ISSN 0352-6844 / UDK 7 (5)

Matica srpska
journal for fine arts
43
Editorial board
ALEKSANDAR KADIJEVIĆ, editor-in-chief
(University of Belgrade – Faculty of Philosophy)
KOKAN GRČEV
(Eastern Mediterranean University of Famagusta – Department of Architecture)
MIODRAG MARKOVIĆ
(University of Belgrade – Faculty of Philosophy)
LIDIJA MERENIK
(University of Belgrade – Faculty of Philosophy)
NENAD MAKULJEVIĆ
(University of Belgrade – Faculty of Philosophy)
IVAN STEVOVIĆ
(University of Belgrade – Faculty of Philosophy)
RUDOLF KLEIN
(Szent István University, Budapest)
BISSERA PENTCHEVA
(Stanford University, USA)
ALEKSANDAR IGNJATOVIĆ
(University of Belgrade – Faculty of Architecture)
SRĐAN MARKOVIĆ
(University of Nish – Faculty of Arts)
DRAGAN DAMJANOVIĆ
(University of Zagreb – Faculty of Philosophy)

NOVI SAD
2015
 ISSN 0352-6844 / UDK 7 (5)

Зборник Матице српске

за ликовне уметности
43
Уредништво
АЛЕКСАНДАР КАДИЈЕВИЋ, главни и одговорни уредник
(Универзитет у Београду – Филозофски факултет)
КОКАН ГРЧЕВ
(Источномедитерански универзитет Фамагуста – Одељење архитектуре)
МИОДРАГ МАРКОВИЋ
(Универзитет у Београду – Филозофски факултет)
ЛИДИЈА МЕРЕНИК
(Универзитет у Београду – Филозофски факултет)
НЕНАД МАКУЉЕВИЋ
(Универзитет у Београду – Филозофски факултет)
ИВАН СТЕВОВИЋ
(Универзитет у Београду – Филозофски факултет)
РУДОЛФ КЛАЈН
(Универзитет Сент Иштван, Будимпешта)
БИСЕРА ПЕНЧЕВА
(Универзитет Стенфорд, САД)
АЛЕКСАНДАР ИГЊАТОВИЋ
(Универзитет у Београду – Архитектонски факултет)
СРЂАН МАРКОВИЋ
(Универзитет у Нишу – Факултет уметности)
ДРАГАН ДАМЈАНОВИЋ
(Свеучилиште у Загребу – Филозофски факултет)

НОВИ САД
2015
 МАТИЦА СРПСКА
Одељење за ликовне уметности

MATICA SRPSKA
Department of Fine Arts

Copyright © Матица српска, Нови Сад, 2015

 UDC 72(497.11)”1918/1941”

Jelena Bogdanović, Lilien Filipovitch Robinson and

Igor Marjanović (editors), On the Very Edge: Modernism
and Modernity in the Arts and Architecture of Interwar Serbia
(1918–1941), Leuven University Press, Leuven 2014.

Leuven University Press in 2014 has published On the Very

Edge: Modernism and Modernity in the Arts and Architecture of
Interwar Serbia (1918–1941), co-edited by Jelena Bogdanović, an
assistant professor of Architectural History at Iowa State Univer-
sity, Lilien Filipovitch Robinson, professor of Art History at the
George Washington University and Igor Marjanović, an associate
professor of Architecture at Washington University in St. Louis.
Following open, multidisciplinary methodological concept, pub-
lication brings together eminent scholars and researchers1 who
have contributed compelling essays on number of selected case
studies, regarding the affirmation and reception of modernity and
modernism in the visual arts, architecture, and literature of Serbia
between two World Wars, the vibrant period when country became
part of newly established Kingdom of Serbs, Croats and Slovenes,
in 1929 renamed Kingdom of Yugoslavia.
In the introductory essay On the Very Edge: Modernism and
Modernity in the Arts and Architecture of Interwar Serbia (1918–
1941) (pp. 1–29), Jelena Bogdanović elaborates the objectives that
guided the editors, stressing that this volume seeks to recognize
Serbia’s own highly complex, often opposing, and unbalanced cul-
tural landscape that existed “on the very edge” of modernist and
geo-historical space – a landscape imbued with contradictions that
has often puzzled some “Western” observers, and resulted in stereotypical (mis)representations of both
Serbia and the Balkans (p. 2). Furthermore, in review of master narratives in presented case studies, author
highlights number of dominant topics, from various artistic influences to status of female intellectuals.
Bogdanović also provides deeper insight on main interwar historical circumstances in Kingdom. Reflect-
ing on socio-political factors that affected Serbian arts and architecture she emphasizes the importance of

1
Jelena Bogdanović (Iowa State University), Lilien Filipovitch Robinson (George Washington University),
Igor Marjanović (Washington University in St. Louis), Miloš R. Perović (University of Belgrade), Jasna Jovanov (The
Pavle Beljanski Memorial Collection and University EDUCONS, Novi Sad), Svetlana Tomić (Alfa University, Bel-
grade), Ljubomir Milanović (Serbian Academy of Sciences and Arts), Bojana Popović (Museum of Applied Art in
Belgrade), Anna Novakov (Saint Mary’s College of California), Aleksandar Kadijević (University of Belgrade), Ta-
dija Stefanović (University of Belgrade), Dragana Ćorović (University of Belgrade), Viktorija Kamilić (independent
scholar), Marina Djurdjević (Museum of Science and Technology, Belgrade), Nebojša Stanković (Princeton Univer-
sity), Dejan Zec (Institute for Recent History of Serbia).

366
Serbian geopolitical and cultural sphere regarding its modernist tendencies between regional and interna-
tional identities.
In her essay From Tradition To Modernism: Uroš Predić and Paja Jovanović (pp. 31–61), Lilien
Filipovitch Robinson discusses the work of two most prominent Serbian painters and contemporaries Uroš
Predić (1857 – 1953) and Pavle Paja Jovanović (1859 – 1957). Predić and Jovanović initiated an accelerated
period of change by playing a decisive role in shifting tradition-oriented Serbian painting decidedly towards
European modernism (p. 32). At the same time, they provided a link between the traditions of the Balkan
East and the European West (p. 57).
Author Igor Marjanović in Zenit: Peripatetic Discourses of Ljubomir Micić and Branko Ve Poljan­
ski (pp. 63–84) positions the work of brothers Ljubomir Micić (1895 – 1971) and Branko Ve Poljanski (1897
– ?, probably 1940’s) as a pioneers of Serbian 1920’s avant-garde. Micić and Poljanski launched journal
Zenit in Zagreb (1921), then moved to Belgrade (1923) and published Zenit until 1926. Established as a part
of wider European movement of avant-garde journals, international references in Zenit included noted
projects from Germany, France, the Netherlands and other countries (p. 67). Marjanović focuses on Micić’s
and Poljanski’s literary contribution, their ability to collect, edit and disseminate new ideas (p. 81) and
perceives their travels and visits (Belgrade, Zagreb, Ljubljana, Paris, Prague, Berlin) as major forces of
modernizing process.
Miloš R. Perović in his essay Zenitism and Modernist Architecture (pp. 85–96) continues to examine
the theme presented in Marjanović’s text. Regarding international reception of Zenit, and its importance,
author emphasizes that number of well-known artist and architects published their work in the journal. One
of the first publications of Vladimir Tatlin’s project Monument to the Third International was in Zenit in
1922 (p. 91). In the same year in Zenit was published Ozenfant’s and Le Corbusier’s essay on Purism from
their journal L’Esprit Nouveau (p. 91) and in 1926 text on international architecture by Walter Gropius (p.
93). Jo Klek presented his designs Zeniteum I and Zeniteum II in 1924, and programmatic text of Zenitist
architecture was issued in number 37 (p. 92).
In The “Oblik” Art Group, 1926–1939 (pp. 97–114), Jasna Jovanov evaluates the transformative role
Oblik (Form in Serbian) had for Serbian interwar art scene and cultural life. Branko Popović, Jovan Bijelić,
Petar Palavičini, Sava Šumanović, Petar Dobrović, Veljko Stanojević, Toma Rosandić, Sreten Stojanović,
and Marino Tartalja (p. 98) founded the group in 1926, many artists later joined. Strongly oriented toward
contemporary art scene, especially Parisian, the group, on the other hand, did not neglect the traditional
values of their own peoples (p. 111). Oblik held 16 exhibitions in Belgrade, Split, Skopje, Sarajevo, Zagreb,
Ljubljana, Banja Luka, Sofia, Prague, Plovdiv, and Thessaloniki (p. 98) and was active until the Second
World War.
The next four chapters of the book are addressing the women as subjects of study, exploring the
status of female artists and intellectuals in Serbian society during the interwar period. Author Svetlana
Tomić in The Travel Writings of Jelena J. Dimitrijević: Feminist Politics and Privileged Intellectual Iden­
tity (pp. 115–133) brings to light the role of Jelena J. Dimitrijević (1868 – 1945), arguably the first Serbian
travel writer (p. 117). In her many books, Dimitrijević, who travelled to Africa, Asia and America, addressed
the question of women’s position in various societies and cultures. Her communication overcomes the
stereotypical opposition of accepting and pushing away the strange and unknown (p. 126) allowing her to
study identity of Serbian women in relation to the “Other“.
In following essay, Cover Girl: Envisioning the Veil in the Work of Milena Pavlović-Barilli (pp.
135–150) author Ljubomir Milanović analyzes the work of Milena Pavlović Barilli (1909 – 1945). Author
argues that Pavlović Barilli’s appropriation of historical iconographical traditions, classical and renaissance
art, and contemporary popular culture was not an influence or quotation, and represented a complex process
of appropriation and transformation in a bid for self-actualization (p. 135). He focuses on a single element,
Pavlović Barilli’s veil, taken from the Western iconographical tradition, and still a common trope of fem-
ininity (p. 135). Set between tradition and modernity of interwar period, the veil symbolizes the screen,
making the ‘true’ self-accessible only via the Other self, the public persona (p. 146).

367
 Author Bojana Popović in her essay Women and Applied Arts in Belgrade, 1918–1941 (pp. 151–165)
explains how a small number of female artists influenced a change in Serbian society by shifting the ap-
plied arts from a feminine discipline akin to crafts, to a sphere of women’s professional activities. Among
the women who contributed this change were Vukosava Vuka Velimirović (1888 – 1965) accomplished
sculptor, and Margita Gita Predić (1894 – 1970) a sculptor and painter. Danica Kojić (1899 – 1975) an architect
by education, worked as interior designer. She was wife and coworker of architect Branislav Kojić. Mar-
garet Kofler was notable interior designer in Belgrade society, and Milica Babić was a costume designer.
Katarina Mladenović (1887 – 1953) was textile artist. Mara Rosandić (1883 – 1954), the wife of sculptor
Toma Rosandić, was photographer and painter. During this process, Belgrade’s female artists accomplished
to visually express female creativity and contribute to changing the status of the applied arts (p. 159).
An essay Educating Girls: Women Architects and the Design of Three Schools in Belgrade, 1908–1938
(pp. 167–177) by Anna Novakov completes this insight into changing conceptions of women’s position in private
and public sphere by representing the work of two women architect Jelisaveta Načić (1878 – 1955) and
Milica Krstić (1887 – 1964) who designed a series of schools in Belgrade. Jelisaveta Načić, the first Ser-
bian female architect, in 1908 designed Osnovna škola kralj Petar I (Peter I Elementary School). Milica
Krstić designed the Second High School for Girls (completed in 1932) and the First High School for Boys
(1936–1938). As Novakov states, schools reflected architect’s interest in equal educational opportunities
for boys and girls, as well as the challenge of creating a clean and healthy learning environment (p. 170).
Six chapters in the volume treat aspects of Serbian interwar architecture and urban planning. The
section opens with the essay Expressionism and Serbian Architecture between Two World Wars (pp. 179–
200), jointly signed by Aleksandar Kadijević, and Tadija Stefanović, who bring a comprehensive overview
of most important architectural achievements of Serbian Expressionism. Serbian architects from the early
twenties to the outbreak of Second World War established two types of national Expressionism: Romantic
(emphasized silhouette of the imaginative compositions, elements of Post-Secession and National Style),
and Modernist (accented corners, breaking down the structure with rich plastic details) (p. 181). The authors
analyze the work of Momir Korunović (1883 – 1969), the leader of nostalgic quest for a National Style in
Serbian interwar architecture (p. 183), brothers Petar and Branko Krstić, Dušan Babić, Milan Zloković,
Aleksandar Vasić, Branislav Marinković, Branislav Kojić, Josif Najman, Dragiša Brašovan and other
prominent architects.
In her essay The Garden City Concept in the Urban Discourse of Interwar Belgrade (pp. 201–221)
Dragana Ćorović explains that Sir Ebenezer Howard’s (1850 – 1928) concept of Garden City reached Bel-
grade before First World War, and was promoted during interwar period by architects Jan Dubový, Branko
Maksimović and journalist Slobodan Ž. Vidaković. Garden City type settlements, known as “colonies”
were formed by joint action of a group of citizens with a similar professional and social background (p. 208):
Kotež Neimar (begun in 1922), Colony for Railroad Workers (1925–40), the Professors’ Colony (1926), and
the Clerks’ Colony (1926, 1931–33) – all in Belgrade, and the New Colony (1931, 1936–38) in Kragujevac.
Viktorija Kamilić in The Professors’ Colony – a Suburban Housing Project as an Example of Urban
Development in 1920s Belgrade (pp. 223–234) further explores The Professors’ Colony, created as a private
initiative by university professors with the support from the city (p. 223). The author explains historical,
social and urban aspects of the colony development, initially designed 1926–27 as an interpretation of the
Garden City concept by architects Svetozar Jovanović (1882 – 1971), Petar Krstić (1899 – 1991), and Mi-
hailo Radovanović (1899 – 1973). Half a decade later, new homes (Prendić residence by arch. Milan Zloković
and Kobasica residence by Krstić brothers) employed all the significan features of the Serbian interwar
modern style (p. 231).
In the essay Architect Brothers Petar and Branko Krstić (pp. 235–245) author Marina Djurdjević
documents Petar and Branko Krstić’s architectural oeuvre, from sketches and competition projects to ma-
jor buildings: the Agrarian Bank Palace (1931–34), the Iguman’s Palace (1936–37) and St. Mark’s Church
(1930–39). Two distinguished Serbian architects moved skillfully within academicism, Byzantine style and

368
modernism (pp. 237–238), author argues, adding that they were also prominent members of Belgrade Group
of Architects of Modern Movement and their contribution to Serbian modernism has to be acknowledged.
Nebojša Stanković in Niška Banja: Modern Architecture for a Modern Spa (pp. 247–268) explores
interwar urban development of Niška Banja, that has been known for its thermal springs since at least the
2nd century AD (p. 248). In the period 1927–1941 became a modern spa with the New Bathhouse (1935),
hotels, number of private villas and residences. Reflecting on functionality and modesty of design, ap-
propriate to the requirements of public health and therapy, Stanković emphasizes non-radical, domesticate
modernism (close to both Art Deco and Neue Sachlichkeit) (p. 246).
The last essay by Dejan N. Zec entitled Money, Politics, and Sports: Stadium architecture in Interwar
Serbia (pp. 269–287) deals with development of sports architecture. By 1914 soccer was by far most
popular sport in Serbia (p. 270), and first modern European stadiums in Belgrade were Jugoslavija (1927)
and B.S.K. (1929). At the same time pan-Slavic Jugoslovenski sokolski savez (Yugoslav Soko Association)
was active in promoting idea of “integral Yugoslavism” and building stadiums throughout Yugoslavia. By
the end of the decade, the political situation was radically changed. German Werner March (1894 – 1976),
the architect of Berlin Olympic Stadium was selected for the building of the Belgrade Olympic Stadium.
The proposed project provoked a storm of criticism from Yugoslavian architects and engineers, but the
outbreak of the Second World War has stopped the project.
The volume concludes with bibliography, list of contributors, illustration credits and index. All essays
have number of images reproduced in gray scale. The cover page shows photograph of Milena Pavlović
Barilli with veil by Carl van Vechten.
In the history of Serbian art and architecture, interwar period was the time of innovation and funda-
mental restructuring of form. Essays assembled in this book present those knotty and diverse varieties of
Serbian modernism between modern and traditional identities that flourished in interwar Serbia. Set “on
the very edge” of Europe, presented modernist framework of visual, literary and intellectual ideas brings
new perspective, and still calls for further detailed studies. Written in functional language with many
references regarding further readings, On the Very Edge: Modernism and Modernity in the Arts and Ar­
chitecture of Interwar Serbia (1918–1941), will find readership among architectural historians, architects,
urban planners, designers, critics, and others motivated for insight into Serbia between two World Wars.
This book will be valuable resource and serve as point of departure, not only to the study of interwar Ser-
bian arts, architecture and literature, but to the continuing venture of exploring the history of European
modernism(s) in a broader cultural context.

Aleksandra Ilijevski
University of Belgrade, Faculty of Philosophy – Department of History of Art
ailijevs@f.bg.ac.rs

369
 Рецензенти објављених радова у
Зборнику Матице српске за
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Reviewers

Игор Борозан Igor Borozan

Саша Брајовић Saša Brajović
Драган Војводић Dragan Vojvodić
Кокан Грчев Kokan Grčev
Александар Игњатовић Aleksandar Ignjatović
Александра Илијевски Aleksandra Ilijevski
Александар Кадијевић Aleksandar Kadijević
Бојан Ковачевић Bojan Kovačević
Ненад Макуљевић Nenad Makuljević
Миодраг Марковић Miodrag Marković
Срђан Марковић Srđan Marković
Лидија Мереник Lidija Merenik
Милан Попадић Milan Popadić
Владана Путник Vladana Putnik
Зоран Ракић Zoran Rakić
Иван Стевовић Ivan Stevović
Јасмина Чубрило Jasmina Čubrilo
Симона Чупић Simona Čupić

407
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Matica Srpska Journal for Fine Arts

Published once a year
Published by Matica Srpska
Editorial and Publishing Office: Novi Sad, 1 Matice Srpske Street
Phone: ++381 21 420 199 or 6615 038
e-mail: mtisma@maticasrpska.org.rs
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Уредништво је Зборник Матице српске за ликовне уметности

бр. 43/2015 закључило 24. III 2015.
За издавача: доц. др Ђорђе Ђурић
Стручни сарадник Одељења: Марта Тишма
Преводилац за енглески језик: Биљана Радић Бојанић
Лектор и коректор: Татјана Пивнички Дринић
Технички уредник: Вукица Туцаков
Компјутерски слог: Владимир Ватић, ГРАФИТ, Петроварадин
Штампа: САЈНОС, Нови Сад

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Зборник Матице српске за ликовне уметности /
главни и одговорни уредник Александар Кадијевић. – 1986,
22– . – Нови Сад : Матица српска, 1986– . – Илустр. ; 26 cm
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Зборник за ликовне уметности = ISSN 0543–1247
ISSN 0352-6844
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