THE JOURNAL OF MODERN ART HISTORY DEPARTMENT FACULTY OF PHILOSOPHY UNIVERSITY OF BELGRADE
PRIKAZ IZLOŽBE ZDRAVKO JOKSIMOVIĆ: SVETLUCAVO PRIJATELJSTVO
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PRIKAZ IZLOŽBE DAVID HOCKNEY: OD PAPIRA DO EKRANA
REVISITING APRIL ENCOUNTERS: ENACTING ALTERNATIVES
Inspired by the student-led program developed during the recent fivemonth occupation of the Student Cultural Centre in Belgrade, an integral part of the wider student protests in Serbia, this paper revisits the April Encounters as a key manifestation that marked a formative and conceptually significant phase in the history of the Centre. Through an analysis of its programs, ideas, discussions, and art practices, the text seeks to explore the potential resonance of April Encounters within contemporary student struggles. The programs, with their numerous international and Yugoslavian participants, explored the new logic of artistic production that inherently aimed at transforming the institutional framework. Today, the question of institutional forms and their possible alternatives emerges as a central concern for a new generation of students, pointing to the continued relevance of examples and knowledge created within our neo-avant-garde tradition.
This study examines the intersection of personal affinities and aesthetic strategies in the collecting practice of Peggy Guggenheim. Her decisions provide a foundation for understanding the identity of the collector, the logic behind selection, and the broader meaning of the collection itself. By comparing different approaches to art and collecting, the paper explores how Guggenheim positioned herself as a mediator between artistic eras, often anticipating systems of value that would only later gain institutional recognition. As a collector and patron, she challenged the dominant patriarchal frameworks—not through overt feminist critique, but by shifting the terms of participation. Her investments in art were guided less by financial gain and more by the creation of cultural capital. Through actions that foreshadowed museum-like practices, she helped shape a new artistic landscape governed by its own historical and aesthetic logic. This mode of collecting resists categorization within either modernist paradigms or postmodern micro-narratives, and instead aligns with the layered, oscillating sensibility of metamodernism.
BRANKO VE POLJANSKI AND THE SURREALIST CONCEPT OF IMAGE
In the context of the Yugoslav avant-garde, Branko Ve Poljanski (1989– 1947) was known as a publicist and poet, ideologue and activists of Zenitism (1921–1926). During the post-Zenitist period (1927–1947) he developed his career as a painter in Paris, where he gained direct insight into the conceptual platform and formal solutions of Surrealism. Despite the animosities between the leaders of the two movements, a considerable portion of Poljanski’s visual production stemmed from the creative assimilation of the Surrealist concept of image, which is reflected in the thematic and formal plane, as well as the metaphorics of the scene. This is confirmed by his (self-)reflective artworks, where the main topoi are somnambulistic visions, love, and madness, and the methodology of articulation of the visual expression rests on the primitive lexicon, the principle of free association and procedure of simulated automatism. In a series of self-portraits, depictions of female and male characters, figures and situations, Poljanski develops the image of “otherness” of Caucasian Europeans in principle and the Self in particular, raising the issue of artistic freedom, gender relations, and social morality. Even though not manifestly Surrealism, this is a conceptually very similar but autochthonous understanding and presenting of his own persona and reality.
REPRESENTATIONS OF RELATIONS BETWEEN FASHION AND INTERIOR DESIGN IN THE JOURNAL WOMAN AND THE WORLD (1925−1941)
Journal Žena i svet (Woman and the World) was published every month between 1925 and 1941, and it was intended for female readers, with a special focus on fashion, cooking and interior design. While the public sphere was long considered to be predominantly male, home interior was traditionally presented as the area of female engagement, which remained actual throughout the interwar period. What makes the articles in the journal Žena i svet interesting and specific is the interweaving of fashion and interior design. This method of translating fashion trends and personal taste in the sphere of interior design presents an underresearched aspect of everyday life in interwar Belgrade. Therefore, the goal of this paper is to further explore this connection, which was presented in the journal Žena i svet, but also to potentially point out similar ideas in articles of other journals and newspapers.
COMMUNICATING WITH STYLES AND VISUAL EXPRESSION IN THE WORK OF ARCHITECT BRANISLAV MITROVIĆ
Branislav Mitrović is one of the most prominent domestic architects, a professor emeritus, and an academician. The significance of his achievements has been confirmed by numerous domestic and international awards. The realization of Mitrović’s oeuvre began with collective residential and public buildings commissioned by the state in the last decades of socialist Yugoslavia, and continues today, primarily with single-family villas, which represent the most dominant part of his oeuvre from the beginning of the 21st century, thus covering almost fifty years during which there were significant changes in both social circumstances and artistic expression’s phenomena. Already at the beginning of his career, researchers recognized the distinct artistic quality of Mitrović’s architecture, and he often spoke about the importance of art for his work. That is why this paper aims to reexamine the artistry of his architecture, that is, to analyze Branislav Mitrović’s oeuvre through the prism of various artistic expressions and connect them with different streams of the architectural scene, as well as in other forms of fine arts, such as sculpture or painting. Various sources were used for writing this paper, primarily project documentation and photographies preserved in the legacy of the architect, as well as theoretical discussion on architecture and fine arts, especially those related to phenomena such as postmodernism, critical regionalism, and deconstructivism.
SEGMENT SRPSKE GRAFIKE XX VEKA SAČUVAN U OKVIRU FONDA KABINETA ZA GRAFIKU FAKULTETA LIKOVNIH UMETNOSTI U BEOGRADU
Rad se bavi zbirkom grafika deponovanih u Kabinetu za grafiku Grafičkog odseka Fakulteta likovnih umetnosti u Beogradu koje su nastale u periodu od početka okupacije tokom Drugog svetskog rata, tokom oslobođenja i za vreme uspostavljanja nove države i njenog poretka. Ovaj fond grafičkih listova mogao bi se definisati i kao svojevrsni kabinet retkosti imajući u vidu dela koja su u njemu pohranjena. Kroz rad se prate uslovi pod kojima je fond formiran, proces nastajanja, razvoj, sadržina, kao i uloga u nekadašnjim likovnim praksama. Sadržaj i konstantno dopunjavanje zbirke predstavljali su uslov uspešnog sprovođenja nastavnog plana i programa, ali i bili pokazatelji prisnog usvajanja evropskih likovnih i obrazovnih koncepata i tendencija.
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ODELJENJE ZA UMETNIČKU DOKUMENTACIJU MUZEJA SAVREMENE UMETNOSTI U OTVORENOM PRISTUPU
ZASTUPANJE MOĆI: KULTURNA POLITIKA SAD U VREME DŽONA KENEDIJA
WARHOL’S SCREEN TESTS: FROM PAINTING TO EXPANDED CINEMA AND BACK AGAIN
This text explores Warhol’s screen tests and tries to determine their significance for his artistic oeuvre. Approximately five hundred tests were made from 1964 to 1966 and they form a unique gallery of personalities who shaped the New York underground art scene during the 1960s. By examining the intrinsic characteristics of film as the art of moving images, Warhol created exceptional film portraits on the borderline between photography and film, part portraiture and part performance. This text analyzes Warhol’s peculiar approach to film which mostly influenced the hybrid character of his screen tests and indicates that these works can be experienced as sufficient film portraits, or can be examined as an integral part of the artist’s conceptual series and multimedia spectacles, which enabled him to move towards expanded cinema in the period of his collaboration with the rock band The Velvet Underground.
PROTOCOLS AND PROCEDURES OF BECOMING THE ARTIST: DEJAN ANĐELKOVIĆ & JELICA RADOVANOVIĆ, WHO IS THE GREATEST SERBIAN ARTIST?
The article examines mechanisms that in the local art world construct and establish the utmost national artist as they are represented in the video artwork by Dejan Andjelković and Jelica Radovanović Who is the Greatest Serbian Artist? (2002). It explains the context in which the video artwork was created, critical perspective that work takes up in relation to the issues of articulation and organisation of the artist community as well as to the issues of the art world (or the art system) that underwent the substantial changes during the last decade of 20th century. This text also analyzes political dimension of the video artwork and anticipation of the politics of aesthetics in Andjelković&Radovanović’s subsequent art work, the meanings that this video artwork produces and their effects, as well as its the media format.
A CRITICAL VIEW FROM THE YUGOSLAV PROVINCE. MILAN SELAKOVIĆ IN SARAJEVO’S PREGLED
Related to the issues of modern interpretations which unevitably follow the social history of art, the work pays attention to epistemological moments placed between different paradigms, and it was that it was a thesis of T. J. Clark (2012) about fatigue of the productive capacity of the left, or thesis of Igor Zidić (1971) on the Croatian art scene during the thirties of the 20th century. As a corrective to the disadvantages demonstrated in both mentioned texts the example of the critical contributions that Milan Selaković, from Zagreb ideologically close to Miroslav Krleža, published in the Sarajevo’s Pregled in the period between the 1937 to 1941 was used. Designed from the perspective of unorthodox Marxism, and intellectually uncompromising, attitudes of the mentioned authors consider in the extremely authentic way Krleza’s pessimism from the end of the decade, and its anthropological assumptions, as the example sent in the direction of a different, leftist, anti-essentialist and with an individual character of the creator modern art. The basic parameters of that writing, as well as the full context that was with it, are a good starting point for the local, post-Yugoslav social history of art, and an adequate contribution for the purpose of development of its scientific capacity necessary for survival in the dramatic situations of dominant posthumanism conceptual landscape.
MANZANAR, BERLIN, VENICE: TRANSNATIONAL VIRTU AL REALITY ART INSTALLATIONS
Manzanar, Berlin, and Venice are major tourist destinations, and visitors want to learn and experience the places’ history. Especially Manzanar and the Berlin Wall emanate the ephemerality of man-made structures and of a past that does not easily lend itself to create a unifying narrative, but rather one of complications and tensions. Due to their destruction, removal, and—in the case of the Venice lagoon—threat of flood tides and erosion their translatability into visual art become all the more important. The article examines the contemporary artworks of Tamiko Thiel who not only reconstructed the places in her 3D virtual reality installations Beyond Manzanar and Virtuelle Mauer: Re-Constructing the Wall but also put them in a transnational perspective. Beyond Manzanar manages to convey a feeling of imprisonment that is not only connected to Japanese American experiences; the Virtuelle Mauer provides an immersive experience of living ‘in the shadow of the Wall’ that can be applied to other such contexts. Lastly, Thiel’s installation The Travels of Mariko Hōrō moves the question of potential agency of the Other to the forefront. The article traces how Thiel has created socially engaged artworks of cultural translation and negotiation that have the potential to be translated into social practice.
MARISOL ESCOBAR – A WOMAN BEHIND POP ART
The paper looks at the work of woman pop artist Marisol Escobar whose art has for many years been analyzed based on its “Otherness”, whether it was because of the fact that Marisol was a woman, her ethnic and exotic background, or the fact that her work was dismissed as child-like, primitive and folk art. The text also deals with the work of Marisol showing the American middle class women of the ‘60s, the position of the artist within the pop art movement; and the ways the press and the art critics dealt with Marisol’s public image and work.
DEVELOPMENT OF OLGA JANČIĆ’S AND ANA BEŠLIĆ’S MODERNIST SCULPTURAL LANGUAGE
The aim of this article is to point out important similarities in the works of Olga Jančić’s and Ana Bešlić’s modernist phases through comparative analysis. Starting from the development of the sculptural practice of both artists in the culturo-political climate of the socialist realism of the 1950’s, the article focuses on the shaping and creating the language of modernist sculpture of the 1960’s and 1970’s in Serbia. The focus is on the two artists’ aspirations, as representatives of the post-war generation of artists, to tackle contemporary sculptural issues. From the radical reduction of form, which rests on the symbiosis of organic typology of shape (inspired by Brancusi and Arp) and Henry Moore’s principles of vital form of archetypical symbolic potentials, are the roots of the starting sculptural point of both artist’s orientation. The sculptural evolution of Ana Bešlić moved from a realistic and moderately stylized form to a complete autonomy of shape. Olga Jančić articulated her development to the associative and organic form a bit more expressively, robustly, dramatically and emotionally explicit.
MARKO ČELEBONOVIĆ’S ARTISTIC POETICS IN THE 1930s
Following his artistic beginnings in the third decade of the twentieth century, during 1930s, one of the key figures of the twentieth century Serbian art, Marko Čelebonović, created a mature body of work that had a formative influence on his later art practice. Using a rich historiographical material as a starting point, and motivated by contemporary methodological practices and interpretations, the aim of this study is to analyze the poetics of Čelebonović’s work of the 1930s through its key elements. A special emphasis is given to the contexts that may contribute to its more complete understanding as a reaction to the intricate social, political, cultural and historical changes that have marked the time of its emergence.
CLASSICISM IN THE OPUS OF VASA POMORIŠAC
The article discusses the phenomenon of classicism as a predominant tendency in Vasa Pomorišac’s paintings. The focus is on the third decade of the 20th century when renaissance ideas had the greatest influence on the artist and the time when he produced his most significant work inspired by classicism. An analysis of his three most representative compositions of the period, The Judgement of Paris, The Temptation of Saint Anthony and The Gamblers, explores their classicist elements and links them with the art of pre-Raphaelites whose influence was crucial in shaping the artist during his academic education in London (1921-1924). A review of the phases before and after London suggests that the artist’s early work reflects a classicist sensibility and tends toward realism while the style and form of his later work is modeled on the third decade of the century. The fact that realist streams of the twenties in European as well as Serbian art are coincidental with Pomorišac’s opus places him within the ambit of modern art with a nod to his classicist expression.
SIMPTOMI SRPSKE UMETNIČKE SCENE POSLE DVEHILJADITE
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LOCATING THE SYNTAX: CHANGING RELATIONS OF VISUAL AND TEXTUAL REPRESENTATION UNDER CONTEMPORARY EFFECTS
The text makes a brief survey of an everlasting relationship between artistic depiction and textual and linguistic content. It is aimed at a relevant establishment of artistic experiments in textual tracings, as well as diferences between subversion form Modernist period, up to the examples of post -conceptual codifying of new boundaries between wordand image. While showcasing several examples, the text remarks on diversity of methods and quests for creative contexts as well as to the respected artistic pracitioners. There is a reviewing reference to a book monography ‘Art and Text’ (Black Dog Publishing, London 2009).
In Virtual Window: from Alberti to Microsoft Anne Friedberg explores the nature of our perception and emphasizes the relationship between architecture, visual arts, film and digital media. Referring to window as metaphor for virtual vision, she analyzes connections between window as architectural element and virtual window of film, TV or computer screen. The author focuses on Descartes’ window, Heidegger‘s frame, Bergson’s virtual and Virilio’s screen, trying to establish main fields of her research. The starting point of her study is Alberti’s treatise on perspective and his approach to painting as an open window. This metaphor was used as leitmotif of Friedberg’s book; she starts her research in the theory of 15th century and ends her study in 21st century, trying to predict future of screen and our visions. Alberti’s metaphor of window for the frame emphasizes the fixed relation of viewer to a framed view. Looking at camera obscura as one of the key techonological inovations which led to new forms of vision (even moving pictures), Friedberg points out that this scientific instrument was used to translate a three-dimensional view from outside to a two-dimensional representation on the surface inside making a virtual window. Jonathan Crary goes even further and interpretes camera obscura as a model of 17th century perception, that underwent change in 18th and 19th century due to the development of science and construction of stereoscope. Camera obscura was a predecessor of kinetoscope of Thomas Edison and cinematographe of Lumière brothers. Before them, Marey and Maybridge captured movement with so-called chronophotography and their experimental works in the field of photography and sequential movement. With Lumière brothers new art and new screen emerged: film screen became a new form of framed picture, a new virtual window that introduced previously unimaginable possibilities. Following Heidegger, the author uses his concept of frame to stress that enframing is implicit not only in cinematic vision but also in modern thought and experience. In chapter three Friedberg focuses on the age of windows, analyzing two debates: the first between architects Auguste Peret and Le Corbusier on the size, shapes and function of the vertical and the horizontal architectural openings (known as the French window and panoramic horizontal window), and the second between Russian director S. M. Eisenstein and the Academy of Motion Picture Arts and Science on the shape of the film screen. These debates indicate the tension between the material reality of architectural space and the dematerialized imaginary space of cinema, TV or computer representations. Friedberg points out that the screen negotiates the tension between mobility of pictures and immobility of viewers as well as the tension between materiality and immateriality in the architecture of spectatorship. Virilio understands screen as a temporal window and initiates discussion on effects of fracture of the screen into multiple windows. The last chapter is dedicated to multiple screens and split-screens often used in last three decades. Multiple and split-screen techniques are used in film and video art; their possibilities are exhausted in computer science and digital media. The author concludes that the future of window as an architectural element is unquestionable, but the future of screen as virtual window must be examined; in decades to come the screen may dissolve in new ways of uploading images and data, which exclude the optics of vision.
THE VISION OF RELIGION IN FRANCIS FORD COPPOLA’S BRAM STOKER’S DRACULA
Tekst razmatra zašto film Drakula Brama Stokera Frensisa Forda Kopole ima tako religiozni karakter, te pokušava da ustanovi koliko je sam reditelj o tome imao svest, odgovarajući na pitanja: da li film nudi uobičajenu viziju vampira kao neprijatelja koji se mora uništiti ili, pak, pokušava da ponudi nešto drugo? Drugim rečima, da li je Kopola na liniji Stivena Kinga, koji vidi vampire kao monstrume koji moraju nestati radi našeg dobra ili deli poglede En Rajs koja ih doživljava kao drage monstrume (ako uopšte monstrume) i izrazito ljudska bića (čak i ako oni to više nisu), koja se mogu posmatrati kao reinkarnacije Isusa Hrista pošto, kao i on, imaju moć da spasu čovečanstvo? Ili Kopola sledi svoju sopstvenu viziju, ako uopšte i jednu?
POSTMODERN VERBAL DISCOURSE IN COPPOLA’S BRAM STOKER’S DRACULA
Pojam „postmoderno“ koristi se ovom prilikom kao vremenska odrednica vezana za holivudske filmove 80-ih godina 20. veka koji su se od „modernog“ odvojili napuštanjem dominantne političke artikulisanosti i obraćanjem više čulima nego intelektu. „Vrebalni diskurs“ opisuje formu i funkciju filmskog govora shvaćeno ili kao autonomni tekst ili, još uspešnije, integrisanog u sveukupni filmski stil kao „vizuelni zvuk“. Reč je o Kopolinom izboru (stilskom, semantičkom i fenomenološkom) da slušaocu-gledaocu ponudi iskustvo u kome će se podjednako obratiti i uhu i oku.
STRAINING THE LIMITS OF INTERPRETATION: BRAM STOKER’S DRACUlA AND ITS EASTERN EUROPEAN CONTEXTS
Napuštanje tradicionalnih standarda knjževne kritike i otvaranje ka širokom spektru novih interpretacija omogućilo je jedno sasvim drugačije vrednovanje nesumnjivo “kanonskog” teksta kasne viktorijanske (i kasnije) horor literature, romanu Brama Stokera Drakula. Među brojnim novim “čitanjima”, zapaže se da tokom poslednjih decenija 20. veka politika postaje dominantni predmet analiza, premada i dalje ne smenjujući u potpunosti seksualnost. Pomenuta razmatranja mogu se grupisati u tri preovlađujuće kategorije (iako ne isključivo): Irska, Britanska imperija i Istočna Evropa viđena zapadnjačkim okom. Ovaj rad bavi se kritičkom analizom tekstova pripadajućih trećoj kategoriji.
THE CONTEMPORARy MUSEUM/THE MUSEUM Of CONTEMPORARY ART: THE CONTEMPORARINESS DEBATE (WHAT IS CONTEMPORARY?) FROM A LOCAL PERSPECTIVE
Contemporary art is a situation or, rather, a plurality of situations, whose definition/naming involves irreconcilable differences. If what was contemporary fifty years ago is no longer contemporary, what name shall we give it? Does it automatically fall into the category of the “modern”? If so, will what is “contemporary” today become “modern” in the museum of tomorrow? Or will it be “after-modern”? Or will it, perhaps, directly be transformed into a “classic”? The article discusses the possible functions of a museum of contemporary art today. The lack of venues for contemporary art in Sofia, as well as of museums for both modern art and contemporary art, has been the subject of heated debate in recent years. What is contemporary and rightfully could belong in a museum of contemporary art is a central question in these discussions. “Contemporary art” cannot serve as a concept that is defined once and for all. Every time the term is used, it is used from within a particular situation and needs to be negotiated. This text contends that contemporariness is plural. To be legitimate, its presentation can/must also be plural.
THREE FEMINIST ANALYSES OF THE BUILT ENVIRONMENT
This paper addresses the diversity of academic feminist analyses of the relations between sex/gender/ bodies and space/ place/ design. This is approached trough categorizing feminist approaches into three main groupings, that have been named: ‘liberal humanist feminist’; 'critical theory feminist' and 'postmodern feminist'. The paper outlines the main elements which constitute these three categories, and illustrates each one with examples of analysis, firstly, of certain issues of design and secondly, of problems that women encounter in the profession of architecture.
AMERICAN ART THEORY – KRAUSS, KOZLOFF, CUSPIT: DECONSTRUCTION OF GREENBERGIAN MANNER
This text is dealing with development of the American art theory and criticism after the WWII. The main figure that marked this period in American culture was Cleement Greenberg. His elaboration of modernist theory is recognised in history of art history and theory as one of the most important that has ever been made. Also, his passionate effort to recognize the characteristics of a typical American in works of abstract expressionists led him to the role of the promoter of American art, culture and politics during the period of Cold War. The aim of the author of this text was to show the main ideas in the field of American art theory and criticism that were inspired by the ideas of Cleement Greenberg, but at the same time those that are confronted with his ideas. Because of that, we chose significant authors who were working during the second half of 20th century – Rosalind Krauss, Max Kozloff and Donald Kuspit. With this choice of authors we wanted to mark the three different ways of thinking and writing about art: 1) Krauss – new approach to art influenced by French structuralistic and post-structuralistic theories, 2) Max Kozloff – revisionistic approach based on contextual analysis, and 3) Donald Cuspit – philosophical approach to art phenomena combined with psychological analysis. Despite of the differences in the theoretical discourse of these three critics, they share the same characteristics – the need to give some other kind of critical view of the modern and contemporary art that rejects rigid greenbergian manner.
The analysis of the painting Paragraph 218 tries to reveal the essential, inspirative ideas behind the picturesque realization of Alice Lex Nerlinger. A careful reading of previous historizations of Marsha Meskimmon and Atina Grossmann helps to reconstruct the historic frame from which the painting came and exists, as well as the relation to the frame itself. For the above mentioned historians, Paragraph 218 is the sign of triumphal appearance of birth revived women during 1931, on a massiv, politically-motivated protests, organized to speak against the restriction and the imposition of free decising on sexuality and the reproductive women’s rights. In order to question and change this attitude, it was necessary to carry out thorough reconstruction of socio-political context. Having in mind the attitude of Rosi Braidotti on specified birth-coded configurations, as well as those of Gilles Deleuze on nonparallel evolving of subject entities and lasting process of creating the meaning, the analysis promoted a specific textual network, to be the only possible and correct approach to Paragraph 218. Accepting the attitude on non-parallel takings-over, the new historical based approach of analysis notices a series of conditioned, discursive situations, as those that emerged as the result of the strong conflict for ideological supremacy in political left wing, in Moscow, as well as in Berlin, i.e.accompaning aesthetical component in those conflicts. In Weimar case, the documentaristic poetics, being the privilege form of artistic creation, has its position inside the left-wing aesthetics (AIZ with the workers’ photography), but during the year 1931, Willy Munzenberg shaped its course in his own way, trying to make a dominance inside KPD. A subversive potential of „petit recit“, women’ issue is opposedto the dominant narrative; a repression caused by the consequences of Paragraph 218. The painting of Alice Lex Nerlinger, which was exhibited on the „Frauen in Not“ exhibition in October 1931, certifies on the specific autonomy of the artist, who was, however, close to the left-motivated artistic scene, whose specific compositional elements are organized as birth revived rensponse to all the theoretical and practical propositions, that were crucial for the creativity on the mentioned exhibition.
BETWEEN POLITICS AND CULTURE: INTEGRAL YUGOSLAVISM AND VISUAL ARTS
The ideology of Integral Yugoslavism was based on a set of principles related to the denial of the national individualities of Serbs, Croats and Slovenes which were considered irrelevant to the common, Yugoslav identity. Integral Yugoslavism, however, was not an abstract political doctrine, but it was heavily dependent on culture and art in particular. Yugoslav art of the first decades of the twentieth century was marked by the idea that artwork had to represent both cultural and political, and historical and modern unity of the nation. Moreover, it was believed that art had to herald a new era in political and cultural life of South Slavs and to serve as the legitimation of the long-awaited political independence. Among a variety of artistic poetics of the time, that of the famous Croatian sculptor Ivan Meštrović (1883-1962) was extremely prominent and politically engaged. Meštrović’s monumental sculptures of the Vidovdan and Prince Marko Cycle argued most cogently for national independence and the unification of all South Slavs.
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