Painting

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( Date of birth is not precisely defined)

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Teodor Krachun was born at Sremska Kamenica in 1730. His original surname was Dimitrijević, but later the nickname "Kračun" stuck. He studied art under Dimitrije Bačević, a well-known Serbian icon and portrait painter, before taking monastic vows and entering the Vienna Academy in 1769. During his lifetime Kračun produced numerous icons and altarpieces that are still extant today in Serbian Orthodox and Roman Catholic churches and cathedrals throughout the Serbian province of Vojvodina, and the Banat of both Romania and Serbia.

The acknowledged master of the Baroque period, considered the first great modern Serbian painter, was Teodor Kračun. His contemporaries were Dimitrije Popović, another student of Dimitrije Bačević, Jakov Orfelin, and others. Kračun died at Sremski Karlovci on the 10th of April 1781. Teodor Dimitrijević Kračun is considered the most renowned of the Baroque and Rococo painting style in North Serbia.

 

 

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Krachun
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Teodor Krachun (Теодор Крачун; 1730 – 10 April 1781) was a famous Serbian 18th century icon and altar painter.
Date of death: 
Tuesday, April 10, 1781
Place of death and location : 
Sremski Karlovci
Serbien
45° 10' 51.7296" N, 19° 56' 39.3684" E
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Country of Birth: 
Serbia
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Sava Šumanović was born in Vinkovci in 1896 where his father was working as an engineer. He graduated from High School in Zemun, across the Danube from Belgrade, where he was first introduced to the art of painting. He later enrolled in the College of Crafts and Arts in Zagreb then lived in Paris for several years, since 1920. His professor in Paris was André Lhot, while Šumanović befriended Amedeo Modigliani, Max Jacob and various Paris-based Serbian artists and writers such as Rastko Petrović. Absent from Paris (1924-1925), Šumanović returned at the French capital in late 1925, and stayed again for several years, accepting certain influences of the Matisse painting style. Šumanović returned to Serbia and the town of Šid in 1928 and, after another year spent in Paris, settled eventually there in 1930. His major exhibition was at the Belgrade New University in 1939, where he exposed roughly 410 paintings mostly from the Šid period. It was his first major success after many years. He lived quitly in Šid until the outbreak of World War II in the Kingdom of Yugoslavia in April 1941, when the Mussolini-sponsored Independent State of Croatia, led by the Croatian fascist Ustaše, started a large-scale genocide against Serbs and Jews already in 1941. Croatian pro-fascist police arrested Šumanović as a Serb hostage with other 150 Serbian citizens and took them to a Ustaša concentration camp in Sremska Mitrovica. Šumanović was there ruthlessly executed on 30 August 1942 together with many other Serbs, buried in a common grave of the Serbian Orthodox graveyard. 

His early artistic style was characterized by various influences, first of all Cubism but Fauvism and Expressionism as well. In his later works, Sava Šumanović managed to develop his own, rather original artistic expression, which he simply called "the way I know and can." Due to innovations and unique style, Šumanović can be described as one of the most prominent Serbian painters of the twentieth century as well as the major painter from the Kingdom of Yugoslavia. A museum dedicated to his life and work is situated in Šid (Shid) Serbia. His works are also on display in the museums of Belgrade, the Capital of Serbia, and Novi Sad. A gallery devoted to Šumanović's work was established in 1952 based on a gift from Persida Šumanović, the painter's mother. The legacy of 417 works of art, out of which 356 are oil paintings is located in the Šumanović family home (also used for the Country court). In 1989 the building was renovated and the original exhibition area was expanded from 400 to 700 m2 (4,300 to 7,500 sq ft). This enabled a large number of paintings to be exhibited simultaneously. The main activity of the gallery is the preservation and presentation of paintings obtained as gifts. In addition to this, a rich collection of documentary materials has been amassed, as well as an extraordinarily rich Hermoteca (newspaper and periodical library), containing the catalogues from all the exhibitions held until now.

Also part of the gallery is the Memorial House of Sava Šumanović, as well as the archaeological collection “Gradina on the Bosut”, and an antique sarcophagus. The artistic circle “Sava Šumanović,” consisting of local amateur painters, also operates within the gallery. Ten years after the gallery had been established, the memorial in honour of Sava Šumanović was initiated, an event which takes place every three years.

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Sava Šumanović (Serbian: Сава Шумановић; 22 January 1896 – 28 August 1942) was a twentieth-century Serbian painter.
Date of birth: 
Wednesday, January 22, 1896
Place of birth and location: 
Vinkovci
Serbia
45° 17' 16.4616" N, 18° 48' 20.4408" E
Date of death: 
Sunday, August 30, 1942
Place of death and location : 
Sremska Mitrovica
Serbia
44° 58' 59.9988" N, 19° 37' 0.0012" E
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Year of birth: 
1896
Country of Birth: 
Hrvatska
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Sremska Kamenica, 1921 – Novi Sad, 1985.

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He finished College of Pedagogy, Department of Painting and Sculpture,  in Novi Sad. He had several solo exhibitions in Vojvodina and Serbia. He has participated in numerous exhibitions of ULUS and ULUV.

Izvor:Slikarska galerija

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Murat was born in Luka Šipanska near Dubrovnik in a Catholic family, as his uncle Vice Palunko was a noted priest and assistant bishop, and his older brother Andro Murat also became a priest. After finishing primary school in Dubrovnik in 1883, Marko Murat attended the seminary in Zadar. In 1886 he submitted a drawing to Vijenac which was noticed by Baron Lujo Vranyczany, who financed a scholarship for him to study at the Munich Art Academy. After graduation in 1893, he went to Rome and Paris. In 1894 he moved to Belgrade, where he finally settled in 1898, employed at the Second Belgrade Gymnasium. In the year 1900, Marko Murat was a representative of Serbia at the 1900 World's Fair in Paris, where he won the bronze card for his artwork - The Arrival of Tzar Dushan of Serbia to Dubrovnik. In 1905 he was one of the founders of the Art&Craft school, the predecessors to the Academy of Fine Arts, Belgrade. Between 1904 and 1906, he was also a drawing teacher of Royal Prince Aleksandar Karađorđević of Serbia. His works were also exhibited at the 1911 World's Fair in Rome. Murat was a proponent of Yugoslavism who wrote in his autobiography about Serb and Croat tribes of the Yugoslav nation.

At the outbreak of World War I, he was in Dubrovnik, where Austrian authorities arrested him and held him in Hungary until May 1916. After the war, Marko Murat had a major role as an art conservator in Dubrovnik, from 1919 to 1932. In 1920 he became an honorary member of Serbian Academy of Sciences and Arts, and from 1940 he was a regular member.

Marko Murat was one of the first impressionists in the South Slavic region. Landscapes, portraits and historical compositions were his trademark. His works were displayed at almost every relevant exhibition in Yugoslavia and abroad, in Sofia, Munich, Paris, Rome, Vienna and London. He died in Dubrovnik. The manuscript of his unfinished autobiography was lost after his death and found only recently; it presents a rare description of everyday life in Dubrovnik in the 1860s and 1870s. It was published in 2007 in the Croatian literary magazine Kolo.

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Marko Murat (December 30, 1864 – October 14, 1944) was a Serb-Catholic painter from Dubrovnik who spent 20 years of his life in Belgrade, becoming a leading member of the Serbian art scene at the time, before returning to his home town where he made a substantial mark in art conservation.
Date of birth: 
Friday, December 30, 1864
Place of birth and location: 
Dubrovnik
Croatia
42° 39' 2.3796" N, 18° 5' 39.9264" E
Date of death: 
Saturday, October 14, 1944
Place of death and location : 
Dubrovnik
Croatia
42° 39' 2.3796" N, 18° 5' 39.9264" E
Gender: 
Мушки
Year of birth: 
1864
Country of Birth: 
Hrvatska
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Džumhur was born in Konjic, Bosnia and Herzegovina. When he was only two months old his father, Imam Abduselam Džumhur and mother Vasvija (née Rufo) moved to the capital of Yugoslavia, Belgrade, where his father got a job in the Yugoslav Army. Zuko Džumhur finished elementary school and the first four grades of high school in Belgrade, then moved to Sarajevo where he finished high school in 1939. Džumhur attended classes at the Law Faculty, but soon left and later finished his studies at the Art academy in Petar Dobrović's class. During the World War II, Džumhur's younger brother was killed in 1945.

Džumhur published his first caricatures in an army magazine in 1947, and very soon became one of the most prominent illustrators in Yugoslavia, publishing his caricatures in the country's best selling newspapers and magazines, such as Politika, Borba, Oslobođenje, Jež, NIN, Danas and many others. He published over 10,000 illustrations and caricatures, wrote numerous screenplays and worked on the TV show Hodoljublje, which he hosted for over ten years on Sarajevo television.

In Belgrade during the seventies, Džumhur and other artists frequented the bohemian Skadarlija area of the old town. Zuko, along with other artists, was partly responsible for renovating and restoring the Tri šešira (Three Hats) cafe, a popular artist's hangout and a famous landmark in the street.

Džumhur published his first book in 1959, a travelogue entitled Nekrolog jednoj čaršiji (Obituary of a Small Town). Considered his best work, Nekrolog is also particularly exemplary of Džumhur's style of travel writing as a whole. Moving freely, fluidly and often unexpectedly between the familiar and the remote, past and present, real and imagined, Džumhur's travelogues can be characterized by a certain mobility, fragmentariness and easy diversion. In the only preface he ever wrote, Ivo Andrić characterizes the writing in Nekrolog as similar to the illustrations with which Džumhur accompanies his text.

And this line, firm and bare, begins with an unexpected point – running straight and solid, it seems to you it will go on in this direction forever, but somewhere it suddenly stops and unexpectedly pivots somewhere you never thought it would.

This fragmentedness is accompanied, and in some sense given shape by, a distinct focus on the physical world and its objects, and to the lived, material experience of a given place. Džumhur looks for the soul of a city in its objects, its "antiquities, churches, mosques, synagogues, graves of famous people, history in all its forms." In the first chapter of Nekrolog jednoj čaršiji, Džumhur treats the Bosnian town of Počitelj as a living subject, simultaneously recounts its long life as an important military strategic center as well as its humiliating physical deterioration and eventual historical irrelevance. He characterizes this as a death, at one point describing the city as experiencing a "shudder" that passed "through the dilapidated skeletons of old watchtowers and bastions, and blossomed in the guttered cobblestones of its dead alleyways." Grad Zelene Brade, or City of the Green Beard, is a reference to the tree-lined banks of the Neretva, which runs through the heart of the city. Džumhur later refers to the hands of the city's clock-tower as having long ago drowned in its "dark whirlpools...quickly and easily, like two severed hands of time," while at the end of the chapter the city itself is consumed in the "black whirlpools of the swollen Bogomil river - redundant and ridiculous/ in the tattered vests of forgotten old captains - crippled and starving!/...under a quilt of cherry blossoms - dim and dilapidated!/under the dead guards of dead empires..bareheaded, barehanded, barelegged and bare-boned." In the next chapter, Džumhur describes the thriving Juksek-Kaldrma neighborhood in Istanbul, then Edirne, another city left "unpreserved and forgotten." Throughout the book, he describes small villages and urban centers in Bosnia and throughout the Anatolian Peninsula, all with a similar intensity and attention to physical detail, as well as with a focus on his own memories and personal encounters.

In the same way that Džumhur moves fluidly between places, his travel writing is also unique in its focus on the history of every place he visits and writes. Interwoven into his physical descriptions of a city are detailed accounts and stories about its past. The seamlessness with which these historical interludes are incorporated into vivid accounts of the lived experience of a particular place makes present the long-forgotten past, compounding history with the everyday.In Grad Zelene Brade, Džumhur describes, in parentheses, the city's entire history, from Hungarian rule under Matthius Corvinus, through 200 years of Ottoman rule, the Venetian conquer of Gabela and 40 years as part of the Austro-Hungarian empire. Džumhur's use of historical terminology and references to sometimes obscure past events and figures gives his writing a cultural specificity that makes it very difficult to translate. It has also led to characterizations of Džumhur's writing as anachronistic, or anti-modern, his "measuring of time and space as approximate, populist and old-fashioned, with a particularly cautious approach to modernity and its material and technological progress." This cautiousness, however "reveals itself in an ironic and satirical light...his archaicness is concerned with life and technological innovation and not spiritual, aesthetic or literary modernism." It is perhaps this blend of the conservatism and modernism that allowed Džumhur to be described both as an "old-fashioned Muslim in the mold of Istanbul and Vienna" as well as a figure who in the 1950s helped cultivated Belgrade's distinctly liberal, Bohemian atmosphere.

Džumhur's popular television travel series Hodoljublja shares similar movement between familiar national landmarks and remote locales, between forgotten or insignificant towns and cultural-historical centers. As in Nekrolog, there is little difference in the style and intensity with which he engages with and describes the places he visits - Džumhur thus "creates the illusion that the reader or viewer is at home everywhere." An attachment to the everyday in places both close at hand and far away expresses an ordinariness and a tolerance that distinguishes Džumhur from other travel writers, an ordinariness in which the reader can "catch a glimpse of something that might resembles the mimicry of the travel-writing subject, a kind of fusion of this subject with the environment in which it is located."This style also demonstrates Džumhur's particular expression of the relationship between East and West. Instead of positioning himself against the Eastern objects of his travel and description, Džumhur's travelogues describes the East from 'within,' as an experience lived out and lived through, as opposed to a distanced description of the other or a moral, or existential, fact.

Džumhur died in Herceg Novi aged 69 in 1989.

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Nickname: 
Zuko
Personal information: 
Zulfikar "Zuko" Džumhur (24 September 1920 – 27 November 1989) was a Bosnian writer, painter and caricaturist. Džumhur's bohemian nature, versatility of a polymath and extremely creative personality have made him a unique figure of the Yugoslav culture in the second half of the 20th century.
Date of birth: 
Saturday, September 24, 1921
Place of birth and location: 
Konjic
Serbia
44° 17' 28.23" N, 19° 33' 48.492" E
Date of death: 
Monday, November 27, 1989
Place of death and location : 
Herceg Novi
Croatia
42° 27' 26.0928" N, 18° 31' 53.31" E
Gender: 
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Year of birth: 
1921
Country of Birth: 
Serbia
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Russian artist. 

 

(currently missing information)

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Vsevolod Guljevič, rus. Vsevolod Konstantinovich Gulevich (Warsaw, 23 December 1903 - New York, March 11, 1964)
Date of birth: 
Wednesday, December 23, 1903
Place of birth and location: 
Varšava
Serbia
52° 13' 46.8336" N, 21° 0' 44.0244" E
Date of death: 
Wednesday, March 11, 1964
Place of death and location : 
New York
Serbia
40° 42' 46.0224" N, 74° 0' 21.3876" W
Gender: 
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Year of birth: 
1903
Country of Birth: 
Пољска
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Јаша Томић, 15. децембар 1893 — Београд, 9. септембар 1961.

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Vasa Pomorišac was a Serbian painter and professor at the Art Academy and the Academy of Applied Arts in Belgrade. Occasionally, was also involved with art criticism.

Artistic education starts from 1905 to 1911 in the studio of Stevan Aleksic. In 1913 - 1914 he attended the Munich Academy of Fine Arts. After the war he came to Zagreb in 1919. That same year he moved to Belgrade where he enrolled in art middle school. He left for London in 1902. where he studied at the Royal Academy St. Martin's School of Art. He was appointed professor of the Academy of Fine Arts in Belgrade in 1942 and 1950 as a professor of the Academy of Applied Arts in Belgrade.

Category: 
Place of birth and location: 
Serbia
45° 25' 54.3648" N, 20° 51' 27.1584" E
Place of death and location : 
Serbia
44° 47' 58.6392" N, 20° 27' 53.2188" E
Gender: 
Мушки
Year of birth: 
2014
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Njeni radovi mogu se videti u Narodnom muzeju u Beogradu, Muzeju savremene umetnosti u Beogradu i u kolekciji Spomen-zbirka Pavla Beljanskog u Novom Sadu.

Category: 
Date of birth: 
Thursday, May 17, 1894
Place of birth and location: 
Dobrica
Serbia
45° 13' 0.0012" N, 20° 51' 0" E
Date of death: 
Friday, May 25, 1962
Place of death and location : 
Beograd
Serbia
44° 49' 0.0012" N, 20° 28' 0.0012" E
Gender: 
Женски
Year of birth: 
1894
Country of Birth: 
Srbija

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