Serbian art

But in the course of centuries experience in painting frescoes, miniatures, icons and the iconostasis, there undoubtedly arose arts and crafts workshops where a younger generation of painters and skilled craftsmen could learn the techniques of the masters.

At that time in Raška, Stefan Vladislav who founded at Mileševa a monastery and a church where three of his court painters -- Demetrius, George and Theodore -- worked on wall painting free from the strict canon law tradition.

Prince Stefan Lazarević was a poet and patron of the arts who founded the church at Resava at Morava with the wall paintings having a theme of parables of Christ with the people portrayed wearing feudal Serbian costumes.

[6] Later in 19th century, Serbian medieval art was used as inspiration for notable architect Andrey Damyanov who, between 1835 and 1878, along the Vardar and Morava Valleys and Bosnia, built around 40 churches and other buildings.

Following the political expansion and military growth, the 13th and 14th century are marked as the period when the biggest amount of newly built or existing sanctuaries have been decorated, mostly by unknown artists.

Its most representative fresco, The Crucifixion, was made twelve years later, in 1208, on the blue background brought into contrast with golden-yellow of Christ's bare crucified body.

Born as Simonis Palaiologina, she was a daughter of the Byzantine Emperor Andronikos II Palaiologos (r. 1282–1328) and Irene of Montferrat, and the fourth wife of Serbian king Stefan Milutin (r. 1282–1321).

[16] However, between 1971 and 1976, during the conservation works in the monastery, it was discovered that for centuries the queen's eyes were lying under what actually was (unsuccessfully intentionally damaged) grey layer.

[19] Traditional Serbian art was beginning to show some Baroque influences at the end of the 18th century as shown in the works of Nikola Nešković, Teodor Kračun, and Jakov Orfelin.

The first generation of Baroque painters nourished on the learnings of the Russian painters Vasilije Romanovich and Jov Vasilijevich, then the trainee of the Kiev Academy of painting, Dimitrije Bačević, Vasa Ostojić, Joakim Marković, Jovan Popović [sr], Amvrosije Janković, Dimitrije Popović, Teodor Stefanov Gologlavac, Hadži-Ruvim Nenadović, and Stefan Tenecki.

The works of Jovan Četirević Grabovan who completed part of his education in Imperial Russia, and returned to the Habsburg monarchy to settle in Osijek in Slavonia where he developed a rich icon-painting activity.

The originator of the more direct rotation on Central European models was Joakim Marković, whose work is linked to the first portraits and Still lifes, and in church painting of historical compositions and heraldic depictions.

Scenes are placed in the real world, Christ and Mary are depicted according to the rules of the secular ruler iconography and rely on graphic templates from popular illustrated Bibles.

Among the artists who took Serbian painting of Central European Late Baroque formulation, Jakov Orfelin and Teodor Ilić Češljar stand out.

Portraits complete the picture of the new society created in that time and point to the idea of a permanent memory of individuals within the family or the wider community.

The gallery of characters, in addition to church prelates and priests, senior officers, significant places is taken by eminent members of civil society from the first decades of the 19th century: lawyers, university professors, writers, wealthy merchants, and their wives, the status shown by marked clothing and jewelry.

Stylistic features of paintings of that era: a balanced composition, precise modelling, rigorous academic drawing, colour of the reduced register, expressed in the works of Arsenije Teodorović, Pavel Đurković, Georgije Bakalović, Jeftimije Popović, Nikola Aleksić, Konstantin Danil, Jovan Isailović Jr., Katarina Ivanović, Dimitrije Avramović, and others.

As a stylistic expression that deeply permeated the Serbian art at that time, Biedermeier was most suitable for the wide layers of citizens that concerned about themselves, their family and home.

The most important representatives of the Biedermeier expression in Serbian painting are Konstantin Danil, Katarina Ivanović, Dimitrije Avramović and Nikola Aleksić.

[28][29] In the mid-19th century Serbian artistic creativity was marked with the reception of content and design of civil works (Biedermeier), but at the same time the development of a program of historicism.

In stylistic and thematic view, Romanticism brought notable innovations: greater freedom of strokes and composition, warm colours complemented by the play of light and shadow.

These ideas are directly reflected in the visual art of the epoch - historical compositions, but also patriotic scenes that illustrate the events of the recent past are gaining more and more importance.

[32] In the last decades of the 19th century, Serbian painters began to stay at Munich as a center of education and its Academy of Fine Arts, which compared to the Viennese, was more avant garde and progressive.

Orientalism rarely had a purely documentary character and more often depicted the enthusiasm of Europeans for beauty, vividness, and allure of the unknown and exotic world.

During a long period of education, Paja Jovanović,[34] along with classes at the Vienna Academy of Fine Arts, attended the School of historical painting of Leopold Müller, famous for its oriental motifs.

End of the nineteenth and beginning of the twentieth century were marked by the work of individual personalities, each of them made a significant contribution to the development and the history of applied art in Serbia.

Socrealism was the dominant school after World War II with the rise to power of the Communist Party of Yugoslavia under Josip Broz Tito.

However, that period did not last long – during the 1960s, Serbian artists started to break free from the constraints of the Communists led by figures such as Petar Lubarda and Milo Milunović.

[41] At the beginning of the 1980s in Belgrade was established movement "New Image" painting with Milovan Destil Marković and Vlasta Volcano Mikić (Žestoki), later followed by (Alter imago group) Nada Alavanja, Tahir Lušić, Vladimir Nikolić and later Mileta Prodanović.

Her art focuses on the theme of “confronting pain, blood, and physical limits of the body,” while relying on the extent of these discomforts based on the actions of her audience members.