanovic Damnjan (1935), Painting with a Blue Circle, 1965, acryl on canvas, 200 x 140 cm (page 139)

224

92. Radomir Damnjanović Damnjan (1935), Slika, 1971, ulje na platnu na drvenom sanduku, 93 x 69 x 15 cm (str. 141)

92. Radomir Damnjanovic Damnjan (1935), Painting, 1971, oil on canvas on wooden box, 93 x 69 x 15 cm (page 141)

93. Radomir Damnjanović Damnjan (1935), Mala slika, 1968, akrilik na platnu, 80 x 60 cm (str.140)

93. Radomir Damnjanovic Damnjan (1935), Small Painting, 1968, acryl on canvas, 80 x 60 cm (page 140)

94. Radomir Damnjanović Damnjan (1935), Slika, 1968, ulje na platnu, 50 x 42 cm (str.141)

94. Radomir Damnjanovic Damnjan (1935), Painting, 1968, oil on canvas, 50 x 42 cm (page 141)

95. Radomir Damnjanović Damnjan (1935), Mrtva priroda sa flašama, oko 1980, bojene flaše, bojeno drvo, 66 х 79 x 19 cm (str. 142)

95. Radomir Damnjanovic Damnjan (1935), Still Life with Bottles, around 1980, painted bottles, painted wood, 66 х 79 x 19 cm (page. 142)

96. Radomir Damnjanović Damnjan (1935), Autoportret, 1979, fotografija u boji, 54.5 x 50 cm (str.143)

96. Radomir Damnjanovic Damnjan (1935), Self Portrait, 1979, colour photograph, 54.5 x 50 cm (page 143)

97. Radomir Damnjanović Damnjan (1935), Crveni brojevi-254, 1976, akrilik na platnu, 80 x 60 cm (str. 144)

97. Radomir Damnjanovic Damnjan (1935), Red Numbers-254, 1976, acryl on canvas, 80 x 60 cm (page 144)

98. Radomir Damnjanović Damnjan (1935), Dezinformacija-Plavo, 1973, ulje na platnu, 50 x 65 cm (str. 145)

98. Radomir Damnjanovic Damnjan (1935), Misinformation-Blue, 1973, oil on canvas, 50 x 65 cm (page 145)

99. Radomir Damnjanović Damnjan (1935), Macule (Mrlje), 1983, ulje na platnu, 140 x 200 cm (str. 146-147)

99. Radomir Damnjanovic Damnjan (1935), Macule (Stains), 1983, oil on canvas, 140 x 200 cm (pages 146-147)

100. Radomir Damnjanović Damnjan (1935), Macule (Mrlje), 1991, ulje na platnu, 130 x 130 cm (str. 148)

100. Radomir Damnjanovic Damnjan (1935), Macule (Stains), 1991, oil on canvas, 130 x 130 cm (page 148)

101. Radomir Damnjanović Damnjan (1935), Quadro, 2018, ulje na platnu, 80 x 80 cm (str. 149)

101. Radomir Damnjanovic Damnjan (1935), Quadro, 2018, oil on canvas, 80 x 80 cm (page 149)

123. Perica Donkov (1956), 28. jun 2006 II, 2006, pigment na pausu, kaširano na platnu, 150 x 300 cm (str. 171)

123. Perica Donkov (1956), June 28, 2006 II, 2006, pigment on tracing paper, mounted on canvas, 150 x 300 cm (page 171)

125. Ivan Grubanov (1976), Studija za spomen-obeležje, 2010, dim i olovka na papiru, akrilik na platnu, poliptih, 140 x 230 cm (str. 173)

125. Ivan Grubanov (1976), Study for a Memorial, 2010, smoke and pencil on paper, acryl on canvas, polyptych, 140 x 230 cm (page 173)

119. Marija Dragojlović (1950), Crna pudrijera s ružom, 2009, ulje na platnu, 180 x 180 cm (str. 166-167)

119. Marija Dragojlovic (1950), Black Powder Box with a Rose, 2009, oil on canvas, 180 x 180 cm (pages 166-167)

120. Marija Dragojlović (1950), Plava boca, 1989, ulje na platnu, 200 x 150 cm (str. 168)

120. Marija Dragojlovic (1950), Blue Bottle, 1989, oil on canvas, 200 x 150 cm (page 168)

42. Nedeljko Gvozdenović (1902-1988), Predmeti na crvenoj osnovi, 1971, ulje na platnu, 49 x 72 cm (str. 92)

42. Nedeljko Gvozdenovic (1902-1988), Objects on the Red Base, 1971, oil on canvas, 49 x 72 cm (page 92)

117. Veselin Drašković (1949-2007), Prozor gospođice Kim, 1978, ulje na platnu, 100 x 100 cm (str. 165)

117. Veselin Draskovic (1949-2007), Miss Kim’s Window, 1978, oil on canvas, 100 x 100 cm (page 165)

43. Nedeljko Gvozdenović (1902-1988), Predmeti u prostoru, oko 1980, ulje na platnu, 32 x 40 cm (str. 93)

43. Nedeljko Gvozdenovic (1902-1988), Objects in Space, around 1980, oil on canvas, 32 x 40 cm (page 93)

126. Biljana Đurđević (1973), Apes, 2007, ulje na platnu, 55 x 100 cm (str. 174)

126. Biljana Djurdjevic (1973), Apes, 2007, oil on canvas, 55 x 100 cm (page 174)

109. Bora Iljovski (1942-2013), Uznemireno i očajno, 1989, ulje na platnu, 140 x 200 cm (str. 158)

109. Bora Iljovski (1942-2013), Anxious and Desperate, 1989, oil on canvas, 140 x 200 cm (page 158)

73. Miodrag Đurić Dado (1933-2010), Četiri apostola, 1970, ulje na platnu, 146 x 229 cm (str. 122-123)

73. Miodrag Djuric Dado (1933-2010), The Four Apostles, 1970, oil on canvas, 146 x 229 cm (pages 122-123)

110. Bora Iljovski (1942-2013), Bez naziva, 1991, akrilik na platnu, 52 x 48 cm (str. 159)

110. Bora Iljovski (1942-2013), Untitled, 1991, acryl on canvas, 52 x 48 cm (page 159)

74. Miodrag Đurić Dado (1933-2010), Bez naziva, 1972, ulje na platnu, 115 x 81 cm (str. 124)

74. Miodrag Djuric Dado ( 1933-2010), Untitled, 1972, oil on canvas, 115 x 81 cm (page 124)

133. Olga Jevrić (1922-2014), Predlog za spomenik III, 1957, feri-oksid, gvožđe, 17 x 15 x 12 cm (sa postoljem) (str. 181)

133. Olga Jevric (1922-2014), Proposal for a Memorial III, 1957, ferric oxyde, iron, 17 x 15 x 12 cm (with base) (page 181)

75. Miodrag Đurić Dado (1933-2010), Zaljubljeni đavo, 1982, ulje na platnu, 195 x 223 cm (str. 125)

75. Miodrag Djuric Dado (1933-2010), Devil in Love, 1982, oil on canvas, 195 x 223 cm (page 125)

134. Olga Jevrić (1922-2014), Komplementarne forme III, 1959, prskano gvožđe, 29 x 12 x 16 cm (sa postoljem) (str. 181)

134. Olga Jevric (1922-2014), Complementary Forms III, 1959, sprayed iron, 29 x 12 x 16 cm (with base) (page 181)

149. Zdravko Joksimović (1960), Odrastao si čovek, 2003, bronza, 55 x 47 x 9 cm (str. 196)

149. Zdravko Joksimovic (1960), You Are a Grown Man, 2003, bronze, 55 x 47 x 9 cm (page 196)

118. Radivoje Đurović (1950-2008), Zeleni semafor, 1990, ulje na platnu, 100 x 80 cm (str. 165)

118. Radivoje Djurovic (1950-2008), Green Light, 1990, oil on canvas, 100 x 80 cm (page 165)

137. Dušan Džamonja (1928-2009), Sculpture - I, 1958, drvo, gvožđe, H = 67 cm (str. 184)

137. Dušan Dzamonja (1928-2009), Sculpture - I, 1958, wood, iron, H = 67 cm (page 184)

130. Dušan Jovanović Đukin (1891-1945), Bista devojke, oko 1925, gips, 44 x 35 x 13 cm (str. 178)

130. Dušan Jovanovic Djukin (1891-1945), Bust of a Young Girl, around 1925, gesso, 44 x 35 x 13 cm (page 178)

138. Dušan Džamonja (1928-2009), Metal Sculpture-24, 1960, gvožđe, 70 x 32 x 22 cm (str. 185)

138. Dušan Dzamonja (1928-2009), Metal Sculpture-24, 1960, iron, 70 x 32 x 22 cm (page 185)

122. Dušan Junačkov (1952-2013), Bez naziva 3, 1998, kombinovana tehnika na dasci, 115 x 85 cm (str. 170)

122. Dušan Junackov (1952-2013), Untitled 3, 1998, mixed technique on wood, 115 x 85 cm (page 170)

111. Dragoš Kalajić (1943-2005), Robert Musil, 1967, ulje na platnu, 85 x 85 cm (str. 159)

111. Dragoš Kalajic (1943-2005), Robert Musil, 1967, oil on canvas, 85 x 85 cm (page 159) 225

9. Milan Konjović (1898-1993), Jorgovan, 1930, ulje na platnu, 73 x 60 cm (str. 56)

9. Milan Konjovic (1898-1993), Lilacs, 1930, oil on canvas, 73 x 60 cm (page 56)

140. Oto Logo (1931-2016), Portret ptice 4, 1989, bronza, 34 x 42 x 36 cm (sa postoljem) (str. 187)

140. Oto Logo (1931-2016), Portrait of a Bird 4, 1989, bronze, 34 x 42 x 36 cm (with base) (page 187)

10. Milan Konjović (1898-1993), Riba, 1931, ulje na platnu, 54 x 65 cm (str. 57)

10. Milan Konjovic (1898-1993), Fish, 1931, oil on canvas, 54 x 65 cm (page 57)

11. Milan Konjović (1898-1993), Breskve, 1932, ulje na platnu, 50 x 73 cm (str. 58)

11. Milan Konjovic (1898-1993), Peaches, 1932, oil on canvas, 50 x 73 cm (page 58)

33. Petar Lubarda (1907-1974), Narovi, 1949, kombinovana tehnika na papiru, 15 x 12 cm (str. 81)

33. Petar Lubarda (1907-1974), Pomegranates, 1949, mixed technique on paper, 15 x 12 cm (page 81)

12. Milan Konjović (1898-1993), Autoportret, 1935, ulje na platnu, 65 x 50 cm (str. 59)

12. Milan Konjovic (1898-1993), Self Portrait, 1935, oil on canvas, 65 x 50 cm (page 59)

34. Petar Lubarda (1907-1974), Sutjeska, oko 1956, ulje na platnu, 70 x 145 cm (str. 82-83)

34. Petar Lubarda (1907-1974), Sutjeska, around 1956, oil on canvas, 70 x 145 cm (pages 82-83)

13. Milan Konjović (1898-1993), Ema u bašti, 1935, ulje na platnu, 73 x 92 cm (str. 60-61)

13. Milan Konjovic (1898-1993), Ema in the Garden, 1935, oil on canvas, 73 x 92 cm (pages 60-61)

35. Petar Lubarda (1907-1974), Sutjeska, 1950, ulje na platnu, 46 x 55 cm (str. 84)

35. Petar Lubarda (1907-1974), Sutjeska, 1950, oil on canvas, 46 x 55 cm (page 84)

14. Milan Konjović (1898-1993), Tončika na pivu, 1938, ulje na platnu, 38 x 46 cm (str. 62)

14. Milan Konjovic (1898-1993), Tončika Having Beer, 1938, oil on canvas, 38 x 46 cm (page 62)

36. Petar Lubarda (1907-1974), Korida VI, 1958, ulje i tempera na platnu, 52 x 59 cm (str. 85)

36. Petar Lubarda (1907-1974), Bullfight VI, 1958, oil and tempera on canvas, 52 x 59 cm (page 85)

15. Milan Konjović (1898-1993), Soba u Cavtatu, 1938, ulje na platnu, 51 x 44 cm (str. 63)

15. Milan Konjovic (1898-1993), Room in Cavtat, 1938, oil on canvas, 51 x 44 cm (page 63)

37. Petar Lubarda (1907-1974), Vent brullant, 1956, ulje na platnu, 81 x 100 cm (str. 86-87)

37. Petar Lubarda (1907-1974), Vent brullant, 1956, oil on canvas, 81 x 100 cm (pages 86-87)

16. Milan Konjović (1898-1993), Kosta Strajnić, 1938, ulje na platnu, 55 x 46 cm (str. 64)

16. Milan Konjovic (1898-1993), Kosta Strajnić, 1938, oil on canvas, 55 x 46 cm (page 64)

38. Petar Lubarda (1907-1974), Sive stene, 1960, ulje na lesonitu, 60 x 73 cm (str. 88)

38. Petar Lubarda (1907-1974), Gray Rocks, 1960, oil on masonite, 60 x 73 cm (page 88)

17. Milan Konjović (1898-1993), Konavljanka, 1938, ulje na platnu, 55 x 46 cm (str. 65)

17. Milan Konjovic (1898-1993), Woman from Konavle, 1938, oil on canvas, 55 x 46 cm (page 65)

41. Predrag Milosavljević (1908-1989), Ženski akt, 1947, olovka i akvarel, 29 x 45 cm (str. 91)

41. Predrag Milosavljevic (1908-1989), Female Nude, 1947, pencil and watercolours, 29 x 45 cm (page 91)

18. Milan Konjović (1898-1993), Sahrana, 1942, ulje na kartonu, 38 x 46 cm (str. 66)

18. Milan Konjovic (1898-1993), Funeral, 1942, oil on cardboard, 38 x 46 cm (page 66)

39. Milo Milunović (1897-1967), Sardele u mreži, 1958, ulje i tempera na platnu, 92 x 65 cm (str. 89)

39. Milo Milunovic (1897-1967), Sardines in the Net, 1958, oil and tempera on canvas, 92 x 65 cm (page 89)

19. Milan Konjović (1898-1993), Studija prosjaka I, 1942, tempera na kartonu, 80 x 62 cm (str. 67)

19. Milan Konjovic (1898-1993), Study of Baggers I, 1942, tempera on cardboard, 80 x 62 cm (page 67)

40. Milo Milunović (1897-1967), Tikve, 1963, tempera na papiru, 17 x 12 cm (str. 90)

40. Milo Milunovic (1897-1967), Pumpkins, 1963, tempera on paper, 17 x 12 cm (page 90)

139. Oto Logo (1931-2016), Portret mašine 8, 1975, bronza, 48 x 36 x 34 cm (sa postoljem) (str. 186)

139. Oto Logo (1931-2016), Portrait of a Mashine 8, 1975, bronze, 48 x 36 x 34 cm (with base) (page 186)

129. Maja Obradović (1983), Postmoderna ljubav, 2008, ulje na platnu, 180 x 180 cm (str. 177)

129. Maja Obradovic (1983), Postmodern Love, 2008, oil on canvas, 180 x 180 cm (page 177)

68. Petar Omčikus (1926-2019), Plavo-žuto, 1953, ulje na platnu, 132 x 57 cm (str. 116)

68. Petar Omcikus (1926-2019), Blue-Yellow, 1953, oil on canvas, 132 x 57 cm (page 116)

226

69. Petar Omčikus (1926-2019), Boninovo, 1979, ulje na platnu, 228 x 198 cm (str. 117)

69. Petar Omcikus (1926-2019), Boninovo, 1979, oil on canvas, 228 x 198 cm (page 117)

1. Nadežda Petrović (1873-1915), Portret mladića, 1901, tempera na kartonu, 43 x 31 cm (str. 47)

1. Nadezda Petrovic (1873-1915), Portrait of A Young Man, 1901, tempera on cardboard, 43 x 31 cm (page 47)

70. Petar Omčikus (1926-2019), Kaluđerice, 1963, ulje na platnu, 150 x 160 cm (str. 118)

70. Petar Omcikus (1926-2019), Nuns, 1963, oil on canvas, 150 x 160 cm (page 118)

49. Zoran Petrović (1921-1996), Otvori i detalji, 1958, ulje na platnu, 82 x 137 cm (str. 98)

49. Zoran Petrovic (1921-1996), Openings and Details, 1958, oil on canvas, 82 x 137 cm (page 98)

71. Petar Omčikus (1926-2019), U salonu, 1964, ulje na platnu, 265 x 250 cm (str. 119)

71. Petar Omcikus (1926-2019), At the Hair Salon, 1964, oil on canvas, 265 x 250 cm (page 119)

50. Zoran Petrović (1921-1996), Spoljni stubovi, 1984, akril na platnu, 130 x 166 cm (str. 98)

50. Zoran Petrovic (1921-1996), The External Pillars, 1984, acrylic on canvas, 130 x 166 cm (page 98)

72. Petar Omčikus (1926-2019), Zagađenje IV, 1971, ulje na platnu, 210 x 265 cm (str. 120-121)

72. Petar Omcikus (1926-2019), Pollution IV, 1971, oil on canvas, 210 x 265 cm (pages 120-121)

51. Zoran Petrović (1921-1996), Bela elastična fasada, 1977, ulje na platnu, 166 x 150 cm (str. 99)

51. Zoran Petrovic (1921-1996), White Elastic Fasade, 1977, oil on canvas, 166 x 150 cm (page 99)

104. Dušan Otašević (1940), Jesti, 1967, tuševi u boji na papiru, 61 x 55 cm (str. 153)

104. Dušan Otasevic (1940), To Eat, 1967, coloured ink on paper, 61 x 55 cm (page 153)

78. Ljubomir Popović (1934-2016), Soba u Firenci, 1970, ulje na platnu, 162 x 162 cm (str. 128)

78. Ljubomir Popovic (1934-2016), A Room in Florence, 1970, oil on canvas, 162 x 162 cm (page 128)

105. Dušan Otašević (1940), Piti, 1967, tuševi u boji na papiru, 55 x 55 cm (str. 153)

105. Dušan Otasevic (1940), To Drink, 1967, coloured ink on paper, 55 x 55 cm (page 153)

79. Ljubomir Popović (1934-2016), Kosmička svest, 1975, ulje na platnu, 250 x 200 cm (str. 129)

79. Ljubomir Popovic (1934-2016), Cosmic Consciousness, 1975, oil on canvas, 250 x 200 cm (page 129)

106. Dušan Otašević (1940 ), Izliv II, 1967, bojeno drvo, 50 x 50 cm (str. 154)

106. Dušan Otasevic (1940 ), Outflow II, 1967, painted wood, 50 x 50 cm (page 154)

107. Dušan Otašević (1940), More! More!, 1984, bojeno drvo, 73 x 77 cm (str. 155)

107. Dušan Otasevic (1940), Sea! Sea!, 1984, painted wood, 73 x 77 cm (page 155)

124. Mileta Prodanović (1959), Ekfraza K-II, 2016, akrilik i pozlata na platnu i papiru, 280 x 210 cm (str. 172)

124. Mileta Prodanovic (1959), Ekphrasis K-II, 2016, acryl and gold leaves on canvas and paper, 280 x 210 cm (page 172)

108. Dušan Otašević (1940), Pet godišnjih doba, 1970, bojeno drvo, poliptih (16 komada), 95 x 95 x 10 cm (str. 156-157)

108. Dušan Otasevic (1940), Five Seasons, 1970, painted wood, polyptych (16 pieces), 95 x 95 x 10 cm (pages 156-157)

57. Miodrag Protić (1922-2014), Sazvežđa, 1976, ulje na platnu, 100 x 81 cm (str. 106)

57. Miodrag Protic (1922-2014), Constellations, 1976, oil on canvas, 100 x 81 cm (page 106)

58. Miodrag Protić (1922-2014), Yadoo, 1981, akvarel, 63 x 47 cm (str. 107)

58. Miodrag Protic (1922-2014), Yadoo, 1981, watercolours, 63 x 47 cm (page 107)

116. Vladimir Pajević (1948), Žena u crnom, 1977, ulje na platnu, 36 x 48 cm (str. 164)

116. Vladimir Pajevic (1948), Woman in Black, 1977, oil on canvas, 36 x 48 cm (page 164)

8. Mihailo Petrov (1902-1983), Sedam linoreza, 35 x 50 cm 1 Autoportret, 1921. 2 Posveta zenitizmu, 1921. 3 Ritam, 1921. 4 Predeo, 1921. 5 Začarani krug, 1922. 6 Kompozicija II, 1922. 7 Mostovi i drumovi, 1922. (str. 54-55)

8. Mihailo Petrov (1902-1983), Seven Linocuts, 35 x 50 cm 1 Self portrait, 1921. 2 Homage to Zenitism, 1921. 3 Rhytm, 1921. 4 Landscape, 1921. 5 Enchanted Circle, 1922. 6 Composition II, 1922. 7 Bridges and Roads, 1922. (pages 54-55)

4. Ivan Radović (1894-1973), Spomenik ljubavi, 1920, tuš, akvarel, tempera na kartonu, 34 x 44 cm (str. 50)

4. Ivan Radovic (1894-1973), A Monument to Love, 1920, ink, water colours, tempera on cardboard, 34 x 44 cm (page 50)

5. Ivan Radović (1894-1973), Jahači, oko 1920, tuš, akvarel, tempera na kartonu, 25 x 32 cm (str. 51)

5. Ivan Radovic (1894-1973), Riders, around 1920, ink, water colours, tempera on cardboard, 25 x 32 cm (page 51)

6. Ivan Radović (1894-1973), Autoportret, oko 1935, ulje na platnu, 30 x 28 cm (str. 52)

6. Ivan Radovic (1894-1973), Self Portrait, around 1935, oil on canvas, 30 x 28 cm (page 52) 227

102. Radomir Reljić (1938-2006), Top i čikica, 1964, ulje na platnu, 135 x 200 cm (str. 150-151)

102. Radomir Reljic (1938-2006), Cannon and the Little Man, 1964, oil on canvas, 135 x 200 cm (pages 150-151)

127. Ivan Šuletić (1982), Velike naočare, 2009, ulje na platnu, 120 x 180 cm (str. 175)

127. Ivan Suletic (1982), Big Sunglasses, 2009, oil on canvas, 120 x 180 cm (page 175)

103. Radomir Reljić (1938-2006), Mašina za pranje leša, 1966, ulje na platnu, 50 x 58 cm (str. 152)

103. Radomir Reljic (1938-2006), The Corps Washing Mashine, 1966, oil on canvas, 50 x 58 cm (page 152)

20. Ivan Tabaković (1898-1977), Školjka, 1930, ulje na kartonu, 35 x 45 cm (str. 68)

20. Ivan Tabakovic (1898-1977), Shell, 1930, oil on cardboard, 35 x 45 cm (page 68)

44. Ljubica Sokić (1914-2009), Kompozicija u belo-plavom, 1971, ulje na platnu, 63 x 64 cm (str. 94)

44. Ljubica Sokic (1914-2009), A Composition in White and Blue, 1971, oil on canvas, 63 x 64 cm (page 94)

21. Ivan Tabaković (1898-1977), Seoski vašar, 1932, ulje na kartonu, 35 x 45 cm (str. 69)

21. Ivan Tabakovic (1898-1977), Country Fair, 1932, oil on cardboard, 35 x 45 cm (page 69)

22. Ivan Tabaković (1898-1977), Autoportret, oko 1940, ulje na platnu, 36 x 27 cm (str. 70)

22. Ivan Tabakovic (1898-1977), Self Portrait, around 1940, oil on canvas, 36 x 27 cm (page 70)

23. Ivan Tabaković (1898-1977), Glava mladića, oko 1960, ulje na kartonu, 21 x 17 cm (str. 70)

23. Ivan Tabakovic (1898-1977), Head of A Young Man, around 1960, oil on cardboard, 21 x 17 cm (page 70)

24. Ivan Tabaković (1898-1977), Fragment glave, 1950, ulje na platnu, 22 x 29 cm (str. 71)

24. Ivan Tabakovic (1898-1977), Fragment of a Head, 1950, oil on canvas, 22 x 29 cm (page 71)

25. Ivan Tabaković (1898-1977), Putokaz, 1957, ulje na platnu, 70 x 68 cm (str. 72)

25. Ivan Tabakovic (1898-1977), Road Sign, 1957, oil on canvas, 70 x 68 cm (page 72)

26. Ivan Tabaković (1898-1977), Kosmonaut, oko 1959, olovka na papiru, 90 x 60 cm (str. 73)

26. Ivan Tabakovic (1898-1977), Astronaut I, around 1959, pencil on paper, 90 x 60 cm (page 73)

131. Sreten Stojanovic (1898-1960), Portrait of a Friend, 1920, gesso, H = 44 cm (page 179)

27. Ivan Tabaković (1898-1977), Igra svetla, oko 1960, ulje na kartonu, 42 x 34 cm (str. 73) 28. Ivan Tabaković (1898-1977), Self Exilers, 1965, kolaž, 50 x 40 cm (str. 74)

27. Ivan Tabakovic (1898-1977), Play of Light, around 1960, oil on cardboard, 42 x 34 cm (page 73)

47. Gabrijel Stupica (1913-1990), Bride, around 1957, oil on masonite, 25 x 20 cm (page 96)

29. Ivan Tabaković (1898-1977), Filozof, 1965, kolaž, 50 x 40 cm (str. 75)

48. Gabrijel Stupica (1913-1990), A Girl Next to the Table with Toys, 1955, tempera on paper, 21 x 30 cm (page 97)

30. Ivan Tabaković (1898-1977), Svetlo i senke, 1967, ulje na platnu, 90 x 137 cm (str. 76-77)

45. Ljubica Sokić (1914-2009), Uprošćene forme sa crvenom pozadinom, 1971, ulje na platnu, 65 x 81 cm (str. 95) 46. Ljubica Sokić (1914-2009), Sto sa dve boce, 1980, ulje na platnu, 70 x 83 cm (str. 95) 135. Aleksandar Srnec (1924-2010), Kinetička skulptura, 1974, nerđajući čelik, 55 х 50 x 50 cm (str. 182) 67. Miljenko Stančić (1926-1977), Vagon treće klase, oko 1967, ulje na platnu, 98 x 116 cm (str. 115) 113. Milan Stašević (1946), Lik-predmet-znak, 2001, ulje na platnu, 145 x 200 cm (str. 161) 131. Sreten Stojanović (1898-1960), Portret prijatelja, 1920, gips, H = 44 cm (str. 179) 47. Gabrijel Stupica (1913-1990), Nevesta, oko 1957, ulje na lesonitu, 25 x 20 cm (str. 96) 48. Gabrijel Stupica (1913-1990), Deklica pri mizi z igračkami, 1955, tempera na papiru, 21 x 30 cm (str. 97)

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45. Ljubica Sokic (1914-2009), Simplified Forms on the Red Background, 1971, oil on canvas, 65 x 81 cm (page 95) 46. Ljubica Sokic (1914-2009), A Table with Two Bottles, 1980, oil on canvas, 70 x 83 cm (page 95) 135. Aleksandar Srnec (1924-2010), Kinetic Sculpture, 1974, stainless still, 55 х 50 x 50 cm (page 182) 67. Miljenko Stancic (1926-1977), Third Class Car, around 1967, oil on canvas, 98 x 116 cm (page 115) 113. Milan Stasevic (1946), Image-Object-Sign, 2001, oil on canvas, 145 x 200 cm (page 161)

28. Ivan Tabakovic (1898-1977), Self Exilers, 1965, collage, 50 x 40 cm (page 74) 29. Ivan Tabakovic (1898-1977), Philosopher, 1965, collage, 50 x 40 cm (page 75) 30. Ivan Tabakovic (1898-1977), Light and Shadows, 1967, oil on canvas, 90 x 137 cm (pages 76-77)

31. Ivan Tabaković (1898-1977), Svitanje, oko 1967, olovka na papiru, 65 x 145 cm (str. 78-79)

31. Ivan Tabakovic (1898-1977), Dawn, around 1967, pencil on paper, 65 x 145 cm (pages 78-79)

32. Ivan Tabaković (1898-1977), Bez naziva, šezdesete, keramika na dasci, 36 x 34 cm (str. 80)

32. Ivan Tabakovic (1898-1977), Untitled, sixties, ceramics on wood, 36 x 34 cm (page 80)

7. Marino Tartalja (1898-1993), Mali akt, 1960, ulje na kartonu, 40 x 34 cm (str. 53)

7. Marino Tartalja (1894-1984), Little Nude, 1960, oil on cardboard, 40 x 34 cm (page 53)

52. Aleksandar Tomašević (1921-1968), Pećka patrijaršija, 1961, ulje i tempera na platnu, 50 x 70 cm (str. 100-101) 53. Aleksandar Tomašević (1921-1968), Delo 63/21, 1966, tempera na panelu, 70 x 50 cm (str. 102)

52. Aleksandar Tomasevic (1921-1968), The Peć Patriarchate, 1961, 59. Lazar Vozarević (1925-1968), oil and tempera on canvas, 50 x 70 cm Isus, 1953, (pages 100-101) olovka na papiru, 63 x 49 cm (str. 108) 53. Aleksandar Tomasevic (1921-1968), 60. Lazar Vozarević (1925-1968), Work 63/21, 1966, Bez naziva, 1961, tempera on panel, 70 x 50 cm ulje i metal na platnu, 53 x 64 cm (page 102) (str. 109)

54. Aleksandar Tomašević (1921-1968), Delo 63/51, 1966, tempera na panelu, 62 x 105 cm (str. 103)

54. Aleksandar Tomasevic (1921-1968), Work 63/51, 1966, tempera on panel, 62 x 105 cm (page 103)

55. Aleksandar Tomašević (1921-1968), Delo 63/53, 1966, tempera na panelu, 62 x 105 cm (str. 104)

55. Aleksandar Tomasevic (1921-1968), Work 63/53, 1966, tempera on panel, 62 x 105 cm (page 104)

56. Aleksandar Tomašević (1921-1968), Delo 65/39, 1968, bojeno drvo, 100 x 70 cm (str. 105)

56. Aleksandar Tomasevic (1921-1968), Work 65/39, 1968, painted wood, 100 x 70 cm (page 105)

114. Čedomir Vasić (1948), Atina, 1981, akrilik na platnu, 170 x 200 cm (str. 162)

114. Cedomir Vasic (1948), Athens, 1981, acryl on canvas, 170 x 200 cm (page 162)

115. Čedomir Vasić (1948), Sveti Stefan, 1981, akrilik na platnu, 135 x 170 cm (str. 163)

115. Cedomir Vasic (1948), Saint Stephen, 1981, acryl on canvas, 135 x 170 cm (page 163)

150. Lana Vasiljević (1973), Absence, 2005, pleksiglas, durst štampa, ogledalo, refleks folija, neonsko svetlo, 50 x 50 x 15 cm (str. 197)

150. Lana Vasiljevic (1973), Absence, 2005, plexiglass, photography durst rho, mirror, reflex foil, light boxes, 50 x 50 x 15 cm (page 197)

76. Vladimir Veličković (1935-2019), Stub,1963, ulje na platnu, 235 x 137 cm (str. 126)

76. Vladimir Velickovic (1935-2019), Column, 1963, oil on canvas, 235 x 137 cm (page 126)

77. Vladimir Veličković (1935-2019), Pad, 1978, tuš na papiru, 105 x 75 cm (str. 127)

77. Vladimir Velickovic (1935-2019), Fall, 1978, ink on paper, 105 x 75 cm (page 127)

121. Biljana Vilimon (1951), Niti, 2012, olovka na papiru, 4x 70 x 70 cm (str. 169)

121. Biljana Vilimon (1951), Threads, 2012, pencil on paper, 4x 70 x 70 cm (page 169) 59. Lazar Vozarevic (1925-1968), Jesus, 1953, pencil on paper, 63 x 49 cm (page 108) 60. Lazar Vozarevic (1925-1968), Untitled, 1961, oil and metal on canvas, 53 x 64 cm (page 109)

61. Lazar Vozarević (1925-1968), Paralelno pakovanje, 1966, ulje i metal na platnu, 50 x 42 cm (str. 110)

61. Lazar Vozarevic (1925-1968), Paralel Packaging, 1966, oil and metal on canvas, 50 x 42 cm (page 110)

62. Lazar Vozarević (1925-1968), Kompozicija V, oko 1965, ulje i metal na platnu, 43 x 36 cm (str. 110)

62. Lazar Vozarevic (1925-1968), Composition V, around 1965, oil and metal on canvas, 43 x 36 cm (page 110)

63. Lazar Vozarević (1925-1968), Predstava, oko 1968, ulje i metal na platnu, 162 x 130 cm (str. 111)

63. Lazar Vozarevic (1925-1968), Performance, around 1968, oil and metal on canvas, 162 x 130 cm (page 111)

128. Veljko Vujačić (1969), Bez naziva, 1995, akrilik na platnu, 180 x 215 cm (str. 176)

128. Veljko Vujacic (1969), Untitled, 1995, acrylic on canvas, 180 x 215 cm (page 176)

136. Miodrag Živković (1928-2020), Spomenik pilotima, 1992, bronza, 43 x 23 x 9 cm (str. 183)

136. Miodrag Zivkovic (1928-2020), Monument to Pilots, 1992, bronze, 43 x 23 x 9 cm (page 183)

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kolekcionar kao kustos i selektor Collector as a Curator and Selector

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Knjiga jugoslovenske umetnosti druge polovine XX veka iz privatnih kolekcija

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KOLEKCIONAR KAO KUSTOS I SELEKTOR (III) KOLEKCIJA MARJANOVIĆ oktobar - novembar 2021 COLLECTOR AS CURATOR AND SELECTOR (III) THE MARJANOVIC COLLECTION October - November 2021 Izdavač / Publisher: Arte Media d.o.o. Svetogorska 29, Beograd, Srbija tel. +381 11 32 43 996 info@arte.rs Za izdavača / For the publisher Milan Mitić Organizacija projekta i izbor radova / Project organization and selection of works ARTE galerija / ARTE Gallery Tekst / Text Anđela Maletić Prevod / Translation Milica Kiš Ivana Kuzmanov Lektura / Proofreading Slavica Merenik Dizajn / Design Isidora M. Nikolić Fotografije / Photographs Vladimir Popović, Vladimir Miloradović, dokumentacija Jelene i Nikole Marjanović

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Zahvaljujemo se / We are grateful to Nikoli i Jeleni Marjanović / Nikola and Jelena Marjanović

Projekat realizovali / Project realized by Milan Mitić, direktor Arte Media d. o. o. / director Anđela Maletić, istoričar umetnosti / art historian Jana Milosavljević, istoričar umetnosti / art historian Drago Rakočević, istoričar umetnosti / art historian Tijana Gogić, primenjeni umetnik / artist Ljubica Stefanović, saradnik / collaborator Bojan Jakovljević, tehnička podrška / technical support

CIP - Каталогизација у публикацији Народна библиотека Србије, Београд 069.51:73/77(497.11)(083.824) 73/76(497.11)”19/20”(083.824) 7.074(497.11)”19/20” 73/76.071.1(497.11)”19/20”:929 KOLEKCIONAR kao kustos i selektor. 3, Kolekcija Marjanović : [oktobar - novembar 2021] = Collector as a Curator and Selector. 3, The Marjanovic collection : [october - november 2021] ; [tekst, text Anđela Maletić] ; [prevod, translation Milica Kiš, Ivana Kuzmanov] ; [fotografije, photographs Vladimir Popović, Vladimir Miloradović]. Beograd : Arte Media, 2021 ([Kragujevac] : Grafostil). - 229 str. : ilustr. ; 30 cm Uporedo srp. tekst i engl. prevod. - Tiraž 750. - Predgovor: str. 7-9. - Biografije: str. 199-220. - Napomene i bibliografske reference uz tekst. ISBN 978-86-89543-22-3

Štampa / Print Grafostil d.o.o.

a) Колекција Марјановић (Београд) - Изложбени каталози b) Ликовна уметност - Србија - 20в-21в - Изложбени каталози v) Ликовни уметници - Биографије

Tiraž / Circulation 750

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