Image

Title: 
Portrait of Chrysanthus Zenkevič
English
Description: 
Portrait of Chrysanthus Zenkevič. Part of the exhibition "White Russia" in Museum of Vojvodina, by senior curator Veselinka Markovic and Aleksandar Petijević
State of origin of the cult. artefact: 
Serbia
History: 
The work is part of the exhibition "White Russia" in Museum of Vojvodina, by senior curator Veselinka Markovic and Aleksandar Petijević. October Revolution of 1917 started a civil war in Russia, which has led to deaths and emigration of large numbers of people. After the civil war and the defeat of the White Army units, over two million people left their homeland. It was the largest political emigration in the 20th century. The largest number of Russian refugees arrived in the Kingdom of SHS after leaving the southern region of Russia. Most of the refugees started their exile from major Black Sea ports of Odessa, Novorusijsk, Feodosia, Sevastopol, Kerch. From 1919 to 1923, in five immigration waves over Istanbul, Gallipoli and Salonika in the Kingdom has been about 40,000 Russians. Nearly one-fifth of refugees (about 8,000) has found its refuge in the towns and cities of Backa, Banat, Baranja, and Srem. Among Russian refugees in the Kingdom of Serbs, along the soldiers and officers, a part of the Russian intellectual elite and aristocracy with broad education also arrived. A number of secondary military schools - cadet corps girl's Institutes were evacuated from Russia into the Kingdom of SHS. The first Russian colonies in Vojvodina were established in Zemun and Pancevo, then in Novi Sad, Subotica, Great Beckerek, Sombor, Vršac and Bela Crkva. In 1921 the Russian refugees were deployed in more than 80 villages and towns of Srem, Banat, Backa and Baranja. Rural areas were inhabited by the Cossacks, organized into cells. Within the colonies, kindergartens, primary and secondary schools, libraries, and numerous other Russian institutions were established. Of particular importance was the constitution of the Russian Orthodox Church Abroad in Sremski Karlovci. Through the activities of the above institutions spiritual connection of refugee Russians with their homeland cherished. A significant number of Russian intellectuals filled a major gap in culture, education, science and economy of the newly formed Kingdom of Serbs.
Copyright: 
Museum of Vojvodina
Date of records creation : 
Wednesday, October 29, 2014
Creator: 
Srdjan Veselinov
Type of cultural artefact: 
Formats of digital document: 
Images: 
Власник записа: 
Name of the original: 
Портрет Хрисанта Зенкевича
Municipality: 
Novi Sad
Region: 
Vojvodina
Country: 
Serbia
Institution: 
Period: 
Title: 
Portrait of a grandson 2
English
Description: 
Part of the exhibition "White Russia" in Museum of Vojvodina, by senior curator Veselinka Markovic and Aleksandar Petijević
State of origin of the cult. artefact: 
Serbia
History: 
The work is part of the exhibition "White Russia" in Museum of Vojvodina, by senior curator Veselinka Markovic and Aleksandar Petijević. October Revolution of 1917 started a civil war in Russia, which has led to deaths and emigration of large numbers of people. After the civil war and the defeat of the White Army units, over two million people left their homeland. It was the largest political emigration in the 20th century. The largest number of Russian refugees arrived in the Kingdom of SHS after leaving the southern region of Russia. Most of the refugees started their exile from major Black Sea ports of Odessa, Novorusijsk, Feodosia, Sevastopol, Kerch. From 1919 to 1923, in five immigration waves over Istanbul, Gallipoli and Salonika in the Kingdom has been about 40,000 Russians. Nearly one-fifth of refugees (about 8,000) has found its refuge in the towns and cities of Backa, Banat, Baranja, and Srem. Among Russian refugees in the Kingdom of Serbs, along the soldiers and officers, a part of the Russian intellectual elite and aristocracy with broad education also arrived. A number of secondary military schools - cadet corps girl's Institutes were evacuated from Russia into the Kingdom of SHS. The first Russian colonies in Vojvodina were established in Zemun and Pancevo, then in Novi Sad, Subotica, Great Beckerek, Sombor, Vršac and Bela Crkva. In 1921 the Russian refugees were deployed in more than 80 villages and towns of Srem, Banat, Backa and Baranja. Rural areas were inhabited by the Cossacks, organized into cells. Within the colonies, kindergartens, primary and secondary schools, libraries, and numerous other Russian institutions were established. Of particular importance was the constitution of the Russian Orthodox Church Abroad in Sremski Karlovci. Through the activities of the above institutions spiritual connection of refugee Russians with their homeland cherished. A significant number of Russian intellectuals filled a major gap in culture, education, science and economy of the newly formed Kingdom of Serbs.
Copyright: 
Museum of Vojvodina
Type of cultural artefact: 
Formats of digital document: 
Images: 
Name of the original: 
Портрет унука 2
Municipality: 
Novi Sad
Region: 
Vojvodina
Country: 
Serbia
Institution: 
Period: 
Title: 
Portrait of a grandson 1
English
Description: 
Part of the exhibition "White Russia" in Museum of Vojvodina, by senior curator Veselinka Markovic and Aleksandar Petijević
State of origin of the cult. artefact: 
Serbia
History: 
The work is part of the exhibition "White Russia" in Museum of Vojvodina, by senior curator Veselinka Markovic and Aleksandar Petijević. October Revolution of 1917 started a civil war in Russia, which has led to deaths and emigration of large numbers of people. After the civil war and the defeat of the White Army units, over two million people left their homeland. It was the largest political emigration in the 20th century. The largest number of Russian refugees arrived in the Kingdom of SHS after leaving the southern region of Russia. Most of the refugees started their exile from major Black Sea ports of Odessa, Novorusijsk, Feodosia, Sevastopol, Kerch. From 1919 to 1923, in five immigration waves over Istanbul, Gallipoli and Salonika in the Kingdom has been about 40,000 Russians. Nearly one-fifth of refugees (about 8,000) has found its refuge in the towns and cities of Backa, Banat, Baranja, and Srem. Among Russian refugees in the Kingdom of Serbs, along the soldiers and officers, a part of the Russian intellectual elite and aristocracy with broad education also arrived. A number of secondary military schools - cadet corps girl's Institutes were evacuated from Russia into the Kingdom of SHS. The first Russian colonies in Vojvodina were established in Zemun and Pancevo, then in Novi Sad, Subotica, Great Beckerek, Sombor, Vršac and Bela Crkva. In 1921 the Russian refugees were deployed in more than 80 villages and towns of Srem, Banat, Backa and Baranja. Rural areas were inhabited by the Cossacks, organized into cells. Within the colonies, kindergartens, primary and secondary schools, libraries, and numerous other Russian institutions were established. Of particular importance was the constitution of the Russian Orthodox Church Abroad in Sremski Karlovci. Through the activities of the above institutions spiritual connection of refugee Russians with their homeland cherished. A significant number of Russian intellectuals filled a major gap in culture, education, science and economy of the newly formed Kingdom of Serbs.
Copyright: 
Museum of Vojvodina
Creator: 
Srdjan Veselinov
Type of cultural artefact: 
Formats of digital document: 
Images: 
Власник записа: 
Name of the original: 
Портрет унука 1
Municipality: 
Novi Sad
Region: 
Vojvodina
Country: 
Serbia
Institution: 
Period: 
Title: 
Self Portrait of Milenko Serban
English
Description: 
Milenko Serban, one of the most famous Novi Sad painters of the 20th century, painted himself at the age of 20 years. He studied painting with Vasa Eškićević, and in Paris with André Lhote, through whose studio many Serbian painters of that period had passed. He exhibited a lot in Novi Sad, with significant work as a set designer in the Serbian National Theatre in Novi Sad, and later at the National Theatre in Belgrade. The painting is part of a study exibition of the Department of Cultural History, in the City Museum of Novi Sad. The civic life of Novi Sad from the 18th century until the second half of the twentieth century is presented in that exibition.
History: 
Part of the exhibition "White Russia" in Museum of Vojvodina, by senior curator Veselinka Markovic and Aleksandar Petijević
Copyright: 
City Museum of Novi Sad
Creator: 
Srdjan Veselinov
Technique: 
Type of cultural artefact: 
Formats of digital document: 
Images: 
Власник записа: 
Municipality: 
Novi Sad
Region: 
Vojvodina
Country: 
Serbia
Period: 
Title: 
Branjevina Salas
English
Description: 
The painting "Branjevina Farm" by Sava Šumanović, was created in 1935, reached City Museum of Novi Sad within legacies of prof. Desanka Kostic, sister of this famous Serbian painter. Presented salas farm is located near Sid, birthplace of Sava Šumanović, painted after his return to his homeland, when Sava became fully devoted to painting the surrounding landscape. An interesting fact is that this painting was exhibited in 1939 in Belgrade, on one of the few exhibitions prepared during the life of this talented artist.The painting is part of a study exibition of the Department of Cultural History, in the City Museum of Novi Sad. The civic life of Novi Sad from the 18th century until the second half of the twentieth century is presented in that exibition.
State of origin of the cult. artefact: 
Serbia
History: 
Part of the permanent exhibition of the City Museum of Novi Sad, under the supervision of the museum advisor, art historian, Ljiljana Lazic.
Copyright: 
City Museum of Novi Sad
Technique: 
Type of cultural artefact: 
Formats of digital document: 
Images: 
Year of creation: 
1935
Municipality: 
Novi Sad
Region: 
Vojvodina
Country: 
Serbia
Title: 
The Battle Of Kosovo
English
Author: 
Description: 
By dimensions greatest work in the art collection of the Museum of the City of Novi Sad, "Battle of Kosovo", was created in Novi Sad in 1929. One of the most respected Serbian inter-war painters, Mladen Josic, made this monumental historical composition by order of the Novi Sad-known family Moc, from which the act was purchased. The painting shows the most obvious strong muscle men and horses which indicate the structural style of Neoclassicism and traditionalism, popular in Serbian art in the third decade of the 20th century. The painting is part of a study of the Department of Cultural History, the Museum of the City of Novi Sad, where the civic life of Novi Sad from the 18th century until the second half of the twentieth century was introduced.
State of origin of the cult. artefact: 
Serbia
History: 
Part of the permanent exhibition of the City Museum of Novi Sad, under the supervision of the museum advisor, art historian, Ljiljana Lazic.
Copyright: 
City Museum of Novi Sad
Creator: 
Srdjan Veselinov
Technique: 
Type of cultural artefact: 
Formats of digital document: 
Images: 
Власник записа: 
Year of creation: 
1929
Municipality: 
Novi Sad
Region: 
Vojvodina
Country: 
Serbia
Period: 
Title: 
The bust of Svetozar Miletic
English
Description: 
Plaster model of Svetozar Miletic bust, according to a bust of Peter Samonov.
History: 
Part of the exhibition "White Russia" in Museum of Vojvodina, by senior curator Veselinka Markovic and Aleksandar Petijević
Copyright: 
City Museum of Novi Sad
Creator: 
Srdjan Veselinov
Material: 
Type of cultural artefact: 
Formats of digital document: 
Images: 
Власник записа: 
Name of the original: 
Биста Светозара Милетића
Municipality: 
Novi Sad
Region: 
Vojvodina
Country: 
Serbia
Institution: 
Period: 
Title: 
Church sculptures
English
Description: 
In accordance with the tradition of equipping Catholic temples, Armenian church also had a number of plaster sculptures of important saints. They were integral parts of the altars and allocated space in the nave of the temple. As with other parts of the church mobile property, information on workshops in which they made ​​figures are not preserved in the archives of Novi Sad and the rest of the church documents. The exhibits are part of the of the exhibition "Armenian Church in Novi Sad - deleted heritage," by the author Ljiljana Lazic, art historian and museum counselor.
State of origin of the cult. artefact: 
Austria
History: 
In October 1963, in Novi Sad, St.George the Enlightener, popularly called the Armenian Church was demolished. For more than two centuries, this temple has witnessed the efforts of its believers and priests to build, maintain, restore and preserve. Unfortunately, in the decades after World War II, it shared the fate of the Armenians vanished from Novi Sad. Demolition of the Armenian Church is a non-volatile error in the post-war urban planning of Novi Sad. Part of the old center of the city, whose urban pattern was established in the early 18th century, has been sacrificed to the modern architecture and the new junction. In the clash of old and new, the church has been characterized as a "worthless piece of architecture," whose existence is not necessary. Generations of citizens of Novi Sad were also deprived of a part of heritage, unique in its cultural, religious and architectural significance. Of the life and last years of the existence of the Armenian Church and its small community extensive archival, documentary and photographic material, which reveals all the circumstances that led to the tragic and unnecessary demolition, remained preserved. Part of the precious legacy of the church is now kept in the Museum of the City of Novi Sad, and, after half a century, testifies to the former appearance of the Church of St.. George the Enlightener.
Copyright: 
City Museum of Novi Sad
Creator: 
Srdjan Veselinov
Material: 
Type of cultural artefact: 
Formats of digital document: 
Images: 
Year of creation: 
1890
Name of the original: 
Црквене скулптуре
Municipality: 
Novi Sad
Region: 
Vojvodina
Country: 
Serbia
Period: 
Title: 
The bells of Maria Trandafil
English
Description: 
Thanks to Maria Trandafil, in 1872 three bells were cast for renewed Armenian church. Made in Wiener Neustadt, Austria's most famous bell foundry in the second half of the 19th century. On the largest bell (diameter 65 cm and weight of 250 kg), in bas-relief, figures of Maria Magdalene, St. Catherine and Mary were molded. Stylized floral friezes decorate the top and bottom of the bell.
State of origin of the cult. artefact: 
Austria
History: 
In October 1963, in Novi Sad, St.George the Enlightener, popularly called the Armenian Church was demolished. For more than two centuries, this temple has witnessed the efforts of its believers and priests to build, maintain, restore and preserve. Unfortunately, in the decades after World War II, it shared the fate of the Armenians vanished from Novi Sad. Demolition of the Armenian Church is a non-volatile error in the post-war urban planning of Novi Sad. Part of the old center of the city, whose urban pattern was established in the early 18th century, has been sacrificed to the modern architecture and the new junction. In the clash of old and new, the church has been characterized as a "worthless piece of architecture," whose existence is not necessary. Generations of citizens of Novi Sad were also deprived of a part of heritage, unique in its cultural, religious and architectural significance. Of the life and last years of the existence of the Armenian Church and its small community extensive archival, documentary and photographic material, which reveals all the circumstances that led to the tragic and unnecessary demolition, remained preserved. Part of the precious legacy of the church is now kept in the Museum of the City of Novi Sad, and, after half a century, testifies to the former appearance of the Church of St.. George the Enlightener.
Copyright: 
City Museum of Novi Sad
Material: 
Type of cultural artefact: 
Formats of digital document: 
Images: 
Year of creation: 
1872
Name of the original: 
Звона Марије Трандафил
Municipality: 
Novi Sad
Region: 
Vojvodina
Country: 
Serbia
Period: 
Title: 
Plan of the Armenian church
English
Author: 
Description: 
According to the wishes of Mary Trandafil, for renewal of the Armenian church, Gyorgy Molnar was hired, the most important builder of Novi Sad in the second half of the 19th century. The first plan which was presented shows that, at first, intention was to rebuild the temple in the Baroque style, but the idea was dropped.
Place of origin of the cult. artefact: 
Novi Sad
State of origin of the cult. artefact: 
Serbia
History: 
In October 1963, in Novi Sad, St.George the Enlightener, popularly called the Armenian Church was demolished. For more than two centuries, this temple has witnessed the efforts of its believers and priests to build, maintain, restore and preserve. Unfortunately, in the decades after World War II, it shared the fate of the Armenians vanished from Novi Sad. Demolition of the Armenian Church is a non-volatile error in the post-war urban planning of Novi Sad. Part of the old center of the city, whose urban pattern was established in the early 18th century, has been sacrificed to the modern architecture and the new junction. In the clash of old and new, the church has been characterized as a "worthless piece of architecture," whose existence is not necessary. Generations of citizens of Novi Sad were also deprived of a part of heritage, unique in its cultural, religious and architectural significance. Of the life and last years of the existence of the Armenian Church and its small community extensive archival, documentary and photographic material, which reveals all the circumstances that led to the tragic and unnecessary demolition, remained preserved. Part of the precious legacy of the church is now kept in the Museum of the City of Novi Sad, and, after half a century, testifies to the former appearance of the Church of St.. George the Enlightener.
Copyright: 
City Museum of Novi Sad
Material: 
Formats of digital document: 
Images: 
Year of creation: 
1872
Name of the original: 
План Јерменске цркве
Municipality: 
Novi Sad
Region: 
Vojvodina
Country: 
Serbia
Period: 

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