Monografija - prvo izdanje - niska rezolucija

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Манастир Крушедол:
На падинама Фрушке горе
Krušedol Monastery:
On the slopes of Fruška Gora Mt
Realism entered not only into all kinds of arts but also into
all spheres of society itself. Hence one of the slogans launched
by United Serbian Youth was “work supported by science and
based on truth”. Serbian youth didn’t accept this attitude only
from Western Europe but also from Russia (the best example of
this are the ideas of Russian reformers that were propagated in
Serbia by Svetozar Marković). The spirit of positivism spread rapidly
among young students. From the beginning of the seventies
Serbia became their spiritual centre.
From the old “Serbian Athens” (Novi Sad) all idealist
movements moved to Serbia and from 1878 (when Serbia obtained
full independence) this process intensified – the most important
representatives of culture and art came to Serbia, such
as writers Jovan Jovanović Zmaj, Laza Kostić, Simo Matavulj,
Stevan Sremac, painters Stevan Todorović, Đura Jakšić, young
Đorđe Krstić and others. This process took place greatly due to
the abolition of Serbian Vojvodina (dukedom) by the Austrian
Emperor in 1860.
From the seventh and particularly eighth decade of the
19 th century the Hungarian government organized a vast action
of “Hungarization” in the whole region of Vojvodina. In all
public schools the Hungarian language became a compulsory
subject. Personal and family names, as well as names of villages
and towns received a Hungarian form. In those circumstances
the space for developing the national culture and art
was not only limited for many Serbs but quite often it didn’t
exist at all.
In the epoch of Realism the civic painting in Vojvodina
kept its primary or leading role in introducing stylistic innovations.
In the field of portrait art our painters demonstrated new
“principles”, which this time didn’t come from the conservative
Viennese Academy, but rather from the Bavarian arts capital
– Münich. Thus Münich gradually took over the supremacy from
Vienna in painting and artistic education of young Serbs and by
the end of the 19 th century it became the actual art metropolis
of Europe. It is interesting though that the first Serbian painter
enrolled at Münich Fine Arts Academy (Akademie der Bildenden
Künste) wasn’t a Realist but our most significant Romanticist,
Đura Jakšić.
However from the time of his short studies at Münich
Academy (1853) until the seventies, not many Serbian painters
from Vojvodina left Vienna to go to Münich. One exception was