Monografija - prvo izdanje - niska rezolucija

Krstić was a significant phenomenon in the development
of Serbian painting for many reasons. His views and understanding
of the sacral were quite revolutionary for Serbian a cultural
milieu that was quite conservative at that time. It seems that
for a small number of painted iconostases in his whole career
Krstić owed gratitude to the most learned man in Serbia at the
time, Mihalio Valtrović. Except the burned iconostasis from the
Cathedral Church, Niš, Krstić’s most highly appreciated work in
this artistic field was iconostasis in the Serbian church in Čurug
(35 kilometres northeast from Novi Sad), which at the same time
represented the victory of Krstić-Valtrović’s ideas of “Orthodoxy
in contemporary church painting”. In icons from Čurug, the artist
fully demonstrated his fundamental intention to improve the
idea of our old painters of medieval frescos and adapt it to modern
times and his own artistic style. Residents of Čurug have all
rights to be proud of the legacy Đorđe Krstić left behind.
Uroš Predić and Paja Jovanović from Banat weren’t as extraordinary
as Krstić, but still they were outstanding painters of
Realism and great masters in the art of painting. Both of them
obtained scholarships from Matica srpska and until the end of
their lives they never forgot their hometowns, Predić his native
Orlovat and Paja his Vršac. Thus, a traveller who visits the village
of Orlovat in Banat mustn’t resist to see the iconostasis in the
Serbian church that Predić painted and donated to the church authorities
in Orlovat, which replaced an old and quite damaged one.
Predić also painted iconostases in other places in Vojvodina such
as Bečej, Pančevo, Perlez, then in the chapel in the Archbishop’s
Palace in Sremski Karlovci as well as in the monastery of Grgeteg
on Fruška Gora. If one adds to this an endless gallery of portraits
he painted for numerous patrons in Vojvodina, it becomes necessary
to describe Predić not only as a productive and sensible artist
but also as an outstanding chronicler of people and events at the
end of the 19 th and in the first half of the 20 th century.
On a fictional journey through Vojvodina, the same traveller
who saw the iconostasis in Orlovat should proceed to Vršac in
Banat. In this town of long and rich cultural tradition one would
Сава Текелија,
оснивач Матице српске
Sava Tekelija,
founder of Matica srpska
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certainly be attracted to “The Vršac’s Triptych” painted by Paja
Jovanović and exhibited in the “Pharmacy on the Stairs”. This
painting represented the artist and Serbian Pavilion at the Millennium
Exhibition in Budapest in 1896. However another of
Jovanović’s painting, which is perhaps today considered the most
famous painting in the Serbian era of modern art, is Migrations