Ivan Tabaković

[3][5] His Novi Sad period (1930–1938) was marked by a gradual abandonment of the Zemlja style morphologically, stylistically and partially ideologically and instead became "characterized by a multitude of extraordinary depictions of private and public spaces, still-lifes and landscapes with brilliant drawings, with elements of melancholy and sophisticated use of color, richly nuanced.

[3] After the foundation of Socialist Federal Republic of Yugoslavia's Academy of Applied Arts (in 1948), he continued his work at the Ceramics Department.

The second Belgrade period (1955–1977) was characterized by emphatic independent research into the fundamental principles of the modernist painting, chiefly its two-dimensional plane, as well as the non-mimetic approach through the use of pure, non-descriptive visual elements.

It was this eccentric, creative and experimental period of the second half of the twentieth century that made Tabaković one of the most significant, exceptionally individual, indigenous innovators in Serbian modern art.

Tabaković won a Grand Prix for ceramics at the Exposition Internationale des Arts et Techniques dans la Vie Moderne in Paris (1937), where he exhibited four panels.