Mihajlo S. Petrov (1902-1983) was a Serbian-Yugoslavian avant-garde painter, graphic artist, illustrator, etcher, and art critic. [1] [2]
After he completed his studies under the tutelage of Ljubomir Ivanović at the Arts and Crafts School and Milan Milovanović at the Royal Art School (Kraljevska umetnička škola) in Belgrade. Influenced by Yvan Goll, Dragan Aleksić and Ljubomir Micić, Petrov became involved with Zenit magazine which Micić first launched in 1921 in Zagreb and then in 1924 in Belgrade. The ideas communicated through the Zenit art review became known as Zenitism, a first notable art movement from the Balkans in Europe. [3] He then went on to pursue further study in Vienna (1922), Krakow (1923) and the Académie des Beaux-Arts in Paris (1924-1925). Petrov was one of Zenit's most active associates in his first phase (1921), as well as its most ardent collaborator. He was also a collaborator with other avant-garde journals such as Dada Tank , [4] and Út, [5]
In 1924, Petrov was one of the youngest artists to have his paintings on display at the international exhibition in Belgrade which featured the works of more than 100 contemporary European artists. [6] Petrov and two of his colleagues (Ivan Radović and Veljko Stojanović) had a great impact on the art scene in Belgrade from the 1920s right through the 1930s. [7] His oeuvres date from 1915 until 1946. [8]
Petar Konjović was a Serbian composer and academic.
Red Peristyle was an urban intervention in Diocletian's Palace in the city of Split, Croatia, performed on 11 January 1968, when its peristyle was painted red. This was also the name of the group responsible for the intervention, which was formed in 1966. The group had a destructive approach similar to Marcel Duchamp's post-urban art of the 1960s. A number of other actions were recognized as the work of the same artistic group.
Mangelos was a Yugoslavian artist, curator and art critic whose artistic production included handmade books, sculptures and paintings. His work and research contributed greatly to the development of abstract art in Croatia.
Miško Šuvaković is a contemporary aestheticist, art theorist and conceptual artist in Belgrade, Yugoslavia. He taught theory of art and theory of culture in Interdisciplinary Postgraduates Studies at the University of Arts in Belgrade. He teaches theory of art and theory of culture in transdisciplinary master and doctoral studies at the Faculty of media and communication.
Lumino Kinetic art is a subset and an art historical term in the context of the more established kinetic art, which in turn is a subset of new media art. The historian of art Frank Popper views the evolution of this type of art as evidence of "aesthetic preoccupations linked with technological advancement" and a starting-point in the context of high-technology art. László Moholy-Nagy (1895–1946), a member of the Bauhaus, and influenced by constructivism can be regarded as one of the fathers of Lumino kinetic art. Light sculpture and moving sculpture are the components of his Light-Space Modulator (1922–30), One of the first Light art pieces which also combines kinetic art.
The Serbo-Byzantine architectural style or Vardar architectural school, is an ecclesiastical architectural style that flourished in the Serbian Late Middle Ages, during the reign of the Nemanjić dynasty. It was developed through fusing contemporary Byzantine architecture and the Raška architectural school to form a new style; by the mid-14th century the Serbian state had expanded to include southern Macedonia, Epirus and Thessaly up to the Aegean Sea. On these new territories Serbian art was even more influenced by the Byzantine art tradition. The architectural school was also promoted as a counter to the dominance of Western styles such as Neo-Baroque.
Dragan Aleksić was a Serbian Dadaist poet, author, journalist and filmmaker. He was the founder of the Yugoslavian branch of Dadaism, termed "Yugo-Dada".
Danilo Švara was a prominent Slovenian orchestra conductor and composer.
Zenitism was an avant-garde art movement in Yugoslavia that lasted from 1921 until 1926, first appearing in Zagreb from 1921 to 1924 and from 1924 in Belgrade. It primarily involved visual arts, graphic design, poetry, literature, theatre, film, architecture and music. Like other avant-garde movements at the time, it held anti-war, anti-bourgeois and anti-nationalist views and rejected traditional culture and art. Micić defined it as "abstract metacosmic expressionism."
Josip Seissel was a Croatian architect and urban planner, who under the pseudonym of Jo Klek was a constructivist artist, graphical designer and theatrical designer. A member of the influential avant-garde Zenit movement of the 1920s, he is considered to be a pioneer of surrealism and abstract art in Croatia.
Marko Ristić was a Serbian surrealist poet, writer, publicist and ambassador.
Ljubomir Micić was a Serbian poet, writer, critic, editor and actor. He was the founder of the avant-garde movement Zenitism and its magazine Zenit. Both he and his brother, Branko Ve Poljanski became prominent avant-garde artists.
Miloš Golubović was a Serbian artist, who during the Great War, was already an accomplished and acclaimed painter.
Momir Korunović, was a Serbian architect best-known for his projects built in Serbo-Byzantine Revival. He was sometimes called the Serbian Gaudi. Although he designed some of the most beautiful buildings in Belgrade and was the leading architect of sacred buildings in Yugoslavia between the two world wars, today he is insufficiently known to the general public. Many of his works were destroyed or substantially altered during World War II and the period of communist dictatorship.
Krstić Brothers of architectural fame: Petar Krstić and Branko Krstić, were Serbian architects. They belonged to the "Serbian national style" as well as modernism of their time. Both Petar and Branko Krstić were also professors at the Faculty of Architecture of the University of Belgrade.
Dada-Jok was a Yugoslav anti-Dada single issue publication published in May 1922 and edited by the Zenitist Branko Ve Poljanski. It was Poljanski's and his brother Ljubomir Micić's response to the Dada movement following their falling out with its representative in Yugoslavia, Dragan Aleksić.
Dada Tank was a Yugoslav Dadaist single issue publication published in Zagreb in June 1922 and edited by Dragan Aleksić. Aleksić published Dada Tank as a response to Branko Ve Poljanski and his brother Ljubomir Micić's anti-Dada publication Dada-Jok from May 1922.
Dada Jazz was a Yugoslav Dadaist single issue publication published in Zagreb in September 1922 and edited by Dragan Aleksić. Aleksić published Dada Tank as a response to Branko Ve Poljanski and his brother Ljubomir Micić's anti-Dada publication Dada-Jok from May 1922. Although Dada Jazz has been characterized as a mere footnote to Dada Tank, it was in fact intended as a "Dada anthology", analogous to Richard Huelsenbeck's Dada Almanach.
Petar Popović was a Yugoslav poet and Surrealist.
Miloš Babić (1904–1968) was a Yugoslav painter, illustrator, designer, graphic artist who studied the avant-garde movement with his circle of Zenit artists whose early work anonymity was not recognizable to the public at the time when it first began in Zagreb and Belgrade. Babić considered himself simply a painter engaged in graphic design in order to make a living and not starve while waiting for his work to sell. With the passage of time, his graphic design work became part of collections now held at the National Museum in Belgrade, Museum of Applied Arts in Belgrade and the Municipal Museum of Subotica.